I'44=ZIRPORATING HIGH FIDELITY'

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If you've vowed not to compromise this time around,consider the rich rewards of owning Carver. Each compo-nent includes unique innovations designed to confront andsolve real -world sonic problems.

Power unleashed: Simultaneous high current/high voltage output. The TFM-25 is capable of deliver-ing more simultaneous current, power and voltage into awider range of speaker loads than any other competitivelypriced design: 225 watts per channel into 8 ohms20-20kHz with no more than 0.5% THD. Its patentedMagnetic Field Power Supply can draw up to 200% moreline current, store more joules of energy in its unique dis-tributed capacitance system, and then deliver up to 500%more current during musical peaks. With the right speakers,this kind of serious power can achieve a full restoration ofthe robust percussive attacks and lightning transients so

necessary to achieving musical realism from digital sources.Accuracy and musicality through Transfer

Function Modification. Over the past two decades, BobCarver has worked on the problem of replicating one poweramplifier's sonic signature in another dissimilar design.Through thousands of hours of painstaking tests and mod-ifications, he has been able to closely match the TFM-25'stransfer function with that of his highly acclaimed$17,500.00 Silver Seven vacuum tube reference poweramplifier. When you hear the warm, natural sound of theTFM-25, you'll know that Transfer Function Modifica-tion is an audible reality.

New flexibility in a classic preamplifier design.The Carver C-16 is at once a purist, "straight -wire -with-

gain" design and a wonderful wealth of sonic options.Including individual left/right tone controls with variable

POWERFUL MUSICAL ACCURATE

BE THE MASTEROF YOUR OWNSONIC DESTINY

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turnover, full -band Spectral Tilt.and of course Sonic Holographywith a new Blend control that fur-ther extends the remarkable spacial resto-ration abilities of this exclusive Carver technology.

ACCD turns "dirty" FM into fresh air. Unlike anycompetitive tuner model, the Carver TX -12 can actuallytransform a noisy, multipath distortion -ravaged FM signalinto clean, hiss -free music with full stereo separation. Thekey is the TX -12's Asymmetrical Charge -Coupled FMDetection circuitry. A lengthy name for a wonderfully fastsolution to expanding your listening possibilities. Whenyou experience ACCD's effect, you may consider theTX -12's full remote control, 20 FM/AM presets with pre-view scan, stereo/mono switch and dual antenna inputs,mere icing on the cake.

Hear why we stack up ahead ofthe competition. The TFM-25, C-16and TX -I2 are just three of over a dozen

new Carver designs. Each.is designed torekindle your sense of musical wonder. It all

begins with a visit to your nearest Carver dealer.

To receive White Papers on Simultaneous High Current HighVoltage Transfer Function Modification and Sonic Holography.' detailsof Spectral Tilt and the name of your nearest Carver Dealer,call 1-800-443-CAVR, 8-5 PM Pacific time.

CARVER CORPORATION, LYNNWOOD, WASHINGTON, U.S.A.Distributed in Canada by EvoLur N AUDIO INC. 144161847-8888

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Stereo Review Incorporating High Fidelity®

BULLETIN 5 TECHNICAL TALK 48LFI'TERS 8 POPULAR MUSIC 129NEW PRODUCTS 13 CLASSICAL MUSIC 147SIGNALS 22 1989 EDITORIAL INDEX 164AUDIO Q&A 24 THE. HIGH END 172

EQUIPMENTTHE BASICSMagnets and music by Ian G. Masters

HIRSCH-HOUCK LABS EQUIPMENT TEST REPORTSOnkyo TX -890 AM/FM Receiver. page 57Hafler IRIS Preamplifier, page 65Design Acoustics PS -3 Micro -Monitor Speaker System, page 69Conrad -Johnson DF1 Compact Disc Player, page 72Pioneer SP -91D Digital Sound Processor, page 82

THREE. TOP COMBI-PLAYERSHow leading players measure up in audio and videoperformance by Ed Foster

DESIGN FOR LISTENINGWhen great looks and great sound go together

by Warren Berger

SIGNAL PROCESSORSShould you add one to your system? by David Simon

HOLIDAY GIFTSSuggestions for audiophiles and music lovers

by William Livingstone

MUSIC

39

57

94

102

107

113

Tom Tom CLUB"Whatever we do always has a strong beat"BESI' RECORDINGS OF THE MONTHLinda Ronstadt, Strauss's Le Bourgeois Gentilhomme, StevieRay Vaughan, and Martial's piano musicRECORD MAKERSThe latest from David Byrne, Liza Minnelli, Kyung-WhaChung, Jefferson Airplane, Tears for Fears, and more

b) Ron Givens100

123

144

Corers The Pioneer PLD-3070 combi-player (see page 94).Design hr Sue Llewellyn. photo hr Roberto Brosan.

PAGE 113

PAGE 94

PA( iE 144

4') 1989 BY Ill.\ 1.% \ DI S OS1111 \ It 110 \S I\( ll rights reserved. Stereo Review. December 1989, 'plume 54. Number 12 Stint Hest t.(ISSN. 0039-1220) is published iiimithls I,, 1.111111111111.11.1, III( . at 1633 Broadway, New York. NY 10019: telephone (212) 767-6000. Al.." in11,11shurCar Stereo Review. Stereo BM, ( ;1161, (1111111/:11 t DIM 1)11\11`: ( ;111111 . Mid Video Buyers' Guide. One -sear subscription rate tor the United States and its p,ssessiims.$13.94: Canada. $18.94: all of het t 1)111111 its. $21.91. s Is. 1,..s.11)1e in U.S. currency. Second-class postage paid at New York, NY 10001, anti at aultlirIliaililig 1,111itvs. Printed in the I .S. A. hi ori/ed as set .01,1-, lass mad In the Kra Office Department, Ottawa, Canada. and for payment of postage in cash. /1).5

ASTF I? I SI HIP 110.5. %/.e17( rirase seed change-1/1-a(lirt, II11111 and all subscription correspondenc-e to Stereo Review, P.O. Box 55627, Boulder, CO80322-5627. Please allow al least eight weeks for the change of :whirs:, to become effective. Include both your 4,1,1 and your new address, enclosing. if possible, anaddress label Dom a lei cot issue. II sou have a subscription problem. write to the :drove address or call (800) 876-9011 PkkAf/SS/ONS.- Material in this publicationmar not be rept-411,1m ed in am 140 tit without permission. Requests iiperm should be directed to: The Ed' . Stereo Res 1)iamandis Communications Inc.,1633 Brliadwas Siew Turk. NY 10019. I.:1)111M! ..11. '110.Y must be .144 ompanied by return postage and will be handled with reasonable care. but thepublisher as , nu responsibilits lor return or salt -is ol unsolicited art, photos. or manuscripts.

Vol.. 54 No. 12 STEREO RI V1EAA' DEC:EMBER 1989 3

33,868,800times per second.

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From the delicate sound of a classical Spanishguitar to the driving rhythm of a bass, 3D BitStream captures all the dynamics, dimension, anddrama of a live performance.Harman Kardon has a history of firsts:from the world's first high fidelity receiver.The first cassette deck to incorporate Dolby*.The introduction of the active tracking tuner.And now, bit stream technology with totallydiscrete analog circuitry in compact disc players.That's Harman Kardon. Pioneering technology forpeople who love music.

Take your favorite CD to your Harman Kardondealer. Listen. And experience the music as younever have before.

Also ask for a detailed explanation of 3D BitStream, or write: Harman Kardon, EngineeringDept., 240 Crossways Park West, Woodbury,NY 11797.

CIRCLE NO

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BULLETIN

by Christie Barterand Rebecca Day

BETTER AM SOUNDThe Electronic Industries

Association and the NationalAssociation of Broadcasters haveagreed to join in promotinghigh -quality AM sound bydeveloping a certification mark orlogo to be used on the faceplatesof high-performance AM receiversand tuners. Under the plan,receiver manufacturers who havedesigned their products inaccordance with National RadioSystems Committee (NRSC)guidelines may use the trademark.The program relies on new NRSCstandards that 1) limit thebandwidth of Am broadcasts to 10kHz, enabling manufacturers toextend the AM response of theirreceivers up to 10 kHz withoutsuffering interference, and 2)specify the amount of high -frequency boost that broadcastersshould add to audio signals.Complementary equalization inthe receiver restores flatresponse and reduces noise.

FLASH FROM TOKYODigital audio tape (DAT)

recorders were shownprominently at this fall's JapanAudio Fair, some with the circuitsthat are said to make possibledirect digital copies from CD'S orDAT'S (but not copies of thosecopies). Despite the internationalagreement on DAT announced lastJuly, there is still record -companyopposition to the format in somecountries, and the time ofworldwide introduction of DATdecks is still uncertain. U.S.introduction by the end of 1990,however, seems quite possible.

ON THE AIRWAVESNewport Jazz '89, featuring

performances by Herbie Mann,Wynton Marsalis, GeorgeShearing, and Spyro Gyra, is beingaired by the PBS televisionnetwork on November 22.... OnNovember 25, National PublicRadio will broadcast the operaHoly Blood and Crescent Moon byStewart Copeland, one of thefounding members of the Police,

in a performance by ClevelandOpera, which gave the work itsworld premiere earlier this fall.

PRODUCT NOTESThomson Consumer Electronics

has announced plans toresuscitate the RCA audio brandname in 1990 with a line of mid -price to high -end components....Denon America has reduced theprices of its high -bias audiocassettes by 4 to 12 percent....BASF has added the 100 -minutelength to its Chrome Extra II andFerro Extra audio cassette lines.... Pioneer's two new digitalsound -field processors-theSP -91D ($1,000) and the SP -700D($700)-employ the company'sdigital signal processing (DsP)circuit. Pioneer has alsointroduced a new audio/videoreceiver line, led by the VSX-9500S ($1,050) with Dolby ProLogic.... Standard on the new1990 Nissan 300ZX ($28,000) area five -enclosure Bose speakersystem and a Clarion cassettereceiver modified with Bose audiocircuitry.... Infinity is usingMonster Cable only for theinternal wiring of its new RSseries of loudspeakers ($85 to$529 each).

FIVE -FORMAT RELEASESPolyGram is the first record

company to release albumssimultaneously in all five popularformats-LP, audio cassette, CD,VHS videotape, and videodisc.These initial entries in the newJazz Visions series include suchtitles as "The Many Faces of Bird,"with Bobby McFerrin, Lee Konitz,and Bud Shank; "Rio Revisited"with Antonio Carlos Jobim andGal Costa; and "Jump the BluesAway," with Etta James, JoeWalsh, and Albert Collins. Noplans have been announced forrelease in the DAT format.

MUSIC NOTESThe summer's superhit film,

Batman, from which Princederived (in part) his superhit"soundtrack" album, has just beenreleased on videotape by WarnerHome Video. The videodiscversion is due soon after the first

of the year.... Italian conductorClaudio Abbado is the new musicdirector of the BerlinPhilharmonic, succeeding the lateHerbert von Karajan. . . Finnishconductor Esa-Pekka Salonen, anexclusive Sony Classics/CBSMasterworks artist, becomesmusic director of the Los AngelesPhilharmonic as of the 1991-1992season.... The composer WilliamSchuman is scheduled to receiveKennedy Center Honors inWashington on December 3....The National Academy ofRecording Arts and Sciences hasfixed February 21 for its nextGrammy Awards presentationand telecast (on CBS).

HI-FI PHONE CALLSA new digital coding method

developed by Bellcore, a researchand. engineering consortium ofregional telephone companies,may pave the way for high-fidelityphone calls. The technology cantransmit stereo audio signalswith a 7 -kHz bandwidth over asingle Integrated Services DigitalNetwork channel, more thandoubling the bandwidth (3 kHz)now used for telephone sound.

Stereo speakerphones weredemonstrated at a recent Bellcoretechnical forum, along with hi-fitelephone news reports byreporters on location. Alsodemonstrated was a device thatwould enable consumers to callup a music store to audition arecording through their homehi -ft systems.

I FRI.() RI W DF :F \111FR 1989 5

The NA Series

"They provide smooth, fast and incredibly well detailed sound:"

polk audioThe Speaker Specialists'

"Polk's RTA Tower Loudspeakers CombineLegendary Polk Performance with Contemporary Style."Big speaker performance with an efficient use of space.

RTA 11t

The RTA Ill is the finest conventional (non-SDA)speaker that Polk Audio manufacturers. Its ex-tremely high power handling (250 watts) and highefficiency (90dB) provide remarkable dynamicrange from both large and small amplifiers. The!LTA llt utilizes the same technologically advancedfluid -coupled subwoofer design found in Polk'sflagship model. Dual 8" sub -bass radiators are cou-

pled to two 6'/2" mid/bass drivers, resulting in a fast,

powerful. deep. and ultra -accurate bass response,without the boomy, undetailed sound of largewoofer sstems.

RTA 8tIn a slightly smaller package, the RTA 8t offers thesame driver complement as the larger, more expen-

sive RTA llt, and thus shares its benefits of superiorimaging, musical* and detail.

THE PRINCIPLES OF COINCIDENT RADIATION

Both Polk RTA series loudspeakers achieve the extremely rare combination of good looks and state-of-the-art performance. The tall, elegantly slender and deep "tower" design cabinets allow forsubstantial internal volume for high efficiency and powerful bass, but only require less than onesquare foot of floor space! The small baffle surface area around each driver minimizes diffraction(sonic reflections), thereby insuring outstanding imaging and low coloration.

Positioning the 1" silver -coil dome tweeter between the two 61/2" trilaminate polymer bass/midrangedrivers achieves what is called "coincident radiation." This means that both the mid- and high -frequencies appear to radiate from the same place on the baffle resulting in perfect blending at thecritical crossover point. (See illustration, below).

Polk RTA speakers have an uncanny ability to perfectly reproduce the human voice, pianos, guitars,and every other instrument whose faithful reproduction demands superlative midrange and high -frequency performance. Bass and percussion instruments are accurately reproduced with fullvisceral power and realism, without the heaviness, boominess, or lack of detail that plaguelesser designs.

The discriminating listener who seeks state-of-the-art performance and design will findthe quintessential combination of both inPolk's RTA series loudspeakers.

__ acoustic center

The perceived source of soundof two identical drivers iscentered in the area be-tween them.

In the Polk RR loudspeaker,the tweeter is positioned at theacoustic center of the drivers.

Drivers and tweeter appear tooperate together as an idealpoint source resulting in pre-cise imaging, uniform disper-sion and startling midrangeaccuracy.

Polt. Audio's KTA St and KIA III High PerformanceTower Speakers

Where to buy Polk Speakers? For your nearest dealer, see page 166.CIRCLE NO 90 ON READER SERVICE CARD

Stereo ReviewLOUISE BOUNDAS

Editor in Chief

MICHAEL SMOLENExecutive Editor

SUE LLEWELLYNArt Director

CHRISTIE BARTER WILLIAM WOLFEMusic Editor Technical Editor

DAVID STEINManaging Editor

REBECCA DAY, WILLIAM GOLDMANROBERT ANKOSKO

Senior EditorsARINDA J. SEGARRA

Assistant EditorCATHERINE FLEMINGAssistant Art Director

BARBARA AIKEN, ROCCO MATTERAMARYANN SALTSER

Editorial Assistants

MICHAEL RIGGSWILLIAM LIVINGS -TONE

Editors at Large

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

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

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

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

Stark, David Patrick StearnsProduction Director: Karen L. Rosen

Production Manager: Michele Lee

WINSTON A. JOHNSONVice President and Publisher

ADVERTISINGAdvertising Director: Nick Matarazzo

National Manager: Charles L. P. Watson(212) 719-6038

Consultant: Richard J. Halpern(212) 719-6940

Account Manager: Sharon Dube(212) 719.6037

Corporate Account Manager: Tom McMahon(212) 719-6025

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

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

Paula Borgida Mayeri, (213) 739-5130Tokyo Office: Iwai Trading Co., Ltd.603 Ginza Sky Heights Building, 18-13,Ginza 7-Chome, Chuo-Ku, Tokyo, Japan 104Japan Representative: J. S. Yagi, (03) 545-3908

3pA

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

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

Murray RomerSenior Vice President. Operations& Administration:

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

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

LETTERS

Digital DifferencesIn his September "High End" col-

umn, Ralph Hodges concludes that thedays when digital reproduction was de-scribed as "perfect" and having "noaudible differences" are behind us.People who have selected CD players onthe basis of features rather than soundquality don't realize what they could bemissing.

Four years ago I purchased what wasthen a state-of-the-art (according toSTEREO REVIEW tests) CD player. Twoand a half years ago I purchased a newermodel that exhibited significantly bettersound. Recently, on the basis of STEREOREvIEw's December 1988 study by KenPohlmann, I purchased another top CDplayer, and I was astounded by theimprovement in sound. It was likechanging from LP'S to CD'S. Both thebass and treble seem to have anextended range, the bass more volumi-nous and better defined, the treblesweeter and more open. The increaseddefinition has enabled me to hear manyinstruments that were previously muf-fled, and discs I rarely listened to be-cause oftheir harshness now sound great.

ARTHUR M. WELLSGainesville, FL

Gershwin and SullivanEric Salzman incorrectly stated, in his

October review of the latest recording ofGershwin's Porgy and Bess, that thisopera established a record for contin-uous performances of a new opera. Thepresent world's record is held by SirArthur Sullivan's Ivanhoe, which hadmore than 155 performances in its ini-tial run in 1891. Ivanhoe's second fullrecording will soon be released by PearlRecords.

BRUCE GREENGARTBrooklyn, NY

Recording RockKen Pohlmann states in October

"Signals" that "a professional rockmonitor must provide very high sound -pressure levels." That's totally untrue.Way back in the dark ages of the Seven-ties, rock engineers thought that ex-treme volume was good. Today thethinking engineer knows that because ofthe Fletcher -Munson curve, a recordingwill sound terrible at low volume if it ismixed at high volume. Moreover, in thestudio the ear will quickly become veryfatigued, and thus useless, under suchcircumstances.

CRAIG PAT TERSONEvergreen, CO

Ken Pohlmann replies: My office ad-joins a professional recording studio.

and I travel to dozens of studios a year.In ny experience, most rock engineerscontinue to nonitor at levels 20 to 40 dBhigher than home listening levels. I cer-tainly cannot condone these high levels,which do fatigue the ear and can causepermanent hearing damage. Incidental-ly, the Fletcher -Munson curves, reflect-ing work done in the 1930's, are no long-er used, having been replaced by newerdata from Robinson and Dadson.

The BasicsI am a charter subscriber to STEREO

REVIEW. I built my first hi-fi system inthe late Forties from individual parts Ibought from an Allied Radio catalog,using a diagram a fellow engineeringstudent at Cornell drew for me. Manysystems later, I find that although vari-ous responsibilities and activities haveprevented me from keeping up with thetechnical aspects of hi-fi, I am enjoyingmy system more than ever because oftechnical advances, especially CD'S.

The point of all this is to commendyou on the series "The Basics" by IanMasters that started in October. Thiswill bring me up to date at long last.

PHILIP F. SEARLENaples, FL

Loudspeaker Sound"How to Buy Speakers" by Ian G.

Masters (September) left out a vital con-sideration: Speaker buyers need to con-sider whether they want units thatcreate or re-create music. In most re-cordings of pop and rock and electronicinstruments, the speakers are part andparcel of the creative process. "Loud-speaker sound" may make an affirma-tive contribution, and may even becounted upon by musicians and pro-ducers to supply a coloristic touch andpanache. To realize what the musiciansand producers intended, then, you mustuse loudspeakers (and acoustics, if pos-sible) similar to the ones they used forstudio sound checks.

But a re -creative loudspeaker is notpart of the creative process. It has atougher job to do. The music and soundit may be called upon to reproduce isnot disciplined by the speaker's owncharacteristics and limitations. In are -creative loudspeaker, "loudspeakersound" is anathema. Such a loudspeak-er may seem bland playing pop, rock,and electronic material, but it may bejust the thing for re-creation of the deli-cacy and balance of a Baroque chamberorchestra.

You can't select good re -creativeloudspeakers by comparing them withone another to hear which sounds "bet-ter." You've got to compare them withfresh aural memory of the real thing.

8 STEREO REVIEW DECEMBER 1989

Schubert had a pretty goodreason for not completing music.He died.

But abrupt endings while tap-ing CDs are not so excusable.Which is why Maxell now offers100 -minute cassettes designedspecifically for digital sources.With superior frequencyresponse and noise reduction,they actually rival CDs in sound

quality. And with an extra ten minutes ofrecording time, they do the same in sound quantity.

Instead of being frustrated by the shortcomings of othertapes, try our new XLII100 and XLII-S 100. And you maynever have to settle for Vivaldi's "Three -And -A -HalfSeasons" again.

LEAVING A(

SYMPHONYUNFINISHEDSHOULD BE UP TO THECOMPOSER.NOT YOUR TAPE.

POSITION

lEc TYPEHIGH (CrO.

Super-Phase Accuracy Cassette Mechanism

k.xi E.4DEUDYNAMIC RANGE

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maxell

axelSuper Silent PheseAccwecv

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0 1989 MaxellCorporanon of America. 22.08 Route 208, Fairlawn. N.J. 07410 maxellCIRCLE NO. 25 ON READER SERVICE CARD

SONY

2:150/SC Adrownc asc La.ate, sysitm

fFIrPtr IMOt

MI

The latest developmentin carousel CD changers

from the people whodeveloped them first.

Sony's invention of the world's first compact disc

player set the world on its ear by bringing unheard-ofclarity and accuracy to recorded music. Then, on the

theory that you can't get too much of a great thing,Sony developed the world's first 5 -disc carousel CD

changer and multiplied the stunning advantages of

digital sound fivefold.Now, while others strive to imitate our carousel

design, Sony introduces a new generation of 5 -disc

carousel CD changers. Each with the benefits of our

unsurpassed experience plus the latest advances

and refinements in digital technology.

The Sony CDP-C800 Disciockey CD changer,

for example, has an 8x oversampling digital filter,Dual 18 -bit Digital -to -Analog converters and Sony's

patented noise shaping circuitry. All of which allows

you to enjoy the full dynamic range that your

compact cEscs can provide.

But beyond the innovative technology you'd

expect from the Leader in Digital Audio,' theCDP-C800 gives you convenience features like 32 -track

programrning,"Shuffle Play"and our exclusiveCustom File' that memorizes titles and playbackinstructions for up to 227 discs. What's more, Sony's

carouselCD changers even play 3 -inch discs

without adapters. And with the fastest disc -to -

disc access time available today, you'll spend

more time listening to music and less time

wait -rig for discs to change.

That's just the beginning of Sony's complete

line of 5 -disc carousel CD changers. Take one for a

spin. You'll see why our CD changers have the com-

petition going around in circles.

SONY9,Copvnght 1989 Sony Corrnrar.n of Amer.. All rwhrs reserved Sonv. Disciockev.Custont hk. and The Leader In rhga al Audn are trademarks of Sony

CIRCLE NO. 77 ON READER SERVICE CARDTHE LEADER IN DIGITAL AUDIO"'

The latestdevelopment

from Sony andCBS Records:

5 free CDs.Buy any Sony home DiscJockey 5 or 10 -disc

changer between September 1,1989 and

December 31,1989 and receive a package of four

5 -inch CD album titles from those listed below,

plus o bonus CD -3 featuring top artists like

The Bangles, Chicago and Sade. Just fill in the

coupon below and list your preferred package

choice in order (1 through 6) and mail it with

a copy of the dated sales receipt for your Sony

CD changer.

Package APaul Young: Between

Iwo f oes

Loverboy: WildscdeVarious: Ruthless People

Soundtrack

Europe: Our Of This WorldBonus CD -3

Package BBob Dylan: Down To The

Groove

Judas Priest: Born ItDown

Europe: Out Of This WorldLoverboy: WildsideBonus CD -3

Package CEurope: Our Of This WorldEarth Wind 8 Fire:

Touch The World

Don Johnson:Heartbeat

The Hooters: One WayHome

Bonus CD -3

Package DThe Hooters: One Way

Home

Various: folkwaysDolly Parton: RainbowVarious: Ruthless People

Soundtrock

Bonus CD -3

Package EBob James: lucky SevenVarious: (II Jazz SamplerClaude Bolling: Ploys

Ellington

Boz Skaggs: Other RoodsBonus CD -3

Package FGregory Abbot t: Shake

You Down

Henry Lee Summer:Henry lee SU111111e1

O.J. Jones: GTOBoz Skaggs: Other RoodsBonus CD -3

SRI

Mail this coupon and a copy of your dated sales receipt to

Sony Free CD Offer, P.O. Box 114ZTerre Haute, Indiana 47811

I've enclosed a copy of my dated soles receipt for mySony CD changer. Here ore my package preferences listed

from 1 to 6. (Sony reserves the right tosubstitute any package or title basedon supply or availability.)

Package A Package B Package

Package D Package E Package F

Nome

Address

(ay Store Zip

(D (hanger Model a Dare Purchased _

Offer limited to one per household or address. A copy of

your sales receipt must be dated between September 1.

1989 and December 31,1989 All request forms must be

postmarked by January 31,1990. Void where prohibitedby law. Offer valid only M Continental US (excluding

Alosko and Hawaii). Please allow 4-6 weeks for delivery

SONY

LETTERS

You have to be a frequent concert, reci-tal, opera, or folk -festival attender, orbecome one.

"Elektra

JOHN WITHEYWimberley, TX

9

Robert Ackart's August review of thenew recording of Strauss's Elektra hasme utterly mystified. Mr. Ackart saysthat conductor Seiji Ozawa's previousreadings have sometimes struck him as"polite, correct, perhaps a bit too 'civil-ized.' " 1 abandoned Boston Symphonyperformances and recordings a fewyears ago, sated with strings that climbin pitch whenever they get louder andwith coarse, swamping brass.

Having seen or heard bits of Hilde-gard Behrens elsewhere, I was reluctantto give in to Mr. Ackart's advice to hearher "precise delination of the complexcharacter" of Elektra. I found that it wasthe same as always with Behrens: Therole of a courageous, determined wom-an is sung with a dramatic bellow eachtime an emotion is to be shown byeither a high or a low note. And Mr.Ackart says not a word about the cuts,in particular the enormous slab hackedfrom-what else?-the difficult longsolo from Elektra to Klytamnestra.

RICHARD SEBOLTSpringfield, MA

Analog DeficienciesKen Pohlmann's claim, in the August

"Signals," that analog tape cassettes areeven remotely close to digital record-ings in terms of sonic clarity is outrightwrong! Any music with dynamicchanges (loud to soft) will immediatelyshow the flaws in analog tapes. ThoughI must admit that Dolby SR improvesthe usual sound quality of analog tapes,let us not forget that the system wasdesigned to cover up deficiencies inanalog sound reproduction.

Digital audio tape cassettes are tooexpensive for consumers today, but au-dio professionals know that DAT is amajor technological breakthrough.

DELFEAYO MARSALISNew Orleans, LA

Ken Pohlmann replies: While musicwith a wide dynamic range reveals theanalog noise floor, most recordings havea very narrow range, and for these ana-log technology works quite well. Digitalaudio will eventually triumph, but fornow, analog isn't bad.

CD ChangersThe article on CD changers by Ian

Masters in July barely scratched the sur-face of features that make changers the

Holy Grail of listening enjoyment.True, a changer involves added ex-pense, but consider the a4untages ofstoring your music perriilnently inchanger cartridges. Besides a major sav-ing in space, you never have to touchyour recordings to play them; that alonejustifies the expense, for repeated han-dling is the curse of every otherrecorded -music format.

To anyone who listens to popularmusic, having a hundred selections bymillions of dollars of musical talent atyour fingertips from the comfort of aneasy chair is as good as it gets.

JOHN NAGYSequim, WA

How can you tout the power, accessi-bility, and utility of a CD changer in thisday and age when each record manufac-turer's CD's are so intensely different? Irecently went to a single -play machinefor my upgrade player because of thetime I spent adjusting my system be-tween discs. I had to get up anyway, sowhy use a changer?

THOMAS L. FARNEYHermiston, OR

Finding VideodiscsThe laser videodisc is a very exciting

medium, but I have been very frus-trated in trying to obtain discs. Localdealers will not order classical -musicdiscs or claim they are unavailable. TheVoyager Co. has videodiscs of moviesonly. The only places I have been ableto buy classical videodiscs are TowerRecords stores in Boston and New YorkCity. Do other readers have as much ofa problem in locating discs as I do?

DONALD W. RICHMANMartinsville, VA

You are not alone. The medium is rela-tively new, and there are not as manyretail outlets as there surely will be asmore and more people are converted.Meanwhile, try these two mail-ordersources LaserDisc Fan Club, 1-800-322-2285, and U.S. Video Source, 1-800 -USA -DISC (1-800-872-3472).

CorrectionsA last-minute addition to the "Sys-

tems" ensemble featured in Octoberwas art Audio Control Phase CoupledActivator. It appears in the photo onpages 100-101 but was not mentionedin the text.

The review of Leonard Bernstein'sDeutsche Grammophon recording ofthe Mahler Symphony No. 1 on page145 in September gave the wrong cata-log numbers. The LP, cassette, and CDversions are 427 303-I, 427 303-4, and427 303-2, respectively. 0

THE LEADER IN DIGITAL AUDIO'

For music puristswith an unlimited budget.

In the relentless pursuit of musi-cal perfection, Infinity has createdsome of the world's bestsounding speakers. Includ-ing one for the decidedlywell-heeled: the 71/2 foot,$50,000 Infinity ReferenceStandard V. Acclaimed inter-nationally as the most sonic-ally -accurate speaker evermade. (With unlimited spaceand budget you might choosethe imposing sound-and imposingpresence-of the IRS V.)

For music puristswith limited space.

Now Infinity introduces anotherReference Standard for people

whose passion for musicmust be in harmony withtheir living space: theEnvironmental ReferenceStandard Series.

Infinity ERS environ-mental in -wall speakers useno floor or shelf space, andthey can be painted to matchor accent your room's decor.

In short, they offer the best of bothworlds-filling your rooms with

spacious, extremely accurate stereosound, but without imposing on yourenvironment.

Audition the phenomenal ERSSeries speakers and pick up your copyof "Infinity Answers Your QuestionsOn Environmental Sound" Only ata selected Infinity ERS dealer.

InfinityWe gut you bait to what ith all about. Music.

For literature and the name of your nearest Infinity dealer, call (800) 765-5556. In Canada, call (416) 294-4833, H. Roy (;ray, I,td.©1989 Infinity Systems, Inc. H A Harman International Company.

NEW PRODUCTS

DISCWASHERThe FG 1620 is the top model in

Discwasher's SpikeMaster line of surgesuppressors. Approved by UnderwritersLaboratories and carrying a lifetimewarranty, it was designed to protect alltypes of electronic equipment from ex-cess voltage, noise interference, spikes,and other power -line irregularities thatcan cause equipment problems such asloss of data and shortened useful life. Ithas an illuminated power indicator andfour outlets. Price: $114.95. Discwash-er, Dept. SR, 4310 Transworld Rd.,Schiller Park, IL 60176.Circle 120 on reader service card

GOODMANSThe Maxamp Remote powered mini -

speaker from Goodmans of Englandwas designed to provide a secondarymusic system when used with a portableCD or cassette player. A remote sensor isbuilt into one of the speaker cabinets sothat a user can control muting, balance,and tone from an infrared handset. Theamplifier is rated at 25 watts per chan-nel. Dimensions are 101/4 x 6314 x 8inches. Price: $425 a pair. Goodmans ofEngland, Dept. SR, 1225 17th St., Suite1430, Denver, CO 80202.Circle 121 on reader service card

CARVERThe CT -17 preamplifier/tuner incor-

porates Dolby Pro Logic surround -sound processing as well as Carver'sproprietary Sonic Holography Genera-tor and Asymmetrical Charge -CoupledFM Detector circuits. Other features in-clude "stadium" and "hall" synthesizedrear -channel surround modes, twentystation presets for AM or FM, seven

audio inputs, three-way tone controls, ahigh -cut filter, separate input selectorsfor listening and recording, and a sec-ond volume control for multiroom androom -to -room applications. The CT -17comes with a full -function wireless re-mote control. Price: $799. Carver Cor-poration, Dept. SR, P.O. Box 1237,Lynnwood, WA 98036.

INFINITYInfinity's Reference Standard 5 Kap-

pa loudspeaker is a two-way systemthat's said to incorporate many of thetechnological features of the more ex-pensive Kappa models. Its 61/2 -inch, in-jection -molded woofer cone uses poly-propylene for low coloration and graph-ite fibers for rigidity and superior tran-sient response. The EMIT K tweeter isan improved version of Infinity's pla-nar -magnetic tweeter, which is said toextend frequency response to 45,000 Hz.The crossover uses Solen polypropy-lene -film capacitors and high -qualityinductors. The cabinet measures 17 x101/2 x 9 inches. Price: $399 each. Infin-ity Systems, Dept. SR, 9409 Owens -mouth Ave., Chatsworth, CA 91311.Circle 122 on reader service card

JVCThe JVC RX-701V surround -sound

receiver features JVC's Compu LinkSource Related Preset for one -touch op-eration of a stereo system. Users canprogram the volume, equalization, sur-round -sound mode, balance, and loud-ness contour for each source into mem-ory; whenever a source is selected theparameters are adjusted automatically.

The Am/Fm tuner section has forty pre-sets. The front -channel amplifier sec-tion is rated for 80 watts per channelinto 8 ohms in stereo mode, 70 watts insurround mode; the rear channels arerated at 12 watts. Price: $540. JVC,Dept SR, 41 Slater Dr., Elmwood Park.NJ 07407.Circle 123 on reader service card

SiREO REVIEW DECEMBER 1989 13

A video receiverdesigned for audiophiles.

INFL OCR 1(11FROUND DOLBY

I NETT I HFUT

Until now, video receivers have overlooked a distinct segment of the Nielsen population.

Those people who listen to TV as well as watch it. Which is why

Mitsubishi engineers developed the M-AV1. A video receiver

inspired from the philosophy that a soap opera should sound every bit as good as an Italian

opera. At the heart of the system is a powerful amplifier with Dolby Surround" sound. It

boasts 125 -watts per channel'Y With a generous dose of 25 -watts per channel in the rear for sur-

round sound. A time delay of 20 milliseconds has also been encoded into the rear channels to

increase depth perception and maintain separation from the front speakers. And with our

Dynamic Delay Line, weve expanded the dynamic range of our rear channels by as much as

40 dB over other conventional designs. It also offers four video inputs (two of which are Super -

VHS compatible). And comes complete with an award -winning remote that's easy -to -use and

capable of controlling all functions via on -screen displays. So you never have to get up from

your recliner on our account. But now that you've got a great video receiver, as an audiophile,

you might be in the market for an audio receiver. In which case read the other side of the page.

An audio receiverdesigned for videophiles.

INPUT -1%7.- INPUT

If like most people you read this ad from left to right, you know by now that the M-AV1

distinguishes itself as a superb video receiver But what makes the M-AV1 a rare species in the

A/V receiver jungle is that it also makes an equally superb audio receiver. For start-

ers, it's so full of technical goodies that it makes the average audio receiver, much less

the average AN receiver, blush. You'll find our dual J -I -E preamp provides low -

noise and minimum distortion characteristics to the output amplifiers. Weve utilized

discrete components instead of integrated circuits for the output devices for maxi-

mum headroom and separation. Our own Multi -Feedback Servo system faithfully

reproduces low frequency music with a minimum of distortion while projecting your

loudspeakers from potentially damaging DC signal components. Arid theres also a remote -

operated motorized volume control that provides smooth attenuation while avoiding distortion.

Of course, if you decide you're still a hard-core videophile and only :are about obtaining a

great video receiver, we have a small suggestion. Buy the receiver on the other side of the page."125 -watts per channel minimum RMS, both channels driven into 8 ohms from 20Hz - 20kHz with no more than 00.5°;, total larmoni.: distortion. For the name of roar authorizedMitsubishi dealer, call (800) 527-8888 ext. 145 © 1989 Mitsubishi Electric Sales America, Inc Dolby Surround Ie a tradem,.rk of Dolby Laboratoric, Ci,rti

mt MITSUBISHI ELECTRONICSTECHNICALLY ANYTHING IS POSSIBLE

CIRCLE NO. 22 ON READER SERVICE CARD

NEW PRODUCTS

YAMAHAThe Yamaha CDX-920 compact disc

player uses the company's Super Hi -bittechnology, in which series -loaded 18 -bit digital -to -analog converters withfour "floating" bits are said to achievethe effective linearity of a 22 -bit system.The CDX-920 also has eight-times-oversampling digital filters and a digitalde -emphasis circuit. Convenience fea-tures include twenty -four -track ran-dom-access programming, five -way re-peat, direct track access, and an infraredremote control. It is available in blackor titanium finish. Price: $699. YamahaElectronics, Dept. SR, 6722 Orange-thorpe Ave., Buena Park, CA 90620.Circle 124 on reader service card

SOUNDCRAFI'SMENThe Soundcraftsmen Pro -PT Two

"Pre-ceiver," a preamplifier/tuner, in-corporates complementary metal -oxidesemiconductor (cmos) switching. Thesource inputs include CD/DAT, phono,two tape decks, and one audio/videosource. There are tape -dubbing facilitiesand an extra pair of line outputs for sur-round -sound applications or a subwoof-

er/satellite system. The digital -synthesisquartz-PLL AM/FM tuner section has au-tomatic scanning and thirty-two stationpresets. The rear panel has three AC con-venience outlets, one unswitched andtwo switched. Price: $449. Soundcrafts-men, Dept. SR, 2200 S. Ritchey, SantaAna, CA 92705.Circle 125 on reader service card

TRACKMATEThe patented brush system in Track -

mate's TM 451 record cleaner does notrequire that the user put pressure on aspinning record, which the companysays can harm a turntable's bearings,belt, and motor. Instead, the cleaningbrush is mounted onto the platter's cen-ter spindle and rotated by hand arounda stationary record. The brush has dif-ferent types of fibers to lift surface dust,to break up and absorb debris in thegrooves, and to reduce static charge.The record brush, a stylus brush, and asupply of cleaning solution in an appli-cator are housed in a clamshell storagebox. Price: $19.95. Trackmate, Dept.SR, I.D.A., East Wall Rd., Dublin 3,Ireland.Circle 126 on reader service card

RAINBOW RAXRainbow Rax modular rack units can

be set up in a wide variety of configura-tions and sizes. Maximum width anddepth for a single bay are 30 inches, andeach tempered -steel shelf is designed tohold as much as 200 pounds of equip-ment. The racks are sold by the piecedirectly by the company and come withthe necessary wrenches and a rubbermallet for assembly. Users can expandthe racks later as needed. Price: between$250 and $275 for a four -shelf unit,depending on shelf size. Rainbox Rax,Dept. SR, 2704 Manhattan Ave., SuiteA, Manhattan Beach, CA 90266.Circle 127 on reader service card

Wcagng Amadvas MoanNFONIA 03NCERTANTE K.364 CONCEr

.arc Or Chent, a Lubin Meht

Perlman. Mozart.Sinfonia Concer tante 4

25032

Vivaldi, Concerto "L'Amoroso;" 5 moreThe English Concert 'Pinnock. 'Luscious(sound). -Billboard Archly 25187*Helfetz: The Decca Masters, Vol. 1

Humoreske. Clair de lune, Golliwog'sCakewalk, many more. MCA 00604Respighl: The Pines Of Rome; The Foun-tains Of Rome; Roman Festivals ThePhiladelphia Orch. Muti. Angel 34443

Rachmaninov, Symphony No. 1 Con-certgebouw Orchestra, Ashkenazyof churning, driving energy."-FanfareLondon 15347*

The Academy-By Request Academy ofSt. Martin -in -the -Fields Marnner. Sheep MaySafely Graze, more. Angel 54094

Beethoven, Symphonies Nos. 2 & 8 Lon-don Classical Players Norrington "Brilliantlyexecuted."-Opus Angel 00466

Rhapsody In Electric Blue Jeffrey ReidBaker, synthesizers. Rhapsody In Blue. 3Preludes, more. Newport Classic 34647

Emanuel Ax: Beethoven, Piano Conc. Nos.16 2 Previn, cond RCA 83469Beethoven, SymphonyNo. 6 (Pastorale);more Royal PhilPrevin. RCA 43612D. Scarlatti, 7 Sonatas;Larghetto; more Nar-cis o Yepes. guitar.DG 15497

Tchaikovsky,Symphony No. 4Chicago SymphonyOrchestra Solti.London 25038*Hoist, The Planets Montreal SymphonyOrchestra Dutoit. London 15448

Dvorak, Sym. No. 8; more DohnanyiCleveland Orch. London 15042

Rossini, Overtures Barber Of Seville. more.Orpheus Chamber Orch. DG 15527

Mahler, Symphony No. 4 ConcertgebouwOrchestra, Bernstein DG 15526*

Vivaldi, 9 Concerti a Quattro I Music! -Amust.'- Fanfare Philips 15313

Saint-Saens, Symphony No. 3 (Organ)Montreal Symphony, Dutoit. London 15529

Bach, Brandenburg Concertos Nos. 4-6The English Concert Pinnock Archly 25417'Berlioz, Symphonic Fantastique ThePhiladelphia Orchestra Muti. Angel 54244

Accardo: Bach, Violin Conc. Chamb. Orchof Europe. Philips 25162

Vivaldi, 4 Seasons Simon Standage,English Concert Pinnock. Archly 15356

Perlman; Brahma, Sonatas for Violin 8Piano; more Angel 33760

Mozart, Piano Concertos Nos. 20 8 21Malcolm Bilson, fortepiano. Archly 25208Tomita's Greatest Hits The Planets, Bolero,Pachelbel Canon, more. RCA 53955Suppe, Overtures Light Cavalry, more.Montreal Sym. 'Dutoit London 25219

Ashkenazy: Mozart, Piano ConcertosNos. 8 (Lutzow) & 9 (Jeunehomme)London 15418

Beethoven, Triple Concerto Mutter. Ma.Zeltser. Karaian conducts. DG 05319*Newman; Bach, Organ Works PreludeFugue in C, more. Newport Classic 34604

IPS 6550 E 30th St. Indianapolis, IN 46219

Barry Douglas: Brahms, Piano ConcertoNo. 1 London Symphony OrchestraSkrowaczewski. RCA 00732

Andrea Segovia Plays Bach Chaconne,Siciliano, 3 Pieces For Lute. Gavotte en Ron-deau. more. MCA 63600

Salerno -Sonnenberg. kilendelsso In, ViolinConcerto; Saint-Saens. Rondo capriccios°Angel 34670

Krystian Zimerman: Chopin, The 4Ballades Plus Barca,olle 8 Faniasie in FMinor "Dramatic." -Gramophone DG 15332

Ravel, Bolero; La Valse; Rapsode Espag-note; Alborada del Gracioso MontrealSymphony Orch Dutoit. London 15199

Jascha Heifetz. Violin Corcerto

DEUTSCHE GRAMMC'PHON RCA PHILIPS ARCHIV L OISEAL -LYRE ANGEL NEWPORT CLASSIC

COMPAC

ASSETTESFOR JUST

With No ObligationTo Buy Anything -Ever!

Ute Lemper Sings Kurt Weill Mack TheKnife. Speak Low, I m A Stranger Here Myself,11 more. London 15163

Copland, Billy The Kid; Rodeo (CompleteBallets) St. Louis Symphony Station-Brilliant."-Gramophone Angel 41491

Amazing Grace-AllTime Bagpipe FavoritesTitle song, 16 more.Pro Arte, Fanfa -e 24616'

Prokofiev, Peter And TheWolf; Tchaikovsky,Nutcracker Suite Dud-ley Moore, narrator.Boston Pops Williams.Philips 15137

Handel, Music For The --Royal Fireworks; Concerti Dim Cod

plus shippingand handlingwith Clubmembership

Stravinsky, Petrouchka; Song Of TheNightingale; 4 Studies Montreal SymphonyOrchestra Dutoit. London 15331

Into The Woods Bernadette Peters &original cast Title song, No One Is Alone,many more. RCA 61656

Loir

Cliburn.Liszt 8 Grieg

Piano Concertos00606'

Bruch, No.1 8 Scottish Fantasy; Vieuxtemps. Concer-to No. 5 RCA 44363*

Ravel, Piano Concerto; Concerto For TheLett Hand Argench 8 Beroff. pianos. LondonSymphony Abbado DG 15468

Pavarotti At Carnegie HallSongs and arias by Schubert,Verdi. Flotow. Liszt, Scarlatti.others. London 15311

Dvorak.New World

SymClevelandDohnanyi

15018

a Nos.2 & 3 English Concert Pinnock. Archly 25375

Classic Marches St. Louis Sym. Station.Rakoczy March. Turkish March. WeddingMarch, Radetzky March, more. RCA

Adams, The Chairman Dances Plus Chris-tian Zeal And Activity, more. San FranciscoSymphony deWaart. Nonesuch 00491

Beethoven, Symphony No. 6 (Pastoralel; 2Overtures Academy of Ancient Music Flog-wood .L Oiseau.Lyre 25397

Mozart, Clair. Conc.; Horn Conc. 1 & 4Nedich. Jolley. Orpheus Chamber Orchestra.DG 15481

Van Cliburn: Rachmaninoff, Piano SonataNo. 2; Prokofiev, Piano Sonata No 6;more RCA 00607*

Strauss, Don Quixote; Burleske Janigro,cello, Janis. piano. Chicago SymphonyOrchestra Reiner. RCA 63643'Ashkenazy:Rachmaninov. Piano ConcertoNo. 3 Concertgebouw Orchestra Haitink."Fabulous."-Hi-Fi News London 25157

Gregorian Chant Schola of theHofburgkapelle. Philips 15434

Nazareth, Brazilian Waltzes & TangosArthur Lima, piano. "Record of the Year,

-Stereo Review Pro Arte 83731*Handel, Water Music The English ConcertPinnock "The playing is everywhere fresh andvital. --Ovation Archly 15306

Stravinsky, Petrouchka; Song Of TheNightingale; more Montreal Symphony,Dutoit. London 15331

COMPLETE AND MAIL THIS CARD TODAY!

1 YES! Please accept my membership in The International Preview Society and send me, for 10days FREE examination. the 3 selections I have indicated below, under the terms of this offer. I

may return them after 10 days and owe nothing, or keep them and pay only $1 (shipping andhandling added to each shipment). I understand that I'm not obligated to buy anything...ever!

Please send selections on: Compact Disc [ J Cassette *

Write SelectionNumbers He -e'

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(PLEASE PRINT)

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Signature

Members who choose CDs will be serviced by the BMG Compact Disc Club and will receive CD Discovery 19 times ayear (about every 3 weeks). Full membership details will follow with the same 10 -Day. no -obligation, no -minimumpurchase privilege. Current BMG CD Club members not eligible for this offer.Limited to new members. continental U S A only. one membership per family. /de reserve theright to request acditional information or rerect any appication Local taxes 't any. will be added

IPS 536 .14,31e7 Selections marked ) are available on CD only.

PE7 BF YMPE7 PJ

DEUTSCHE GRAMMOPHON RCA PHILIPS

)1#/ePwalti/g/ /)?ft'/?//' JK,Et?/ff

COMPACTDISCS onCASSETTES

FOR JUST

ARCHIV L'OISEAU-LYRE ANGEL

HeMrt.P.114L--CAL

plus shippingand handlingwith Clubmembership

With No Obligation To Buy Anything...Ever!James Galway 8 Kazuhito Yamashita:Italian Serenade Charming pieces byPaganini, Rossini, Bazzini, others. RCA 73824The Movies Go To The Opera Great Operathemes from Moonstruck, Fatal Attraction,Raging Bull, more. Angel 14806 Dvotik, Symphony No. 7The Cleveland OrchestraDohnanyi "One of thefinest.'-Digital AudioLondon 15018

Strauss, Also sprachZarathustra; Der Rosen-kavaller Waltzes; more.Chicago SymphonyOrchestra Reiner RCA 63627*Rags And Riches DavidDusing Singers Bill BaileyWont You Please Come Home, many more.Newport Classic 01036

Vladimir Ashkenazy: Mozart, Piano Con-certos Nos.11 814 Philharmonia OrchestraAshkenazy. London 25424The Mystery Of Bulgarian VoicesBulgarian State Radio 8 TV FemaleChoir -Absorbing haunting "-FanfareNonesuch -UMWMe I la Fronyaise Montreal SymphonyOrchestra/Dutoit. The Sorcerer's Apprentice.more. London 25235World's Greatest Overtures 1812. Poet 8Peasant. Die Fledermaus, Egmont. Academic.Flying Dutchman, more Pro Arte 24789*Rachmaninoff, Piano Concerto No. 2;6 Etudes -tableaux Evgeny Kissin. pianoLondon Sym Gergiev. RCA 00915

Copeland, Appalachian Spring (Complete),Cortege macabre (from Grohg); more StLouis Sym Slatkin. Angel 54176

Mozart, Overtures Magic Flute. Marriage OfFgaro, Don Giovanni, more. Academy of StMartin Marriner Angel 34267Gershwin, Catfish Row: An American inParis, Cuban Overtures, more SlatkinSt. Louis Symphony Angel 14877

Itzheit Perlman: Brahma, Violin ConcertoChicago Symphony Orch. Giulini. A GrammyAward Winner' Angel 63343

Mozart, Serenade No. 3; more Academy ofAncient Music Hogwood. 'Played with.style.'-Fanfare L Oiseau-Lyre 15000*

VienneseBonbons Maazel

15287'

Andres Segovia Plays Rodrigo, Ponce 8Torroba Fantasia pare un Gentilhombre,Castles Of Spain, more. RCA 63579

Simon Rattle: The Jazz Album RhapsodyIn Blue. Ebony Concerto, more. London Sin-fonietta. others. Angel 72226

By Request The Boston Pops WilliamsOlympic Fanfare, many more. Philips 25360

HorowitzPlaysMozart15436*

Tchaikovsky1812 OvertureSolti 251

Beethoven, Sympholy No. 9 (Choral)Kenny. Walker. Power. Salomaa. LondonClassical Players Norrington Angel 00467

Syncopated Clock & Other Leroy AndersonFavorites Fiddle Faddle, more. KunzelRochester Pops. Pro Arte 24767*Ravel, Mother Goose (Complete); Le Tom -beau de Couperin; Pavane: more MontrealSymphony Orch. Dutoit _ondon 25197

The Pearl Fishers Golden Age perfor-mances by Jussi Bloerling with Robert Merrill.Licia Albanese, others. RCA 00992

Canadian Brass: More Greatest HitsBarber, Adagio, Bach. Wachet Auf. more byGershwin, Bizet, others. RCA 64348

Ashkenazy, Rachmaninov, Piano ConcertoNo.1; Rhapsody On A Theme Of PaganiniHaitink conducts. London 25153

Bach, Brandenburg Concertos Nos. 1-3English Concert Pinnock "Among the bestsounding CDs."- -Fanfare Archly 15541*

The Legendary Enrico Caruso 21 favoritearias including Vest, la giubba, La donna emobile, more. RCA 34274*

INSTANT HALF-PRICE BONUS PLAN

50SAVE

%

Unlike other clubs, you get50% off Bonus Savings withevery CD you buy at regularprices, effective with your firstfull -price purchase!

BUSINESS REPLY MAILFIRST CLASS PERMIT NO. 5071 INDIANAPOLIS, IN

POSTAGE WILL BE PAID BY ADDRESSEE

6,AeOlidel~441a,e/J13 78 4C14

PO. BOX 91406

INDIANAPOLIS IN 46209-9755

IPS 536

NO POSTAGENECESSARY

IF MAILEDIN THE

UNITED STATES

1

NEWPORT CLASSIC

00 tf,,na

Pictures AtAn ExhibitionMontreal Sym.Dutoit25314

Kira to Kanawa Sings Gershwin SomebodyLoves Me. I Got Rhythm. The Man ILove.Summertime, more. Angel 70258

Michael Feinstein: Pure Gershwin S'Won-der f ul, Embraceable You, Liza, more.Elektra. 54173

Mozart, Eine kleine Nachtmusik PlusPachelbel. Canon. more. Academy of St. Mar-tin Marriner. Philips 15530

ltzhak Perlman: French ViolinShowpieces N Phil. Mehta. Carmen -Fan-tasy, Tzigane. Havanaise, more. DG 15457

Anything Goes Broadway revival cast. Titlesong. I Get A Kick Out Of You. Friendship.many more. RCA 43950

Andrew Lloyd Webber, Variations; WilliamLloyd Webber, Aurora Julian Lloyd Webber.cello. Maazel cond. Philips 15473

The Digital Fox Organist Virgil Fox playsToccata 8 Fugue in D Minor, Ardor. Toccata.more. Bainbridge 62889

Itzhak Perlman: Mozart, Violin ConcertosNos. 3 5 Vienna Phil., Levine. "Extraordinerdy rich."-Fanfare DG 15146

James Galway's Greatest Hits The ManWith The Golden Flute plays Memory, AngelOf Music. Greensleeves. more RCA 73233

This remarkable S1 offer is beingmade to introduce you to anoutstanding classical musicmembership-with never anyobligation to buy.You'll find hundreds of outstanding albumsin each issue of the Society's magazine,which will be sent to you approximatelyevery 4 weeks. That gives you 13 conve-nient, shop -at-home opportunities a year.but there is no obligation to accept anyoffering at any time.

You choose only the music you want!If you'd like to accept the Main Selection,you need not do a thing. It will be sentautomatically. If you'd prefer an alternateselection or none at all, just mail back theNotification Card by the specified date.You'll always have at least 10 days todecide. But if you don't, you may returnyour Main Selection at our expense. Youmay cancel your membership wheneveryou wish, simply by writing to us. Or, re-main a member and take advantage offuture money -saving bargains.

3 Compact Discs or Cassettesfor just Si'

Begin your membership now by choosingany 3 albums shown here for just $1. plusshipping and handling. Send no moneynow. We want you to judge for yourselfbefore you decide to buy. If not delighted,return your 3 albums at the end 01 10 dayswithout obligation (Shipping and handlingadded to each shipment.)

1,1..1,111111111111111111111111111111111111111111111

NEW PRODUCTS

SHERWOODThe Sherwood CD -I I82R is the com-

pany's top -of -the -line single -disc coplayer. It has an eight-times-oversam-pling digital filter and dual digital -to -analog converters. Features include aheadphone jack with volume control,repeat of a track, disc, programmedsequence, or random sequence, auto

space, and sixteen -track programming.The CD -1182R comes with a ten -keyremote control and can be controlled bya Sherwood DigiLink receiver or ampli-fier. Price: $269.95. Sherwood, Dept.SR, 13845 Artesia Blvd., Cerritos, CA90701.Circle 128 on reader service card

WRIGHT AUDIOAll of the components in Wright Au-

dio's P-75 vacuum -tube power ampli-fier sit on top of its 11h -inch -thick red -oak base. No circuit boards are used,and all the parts are hand -wired. Sensi-tivity is rated as 1.3 volts input for 35watts per channel output. The solid-state power supply has a 1,000-microfa-rad capacitor bank that is said to insuretight bass response. The P-75 comeswith a one-year warranty. Price: $850.Wright Audio, Dept. SR, 308 N. NewSt., Staunton, VA 24401.Circle 129 on reader service card

VELODYNEThe VA -1012 subwoofer, Velodyne's

least -expensive model, has a rated fre-quency response of 23 to 48 Hz. It uti-lizes -anti-brucking" circuitry, which issaid to reduce output slightly at theonset of significant harmonic distor-tion. Its Class A/B amplifier, rated todeliver 60 watts of continuous power,drives a 10 -inch polyurethane, forward -firing active driver and a 12 -inch,downward -firing passive radiator. Fin-ished in black -ash woodgrain vinyl, the

cabinet measures 161/4 x 181/4 x 18V4inches and weighs 40 pounds. Price:$645. Velodyne Acoustics, Dept. SR,1746 Junction Ave., San Jose, CA95112.Circle 130 on reader service card

DISCONCEPTSDisconcepts' CD -40 hardwood com-

pact disc holder has an adjustable divid-er to accommodate from one to fortydiscs. The stackable unit can hold bothsingle discs and multiple -disc sets. It ismade of solid walnut and measures 171/2inches wide, 6 inches high, and 5 inchesdeep. Price: $36. Disconcepts, Dept.SR, 7536 Parkdale, No. 6. St. Louis,MO 63105.Circle 131 on reader service card

TATUNGThe Tatung VRH- I 85U is a front -

loading VHS Hi-Fi VCR with HQ cir-cuitry, automatic rewind, repeat play-back, three speeds (sP, EP, and LP), andan indicator light to show when a tape is

loaded. An infrared remote control isincluded. Price: $299. Tatung Companyof America, Dept. SR, 2850 El PresidioSt., Long Beach, CA 90810.Circle 132 on reader service card

S I R E0 RFviEw D EC ENIRF:R 1989 17

NEW PRODUCTS

ATLANTIC TECHNOLOGYThe Pattern three-piece speaker sys-

tem is the debut product from AtlanticTechnology, a part of Lincolnwood,Ltd., the parent company of NAD. ThePattern is a powered satellite/subwoofersystem with three separate channels ofamplification. The subwoofer's ampli-fier uses a recently patented contouringcircuit that continuously monitors thelevel and frequency of the incoming sig-nal and adjusts the equalization foroptimum performance. The dual -modesystem can be driven by virtually anyline -level source, including a portableCD or tape player or a stereo televisionset, and it can also be driven conven-tionally by a receiver or an externalamplifier.

Frequency response is rated as 38 to20,000 Hz ±3 dB, with a maximumsound -pressure level of 110 dB. Thesubwoofer's cabinet measures 193/4 x121/4 x 834 inches, and the satellites are 4x 8 x 3114 inches. Price: $499. AtlanticTechnology, Dept. SR, 575 UniversityAve., P.O. Box 9124, Norwood, MA02062.Circle 134 on reader service card

BANG & OLUFSENThe Bang & Olufsen Cona subwoofer,

shown here with B&O's CX100 com-pact speakers, uses a single 8 -inch driv-er with two voice coils in its bass -reflexcabinet. This design is said to enable thesubwoofer to reproduce low frequenciesfrom both channels without interfer-ence or phasing problems. Rated fre-quency response is 40 to 195 Hz, powerhandling is 60 watts, and nominal im-pedance is 6 ohms. The Cona is avail-able in white, black, and gray and comeswith matching speaker cables. Dimen-sions are 101/2 inches high and 17 inchesin diameter. Price: $395. Bang & Oluf-sen, Dept. SR, 1150 Feehanville Dr.,Mt. Prospect, IL 60056.Circle 133 on reader service card

JAMOThe satellite speakers in the Jamo

SW2 subwoofer/satellite speaker systemare designed either for free-standingplacement or for wall mounting in acustom installation. The subwoofermodule, which has two 61/2 -inch woof-ers, can be hidden from view. Each sat-ellite speaker has a 4 -inch midrange anda 2 -inch tweeter. System frequency re-sponse is rated as 35 to 20,000 Hz, nom-inal impedance as 8 ohms, sensitivity as90 dB, and power handling as 80 wattscontinuous, 140 watts peak. Dimen-sions are 19 x 131/2 x 8 inches for thesubwoofer and 61/2 x 4 x 62/3 inches forthe satellites. Prices: $499 for the three-piece speaker system, $149 a pair for theoptional chrome -plated, cast-iron satel-lite stands shown.Circle 135 on reader service card

GOLDMUNDDubbed the "heaviest amplifier ever

built" by its manufacturer, the 220 -pound Goldmund Mimesis 9 has a casemade of V4 -inch steel, damped withshock -absorbing material and decou-pled from the electronics and the unit'sthree conical feet by Teflon isolators.The power transformer and outputstages are mounted rigidly to the feet tominimize vibration. Rated to deliver200 watts per channel, the Mimesis 9was designed for use with low -efficiencyspeakers. Price: $8,990. Goldmund SA,Dept. SR, 5 Rue Du Cardinal-Journet,1217, Meyrin-Geneve, Switzerland.Circle 136 on reader service card

All product information is providedby the manufacturers and does notrepresent the results of tests orevaluations by STEREO REVIEW.Suggested retail prices were currentas of press time but are subject tochange without notice.

18 STEiti.:(3 RFA'i FAV DECEMBER 1989

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CIRCLE NO 49 ON READER SERVICE CARD

C 1989 Philips Consumer Electronics Company A o Now,

PHILIPS LHH1000.THE PREMIER CD PLAYER FROM

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This limited edition Reference Series LHH 1000 is adirect descendant of Philips' broadcast -standard CDrecording and mastering equipment. In fact, it's the firstconsumer model with the professional LHH designation.

With this breeding, no wonder the LHH 1000 is ofexceptional quality, inside and out. For completeisolation, the transport and D/A converter are housedseparately. This dual -chassis design virtually eliminatesinter -component interference and thoroughlydampens vibration. And with coaxial or optical fibercable connecters between the two units, you get virtuallyerror -free transmission. The result is pure sound withabsolutely no distortion.

As a fitting complement to this elegant architecture,its construction is uncompromised. No expense wasspared in utilizing the materials best suited for sound.

PHILIPS

For example, Philips' top CDM-1 transport and allcritical chassis components are made of solid diecastaluminum zinc alloy.

Further, the LHHI000 features Philips' premiercreation -16 -bit, four times oversampling. Andthe heart of the separate digital -to -analog converter isPhilips' Special Select Grade TDA-1541A-S1 chip,widely regarded as the premier DAC technology.

The LHH 1000 delivers a high degree of sonic accuracy.In fact, it has been "recommended ... in Class A ofStereophile's 'Recommended Components' listing:'*

Experience firsthand the outstanding stereoimaging, the articulation and resonance of thisremarkable instrument and our complete line of CDplayers. Call 1-800-223-7772 for your nearest Philipsaudio specialist. 'Srereopoi/e, Vol 12, No 6, June 1989

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PHILIPSCIRCLE NO. 86 ON READER SERVICE CARD

SIGNALS

"JUST THEFACTS, PLEASE"

by Ken C. Pohlmann

/WOULD like to describe an in-novative audio reproductiontechnique that I have recentlydeveloped. It is admittedly

unorthodox, but I have worked outthe math, and 1 have testimonyfrom listeners who support my the-ories. With all due modesty, I thinkyou'll agree that the improvementin signal clarity is astonishing.

Although much too complex todetail here, the basis of my tech-nique is the interaction between theearth's magnetic field and the elec-trical signals in conductors. Thestrength of the earth's magneticfield (easily strong enough to movea compass needle) can influence theflow of electrons in a wire and hencethe nature of the audio signal repre-sented by that flow. I have carefullyanalyzed the effect and devisedpractical steps that you can take tominimize the problem in your au-dio system.

First, orient all the electrical wiresin your system so that they areparallel to magnetic north (use acompass, but make sure that noaudio signal is running through awire when you are aligning it). Sec-ond, wrap the wires with thin cop-per sheets, making sure that allseams are electrically connected.Third, join all the copper sheetstogether at the power amplifier andconnect them to a ground-ideally,a cold -water pipe.

Through these modifications,your audio signals will no longer beaffected by the earth's magneticfield. The electrons will be free tomove linearly through the conduc-tor without interference from extra-neous magnetic flux. As a result, Ibelieve, you will hear new clarityand transparency.

That was fun. Now let's return toreality. Let me make clear that I

have absolutely no idea whether theearth's magnetic field affects audiosignals. Intuitively, I would say thatit almost certainly does not. At anyrate, the suggested modification

confuses the issues of electricalshielding and grounding with that ofmagnetic flux. The two are notrelated.

Or are they? Who's to say thatgood magnetic shielding might notsomehow alter the electron flow, orthat very weak magnetic fieldsmight not cause interference? Whenis a new idea nonsense, and when isit a fact that has yet to be recog-nized? One test might be its relationto existing facts. If it doesn't fit withthe rest of our knowledge, surely itwould be suspect. But knowledge isever changing, particularly in atechnology -driven field like audio.

What we take for fact changes allthe time, often dramatically. Forexample, every audio engineer isacquainted with the Fourier series;it has ramifications in almost allaspects of audio theory. It's a factthat a periodic function, such as anacoustical waveform, can be repre-sented as a series of harmonicallyrelated sines and cosines. But whenthe idea was first proposed, in 1811,it met with great skepticism.

Perhaps the biggest problem,quite frankly, was Jean Baptiste Jo-seph Fourier himself. He was astrange guy, even as mathemati-cians go. His passion was the math-ematics of heat, and he pursued hisstudies so enthusiastically that hekept the temperature in his roomsunbelievably high, and even then healways kept himself bundled in aheavy overcoat. Anyway, whilestudying the conduction of heat, hecasually tossed off this new ideaabout representing periodic func-tions as a harmonic series. Acousti-cians, scientists, and even fellowmathematicians thought the ideawas absolutely goofy. Eighteen yearselapsed before another mathemati-cian, Peter Dirichlet, succeeded inproving the theorem. The theorembecame a fact and completely over-turned scientific convention.

Clearly, scientists have a nastyhabit of discovering that what theyhad believed to be true is actuallycompletely wrong. And it doesn'ttake a scientific revolution to puzzlepeople. In many cases, establishedfacts simply aren't understood verywell. Stanley Lipshitz, a contempo-rary professor of mathematics andan audio researcher at the Universi-

ty of Waterloo, Ontario, is fond ofpointing out that "simple" stereoreproduction isn't so simple afterall. Stereo sound comes from twoloudspeakers, reaching our two ears.You would expect that level differ-ences between the speakers wouldmanifest themselves as level differ-ences between the ears and thatphase differences between thespeakers would result in phase dif-ferences between the ears. That'show we localize sounds in the stereoplane, right?

Well, actually, at low frequenciesit's pretty much the opposite: Loud-speaker level differences producetime differences between the ears,and that's how we localize sounds.Time differences between the loud-speakers produce very unnaturalpolarity differences at the ears thatjust confuse things. The heart of thematter is this: In natural hearing,each ear hears sounds from thesource to be localized. But in stereoreproduction, a completely artificialkind of listening, each ear hearssounds from both loudspeakers. Ifyou think about that, and draw adiagram or two, you'll see that ster-eo listening is, in fact, quite com-plex. But sometimes even the factsaren't interpreted correctly.

What can we make of this? Whensomeone suggests a strange ideaabout audio, should we believe it ornot? Is the idea ahead of its time, oris it just crazy? If other facts implyotherwise, can you really trust thosefacts? Is the idea valid but its impli-cations so negligible that it can safe-ly be ignored?

Unfortunately, there's really noabsolute way to answer any of thosequestions. It's been estimated thatat its current rate of growth, humanknowledge doubles every twentymonths. I don't know at what tem-perature modern audio researcherskeep their thermostats, or exactlywhat effect that has on theirthought, but at any time one ofthem could notice something, likeFourier's theorem, that redefinesaudio as we know it.

On the other hand, some thingsare certain. If you set your thermo-stat too high, your heating bill willbe astronomical. No one has yetmanaged to perfect a perpetual -motion engine.

22 STEREO REVIEW DECEMBER 1989

THEENDOFTHECOMPACTR SK.1

Most audiophiles think of CD changers as the station wagons ofthe digital world. Convenient to be sure. But certainly not exciting.

Until now.

Because Onkyo's new DX -C300 and DX -0500 CD changers willc`iange your mind as well as your discs.

And they'll put an end to the risk of sacrificing musical enjoymentfor the ease of multi -disc operation.

Optional magazines allow your choice of single disc simplicity ormulti -disc convenience.

Onkyo's AccuBit technology is the reason.

AccuBit insures that even the quietest musical passages andsubtle nuances are reprocuced with stunning clarity. How?

AccuBit starts with high precision Digital -to -Analog converters.And individually calibrates each one for maximum accuracy. This

critical adjustment allows all the music on your discs to reachyour ears. And not get lost in the distortions that plague

conventional CD changers.

Until the DX -C300 and DX -0500,only the finest single disc players

could claim such extraordinarysophistication. But that's just

what you expect from Onkyo, thecompany with an unparalleledreputation for making high end

sound affordable.

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AU DIO &A

by Ian G. Masters

Tracking Force fir DubbingQWhen I am making a tape copy ofa treasured LP that is in good con-

dition hut starting to show signs of wear,is it better to increase or decrease the sty-lus tracking force or to use the normalsetting?

JOHN MCCARTHYCarbondale, PA

A Decreasing tracking force is usual -1 ly unwise because it can lead to

mistracking, which not only sounds ter-rible but will almost certainly damageyour records. Increasing it. on the otherhand, is unlikely to improve the soundunless your normal setting is so lightthat mistracking is already occurring, inwhich case you should increase theforce for all playing. Check the rangespecified by your cartridge manufactur-er and set the force toward the top endof the range.

Ultrasonic ResponseQI often see audio equipment fre-quency -response specifications that

reach 40 or 50 kitz. Why would theyneed to go this high when humans canonly hear up to 20 kHz?

GURPREET DHALIWALRacine, WI

ANot only can we not hear such highfrequencies-or even as high as 20

kHz in most cases-but there's nothingup there for the equipment to repro-duce. Both tape and vinyl strain to

reach 20 kHz; CD players intentionallyfilter out signals above that frequency,and FM tuners cut off above 15 kHz.Nevertheless, there are a couple of rea-sons why hi-fi manufacturers design ex-tended high -frequency response intotheir equipment.

One is the belief-disputed by someengineers-that this extra margin im-proves transient performance. Also,most equipment's response tends totaper off slightly as it reaches its upperlimit; by placing this limit well abovethe audible range, the designers are ableto maintain flat response in the part ofthe spectrum we can hear.

Listening and TapingQWith my present A/I' receiver I canwatch the program from one l'CR

while recording on another, but I can'tdo the same with the audio sources. Iwould like to he able to feed any input toany recorder while listening to a difkr-ent source. Is this possible?

TARIQ NAZIROwings Mills. MD

AProbably not with your presentequipment. A number of manufac-

turers do configure their preamplifiersand receivers so that any input can befed to the tape-recording circuits inde-pendently of what is playing throughthe system, but this is a facility thatmust be designed into the system; itwould be difficult to add it on after thefact. There are, however, several exter-nal audio/video switchers on the mar-ket that might allow you to do what youwant by routing the signals before theyeven reach your receiver, which thenbecomes primarily an amplifier.

Bulk Erasurehave a bulk eraser that worksVl beautifully on open -reel tapes, but

with cassettes it always leaves some sig-nal. Am I doing something wrong?

JOHN KELLNEREast Walpole. MA

A No, the tape makers have beenPi doing something "right." Tapesvary quite widely in the amount of ener-gy it takes to record them, and thisapplies to erasing them as well. As high-er and higher levels of performancehave been squeezed out of the cassette,one of the tradeoffs has been coercivi-ty-the amount of energy required toreduce the magnetic flux on the tape tozero. Chrome tape, or its equivalent, isharder to erase than "normal" (Type I)ferric -oxide; metal tape is harder still.The same advances in magnetic tech-nology have not generally been applied

(Continued on page 28)

(-01989 Sony Corporation of America.Sony Metal is a trademark of Sony. 24 STEREO REviEW DECEMBER 1989

THE METAL AGENM IS HERE

S

S.:rid of digital audio, conventional cassettes

enous recording enthusi,ist, know that in today's

just won t do. Their formulations don't meet higher

recording requirements.

So now there's Sony Metal'," the first complete

line of advanced metal particle audiocassettes. Li,.

Sony Metal tape offers a level

Recording of performance that's ideal lot

digital source material likewill never be the compact disc.

the same. To begin with, there's

Metal -ES, the most highly

ace lai incd metal cassette currently available. That's

accocJi-g .Audio. High Fidelity and the leading

consumer reporting publications. For most manufac-

rtirer;, Metal -ES would be enough. Not for Sony.

So,Ts. it traduces Metal Master,TM the preeminent

tape .n the Soil \ Metal line. Based upon years of

Sony advanced research into high density metal

Illatorals, it zombines ultratme Lxtralloy® magnetic

parti_ a new high polymer trafrig; to achL.:,.c.superh linearity and the highest rated output ever.

Plus Its unique one-piece ceramic shell and tape guieeare desig m en reduce modula-

tion noise. -

Sony also introduces Metal -SR. The first

of priced pure metal cassette that offers

greater dynamic range performance. Because, like

every Sony Metal cassette, the Metal -SR has three

times the magnetic energy of any Type II cassette.

And it's iiYailable in both 90 and 100 minute lengths.

Each Amy Metal cassette is the ultimate in

analog reconlinu technology. So look for Sony Metal.

Because recording will never he the same.

For tore information write: Sony Metal,

Sony Magnetic Products Company, Sony Drive,

Park Ridge, NJ 07656.

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to open -reel tapes, however, because ithas not been needed; open -reel tapesperform well even with the old-style,low-coercivity formulations. So whileyour bulk eraser may be strong enoughto clear the open -reel tapes (and proba-bly Type I cassettes as well), it hasn'tenough power to erase the more ad-vanced -formula cassettes.

Multiple Crossoverssystem consists of a pair of sub -

woofers and a pair of satellitespeakers powered by two stereo amplifi-ers through four separate crossover net-works. For each side, one set of amplifieroutputs is connected to one of the cross-overs, which is in turn connected to thehigh and midrange drivers in the satel-lite speaker, the woofer output beingunconnected. 7'he other amplifier is con-nected to another crossover, the low -fre-quency output of which drives the sub -woofer. Is this a practical way to setthings up, or will leaving the variouscrossover outputs unconnected degradethe sound quality in some fashion?

RANDOLPH TELLERIA ORTECIALa Paz, Bolivia

What you have accomplished is asort of passive biamplification.

Normally, using separate amplifiers topower different parts of the audio spec-trum requires the use of an active elec-tronic crossover network inserted in thesystem before the amplifier stage; inyour case, you have separated the sig-nals after amplification.

But one of the main reasons for biam-plifying is to maximize amplifier powerby making available to each part of theaudio spectrum the total power capabil-ity of the amplifier driving it. An elec-tronic crossover will insure that theamplifier driving, say, the satellitespeakers will not have to deal with thepower-hungry bass signals and so willbe able to deliver its whole output to thehigher frequencies. In your setup, onthe other hand, all the amplifiers archandling the full audio spectrum, sothey are not able to provide much morepower to the speakers than they wouldif a single amplifier were used. Certain-ly, since the high -frequency amplifierwill not actually be driving a woofer, itwill produce less heat, but the voltageswings will be the same, as will theamplifier's clipping level.

In addition, a crossover network withonly some of the intended speakers con-nected to it may represent a fairlystrange load that your amplifiers mayhave difficulty driving. That dependslargely on the amps themselves and thedesign of the crossovers, but in somecircumstances you could damage theoutput stages of your amplifiers. 0

CIRCLE NO. 104 ON READER SERVICE CARD

28 S t 'ERE() RI VIEW DECE MI* R 1989

01989 LaserDisc Fan Club

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THE MOSTEXCITING PARTOF YOUR VIDEO COULDBE THE AUDIO!k Tim Holl

The videotape movie you rent thisweekend may offer more entertain-ment than you thought passible.If it is recent, it probably has ahi-fi soundtrack rivaling the soundof compact discs. From the thun-

dering bass of jet aircraft in Top Gun to the emo-tional impact of Amadeus, home video soundtrackshave come a long way. Watching them on anormal television with its built-in sound system israther like listening to modem albums on a wind-upphonograph.

Enjoying this new dimension of sound and motioncan be accomplished in different ways and at differentlevels. By just combining your current audio systemwith your television you can begin to unleash theexcitement built into today's videos and broadcasts.And don't forget that many video soundtracks arealso "surround" encoded. By making a modestupgrade to your current system, you can be on a pathtoward a full surround sound system with as many assix speakers that will rival the sound heard in some ofthe best cinemas, and exceed that heard in mostothers. But if you find the thought of six speakers in aroom daunting, forget the bulky multi -channel sys-tems of the past -today such a system can be virtuallyinvisible. The path you take to achieve the full perfor-mance locked in today's software and off -air programmaterial is up to you. Regardless of approach, the keyto really recreating the cinema experience in yourhome and building a true home entertainment system isunderstanding the performance requirements andpotential pitfalls of such a system, and knowingwhat's available to build it.

Does "audio for video" impose additionalrequirements?

High -quality audio soundtracks on laser disc andvideotape are a relative newcomer in the field of high

fidelity. I remember the excitement I felt several yearsago when I took home an early model laser discplayer, hooked it up to my sound system, placed mytelevision midway between the speakers and settledback to watch "Raiders of the Lost Ark That excite-ment was fully justified, and I soon became totallyabsorbed in the entertainment . . . until I was jarredout of the world of Indiana Jones by the sound of hisvoice somewhere off -screen, even though I saw himobviously speaking on -screen. Audio for video wasapparently not as simple as the "audio only" materialto which I had been accustomed. In the world ofaudio for video, spatial cues our eyes receive mustmatch the assnriated audio cues our ears receive, andthat was the missing element.

The area of high fidelity audio for home video is sonew that misconceptions about what is appropriateabound. While much work has been done over theyearson high quality audio associated with video, thiswork has almost exclusively been in the realm ofcinema sound-a situation that is very different fromyour home. In the cinema, the listening space is

WIDE NARROW

(Wide) Speakers too far to either side of the TV screen may prodwe anunnatural sounding phantom center image. Speech will not be localizedon -screen as the eye and ear expect to hear.

(Narrow) By moving the speakers closer to the TV screen, a morepleasant and natural on -screen speech effect is created. Be sure thespeakers you use are magnetically shielded to prevent picture inter-ference.

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obviously much larger than that in the home. Butmore importantly, the screen is also much larger andmatches exactly the size of the sound stage (theloudspeakers ate behind the screen). In the home,even large rear -projection televisions provide small -screen viewing by comparison. The TV screen ismuch smaller than the size of the audio imagedelivered by a normal stereo system with 6 to 8 feet ofseparation between the loudspeakers.

Taking all this into account, let's take a "buildingblock" approach to a home entertainment system.Starting from the simplest utilization of a currentstereo system, to a full multi -channel system, let'sexamine the benefits and drawbacks of eachapproach.

A first step.The first step is to connect your video sound to

your stereo system and place your TV screen midwaybetween the speakers. Make sure to use the stereoaudio outputs of your VCR or laser disc player.(The most common mistake is connecting thesignal from the RF output [Antenna Out] of a hi-fiVCR or laser disc player to the TV, then connectingthe audio outputs from the TV to the hi-fisystem. This kind of RF output connection doesnot transmit stereo sound to the television, and youwill end up with monophonic playback of stereosources!)

Properly connected, this setup will provide animmediate improvement in the tonal balance com-pared with just about any television's built-in speaker.In addition, the audio image will be wide, extendingto at least the width of the space between thespeakers. (Vocal localization will not be as strongly onscreen as you are used to with your television, but thiscompromise may be acceptable to you-if not, I willshow you how to improve matters later.) The improve-ment will definitely be considered worthwhile,particularly on video material with a musical

soundtrack. In addition, if the speakers can producedeep bass, you will hear another benefit. In movies,deep bass is often used to provide essential clues to theoverall atmosphere of a scene. A deep, continuousbass note is often used to impart unease or danger,such as when "enemy" space ships come into view Aloudspeaker without good bass performance will liter-ally not produce suchnotes, and the effectwill be totally lost. Ifyour speakers lack ade-quate bass response, youmay wish to considerupgrading them. Here,knowing what's newcan help a great deal. Ifspace is at a premium, orif you simply object to the negative cosmetic impactlarger speakers might impose on your decor, Bose®Acoustimass° speaker systems could provide anexcellent solution. In these systems, the stereo imageis provided by enclosures that are so small, theyvirtually disappear into the room. A patented Bosedesign allows you to conceal a third piece, theAcoustimass bass module, anywhere in the room,where it produces full, deep bass without giving anyaudible hint as to its location.All hooked up, where else to go?

With your current stereo system properly con-nected, the benefits are better sound, wider imageand deep bass. However, there is also a localizationproblem to overcome. Unlike typical audio software,much of the sound on a television is speech, most of itcoupled to an image on the screen of the persontalking. We expect that speech to be strongly local-ized on the TV screen. However, the phantom centerimage produced by the pair of wide -spaced speakersjust does not provide enough on -screen localization.Thus, if such a system is used, a sense of dissatisfaction

The cinema sound stage is much

larger and wider than even theLargest home TV screen, withloudspeakers behind the full width

of the screen. exactly matching

the size of the sound stage. Bybuilding toward the ultimatehome sound system, you getcloser to a cinema experiencewith each "building block" steptaken.

_ANE4

The "Building Block"ApproachStart with your TV and hi-fiVCR (block 1). Add poweredspeakers or a PmLogic® receiver

and a pair of hi-fi speakers (blocks

2&3). Put blocks 2 and 3together and add rear speakers

(block 4) and you've builtthe"ultimate" surround system

while enjoying it one piece at atime.

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with the result frequently appears with time, even ifthe viewer cannot quite put his finger on whatactually is wrong. A degree of on -screen localizationcan frequently be retrieved by slightly turning up thevolume on the television speaker, but a better answeris to move the speakers adjacent to either side of thescreen. This will give a narrower sound stage, but willretain all the higher quality sound with excellent on-screen localization. To do this requires that the speak-ers be magnetically shielded so that the televisionpicture is not adversely affected. (Once again, theBose® Acoustimass° speaker systems are ideal fordiscreet placement adjacent to the TV. They areexceptionally small, and are magnetically shielded.)

Adding a pair of quality highfidelity loudspeakers adds to theexcitement and enjoyment ofwatclUngtelevision and videotape

moies.

Moving onward toward the home cinema.Looking at slightly more complex audio -video

systems, it becomes possible to enjoy on -screenvocal localization with a wide stereo image. To dothis, a steering logic surround decoder is includedin the system. However, the important part of whatthis decoder does is in the front of the room,not in the rear as might be expected. It assuresthat speech is directed to a speaker close to

the screen. In most video material,speech is recorded monophon-ically to assure that good on-screen localization can be obtained.A steering logic surround decoderhas right, left and center outputsfor the front of the room. Its logicwill direct the monophonic con-tent of the program, includingspeech, to the center channel only,and not to the right or left chan-nels. (Simpler surround decoderswithout steering logic will not pro-vide the same benefit, even if theyhave a center channel, since mono-phonic signals will be fed equally to

the right and left channels in such decoders.) Itshould be noted that the front channel "steering" togive the on -screen vocal localization will be effectiveon most material, even if non -surround encodedmaterial.

With full bandwidth stereo speakers widely spacedto either side of the television screen for a normalwide stereo image, the center channel speaker(s)should be placed on top of or adjacent to the televi-sion. You now, of course, need those center channelloudspeakers, but they do not have to produce deepbass, as their real purpose is to localize speech. Onceagain, they must be magnetically shielded since theyare close to the TV screen, and amplification must beprovided for them. Steering logic decoders can bepurchased as separate pieces of equipment or asfeatures incorporated into a receiver. Such equip-ment may well provide power amplification for anyrear surround channel speakers, but can fail to pro-vide amplification for the center channel. Thisrequires a separate amplifier or, more conveniently,the use of magnetically shielded self -powered speakerssuch as the Bose Video RoomMate° speaker system.

Rear channel ... the final frontier.So far, I have only covered what the surround

system can achieve in the front of the room. Indeed,this is probably the most important function of it.However, a complete audio -video system should alsoinclude rear channel speakers as well.

It is normally desirable to select inconspicuousspeakers, since there now will be many of them in theroom. It is also desirable to place them such thatfurniture is not positioned directly between them andthe viewer (such as the back of the favorite armchairbeing used). Such placement is most easily achievedif they are positioned relatively high on the rear wall.If deep bass were not needed, this Would allow the useof any number of models of small speakers. However,investigation has shown that in about 50% of sur-round encoded movies, bass is deliberately includedin d -.e surround channel. To get the full impact ofsuch movies, it is desirable to reproduce that bass.Once again, Bose Acoustimass systems are an excel-lent solution, providing deep bass, and very smallstereo speakers that can be easily wall -mounted.

If a full surround system is used as described, thedesired effects in the rear will only be heard onsurround encoded material (which includes almostall modem movies). However, the left -right -centersteering produced by the decoder will, as statedearlier, be effective on most material, surroundencoded or not. It is therefore a good idea, if possible,to only switch the rear speakers on or off for encodedor non -encoded material respectively, leaving thedecoder itself active at all times.

Now playing ... The total cinema experience.The ultimate system described is an audio system

that can be used as a "home theater" and will rivalsound heard in some of the best cinemas. However, itis not necessary to take an "all or nothing" approach.Remember that I built up to this system, showing justwhat each addition added. In just the same way, youcan build a system all at once, or one step at a time.The addition of just a pair of quality speakers andsuitable amplification can be a tremendous improve-ment, and the start of your dream audio -video system.Addition of a steering logic surround decoder for afull -width sound image together with on -screenvocals brings you closer to a true cinema experience.Finally, if you add rear channel speakers to the system,surround encoded material fills your room withsound. There is no question that at each stage theimprovement is very noticeable, but the most notice-able improvement will be when you take that firststep. You may wonder how you ever put up withordinary TV sound, and find yourself renting thoseold favorites again to hear what you missed the firsttime. To find out where to audition a system like theone described in the article, call I-800-444-BOSE.

About the author:Tim Holl has spent 24 years in the audio business as a Senior Engineer

and VP/ Technical Director. Tim is currently Manager of Research inAcoustics at Bose Corporation, USA.

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A MORE LIFELIKE

EXPERIENCE IS JUST

WAITING TO BE

UNLEASHED, BUT ONLY

IF YOU KNOW HOW, AND

ONLY IF YOU PLAN TODAY

FOR YOUR

NEEDS TOMORROW.

CHOOSING THE RIGHTCOMPONENTS.

f you haven't yet read the article on the lastthree pages you could be cheating yourself,because the information it contains couldliterally change the way you enjoy yourmusic system forever. Some new-foundexcitement may be available in your home

today, hidden in the hi-fi tracks of your video soft-ware, or in the television airways. A more lifelikehome entertainment experience is just waiting to beunleashed, but only if you know how, and plan todayfor your needs tomortow. With the information con-tained in this article you can greatly enhance theinvestment you have already made or are about tomake. Planning your audio system should not belimited to just music, rather you should view your

A11111111111111110111111\,

ww1111111111111111111111111PIIIIIIIIIIIMM1111111111111111111

The Bos! Video RoontMate speaker system's integrated design inciudes shielded stereo speakers, stereoamplifier, limiting circuits and active equalizer, all m one package.

components in terms of total Home Entertainment.Even if your current video activities are simply watch-ing sporting events or standard network broadcastson your TV, you will be amazed at how much morelifelike the experience of your entertainment selec-tion will be when delivered in real high fidelitysound. With the purchase of the right components,particularly speakers, you can enhance your enjoy-ment today and protect your investment from becom-ing obsolete. In the following pages we will introduceyou to Bose speaker systems that use uniquepatented technologies to achieve a standard of designand performance that until recently was not possible.

Just starting your entertainment adventure?If you have nothing more than a television set

the best way to begin the development of your homeentertainment system is with the Bose Video Room -Mate® speaker system. The Video RoomMate systemwill provide full -range, high fidelity sound with crisp,clear stereo separation that will enhance your view-ing and listening enjoyment.

The Bose Video RoomMate system is a fuUy-

integrated system. This eliminates the need to pur-chase or co- inect separate amplifiers or electronics.In addition to high performance stereo amplifica-tion, the system incorporates magnetically shieldedpatented Helical Voice Coil drivers which increasethe performance, efficiency and durability of thesystem, while protecting against video interference.The Video RoomMate system also includes activeequalization circuitry which balances the tone auto-matically and is optimized for video broadcasts. Addi-tional limiting circuitry virtually eliminatesdistortion even when played at maximum volume.As your system grows, the Video RoomMate systemcan be utilized as an ideal center channel speaker in amulti -channel system, allowing you to add the VideoRoomMate system now with confidence that it willnot become obsolete as you continue to build yourhome entertainment system.

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"SUPERB SOUND ANDVIRTUAL INVISIBILITY."

". . . SIDE BY SIDE WITH

SPEAKERS COSTING

THREE TO FIVE TIMES

AS MUCH, THEAM -5 CONSISTENTLY

PRODUCED THE MORE

EXCITING ANDLISTENABLE SOUND . . ."

-STEREO REVIEWJulian Hirsch

One of two stereo imaging cube

Acoustimass-5 system.

INTRODUCING BOSE"VIRTUALLY INVISIBLE"SPEAKER SYSTEMS.

Bose° Acoustimass°,5Direct/Reflecting® speaker system

The magnetically shieldedAcoustimass-5 speaker system isthe result of years of research dedi-

cated to providing room -filling, high -quality soundreproduction. A pair of tiny stereo imaging cube

Acoustimass bassmodule are "virtually invisi-

ble" in a room, yet capableof powerful bass andexceptional spatialqualities. The perfor-mance of theAcoustimass-5 surpasseseven that of much larger,more expensive speak -en. This level of perfor-mance is the result ofpatented Bose Acousti-mass technology. Unlikeconventional speakers,Acoustimass speakerslaunch sound into theroom by two masses ofair, rather than by avibrating surface. Thisresults in purer bassresponse with virtually

no distor-tion. Itssmallsize and

distortion -free per-

formanceallow the mod-

ule to be hiddenanywhere in a room

without any audible hint of

its location. The Acous-timass module is com-plemented by a pair ofstereo imaging cubespeaker arrays-eachmeasuring only slightlyover Tin./17 cm high. Aproduct of the Bose

Direct/Reflecting° speakertechnology, their designis based on over 20 yearsof research dedicated torecreating sound thatapproaches the exper-ience of a liveperformance.Additionally thisunique Bose design alsodelivers the benefit ofStereo Everywhere°sound regardless of where you sit in the listening room(see diagram).

Each cube array can be conveniently mountedon a wall, ceiling, or shelf with available Bose mount-ing accessories, which can provide for a "virtuallyinvisible" installation in your room.

One of twostereo speaker arrays

included in Acoustimass-SE5styling alternative.

Conventional speakers (left) reproduce mainly direct sound.They miss much of music's realism and impact-and let you hear full

stereo only in a narrow spot. Bose Direct/Reflectine speakers

(right) accurately reproduce the balance of direct and reflected sound,

providing greater realism in full stereo throughout the listening room,

wherever you at.

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WHATEVER YOUR

BUDGET, DECOR OR

LISTENING REQUIREMENTSBOSE SPEAKER SYSTEMS

COMBINE SURPRISINGLYSMALL SIZE WITH

HIGH PERFORMANCE.

One of two stereo imaging cubesincluded in Acoustimass-3system.

PURER SOUND AND"VIRTUAL INVISIBILITY"FROM BOSETECHNOLOGY.

ose Acoustimass()-3Direct/Reflecting® speaker system

Offering much of the performanceof the AcoustimassQ5 speaker sys-tem but at lower cost, is the new

Acoustimass-3 speaker system, the world's smallestspeaker system offering purer sound and virtualinvisibility.

Unique wedge-shaped, magnetically shieldedcubes, each about the size of a softball, are coupledwith a patented Acoustimass bass module onlyslightly larger than a shoe box. As with all BoseAcoustimass systems, the bass module can be hiddenanywhere in your room yet all the bass still seems tocome from the imaging cubes.

The system produces life-like stereo sound with all thebass, power handling anddynamic range you wouldexpect only from a much largerand more expensive system.

The extremely small sizeof the Acoustimass-3 systemallows placement anywhere inyour room . . next to a 'TV, orany out-of-the-way location.Available mounting accesso-ries allow additional flexibilityof installation.

Compare Acoustimass-3speakersto larger

and moreexpensive systems. We

submit no system in its price classwill offer the same level of performance

and flexibility

Bose® Freestyle' speaker

Although not an Acoustimass system,patented Bose technology in the Freestyle systemprovides maximum performance in a small, inexpen-sive bookshelf speaker. Surprisingly small size com-bined with high performance qualify the Freestylesystem as a Bose "virtually invisible" speaker system.

At the heart of the Freestyle speaker system isthe Bose Helical Voice Coil driver. After 11 years ofcontinued Bose research in the performance areas ofaccuracy, power output, efficiency and reliability, webelieve this driver is the most highly developed in theworld. Used for the first time in the Bose Freestyle,this is the latest and most enhanced Bose HVC driverto date. It provides exceptional power handling, andextended high frequency performance. A patentedcurved and flared porting system, optimized just forthis new driver, allows the Freestyle speaker toproduce low frequencies previously only thoughtpossible from a much larger enclosure.

The Freestyle offers performance that willimpress the most discriminating listener, particularlyfor its size. As with the other "virtually invisible"Bose speaker systems, mounting accessories provideplacement flexibility for the Freestyle.

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WHAT MAKES AN

ACOUSTIMASS SPEAKERDIFFERENT FROM

ANY OTHER?

AN ACOUSTIMASS

SPEAKER LAUNCHESSOUND INTO THE ROOM

BY TWO AIR MASSES,

RATHER THAN BYA VIBRATING SURFACE.

ACOUSTIMASSTECHNOLOGYA BENEFITYOU CAN HEARBUT NOT SEE.

%

One of two stereo imaging cubespeaker arrays included inAcoustimass-5 system.

Bose Acoustimass-5 bass module(Plexiglass model for illustratimpurposes (mly.)

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(top left) Bose Acoustimass-SE5 speaker system.

(Top right) Bose Acoustimass-5 white wall -ceiling mount acces-sory (WC -6) in typical"surround sound" rear channelapplication allows "virtuallyinvisible" installation.

(Bottom left) The Bose VideoRixmimatec" speaker system canbe used to add high fidelity tosimple TV viewing.

(Bottom right) Acoustimassbass MAL'S conceal easily virtu-ally anywhere.

f imitation is the sincerest form of flattery,then Bose® Acoustimass® speaker systemshave received their due serving of praise.While many manufacturers have intro-duced three-piece speaker systems thatlook much like Bose Acoustimass speaker

systems, none can duplicate the operation or perfor-mance of patented Bose Acoustimass speakertechnology.

Like many, you may have marveled at theextremely small size of the Bose Acoustimass speak-ers, which can literally fit in the palm of your hand. Butthe real secret is hidden from view, in the Acousti-mass module which allows the imaging speakers tobe so small. Only Acoustimass speaker technologycan allow such speakers to be so small. Only Bosepatented Acoustimass systems achieve it all. Purersound, virtual invisibility, high power handling,improved efficiency and wider dynamic range.

Bose Acoustimass-3 bass module and one of two stereo imaging cubesincluded with Acoustimass-3 system. (Plexiglass model shown forillustration purposes only.)

The Important BenefitsOf Bose Acoustimass Speaker Systems.

Purer soundSound is launched into the room by two air

masses, rather than from a vibrating surface. Acous-tic filtering of distortion within the Acoustimassmodule means that the air masses are purer soundgenerators than mechanically vibrating conesurfaces.

Virtual invisibilityThe acoustic filtering of distortion means that

the compact Acoustimass module can reproduce thelower musical spectrum, yet without the audiblelocalization of the source of the sound. The remain-ing upper octaves of music are reproduced byextremely small and unobtrusive stereo imagingspeakers.

Wider dynamic rangeThe reduced distortion, high efficiency and

power handling design of the Acoustimass systemmeans that you can reliably take full advantage of thewide dynamic range of digital compact discs and hi-fivideocassettes.

How An Acoustimass Module Works:Improving speaker performance means first

reducing distortion. The design of an Acoustimasssystem produces no discernible distortion. (See dia-grams.) This means a better sound. It is the distortionin the reproduction of bass frequencies which allowsthe listener to pinpoint the location of their source.This is why a conventional subwoofer must be placedclose to its satellite speakers for optimum perfor-mance. Unlike conventional systems, however, thereduction in distortion from a patented Acoustimassspeaker system also gives the listener an additionalbenefit-the ability to hear all the sound seeminglyoriginate solely from the small imaging speakers. Theresult is a system with better performance which canbe easily concealed anywhere in your listening room.The ultimate benefits of this patented Bose speakertechnology? Purer sound and virtual invisibility.

))

Acoustimass Speaker Conventional Speaker

Left:An Acoustimass speaker launches sound into the mom using twomasses of air um -kinglike pistons (A&B, darker blue), rather than byasurface vibrating directly into the mom. The sound launched into themom by the Acoustimass speaker's air pistons is the purest sound thatcan be produced by present technology.Right: A vibrating claw radiating directly into the mom (C) producesmore distorted sound.

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AT BOSE THE PRIMARY

OBJECTIVE IS

TO PRODUCE AUDIO

PRODUCTS WITHPERFORMANCE

ADVANTAGES WITH CLEAR

BENEFITS TO LISTENERS

EVERYWHERE.

BOSE CORPORATION:

he Bose story began in theresearch laboratories of MIT.Dr. Amar G. Bose, professor ofelectrical engineering at the Mass-achusetts Institute of Technology(MIT), began wondering in the

1950's why loudspeakers with impressive publishedtechnical specifications failed to reproduce the full,rich subtleties of a live musical performance.

For 12 years, Dr. Bose studied speaker design and

tion of sound. His findings resulted in design con-cepts for radically different kinds of speaker systems.

The company behind the products.Bose is the world leader in acoustics and innova-tive audio products for home and industry.

Bose Corporation was formed in 1964. In 1968together with a team of engineers including many ofhis former students, Dr. Bose entered the high fidelitymusic field by introducing the Bose 901® Direct/Reflecting® loudspeaker system. With the 901 sytem, Dr. Bose and his research team achieve, Iinternational acclaim by setting a new standard inmusic reproduction.

Bose Corporation designs, manufactures andmarkets some of the finest audio products in theworld. In fact, Bose has been chosen by many of theworld's leading automobile, computer and televisionmanufacturers to provide quality sound for theirproducts. At Bose, the primary objective is toproduce audio products with performance advantagesthat provide clear benefits to listeners everywhere.

Bose engineers have worked to assure that theproduct reaching the consumer is thoroughly testedfor quality and durability, and will perform reliably foryears. By creating and employing the Syncom® com-puter quality assurance program, Bose speaker com-ponents receive demanding and comprehensive

Dr Amar G. Bose, founder andChairman of Bose Corporation.

acoustical testing, which assures that they meetcritical performance and reliability requirements.

In applications ranging from private home lis-tening to automobiles, televisions, computers orlarge-scale concert hall reinforcement, Bose productsdeliver sound to some of the most demanding listen-ers in the world.

Performance, innovation and quality combineto make Bose products the choice of both profession-als and consumers alike, which is why we believe: "Ifmusic is important in your life, sooner or later you willown a Bose system."

For a free Bose product brochure, or the nameof the Bose dealer nearest you, call 1-800-444-BOSE.

We have produced some of our most popular models in black finish tocomplement today's high-technology audio/video equipment.

.171511E"'Better sound through research.

©Copyright 1989 Bug Carpo2223on. The Manta, Framongham. MA 017014160. USA (506)879.7310. FAX 150616724541 Base producu u de336992.1 4431.149.1e.

ti LL L L 7,_ L

VARNow the sound gets

from there to here-

third in series on

the basics of audio.

BV IAN G. MASTERS

THE task of any audio sys-tem, however simple orcomplex it may be, is toreproduce in our listening

rooms sounds that occurred at a dif-ferent place and time. Over theyears, some of the most ingenioustechnological thought in any fieldhas gone into developing the meansto get high -quality signals to theinputs of our hi-fi systems. Someknowledge of how this processworks is basic to an understandingof audio as a whole: Before we canbegin to consider specific compo-nents, we must know what it isthey're supposed to do and whatsort of information they have towork with.

The First StepPractically everything we listen to

starts out as live sound, from aradio announcer's dulcet tones to amultitrack rock extravaganza. Thesignal may have been manipulatedand processed along the way, and itmay even have some totally artifi-cial elements added to it, such assynthesized instruments or digitaldelay, but its core is usually real

sound. To get this sound into theaudio chain requires a microphone.

The resistive device used as amicrophone in early telephones didits job well enough, and it wasadapted for early radio and record-ing. But it was only with the comingof the electrodynamic microphonethat the full audio range could becaptured reliably. A "dynamic" mi-crophone is one that uses the dura-ble moving -coil design, in which around, more -or -less flat diaphragmis attached to a very light coil ofwire surrounded by a speciallyshaped magnet. As the diaphragmmoves in and out in response to thesound waves hitting it, the coilmoves with respect to the magneticfield and thereby generates a corre-sponding voltage. Dynamic micro-

phones can be small, light, and inex-pensive, and yet they can offer truehigh-fidelity performance.

At the other end of the cost spec-trum is the electrostatic or condens-er microphone, which is used forthe majority of professional applica-tions. A very light, flexible dia-phragm, with a thin metallic coatingdeposited on its rear surface, is posi-tioned near a fixed metal plate sothat the sound reaching the dia-phragm varies its distance from theplate. These two elements act as acapacitor in an electrical circuit,varying the characteristics of the cir-cuit in step with the sound. Suchmicrophones are capable of the fin-est performance, but they requirethat an external voltage be appliedto charge the fixed plate. A varia-tion on this theme, which is muchsimpler to use and less expensive toproduce, is the electret microphone,which uses a permanently chargedplate requiring no external powersource. The majority of micro-phones for home use are now elec-trets.

However they go about it, micro-phones create the varying audio sig-nals that other components requireto do their work. Such a signal maybe sent directly to the listener, as ina live broadcast. Far more often,however, it is recorded, and thatusually involves magnetic tape.

Pure MagnetwsIt would be difficult to overstate

the importance of tape recording.Practically every record, tape, orcompact disc we buy was masteredon magnetic tape (with the soleexception of a few direct -to -disc au-diophile recordings). Almost every-thing we listen to on the radio is alsorecorded, and for the past few years

SURE() RFN 11.18 DECEMBER 1989 39

THE SASICSthe overwhelmingly favorite me-dium for music buyers has been thecassette.

Tape recording may be the purestapplication of electromagnetic prin-ciples in audio. A signal fed to a coilof wire encircling a bar of iron willcreate a strong magnetic field thatvaries with the signal. Normally, thelines of magnetic force will run fromone pole to the other lengthwisealong the metal, but if the bar iscurved so that the ends just aboutmeet, the field in the gap betweenthem will be stronger because of theshorter distance from pole to pole.

Placing an object that has the abil-ity to accept and retain magnetiza-tion in contact with this gap willvary its magnetism in step with theenergy it receives. A thin strip ofplastic coated with iron oxide (rust)drawn past such a magnetically ac-tive gap-as in a tape deck's record-ing head-will cause its particles tobe magnetized in response to thevarying signal. This magnetic ana-log of the original signal is recordedacross the tape as a continuouslyvarying series of parallel magnetic"waves." Drawing the now -re-corded tape past the gap in the headonce again, this time with no cur-rent in the coil, will re-create themagnetic field within the gap, whichwill produce an electrical signal inthe coil that is-in theory-identi-cal to the original.

Unfortunately, it's not so simple.For one thing, no magnetic mediumis linear: Tape responds differentlyat different signal levels, and re-sponse variations are usually mostpronounced at the lowest levels,where most of the music is. Toovercome this, a high -frequencybias current is added to raise the sig-nal level overall into a region wherethe tape is closer to linearity. Ineffect, the positive/negative polarityof a normal audio signal, whichpasses through the zero point, isconverted to a maximum/mini-mum variation, with the minimumpoint still well above the trouble-some response range. Bias is alsofed at a considerably higher level toa deck's erase head, where it scram-bles the magnetic information on atape, leaving a clean medium readyto accept a new recording.

Boosting the overall signal levelbrings its own problems. The

amount of magnetism a particulartape can hold is limited; beyond acertain level, distortion rises to anunacceptable amount. And yet re-cording at too low a level, eventhough that may still be within thelinear range, makes only too ob-vious the fact that tape is a noisymedium, for pianissimo passagesare easily lost in the hiss. Noise per-formance depends partly on thewidth of the track being recorded, soprofessionals tend to use widertapes, or wider tracks on ordinarytapes, to minimize noise. Profes-

sional tape recorders tend to im-prove high -frequency reproductionby the use of faster tape speeds, asperformance in this area dependslargely on the number of magneticparticles passing the recording headin a given period of time.

To gain even more advantage,several electronic noise -reductionprocesses, notably Dolby and dbx,were developed. Both operate dur-ing recording by reducing the ratiobetween a signal's highest and low-est levels-its dynamic range-tosomething the tape can handle, aprocess called compression, andthen increasing it again during play-back (called expansion). As thequieter material is reduced to itsproper level, the noise is reducedwith it. The details of the variousDolby systems and the dbx systemare different, but the basic principleis the same.

While conventional analog re-

cording is still the most commonmethod, several specialized types ofaudio storage have been developedthat take advantage of the wide -bandwidth capability of video re-corders, which have upper frequen-cy limits more than a hundred timesgreater than that of an ordinaryaudio tape recorder. The three mainvideo formats now provide hi-fisound by using a frequency -modu-lated carrier for the audio signal.Like the picture information, theFM carrier is recorded across thetape diagonally, effectively bypass-ing most of the inherent limitationsof the tape-recording process andoffering quality that rivals that ofdigital recordings. Beta and 8mmvat's include the hi-fi audio signalwith the video information, butVHS machines use a separate headthat takes advantage of the fact thathigher -frequency signals (the video)are recorded on the surface of thetape while lower -frequency ones(the audio) penetrate deeper intothe oxide layer. Video's bandwidthalso allows the recording of puredigital audio signals using a normalVCR together with a digital adaptor.And the new digital audio tape(DAT) recorders have a similarlywide bandwidth.

Physical StorageUntil very recently, the audio-

phile medium was the vinyl record,in which the signal is engraved as anundulating spiral groove directlyanalogous to the original audio sig-nal. The recording device is the cut-ter head, which contains an electro-dynamic element rather like a dy-namic microphone. In this case,however, the moving component isconnected to a sort of chisel-thestylus-rather than a diaphragm,and an audio signal is fed to thehead rather than being produced byit. The cutter head is mounted on anassembly that gradually moves thestylus across the soft surface of amaster disc, cutting a spiral groovefrom the edge to the center of thedisc. The shape this groove takes asthe stylus moves back and forthfrom the center line is an analog ofthe audio signal: the higher the fre-quency, the more tightly spaced theundulations; the louder the signal,the farther afield the stylus travels.The master disc itself could be

40 SIF.REO REVIEW DECEMBER 1989

Even If Your Best Friend Breaks Them,

We'll Repair Or Replace Them.

Koss Stereophones have become world- renowned for two

things: outstanding sound and extraordinary durability.But nobody's perfect. That's why Koss is pleased to pre-

sent something literally unheard of in the audio business.

Introducing the industry's first lifetime warranty.From now on, if an y pair of Koss Stereophones should ever

fail for any reason, we'll repair or replace them. Noquestions asked. From the smallest portable model right

up through Koss' infrared Kordless' systems.

And that's something to think about the next timeyou're in the market for a pair of phones. After all, it'd

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THE BASICSplayed, but it would soon be de-stroyed; we buy harder copies madefrom a mold of the master.

The RIAA equalization used inmaking every vinyl record was bornof the recognition that low -frequen-cy material takes up most of thegroove space. By reducing the bassby a specific amount in masteringthe record and then boosting it bythe same amount on playback, thegrooves can be made closer togetherand the playing time longer. At thesame time, boosting the treble onrecording and reducing it by thesame amount on playback signifi-cantly reduces surface noise.

The stylus that is used to recordthe two channels of stereo in a singlegroove has two driving devices thatare mounted at right angles to eachother and at 45 degrees with respectto the disc surface. Each of the ele-ments is fed with one channel andtranslates this to an in -and -outmovement; as both channels arefeeding the cutter head at the sametime and the two dynamic elementsare attached to the same stylus, thestylus moves with a vertical compo-nent as well as a lateral one. Eachwall of the groove corresponds tothe movement of the opposite dy-namic element.

The playback device, the phonocartridge, is constructed similarly tothe cutter head. In playback, therecord groove imparts motion tothe stylus, which is converted by thecartridge's dynamic elements to atwo -channel electrical signal. Foreach channel, the opposite wall ofthe groove imparts an in -and -outmotion that the cartridge element'scoil can turn into electricity. Thegroove wall on the same side as theelement, however, only causes apivoting motion within that coil,which is ignored.

Long Distance AudioRadio takes advantage of another

electromagnetic phenomenon: If avarying electrical signal is highenough in frequency, it radiates inmuch the same way as light. Feed-ing such a signal-called a carrier-to an appropriate antenna allows itto induce a voltage in a wire thatmay be miles away. By using anaudio signal as a control to modifythe carrier in some way-to modu-late it-music and other informa-

tion can be broadcast over great dis-tances.

Any alternating signal has twocomponents, amplitude and fre-quency, and either can be varied tocarry information. The original typeof radio was amplitude modulation,or AM, in which the level of the car-rier varies in step with an audio sig-nal. The carrier radiates outwardfrom the broadcasting antenna, in-ducing a voltage in any receivingantenna it encounters. The receiveritself contains a tuned circuit thatresponds only to one carrier fre-quency at a time and then detectswhat's happening to that carrier.Any level variations it turns intosound. The AM system suffers inthat the various forms of interfer-ence a broadcast signal encountersalong the way are indistinguishablefrom desired amplitude differences,so static and other noises are a prob-lem. Also, AM operates in a frequen-cy range that lets it bounce off onelevel of the atmosphere, the iono-sphere, particularly at night. Thisdoes increase the listening range,but it also increases the chance thatdifferent AM stations will interferewith each other.

The alternative is to modulate theother characteristic of the carrier, itsfrequency. This form of radio-fre-quency modulation, or FM-has thepotential for much quieter opera-tion, as it is relatively impervious tomost interference. In addition, theFM band was set up from the begin-ning with a wider audio bandwidththan AM, making true high-fidelitybroadcasting possible (while AMcould approach this level of fidelity,it rarely does so). The main problemwith FM is a product of its muchhigher carrier frequencies (about ahundred times those of AM). Be-cause FM carriers tend to travel onlyin straight lines, like light, receptionis subject to distortion caused bymultiple reflections from objects inthe way, such as buildings, an effectcalled multipath.

One very distinct advantage,however, is that an FM carrier iscapable of containing much moreinformation than just the audiospectrum. Subcarriers can be addedwithout disturbing the audio. Thisis chiefly done to provide stereoreception. For the sake of compati-bility with mono receivers, the main

signal received by an FM tuner is amixture of the left and right chan-nels (L + R), but there is also a sup-pressed subcarrier at 38 kHz-muchhigher than anything we couldhear-that is amplitude -modulatedwith a stereo difference signal (L -R). In a stereo receiver, one channelis derived by adding the differencesignal to the main signal and theother by subtracting it, cancelingout the unwanted channel in eachcase. To enable your tuner to per-form this operation, every stereostation broadcasts a stereo beacon,or pilot, at 19 kHz. The beacon sig-nal must be filtered out of the audio,which is one reason the upper fre-quency limit of FM broadcasting is15 kHz rather than 20 kHz.

By the NumbersAn analog signal continuously

varies over time. There is, however,only one signal level at any mo-ment, and this level can be meas-ured. If a succession of such mea-surements were taken, the originalsignal could be reconstructed, aslong as the instantaneous measure-ments were taken often enough.This is the principle of digital audio:An analog waveform is sampled atregular intervals, and the voltagesare noted and recorded. The sam-pling rate need be only twice thehighest frequency we wish to recordfor us to be able to reconstruct thewaveform perfectly; in audio, thatmeans roughly 40 kHz. The sam-pling rate that was chosen for thecompact disc is 44.1 kHz.

The individual sampling mea-surements are recorded in binarynotation, where all numbers are ex-pressed as a series of 0's and l's,called binary digits, or bits. Any sin-gle bit can indicate only whether asignal is present ( I) or not (0), butif bits are organized in digital"words," they can represent degreesof "presence"-signal levels, inother words. The more bits in eachword, the greater the number of lev-el variations it can express, hencethe greater the dynamic range of theencoded signal. A 16 -bit word-thestandard for the cD-can express65,536 separate signal levels, whichcorresponds to a dynamic range ofapproximately 96 dB. To obtain thisdynamic range, each of the 40,000-odd samples per second for each

42 STEREO REVIEW DECEMBER 1989

THE MUSIC YOU WANT -NOW ON COMDACT DISCS!

TAKE ANY 8 CDs FOR 14

Paula Abdul -ForeverYour Girl (Virgin) 374.837

Big Audio Dynamite-Megatop Phoenix(Columba) 388.215

Yollowjackets-The Spin(MCA) 388.173Joe Satrlani-SurfingWith The Alien (Relativity)

387969George Clinton -TheCinderella Theory(Paisley Park) 387134Eddie & The Cruisers 11 -Original Soundtrack(Scoff! Brothers) 386813Paul Shaffer -Coast ToCoast (Capiol) 386.276Babyface-Tender Love(Epic) 386.177RIppengtons-Tourist InParadise (GRP) 385.658Adrian Belew-Mr. MusicHead (Allar17,C) 384.867David Benoit -Urban DayCreams (GRP) 384.628

Sony Jazz Collection -Various Artists (Columba)

386.169

Steve Stevens AtomicPlayboys (Warner Bros )

386.086Bee Gees -One(Warner Bros I 386.060Bryan Ferry / Rosy Music-Street Life (Reprise)

384.230Anderson. Bnitord,Wakeman, Howe (Aosta)

384115Dr. John -In ASentimental Mood(Warner Bros 384040Diana Ross -WorkingOvertime (Motown)

383.984Tin Machine(EMI America) 383.976Diane Schour -Collection(GRP) 383.919Pat Metheny Group -Letter From Home (Geffen)

383.901Cher-Heart01 Stone(Geffen) 383.893Soul II Soul -Keep OnMourn' (Virgin) 386.037

Placid° Domingo -The Don Henley -The End OfUnknown Puccini The Innocence (Geffen)(CBS Master) 387829 383.802

The age of CD sound is here -and youhove o practical new way to find the CDsyou want. As your introduction to the Club,you can choose any 8 CDs listed in this adfor lit. Fill in and mail the application -we'llsend your CDs and bill you for IS plusshipping and handling. You simply agreeto buy 6 more CDs (at regular Club prices)in the next three years -and you may thencancel your membership anytime afterdoing so.How the Club works. About everyfour weeks (13 times a year) you'll receivethe Club's music magazine, whichdescribes the Selection of the Month... plusnew hits and old favorites from every fieldof music. In addition, up to six times a year,you may receive offers of SpecialSelections, usually at a discount off regularClub prices, for a total of up to 19 buyingopportunities.

If you wish to receive the Selection of theMonth, you need do nothing -it will beshipped automatically. If you prefer analternate selection, or none at all, fill in theresponse card always provided and mail itby the date specified. You will always have

Richard Marx -RepeatOffender(( MI) 380-915

The Jefferson Airplane(Epic) 385.908

Marla McKee ietion)383.844

Lloyd Cole 8 TheCommotions-19134.1989(Capitol) 383 778Spyro Gyra-Point 01View (MCA) 383.73'Ghostbusters 11-OnginaSoundtrack (MCA) 383.711Queen -The Miracle(Capitol) 383.54 7

Grover Washington, Jr. -Time Out 01 Mind(Columba) 383.539Jean Luc Panty -In TheFast Lane (Columbia)

383.521Boris Grebenehlkov-Ratko Silence (Columba)

383.513

Squeeze -Singles -45'sAnd Under )ABM) 317.974

Pete Townshend-TheIron Man (Atlantic) 385.724

When Harry Met Sally -Original Soundtrack(Columbia) 386.821

Batman -OriginalSoundtrack (Warner Bros )

383.885

Jean-Pierre RanipM-C PE. Bach: 5 FluteConcertos (CBS Master )

383-356/393.355

Vladimir Feitsman-Rachmaninoft PianoConcerto No 3/ RhapsodyOn Theme Of PaganinrZubin Mehta, Israel Phil(CBS Master) 383315

Roger NorrirVon-Berlioz SymphonicFantastoque, Op 14London Classical Players(Angell 382.74710,000 Maniacs -BlindMan's Zoo (Elektra)

382.077L.L. Coot J -Walking WinA Panther(Del Jam I Columba)

381.968

Beastie Boys -Paul'sBoutique (Capitol) 383.786

Gloria Estefan-CutsBoth Ways (Epic) 382.341

at least 10 days in which to make yourdecision. If you ever receive any Selectionwithout having 10 days to decide, you mayreturn it at our expense.

The CDs you order curing your member-ship will be billed at regular Club prices,which currently are $12.98 to $15.98 -plusshipping and handling. (Multiple -unit setsmay be somewhat higher.) After complet-ing your enrollment agreement you maycancel membership at any time; if youdecide to continue as a member, you'll beeligible for our money -saving bonus plan.It lets you buy one CD at half price for eachCD you buy at regular Club prices.10 -Day Free Trial: We'll send details ofthe Clubs operation with your introductoryshipment. If you are not satisfied for anyreason whatsoever, lust return everythingwithin 10 days and you will have no furtherobligation. So why not choose 8 CDs for 16right now?ADVANCE BONUS OFFER: As a specialoffer to new members, take one additionalCompact Disc right now and pay only$6.95. It's a chance to get a ninth selectionat a super low price!

Stones -Steel WheelsRoc I 387.738

Tom Petty -Full MoonFever (MCA1 382.184The Dirty Dozen Band -Voodoo (Columba)

381.962The Neville Brothers -Yellow Moon (MM)

381.889Branton:I Mansalle-TnoJeepy (Columba) 381.830The Cuff -Sonic Temple(Sire/Reprise) 381.798Todd Rundgrer -NearlyHuman (Warner Bros )

38178')Miles Davis-Arnandla(Wiener Bros 381.750Joe Jackson -Blaze OfGlory (A&M) 381.699indigo Girls (E pic) 381.269Stevie Nicks -The OtherSide Of The Mirror(Modern) 381.103

Aerosmith-Greatest Hits(Columba) 306 225The Cure -Disintegration(Eleklrai 382093

Milli Venial -Girl YouKnow Ifs True (Arista)

379.610

plus shippingand handling,with membership

Ziggy Marley L TheMelody Makers -OneBright Day (Virgin) 386987

The Chick CoreaAkoustic Band (CHP)

379891Steve Relch-DifferentTrains - Kronos Chanel /Electnc Counterpoint PatMetheny (Nonesuch)

380.071Portrait Of Yo -Yo Ma(CBS Master) 379-941Canadian Brass -TheGabrieli Album(CBS Maslerwerks)

379.933Drys -Watermark (Geffen)

379.925Tone-loc-Loc'ed AfterDark (Delicious Vinyl)

379.875Madonna -Like A Prayer(Sire) 379.594Enrico Caruso -OperaArias and Songs. Milan1902.1904 (Angel) 379255Martika (Columba)

379.149Skid Row (Atlantic)

379602

FINS 113,0110 1111112.

FYCTIM MUNI' OOOOOOOOOO

Fine Young Cannibals -The Raw And The Cooked(IRS) 379.214

Kld Te Kanawa- Verdi 8Puccini Arias (CBS Master )

343.269Simply Red -A NewFlame (F lekt/a) 378.943Dave Grusin Collection(GRP) 378.398

Cyntli Lauper-A Night ToRemember (Epic) 377887Gipsy Kings (Elektra)

377.812Debbie Gibson -ElectricYouth (Atlantic) 377.275Guns N' Roses-GN'RLies (Geffen) 376.087Journey's GreatestHlta(Columbia) 375.279R.E.M.-Green(Warner Bros) 375.162.38 Special -Rock & RollStrategy (A5M) 375.139The Traveling Wilburys- -Volume One (Wi(bur y)

375.089U2 -Raffle And Hum(Island) 374.017Portrait of WyntonMamas (CBS Master )

373.555Luciano Pavarotti-Pavarotti in Concert(CBS Master) 373.548Living Colour -Vivid(Epic) 370.833The Police -Every BreathYou Take. The Singles(ABM) 348.318Foreigner -Records(Atlantic) 318.055

ECBS COLUMBIA HOUSE, 1400 N. Fruitridge Ave. 155/590P.O. Box 1129, Terre Haute, Indiana 47811-1129Please accept my membership application under the terms outlined in this advertisement.Send me the 8 Compact Discs listed here and bill me la plus shipping and handling for alleight. I agree to buy sin more selections at regular Club prices in the coming threeyears -and may cancel my membership at any time after doing so.

SEND ME THESE8 CDs FOR It

My main musical interest is (check one): (But l may always choose from any co(egor y)

0 Hard Rock 0 Soft Rock 0 Pop 0 Easy Listening 0 Heavy MetalRolling Stones, Richard Marx, Barbra Srreisand, Roy Cana Great White.he Perry Madonna Barry Monilow Johnny Mothis White Lion

13 Block Music CI Jazz 0 Country 0 Classical*l t Cool J.. Branford Mortals, Reba McEntee, Kr/ I Te Konowa.

Bobby Browm Spyro Gyro Honk Williams, Jr YoYo Mo

Mr.MrsMiss Pfim F.,1 Nome lo,411 ton Nome

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LPS/F6LpT/F7

Selections with iv, . Ds and count os 2 -so write in both numbers. (C) 1989 CBS Records Inc

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channel must be represented by 16bits.

To record a stereo digital signal,therefore, we need a medium withan upper frequency limit of at least1.5 MHz. Once that requirement issatisfied, however, the method ofstoring the signal becomes relativelyunimportant. All that the playbackmechanism need detect at any mo-ment is the presence or absence of asignal (a 1 or a 0); distortion andnoise become irrelevant unless theyobscure the signal totally. Evenspeed irregularities-wow and flut-ter-don't matter, as the bit streamcan be stored briefly in the playbackdevice and then released at preciselythe right sampling rate (known inthis context as the clock frequency).The bits so retrieved can then bereorganized into 16 -bit words, andthe voltages they correspond to canbe regenerated.

Some things can disrupt even dig-ital recording and playback, howev-er: Tape dropouts, for instance, orflaws in a CD's surface can interruptthe data flow and cause some terri-ble noises. For this reason, digitalrecordings are encoded according toa sophisticated scheme of error cor-rection that allows the playback de-vice to detect when information ismissing or incorrect and then eitherreconstruct or simulate it.

The main medium for digitalsound is the compact disc, whichborrows from earlier videodisc tech-nology. The string of 0's and l's inthe binary signal code is convertedto a series of elongated pits arrangedin a spiral on the disc (but withoutgrooves; the playback device findsthe proper spot on the disc electron-ically). In the player, a low-level las-er beam is bounced off the disc'ssurface to a photosensitive device;the pits passing through the beamalternately interrupt or reflect it,thus reproducing the binary code.The resulting digital signal from thephotocell, after error detection andcorrection, passes through a digital -to -analog converter, or DAC, wherethe original analog signal is re-stored. From this stage on the signalis treated in a conventional (non -digital) fashion.

NEXT: Inputs-devices that turn re-cordings or broadcasts into signalsthe rest of your system can use.

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32

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TECHNICAL TALK

byJulian Hirsch

DOES IT MAKEA DIFFERENCE?

THE people who buy and ownhigh-fidelity systems comein as many shapes and de-sign variations as their cher-

ished audio components. None ofus came into this world as discern-ing, golden -eared audiophiles. Likeso many of life's pleasures, hi-fi isan acquired taste that can be devel-oped to almost any degree, from acasual awareness to an intensitythat can dominate a person's life.

Fortunately, our hobby (for thosewho consider it as such) can beenjoyed on many levels. Being total-ly subjective in its goals, hi-fi hasfew, if any, absolutes. One man'smeat is another's poison in terms ofpreferences for program materialand the hardware that brings it intothe home. Your preferences in bothareas may be very different frommine, but that is no reason foreither of us to criticize or look downupon the other. Listening to musicis supposed to be fun, right?

Nevertheless, some people be-come so involved in the minutiae ofsonic "differences" or subtle quali-

ties of performance that they seemto have lost the capacity for enjoy-ment. This preoccupation is oftenexpressed as a condescending atti-tude toward those rank -and -file au-diophiles who may be so misguidedas to fail to perceive the "truth" asexpounded by the cognoscenti.

Things were not always like that.In my early days as an audio hob-byist, some forty years ago, most ofus had a considerable amount ofignorance, an imperfect under-standing of the phenomenon ofsound recording and reproduction,but we had many of the same feel-ings as today's audiophiles haveabout the distinctions betweenmass -market products and so-calledhigh-fidelity components.

Despite the generous sprinklingsof nonsense in the claims made forsome of those early products, I

don't recall any appreciable accep-tance of the bizarre ideas promul-gated by people who were either (1)far ahead of their time, (2) moreignorant than we were, (3) mentallydisturbed, or (4) outright charlatans.I think that the test of time has sep-arated these categories quite effec-tively, with the individuals in thefirst category being the rarest andthe majority of people with strangeideas falling in the other three.

A somewhat similar situation ex-ists today, with some fundamentaldifferences. Over those four dec-ades, there have been enormoustechnological advances. The worldis quite literally a different placethan it was then. A great deal hasbeen discovered by researchers insuch fields as mathematics, physics,

Tested This Month

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acoustics, and psychoacoustics.Concurrent with this advance inknowledge, we have seen an unend-ing series of bizarre claims concern-ing the great-never merely sub-tle-audible effects of such factorsas the design of connecting wiring ina system, the crystalline structure ofvarious exotic materials, the dielec-tric material used in capacitors, andthe specific construction of thesemiconductors used in a product(not necessarily in the signal path-power supplies too have received

Some people become soinvolved in the minutiae ofsonic "differences" or subtlequalities of performance thatthey seem to have lost thecapacity for enjoyment.

their share of attention from thesequarters).

I could go on and on, but these areexamples of a trend in the audioworld that I would find hilarious,except that it too often diminishesthe credibility (to me, at least) of itsproponents. The fact that many ofthem are talented engineers, design-ers, or musicians makes their utter-ances more sad than funny. It is likefinding an esteemed geographer orastronomer supporting the flat -earth theory.

One thing seems to be common toall such ideas: The claims are neversupported by hard evidence in theform of carefully conducted double-blind tests. The adherents to eachsuch belief support it with a truereligious fervor. Since their supportis, without doubt, a matter of faith,any test that does not confirm theidea's validity is (to them) faulty bydefinition.

Well, faith can be a good thing,although I would prefer to see itapplied in a more spiritual contextthan the supposed effect of a pieceof wire on reproduced sound. Un-fortunately, it is difficult-impossi-ble, in fact, unless you are facing apotential apostate-to counter faithwith logic or scientific evidence. Imay as well admit that in matters of

(Continued on page 53)

48 STEREO REVIEW DECEMBER 1989

ES

Sevenyears ago,Sony made

your turntableobsolete.

Our DigitalSignal Processing

is about to do the same tothe rest ofyour system.

Sony proudly presents theTA-E1000ESD Preamplifier,incorporating the most advanced Digital Signal Processing in high fidelity.

Seven years ago, Sony engineers astonished the world

with the Compact Disc, the first giant step for digital high fidelity.

Now, the Sony ES Series is pleased to introduce the second step:

bringing the digital technology of the Compact Disc to the rest

of your system.

Sony's new TA-E1000ESD Preamplifier incorporates Digital

Signal Processing (DSP) to maintain the integrity of Compact Disc

sound from input to output. This incomparable circuitry not only

Ten factory preset combinations of digital soundfield-plus-equalization are at your disposal-

ready to be adjusted for literally trillions of alternate settings.

handles digital sources in the digital domain, it even converts

analog sources to digital. So all your music can receive the full

DSP treatment, including digital expansion, digital compression,

digital parametric equalization, digital reverberation, digital delay,

and digital surround sound encompassing ten digital soundfield

parameters. Now you can heighten sonic performance digitally,

obtaining optimum ambience and brilliance without enduring the

veil of conventional signal processing.

Unprecedented technology from the companywith a precedent for introducing it.

To create the TA-E1000ESD, Sony overcame formidable

obstacles in high-speed conversion and computation. Our research

produced two landmark integrated circuits. One Sony IC under-

takes equalization, compression, and expansion while the other

provides the most extensive reverberation, delay, and surround

sound processing ever.

Direct the Dynamics.

The numerical prowess of DSP puts you in full digital control

of dynamic range, with nine discrete steps of compression or

CJ elLi1

At last, you can take control of dynamic range. The TA-E1000ESD offers both digital dynamic

expansion and compression.

expansion. So you can finally do a proper job of fitting live music

within the limitations of analog cassettes. You can also optimize

recordings for your car by raising soft passages above the road

noise. And DSP expansion brings your analog sources closer to

digital standards.

Bass and treble controlswere never like this.

Conventional tone controls tend to be inaccurate and incon-

sistent. That's why Sony developed digital parametric equaliza-

tion. It's simple, effective, and free from the distortion, phase

shift, and noise of analog equalization. With any of 31 center fre-

quencies and four slope settings, you have a choice of over three

trillion EQ curves. Which is more than enough boosting, peaking,

shelving and tweaking to overcome acoustical deficiencies.

If you don't like yourlistening room, change it.

Because listening rooms were never designed to contain the

Vienna Philharmonic, Sony's cigital surround sound places you in

your choice of symphony hall, movie theater, stadium, studio or

small club. Unprecedented digital adjustments let you choose

Don't settle for surround sound processors that simply give you a choice of concert halls. Sony

gives you a choice of seats within each hall.

room depth, width, wall absorbency, reflection times-even the

row and number of your seal! You get acoustic environments so

detailed, so authentic, they have a palpable presence. And for

Dolby Stereo' movies, our six -channel Dolby Pro Logic' Surround

Sound projects a more vivid soundstage than most sound stages.

WY ',AI

For the ultimate in surround sound professing of Dolby Stereo" movies, the TA-E1000ESD

incorporates six-chavel Dolby Pro Logii" circuitry.

Oh yes, it is a preamplifier.

With all these digital attainments, you might forget that

the TA-E1000ESD is a preamplifier. But we didn't. We included five

low -noise audio inputs, three digital inputs, seven audio/video

inputs and a programmable remote control to let you run your

entire A/V system from a comfortable distance.

All of which leads to an inevitable conclusion. The company

that wrote the book on digital audio has just inaugurated a whole

new chapter.

Sony ES.Reinventing high fidelityone component at a time.

As singular an achievement as the new Digital Signal Pro-

cessing Preamplifier undoubtedly is, it has a natural place among

the singular components of Sony's ES Series. Since the inception

of ES, every model has challenged long -accepted compromises,

defying the status quo.

Today's ES Series components are proud inheritors of this

tradition of rebellion. Take, for example, the CDP-C8ESD Compact

Disc Changer. It embodies the Sony carousel mechanism that is

now the object of fevered imitation. Incorporating generous help-

ings of technology from Sony's reference standard CDP-R1, the

changer is admirably fit for audiophiles.

Consider the TA-N55ES Power Amplifier, which produces

ES

output power in casual disregard of speaker loads that would

cause a lesser amplifier distress. Then there's the ST-S730ES

Tuner, whose Wave Optimized Digital Stereo Detector extracts the

full benefit from today's improved FM broadcasts. And the

TC-1(130ES Cassette Deck emphatically disproves the notion that

analog recording is immune to substantial improvement.

Finally, contemplate the ES three-year limited parts and

labor warranty. (See your authorized ES dealer for details.) It's a

ringing confirmation of the outstanding quality that brings per-

ceptive audiophiles to their nearest ES dealer. To locate that

dealer and to receive a free White Paper on Sony DSP technology,

call 201-930-1156 during East Coast business hours.

SONYTHE LEADER IN DIGITAL AUDIO -

(8) Copyright 1989 Sony Corporation of Americo. All Rights Reserved. Sony and The Leader in Digital Audio are trademarks of Sony Dolby, Dolby Pro Logo and Dolby Stereo are trademarks of Dolby laborotories Limns ng Corp.

TECHNICAL TALK

audio, I am a devout agnostic. Bornand raised in New York, I can stilllay claim to coming from Missouri,the Show Me State, when it comesto accepting statements from othersabout what I am hearing (not aboutwhat they are hearing-everyonehears what he hears).

Let me make it perfectly clear thatI do not question the sincerity ofmost advocates of ideas with whichI disagree, even if I consider them to

Okay-components A and Bsound different. That's onlyhalf of the decision process.The next question to ask is, "Isthe dWerence meaningfultome?' Or, "Does the deerencemake a difference?"

be nonsense. I think that is beingmore than fair, since I suspect thatsome of these advocates fall intoCategories 3 and 4 of my earlierclassification. But I'll concede thatsome of them unquestionably hearthe sonic differences they claim tohear. I freely admit that I don't hearsonic differences ascribable to po-larity, cables, types of semiconduc-tors, etc., and I rather suspect thatthe vast majority of the human pop-ulation suffers from the same"flaw."

I have often stated in equipmentreports that I couldn't hear any dif-ferences between two amplifiers ortwo CD players. Such statements arenot entirely true, I must admit.Although there are some caseswhere the items being comparedmeasure alike in every test that Ican perform on them, when there isa real frequency -response differenceor, just as important, a gain differ-ence, I can generally hear it. And yetI do not comment on the difference:it is simply too trivial.

Which brings me to the point ofthese comments. Let me start bysaying that since no two people hearalike, it is ridiculous for any oneperson, regardless of what he hearsfrom a music system, to claim thatthis is the sound of the system. It isthe sound he hears, no more and no

less. So the controversy reallycomes down to a question of wheth-er a listener can hear a differencebetween two components. Obvious-ly, if he hears no difference, the twoare identical so far as he is con-cerned. And except in the case ofloudspeakers, the differences any-one hears between hi-fi componentstoday are likely to be very subtle.

But suppose there is a distinct, ifslight, difference between two com-ponents, which is not unusual. If thevolume level does not change dur-ing the comparison, they are ob-viously not identical (if the volumechanges, even by a small fraction ofa decibel, the comparison is inval-id). Moreover, the two items beingcompared must be alike except forthe one single factor whose in-fluence is being studied. That couldbe the speaker cables, or the type ofcapacitors used in the amplifier'ssignal path, or the entire amplifier.But there can be no more than onevariable in such a comparison or theissue becomes confused.

Okay-components A and Bsound different. That is only half ofthe decision process. The next ques-tion to ask is, "Is the differencemeaningful to me?" Or, as I preferto put it, "Does the difference makea difference?" Would it be enoughto induce me to choose one over theother for my listening, or would I beequally satisfied with either one?

fffeAEAWER THEFP-3,Lou?mowTHERE M5 A5PE KE R!

41,i '

I THINKERoSSED OVER AT4700 ttz.....

Here I speak for myself, althoughI suspect that quite a few peoplemight feel the same. On the otherhand, a lot of readers may havemuch stronger preferences. But ifyou had tested about 3,300 differentproducts, as I have, you might havea tougher time making such a deci-sion. Anyway, for me most of thereasonably competent products I

test would be perfectly welcome inmy music system. I am more likelyto react negatively than positively,however, to one that is confusing tooperate, or aesthetically unsuitable,or unreasonably expensive even ifits sound quality is at least as goodas that of any other. Since my crite-ria are very different from those ofpeople to whom the finest nuancesare of great importance, I try not tomake dogmatic pronouncementsabout which is the product for any-one to buy.

To sum up, listen for yourself.Don't let yourself be swayed by the"expert" who points out very audi-ble sound qualities (unless you agreewith him, of course). If you don'thear a difference that someone istrying to convince you exists, don'tbe afraid to say so. Remember, theemperor may indeed be goingaround in his birthday suit! And askyourself these two key questionswhen auditioning a component or asystem: Can I hear a difference? If Ido, does it make a difference? 0

to Doom -man' IT,THE iN/455C OUT-PERFORMED. .

1NE Sou)15,000

DX -214'sTHE FIRST

YEAR

. ..

--610+...

111E

QP741,AS I

RECALL

Just another day at the Crestwood homefor retired audio engineers

STEREo REviEw DFCF.MBF.R 1989 53

SURGEON GENERAL'S WARNING: Cigarette

Smoke Contains Carbon Monoxide.Kings: 17 mg "tar," 1.1 mg nicotine 1C0 s 17 mg 'tar':1.2 mg nicotine av per cigarette by FTC m3thod.

THEAGONYOFCHOICE!

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

stereo system will simply not sound like music.

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

So avoid the expense and the agony. Visit your authorized Paradigmdealer.... and listen to the clear choice.

The critics agree:

"... For once we wholeheartedly agree... the Paradigm is most definitely ano -compromise two-way design capable of outperforming systems costingseveral times as much."

Hi Fidelity Magazine

"... the Paradigm is no more colored than speakers costing up to two orthree times its price, and gave a consistently musical performance...Conclusion: the Paradigm offers excellent performance..."

- Stereophile Magazine

AMA 41111116m m41111116.

music . . . above all.

In the V S.: AudioStream, MPO Box 2410, Niagara Falls, New York 14302In Canada: Paradigm Electronics Inc., 457 Fenmar Drive, Weston, Ontaro M9L 2R6

CIRCLE NO. 97 ON READER SERVICE CARD

TEST REPORTS

ONKYO TX -890AM /FM RECEIVERJulian Hirsch, Hirsch -Houck Laboratories

THE TX -890, part of Onkyo'sGrand Integra series of de-luxe hi-fi components, is afull -featured AM/FM stereo

receiver that includes inputs, out-puts, and switching for two videosources (such as two VCR's or a VCRand a videodisc player). Lacking aninternal RF modulator, the TX -890cannot supply signals directly to theantenna terminals of a standard TVset, but it has a composite -videooutput jack for connection to amonitor. Its amplifier section has acontinuous power rating of 125watts per channel into 8 ohms from20 to 20,000 Hz with no more than0.02 percent total harmonic distor-tion (THD).

The TX -890 has audio inputs fora moving -magnet (MM) or moving -coil (Mc) phono cartridge, a CDplayer, and two tape decks. Anysource can be recorded while youlisten to any other. Most of thefront -panel controls are pushbut-tons, but there are knobs for tone,volume, and balance adjustmentand horizontal sliders for the Dy-namic Bass Expander and the Selec-tive Tone/Loudness control. Ac-

cording to the instruction manual,the Dynamic Bass Expander addsan "extra feeling of power and real-ism" to the low -frequency range,but there is no further explanationof this feature. The Selective Tone/Loudness control provides a widerange of loudness -contour charac-teristics independent of the volume -control setting.

Large, square buttons select theinput source. The CD DIRECT buttonbypasses all signal -modifying cir-cuits and connects the CD inputdirectly to the volume control andamplifier stages. The REC SELECTORbutton connects the desired sourceto the recording -output jack. Tenbuttons, switched in two banks,store up to twenty preset FM and AMfrequencies. In addition to the tun-ing buttons, there is a button thatdisables the interstation muting-simultaneously changing the nor-mal 50 -kHz FM tuning interval to 25kHz for fine tuning-and anotherbutton that switches the mutingthreshold between values of 17 and27 dnf. Two 75 -ohm FM antennascan be connected to the receiver(one can be the input from a cable

system), with front -panel pushbut-ton selection.

An interesting feature of the On-kyo TX -890 is its Automatic Preci-sion Reception (APR) system forstereo FM. Depending on receptionconditions, the system automati-cally switches the tuner's RF gainbetween the local and distant set-tings, turns a noise -reduction circuiton or off, turns the high -frequencyblend on or off, or, in the worst case,switches the tuner to mono. Illumi-nated words in the display windowshow the tuner's full operating sta-tus at all times. Although the APRsystem can be defeated by a button,there is no individual control of itsvarious operating parameters otherthan mono/stereo mode selection.For mono sources, there is a switch -able simulated -stereo circuit thatuses phase -shift techniques to add asense of breadth and spaciousness.

The display window shows theselected source for listening and forrecording, the frequency, the presetchannel number, and the signalstrength of a tuned station, and thesettings of virtually every pushbut-ton control on the panel. A head-phone jack, selector buttons for twopairs of speakers, the cartridge (MMor nic) selector button, the mainpower button, and a SYSTEM POWERbutton are also on the front panel.As long as the main power button ison, the receiver is in a standbymode and can be switched to full

STEREO REVIEW DECEMBER 1989 57

TEST REPORTS

operation with the SYSTEM POWERbutton or the remote control.

The rear apron of the TX -890 hasall the audio and video input andoutput jacks as well as separatepreamplifier outputs and main -am-plifier inputs, which are normally

joined by jumpers. Remote -controlconnectors enable certain Onkyoturntables, cD players, and tapedecks to be operated through thereceiver. The speaker outputs areinsulated binding posts that acceptstripped wire ends or single or dual

FEATURES

Digital frequency -synthesisAM/FM tuner with twenty stationpresets

O Defeatable Automatic PrecisionReception (APR) system to selectoptimum tuner modes for FMreception

O Interstation muting levelswitchable between 17 and27 dBfTuning steps for FM switchablebetween 50 and 25 kHz

O Inputs for two FM antennas,switchable from front panel

O Detachable wire -loop AMantenna

Logic -controlled selector buttonsfor five audio and two videoinput sources

O CD DIRECT switch to bypass toneand balance controls

O Phono input switchable for MMor MC cartridge

O Bass and treble tone controls

Independent selection ofprogram sources for listeningand recording

O Selective Tone/LoudnessControl

O Dynamic Bass ExpanderO Video dubbing facilitiesO Composite -video output to

monitor Simulated -stereo processing for

mono sourcesU Discrete transistors with high

current capability in outputstage

Pre-out/main-in jacks (joined byremovable jumper)

Connections for two pairs ofspeakers with independentfront -panel selectionFront -panel headphone jack

U Infrared remote control, canoperate compatible Onkyosource components throughreceiver

LABORATORY MEASUREMENTS

Tuner Section (all figures for FMonly except frequency response;measurements in microvolts, orµv, referred to 75 -ohm input)

Usable sensitivity: mono, 10.7dBf (0.95 µv); stereo, 13.5 dBf(1.3 µv)

50 -dB quieting sensitivity: mono,11 dill (1 µv); stereo, 34 dBf(13.8 mv)

Signal-to-noise ratio at 65 dBf:mono, 79 dB; stereo, 75 dB

Harmonic distortion (THD +noise) at 65 dBf: mono, 0.15%;stereo, 0.28%

Capture ratio at 65 cliff: 2.3 dBAM rejection: 75 dBSelectivity: alternate -channel, 80

dB; adjacent -channel, 8.5 dBStereo threshold: not measurable

(see text)Pilot and subcarrier leakage: 19

kHz, -74 dB; 38 kHz, -72- dBHum: -74 dBStereo channel separation at 100,

1,000, and 10,000 Hz: 54, 62.5,41.5 dB

Frequency response: FM, +0.4,-0.75 dB from 30 to 15,000 Hz;AM, -6 dB at 55 and 2,200 Hz

0 Amplifier Section1,000 -Hz output power at clipping:

158 watts into 8 ohms, 250 wattsinto 4 ohms, 425 watts into 2ohms (one channel driven)

Clipping headroom (relative torated output): 1 dB

Dynamic power output: 265 wattsinto 8 ohms, 340 watts into 4ohms, 485 watts into 2 ohms

Dynamic headroom: 3.26 dBMaximum distortion (20 to 20,000

Hz into 8 ohms): 0.0155% at20,000 Hz and 125 watts output

Sensitivity (for a 1 -watt output into8 ohms): Cu, 2.15 my; phono,0.217 my (MM), 0.0125 my (MC)

A -weighted noise (referred to a1 -watt output): CD, -75.8 dB;phono, -73.7 dB (mm), -71.5dB (MC)

Phono-input overload: MM input,168 to 175 my from 20 to20,000 Hz; MC input, 12.6 my to16 my from 20 to 20,000 Hz

Phono-input impedance: 47,000ohms in parallel with 180 pF

Tone -control range: 100 Hz, +10,-9 dB; 10,000 Hz, +7.5, -9 dB

Selective Tone/Loudness range:50 Hz, +15 dB; 16,000 Hz,+8 dB

banana plugs. Two of the three ACoutlets are switched.

The TX -890 is supplied with aninfrared remote control that dupli-cates its key functions: powerswitching, input selection, tunerpreset selection, and volume adjust-ment (the receiver's volume knob isturned by a motor in remote opera-tion). The remote unit also has a"muting" button, not present on thereceiver panel, that lowers the vol-ume 20 dB, but most of its buttonsare dedicated to operating otherOnkyo components that may beplugged into the receiver's remote -control sockets. The receiver is alsoavailable as the TX -890M with auniversal remote control that canlearn and mimic the commands ofother remote controls.

The Onkyo TX -890 is a large,heavy receiver, measuring 181/4

inches wide (including its decora-tive wood -grain side panels), 17inches deep, and 61/4 inches high. Itweighs just under 33 pounds. Price:$820 (TX -890M, $880). OnkyoU.S.A. Corp., 200 Williams Dr.,Ramsey, NJ 07446.

Lab TestsThe FM tuner section of the On-

kyo TX -890 surpassed its sensitivi-ty specifications handily, with usa-ble -sensitivity measurements of10.7 and 13.5 dBf in mono and ster-eo, respectively, and corresponding50 -du quieting readings of 11 and 34dBf-all excellent figures. It is oneof the very few tuners we havetested that allows stereo receptionwith good separation down to ex-tremely low signal levels (5 dBf, or0.5 microvolt into its 75 -ohm an-tenna input), even though the noiseunder such conditions is so greatthat listening becomes impractical.When the APR system is activated,however, the tuner will graduallyblend the two channels as signalstrength decreases and eventuallyswitch to mono.

The tuner's noise levels at a 65-dBf input were -79 and -75 dB inmono and stereo, respectively, withcorresponding distortion readingsof 0.15 and 0.28 percent. As withsome other tuners, there was a slightadditional reduction in noise anddistortion at higher signal levels, 85dB or greater, which are rarely avail -

58 STEREO REVIEW DECEMBER 1989

Old Records,New Life

Iwanted a better cassette deck.So one Saturday I dropped by ahi- fi store. The salesman took meinto one of the sound rooms for ademonstration. Racks of equipmentwere everywhere. He started tomake a recording and I immediatelyfell in love with the music. It wasso clean, so rich, so dynamic.

"What CD is that?" I asked.He didn't hear me over the

music but it didn't matter because Iquickly saw that I wasn't listeningto a CD at all. It was a record.

I made quick mental notesof the system I was hearing. I walkedover to the wall of speakers anddiscovered that KLIPSCH® kg4s®were playing. That was the first timeI had truly heard wide dynamicrange.

I didn't buy a cassette deckthat day. I spent less money andbought a new pair of kg4s. They'veput new life in my old recordcollection. My CDs sound simplyawesome. I never heard music soclearly.

For your nearest KL1PSCH dealer,look in the Yellow Pages or call tollfree, 1-800-223-3527.

kIipESIN SOUND.'

P.O. BOX 688 HOPE, ARKANSAS USA 71801CIRCLE NO. 2 ON READER SERVICE CARD

TEST REPORTS

able in most locations. Stereo chan-nel separation was exceptional-between 54 and 63 dB from 30 to3,500 Hz and a still impressive 39dB at 15,000 Hz. The capture ratiowas 2.3 dB, and image rejection wasmarginal at 48 dB, but the 75 -dB AMrejection and 80 -dB alternate -chan-nel selectivity were very good. TheAM tuner section had the usualrestricted frequency response, down6 dB from its midrange (400 -Hz) lev-el at 55 and 2,200 Hz.

The TX -890's power -amplifiersection was awesome and possiblyunique among receivers for its tre-mendous power capabilities. Onkyonotes that the output stages use dis-crete devices, instead of the poweric's often used in receivers, in orderto deliver their full rated power con-sistently into low -impedance loads.Our clipping -power readings of 158watts into 8 ohms, 250 watts into 4ohms, and 425 watts into 2 ohmswould seem to confirm that claim.The first two measurements weremade with both channels driven,but we drove only one channel into2 ohms to minimize the likelihoodof blowing out a line fuse (an inter-nal component that is not ordinarilyuser -replaceable).

As with most receivers, the On-kyo TX -890's FTC power ratingsare limited to 8 -ohm operation. Un-like most, it also carries a dynamicpower rating of 380 watts per chan-nel into 2 ohms. Our dynamic pow-er measurements gave readings of265 watts into 8 ohms, 340 wattsinto 4 ohms, and a staggering 485watts into 2 ohms.

The distortion (including noise)was between 0.0042 and 0.0049 per-cent from 20 to 10,000 Hz at therated 125 watts output into 8 ohms,rising to 0.0155 percent at 20,000 Hzbecause of the added noise in the80 -kHz measurement bandwidthnecessary to include the harmonicsof a 20 -kHz signal. The distortionwas almost entirely third -harmonic.At 1,000 Hz, the distortion into 8ohms was between 0.0042 and 0.027percent from 1 to 150 watts. Read-ings into 4 ohms were slightly high-er, 0.005 to 0.036 percent between 1and 200 watts. Even into 2 ohms(driving only one channel), the1,000 -Hz distortion was between0.0078 and 0.03 percent from 1 watt

to more than 400 watts. The slewfactor of the amplifier was 4.5, withincreased third -harmonic distortionappearing at about 90 kHz.

The amplifier input sensitivity fora 1 -watt reference output was 2.15millivolts (mv) for a high-level in-put, 0.217 my (MM) and 0.0125 my(Mc) for the phono input. The corre-sponding A -weighted noise levelswere -75.8, -73.7, and -71.5 dB.The phono preamplifier overloadedat 168 to 175 my in its MM settingand at 12.6 to 16 my when set forMc cartridges. When it was over-loaded at 20,000 Hz-a conditionvery unlikely to occur when actuallyplaying records-the output wave-form either collapsed or "motor -boated" (oscillated at a very low fre-quency). The phono-input imped-ance was 47,000 ohms in parallelwith 180 pF, and the RIAA phonoequalization was accurate within aremarkable ± 0.1 dB from 20 to20,000 Hz.

The tone -control characteristicswere conventional, with a variableturnover frequency in the bass andhigh -frequency curves hinged atabout 2,000 Hz. The Selective Tone/Loudness control provided a widerange of curves, some of which weremore suitable for certain forms oftone -control equalization than forloudness compensation. At its lowersettings, only the bass was boosted,by as much as 6 dB at 20 Hz, withless than 1 dB change at 200 Hz andhigher frequencies. Near the upperpart of the control range, the bassboost was centered at 40 to 50 Hz,with a maximum amplitude of 15dB, and the highs were increased byas much as 8 dB at 16,000 Hz.

The simulated -stereo mode, usa-ble only with a mono signal, intro-duced a smoothly varying phaseshift between the outputs of the twochannels. The phase shift was 90degrees at 20 and 20,000 Hz and 0degrees at 600 Hz; frequency re-sponse was not affected. Subjective-ly, the circuit did a good job ofexpanding the width of a mono pro-gram, which no longer soundedmonophonic (it might be describedas sounding like somewhat "pha-sey" stereo, with larger apparent di-mensions than the mono pro-gram).

We were unable to find any signif-

icant audible or measurable effectfrom using the Dynamic Bass Ex-pander. Once or twice it seemed toadd a minute amount of warmth tothe sound, but if this was theintended action, it hardly seemsworth the inclusion of a button andslide control, let alone the circuitryassociated with them.

CommentsThe Onkyo TX -890 is a distinc-

tively "different" stereo receiver inthe fine points of what it does andhow it does it. Superficially, the TX -890 may not look much differentfrom some other high -power receiv-ers, but the amount of good, cleanaudio power it can deliver places itpretty much in a class by itself. Thisis one receiver that should be able todrive almost any speaker (or combi-nation of speakers) to the highestlevels that the speakers-or listen-ers-can tolerate, without evenworking up a sweat.

Moreover, the TX -890 is an ob-viously flexible control center, evenwith source components from dif-ferent manufacturers. With compat-ible Onkyo components it can func-tion as a true system control, withremote operation of all units from asingle hand-held controller.

Most of the many features that wewere able to use did their jobs effec-tively. It was not easy to judge theAPR tuner system with our avail-able broadcast signals, since almostall receivable stations activated thesame options, and without externalcontrol over them we could notjudge their effectiveness. The Selec-tive Tone/Loudness control, to oursurprise, was an excellent means ofboosting low -bass response withoutboominessi and seemed to have littlein commoh with typical loudness -compensation controls, whichhopelessly muddy and unbalancethe system frequency response.

Perhaps the best thing about theTX -890 was just that it sounded sogood! There was a distinctive easeand smoothness to its sound, espe-cially while it was playing FM broad-casts, which probably reflected theexcellent qualities of its tuner sec-tion. Whatever the reasons, wefound the Onkyo TX -890's combi-nation of features, performance,and sound thoroughly satisfying. El

60 STEREO REVIEW DECEMBER 1989

Introducing the300-watt mo

Adcom stereo componentshave a loyal and devoted

following, having earneda reputation among audiophiles, engineers andmusicians for extraordinary performance ataffordable prices. Now Adcom introduces its newestamplifier, the no compromise GFA-565, for thosein pursuit of absolute power and sonic perfection,but who prefer not paying a king's ransom.

The Evolution of Adcom's GFA-565Adcom's new mono GFA-565 evolves from

the design of the critically acclaimed GFA-555,greatly extending its capabilities. Representingbrute strength, it delivers 300 watts at 8 ohms,450 watts at 4 ohms and an awesome 850 wattsat 2 ohms!'' Most significantly, it will accuratelydrive even esoteric loudspeakers which ?resentloads as low as 1 ohm.

Inspired by the GFA-555, the new GFA-565'swell -regulated, high -current power supply has anenormous reserve capacity to meet tremendousdynamic demands, resulting in distortion -freereproduction on a continuous basis.

Adcom GFA-565no amplifier.

Why Use Two Mono Amplifiers?The ability to deliver very high power into

complex loads is a prerequisite for superior soundreproduction. Power supplies capable of deliveringthe energy necessary for high power, high -currentamplifiers are massive. But there are practicallimits to the size and weight of stereo amplifiersdesigned for home use, as well as heat dissipationand reliability constraints. Consequently, the useof two Adcom GFA-565 mono amplifiers offersoptimum sound definition, detail and dynamics,satisfying even the most demanding perfectionist.

More Sound, Less MoneyLike the GFA-555, the new Adcom GFA-565

sounds superior to amplifiers costing two and threetimes as much. It is so powerful and pure that itmay be the last amplifier you ever buy, even if youupgrade your loudspeakers several times over theyears. And that makes the GFA-565 an extraordinarybargain considering its exceptional performance.

*Continuous power output, 20 Hz - 20 kHz <0.02% THD,measured in accordance with F7C specifications.

(over please)

The Adcom GFA-565:details you can hear.

High -CurrentOutput Stage

More and more oftoday's high performanceloudspeakers exhibit verylow impedances andparticularly difficult loads.Many so-called esotericamplifiers are incapable ofdelivering large amountsof undistorted powercontinuously into thesecomplex loads therebydefeating the objectives ofthe loudspeaker's design.

The GFA-565's highlyadvanced, triple Darlingtonoutput stage featuring 20 rugged,discrete output transistors isdesigned to deliver extremelyhigh -current at low impedancesand reactive loads. No protectioncircuitry or current limiting devices

0 0 0 0 0

SpecificationsPower output, watts/channel,continuous, 20 Hz - 20 kHz,<0.02% THD: 8 ohms/300

4 ohms/4502 ohms/850

Signal-to-noise ratio, A -weighted,full output: >106 dBInput impedance: 50-700 ohmsInput sensitivity:

For rated output: 2.15 VFor 1 watt: 130 mV

Damping factor (20 Hz - 20 kHz):>1000 0 8 ohmsDynamic headroom (at 4 ohms):1.6 dB

Voltage: 120 V/60 Hz (available in220 V/50 Hz on special order)Dimensions: 17" x 854" x 111/2"D(432 mm x 210 mm x 292 mm D)Shipping weight: 45 lbs (20.50 kg)Available options:565 FAN: Top mounted, automaticallyvariable, ventilating fan.565 BAL: Rear mounted, symmetrical(balanced line) input circuit.RM-8 rack mount adaptors.White front panel and switch.

Adcom components are also available with white front panels.Shown: GFA-545 with GFP-555 preamplifier

and GF7:555 AM/FM stereo tuner.

are incorporated which wouldrestrict the delivery of full poweroutput. Protection against shortterm overloads, short circuitsor long term, excessive outputis achieved by non -interferingpower supply fuses and thermalcircuit breakers.

Well Regulated,High -Current Power Supply

Advancements in CD technologyand the introduction of digital audiotape have created opportunities toreproduce the full dynamics andpsychoacoustic experience of alive musical performance. Torealize the full potential of thistechnology, amplifiers andloudspeakers must be capable ofdelivering tremendous energycontinuously, not just for tinyfractions of a second.

The massive power supply ofAdcom's GFA-565, featuring70,000 microfarads of filtercapacitance and a huge 1.25kVAtoroidal power transformer, hasenormous reserve power capability.This is a no compromise powersupply that eliminates all audible

CIRCLE NO. 60 ON READER SERVICE CARD

limitations. Hum, vibrationand noise, the byproducts oflesser power supplies, havealso been reduced to anabsolute minimum. Formost home applications,the optional variable speedcooling fan is unnecessary,making the GFA-565 asilent performer despite itsformidable power.

InstantaneousDistortion Alert

A highly accurate LED on thefront panel is activated by a uniquemonitor circuit if any form ofdistortion-THD, IM, TIM, SID,etc.-exceeds 1 percent. This willprovide ample warning that themusic system is being operatedbeyond its design parameters.

Ask for a Demonstration

No amount of words ortechnical specifications willadequately describe the experienceof listening to a music systemfeaturing a pair of Adcom GFA-565amplifiers. If you are one of thosefew who are seeking real powerand sonic perfection, pleasecontact your authorized Adcomdealer for a demonstration of thismost remarkable audio component.

Adetails you can hear 20

11 Elkins Road, East Brunswick, NJ 08816U.S.A. (201) 390-1130

8

Distributed in Canada by PRO ACOUSTICS INC.Pointe Claire, Quebec H9R 4X5

TEST REPORTS

HAFLER IRIS PREAMPLIFIERJulian Hirsch, Hirsch -Houck Laboratories

THE Hafler Infrared RemoteIntegrated System, or IRIS,consists of two audio com-ponents, a preamplifier and

an FM tuner, that take some un-usual, perhaps even unique, ap-proaches to circuit design and sys-tem interconnection, particularly intheir remote -control facilities. TheIRIS preamplifier can be used withany tuner and power amplifier, andit also has inputs for a turntable, aCD player, two audio tape decks, theaudio from a video source, and twoauxiliary sources.

The preamplifier's dark -bluefront panel contrasts with its blackcabinet. White markings above theeight input selectors identify the op-tions; the one for the selected inputis illuminated in bright yellow -green. Two similar buttons, MUTEand NORM, activate or disable a 20 -dB audio level reduction. These tenbuttons have a short, positive traveland operate through electronicswitching circuits.

To the right of the input selectorsand mute buttons are six round but-tons that engage mechanically when

depressed and are released by a sec-ond push. These controls are usedto connect one or two tape decks forrecording the selected source, tomonitor the playback from eitherdeck, to insert an external signal -processing accessory in the signalpath through the EPL (external -pro-cessing -loop) jacks in the rear of thepreamplifier, and to parallel the twostereo channels for mono operation.A button at the far right of the panelswitches the power on and off. Theremaining front -panel controls arethe volume and balance knobs.

The rear apron of the Hafler IRISpreamplifier contains the signal in-put and output jacks (the phonojacks are gold-plated) and three ACoutlets, two of them switched. Asmall pushbutton next to the phonoinputs increases the phono-pream-plifier gain by 20 dB and reduces itsterminating resistance from a nomi-nal 47,000 ohms to 100 ohms for amoving -coil (MC) cartridge.

One of the distinguishing charac-teristics of the IRIS preamplifier isits remote -control unit. About thesame length and width as most

8

infrared controls but 11/2 inchesthick, the IRIS controller has onlytwelve buttons and two knobs (vol-ume and balance). The remote con-trol radiates its infrared pulses fromtwo clear LED's arranged in a V-shape and protruding from the pan-el of the remote. The signal is muchmore powerful than from conven-tional remote controls, enabling theIRIS controller to operate the sys-tem over a considerable distancewithout necessarily being aimed di-rectly at the preamplifier.

When the preamplifier is turnedon, its volume and balance knobsappear to operate conventionally.They actually supply a variable DCcontrol voltage to Hafler-developedCyber-Optic solid-state potentiome-ters employing cadmium -sulfidephotoresistors. If either of the corre-sponding knobs on the remote con-trol is touched, a green light on thepreamplifier's panel flashes rapidlyto show that control has beenpassed to the remote unit. Volumeand balance adjustments are thenperformed from the remote posi-tion. Touching one of the front -pan-el knobs restores their control.

The remote control senses the po-sitions of its knobs eight times persecond and transmits the informa-tion to the preamplifier as 32 -bitdigital words, amplitude and fre-

STF.REO REVIEW DECEMBER 1989 65

44

Cambridge SoundWorksVlay Have The Best ValueIn The World.AWinner

Cambridge SoundWorks hascreated Ensemble, a speaker sys-tem that can provide the soundonce reserved for the best speakersunder laboratory conditions. It vir-tually disappears in your room.And because we market it directly,Ensemble costs hundreds less thanit would in stores.

Henry Kloss, creator of the dominant speakermodels of the '50s (Acoustic Research), '60s(KU -0 and '70s (Advent), brirgsyou CambrickeSoundl4brks, a genuinely new kind of speakercompany for the '90s.

The best sound comes infour small packages.

Ensemble consists of fourspeaker units. 'Ilvo compact low -frequency speakers reproduce thedeep bass, while two small satelliteunits reproduce the rest of themusic, making it possible to repro-duce just the right amount ofenergy in each part of the mu-sical range without turningyour listening room into astereo showroom.

No matter how well a spea-ker performs, at home the lis-tening room takes over. Roomacoustics emphasize and de-emphasize various parts of themusical range, depending on

"Very muchin theHenry Klosstradition...another hi-fi

milestone:'NI]Review

David Clark -Audio Magazine Sept. '89

where the speaker is placed in theroom. If you put a conventionalspeaker where the room can help thelow bass, it may hinder the upperranges, or vice -versa.

Your listening room workswith Ensemble, not against it.

Ensemble, on the other hand,takes advantage of your room'sacoustics. The ear can't tell wherebass comes from, which is whyEnsembles bass units can betucked out of the way-on the floor,atop bookshelves, orunder furniture. The satel-lites can be hung directlyon the wall, or placed onwindowsills or shelves.No bulky speaker boxesdominate your livingspace, yet Ensemble re-produces the deep bassthat no mini speakers can.

Unlike seemingfr similar satellitesystems which use a single large

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Thg fit more gracefulfr intoyour&vitt environment, and help

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"Ensemble & Ambia -Ice are track tk of Cambridge SoundWorks, Inc.

Not all the differences are asobvious as our two subwoofers.

Unlike seemingly similar three-piece systems, Ensemble uses pre-mium quality components formaximum power handling, individ-ual crossovers that allow severalwiring options and cabinets rug-gedly constructed for proper acous-tical performance. V* even gold-plateall connectors to prevent corrosion.An even bigger difference is howwe sell it.

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Thousands agree: the bestshowroom is your living room.

Choosing a loudspeaker after abrief listen at a dealer's showroom islike deciding on a car after onequick trip around the block. So wemake it possible to audition Ensemblethe right way -in your own home.In fact, Ensemble is sold only byCambridge SoundWorks directlyfrom the factory.

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You get to listen for hours with-out a salesman hovering nearby.If after 30 days you're not happy,return Ensemble for a full refund(we'll even reimburse the originalUPS shipping charges in the conti-nental U.S.).

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Introducing Ambianceby Henry Kloss.

Ambiance- is an ultra -compactspeaker that proves high perfor-mance, small size and low costneed not be mutually exclusive.Ambiance is ideal for bedrooms,dens, dorm rooms...or for use asan extension speaker or in sur-round -sound systems. While nospeaker of its size can provide thesame low bass and total volume asour Ensemble system, Ambiancehas more output in the 40Hz regionthan any "mini speaker" we'veencountered. Indeed we know ofno compact speaker that outper-forms Ambiance, including thosecosting hundreds more. Ambianceis only $109 per speaker in Nextelor primed for painting; $129 in solidoak,* and comes with our 30 daymoney -back guarantee.

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CIRCLE NO. 157 ON READER SERVICE CARD

TEST REPORTS

quency modulated on the infraredcarrier at frequencies of 25,000 to35,000 Hz. This system can transmitas many as 65,000 possible combi-nations of volume and balance fromthe remote to the preamplifier. Af-ter digital -to -analog conversion ofthe remote signal in the preampli-fier, the corresponding Cyber-Opticcontrol is electronically adjusted (insteps of about 0.25 dB) to match theremote knob setting.

Eight of the remote -control but-tons correspond to the front -panelinput selectors. The others operateand clear the mute function andredefine the remote's input -selectorbuttons to perform different func-tions for other IRIS components(currently, only the tuner). In thetuner mode, the input selectors be-come preset station selectors andup/down scan controls.

The Hafler engineers concludedthat they could obtain better audioquality from junction field-effecttransistors (J-FET's) than from con-ventional bipolar transistors. Ac-cordingly, only J-FET's (thirty-two inall) are used in the active signalpaths of the IRIS preamplifier. Eachphono-preamplifier channel usessix J-FET's, followed by a solid-stateinput source switch and a J-FET iso-lating buffer stage. Following thetape-recording, tape -monitor, andexternal -processor switching andthe Cyber-Optic volume and bal-ance controls, the signal is pro-

cessed only by the line amplifier,using eight 3-FET's per channel.

The Hafler IRIS preamplifiermeasures a compact 17 inches wide,81/2 inches deep, and 3 inches high,and it weighs 81/2 pounds (the com-panion tuner is the same size andweight). The IRIS remote control is74's x 234 x 11/2 inches (plus a 1/2 -inchknob extension). Price: $800 withremote control, $650 without. Da-vid Hafler Co., Dept. SR, 613 S.Rockford Dr., Tempe, AZ 85281.

Lab TestsThe Hafler IRIS preamplifier has

a high signal output capability, clip-ping at about 8.85 volts. Up to a 2 -volt output level, its 1,000 -Hz totalharmonic distortion (THD) was lessthan 0.0032 percent (it was unmeas-urable, less than 0.001 percent, at 1

volt). Even at 8 volts, the ratedmaximum output, distortion was anegligible 0.06 percent.

The sensitivity, for a referenceoutput of 0.5 volt, was 34 millivolts(my) at a high-level input, 0.32 myat the phono input in its standard,moving -magnet (MM) mode, and 38microvolts GM at the phono inputin its Mc mode. The respective A -weighted signal-to-noise ratios were83.5, 77.2, and 75.2 dB. The phono-preamplifier section overloaded at65 my in the MM mode and 6.5 myin the Mc mode. Unlike most phonopreamplifiers, this one had an over-load level (corrected for the RIAA

FEATU RFS

CI Only J-FE'l components used insignal circuits

Cyber-Optic solid-state levelcontrol

CI Pushbutton input selection:phono, Cu, tuner, video, tape Iand 2, auxiliary I and 2

111 Provision for tape monitoring,external -processor loop

Phono preamp switchaole formoving -coil cartridge

0 Infrared remote -control unitduplicates all front -panelfunctions, has volume andbalance knobs; can also control(through the preamp) HaflerIRIS FM tuner and possiblefuture IRIS components

LABORATORY MEASUREMENTSClipping output level: 8.85 voltsSensitivity (for 0.5 -volt output):

Cu, 34 my; phono, 0.32 my(MM) and 38 AtY (MC)

A -weighted noise (referred to a0.5 -volt output): CD, -83.5 dB;phono, -77.2 dB (MM) and-75.2 dB (Mc)

1,000 -Hz distortion (THD):0.0032% at 2 volts

Phono-input overload (20 to20,000 Hz): MM, 65 mV; MC,6.5 my

Phono-input impedance: 44,000ohms in parallel with 200 pF

RIAA equalization error: +0.3,-0 dB from 20 to 20,000 Hz

equalization characteristic) that wasessentially uniform across the fullaudio range from 20 to 20,000 Hz.The phono-input termination was44,000 ohms in parallel with a 200-pF capacitance (the rating is 47,000ohms and 220 pF). The user canchange the MM shunt capacitanceand the 100 -ohm Mc input resist-ance by plugging components of thedesired values into the circuitboard. The preamp does not comewith resistors or capacitors for thatpurpose, however.

The preamplifier's frequency re-sponse varied less than 0.1 dB from20 to 10,000 Hz, falling off to -0.28dB at 20,000 Hz and -3 dB at80,000 Hz. The phono-equalizationresponse error was +0.3, -0 dufrom 20 to 20,000 Hz.

COM/11MSNot surprisingly, in view of our

test results, the Hafler IRIS pream-plifier performed very well. Its lownoise, complete freedom fromswitching transients, and overallsmoothness of operation were ex-emplary. Aside from the noise lev-els, the measurements that im-pressed us most were those forphono overload, which demon-strated ideal characteristics. Wecannot think of another preampli-fier we have tested whose phonooverload level did not show somevariation with frequency: Some-times the figure at 20,000 Hz is lessthan 50 percent of the midrange val-ue, and there is frequently erratic orunstable behavior at the point ofoverload. In contrast, the IRISoverloaded in an ideal fashion, withsoft and symmetrical clipping, sothat the only variable was the hu-man error in estimating when thewaveform began to clip.

We have no way of knowingwhether this feature has any directcorrelation with the sound of thepreamplifier, which was as good aswe have heard-that is, it had no"sound" of its own at all, as is prop-er for a component that should betotally neutral. But to us it signifiesa degree of expertise that is notoften seen in the design of consumeraudio equipment. And the sameskill went into the design of thepreamplifier's control circuits andits remote -control system.

68 STEREO REVIEW DECEMBER 1989

TEST REPORTS

The IRIS controller is at least asunusual as any of the active signalcircuits of the IRIS preamplifier. Itis easily the most intuitive remotecontrol we have used. A glance atthe manual is enough to learn itsbasic operating features, after whichits use is automatic, without fum-bling or guessing. Better yet, it is(and presumably will continue tobe) a multicomponent control. Weused the IRIS FM tuner with thepreamplifier and found no prob-lems in using the same buttons onthe remote unit for different func-tions (they are, after all, related inbeing selections, whether of presetsor signal sources). It is not hard tosee how the controller's use could beextended to a CD player or othercomponent.

The knob -operated remote vol-ume control is another feature thatsets this unit apart from the rest.True, there are many remote -con-trol systems that adjust volume bymeans of up/down pushbuttons, butthat cannot match the feel of turn-ing a knob. We did note a slighttime lag in the operation of the vol-ume control, especially when thevolume change was large, but thatwas easy to get used to. As Haflerclaims, the level variations soundcontinuous, with no trace of "step-ping." We also confirmed that theremote control operated the pream-plifier regardless of where it waspointed or located in the room. Ifthe green light on the preamplifierpanel blinks rapidly when one of theremote unit's knobs is touched, youknow that the control link is func-tioning.

Another appealing characteristicof the Hafler IRIS preamplifier wasits totally transient -free operation.The only result of pressing a buttonwas the intended one, with never aclick or thump to mar the effect.This may not seem like an unusualproperty, but it is surprising to findhow many components accompanya control operation with some sortof click or other extraneous sound.

The Hafler IRIS system, as exem-plified by the preamplifier, is bothnovel and useful, to say nothing ofdelivering outstanding audio per-formance. We look forward to fu-ture extensions of this concept.Circle 140 on reader service card

DESIGN ACOUSTICS PS -3MICRO -MONITORSPEAKER SYSTEMJulian Hirsch, Hirsch -Houck Laboratories

THE Design Acoustics PS -3Micro -Monitor speaker sys-tem consists of two smallsatellite speakers and a sep-

arate bass module. Although themanufacturer refers to the bassmodule as a "subwoofer," its oper-ating range extends to 200 Hz, wellabove the subwoofer range.

The satellites are true minispeak-ers, measuring only 74's inches high,47/s inches wide, and 41/4 inches deepand weighing a mere 31/2 poundseach. Their attractive oak -grainwooden cabinets are finished on allsides and have rounded edges. Eachtwo-way satellite contains its owncrossover network and has a 31/2 -inch "woofer" with a compliantrubber surround, operating in asealed volume, and a 3/4 -inch poly -carbonate dome tweeter with ferro-

1111111111

fluid cooling that takes over above3,000 Hz. Spring -loaded connectorson the back of the cabinets acceptstripped wire ends.

The bass module, a black -finishedbox measuring 21 inches wide, 13inches deep, and 63/4 inches high, isdesigned to be placed on the floor,where it may be concealed fromview. It contains two separate 61/2 -inch drivers with treated -papercones and Kapton voice -coilformers for increased power -han-dling ability. Each bass driver hasits own input terminals and cross-over network (a 200 -Hz low-pass fil-ter). The drivers face downward andradiate through a 7M -inch -wide slotnext to the floor around the periph-ery of the enclosure. The bass unitweighs 25 pounds.

Since each speaker unit contains

SFEREO REVIEW DECEMBER 1989 69

TEST REPORTS

its own crossover components, sys-tem wiring is simple. You simplyconnect the drivers for each channelin parallel, taking care to maintaincorrect polarity throughout the sys-tem. There is complete flexibility inrouting the wires between the threemodules and an amplifier or receiv-er since the sequence of connectionis unimportant.

Speaker placement is also muchmore flexible than in conventionaltwo -unit speaker installations. Thesatellites can be placed in any acous-tically desirable position with aminimum of aesthetic compromise.For example, they will fit inconspic-uously on any bookshelf, evenamong paperback books. The satel-lites can also be hung on walls (theback panels are slotted) or placed onfree-standing pedestals. The bassmodule can be located almost any-where, flat on the floor or on one ofits sides to fit behind furniture,although it is desirable to have it atthe end of the room containing thesatellites. The bass response can beadjusted for the best sound bychanging the position of the bassunit relative to the room walls.

The PS -3 Micro -Monitor systemspecifications include a frequencyresponse of 50 to 20,000 Hz, with notolerance given, and a power -han-dling rating of 20 to 100 watts perchannel. The rated sensitivity is 88dB sound -pressure level (sPL) at 1

meter with a I -watt input. Price:$600 for the complete system. De-sign Acoustics, Dept. SR, 1225Commerce Dr., Stow, OH 44224.

Lab TestsWe placed the PS -3 satellites on

26 -inch stands about 2 feet in frontof a wall. The bass module was flaton the floor, midway between themand about the same distance fromthe wall. The room response had theusual irregularities below 500 Hz be-cause of boundary effects, and thespeakers' output dropped off byroughly 10 dB between 4,000 and20,000 Hz.

The close-miked frequency re-sponse of one of the bass driversresembled the response of a reso-nant circuit tuned to 100 Hz with aQ of about 3.5. Relative to its maxi-mum value, the output was down15 dB at 50 Hz and down 12.5 dB at

the nominal crossover frequency of200 Hz. The satellite "woofer" hadan extremely flat, smooth responseover much of its range, varying only± 1 dB from 165 to 1,400 Hz (the

close-miked measurements are notvalid at higher frequencies).

Combining room curves andclose-miked response curves toform a composite curve is a trickyprocess for any conventional speak-er system. It is much more difficultfor a three-piece system since the

Listening blind to the DesignAcoustics PS -3 Micro -Monitor,without knowledge of itscomponents, you would neverguess that most of its soundcomes from two tiny speakers.

bass module's contribution dependsin large measure on its location,both in the room and relative to thesatellites. Nevertheless, the compos-ite curve we derived from our meas-urements seemed consistent withwhat we heard from the PS -3 sys-tem. The output was within ± 5 dBfrom 60 to 20,000 Hz. Despite thesmall size of the tweeters, they be-came directive above about 4,000Hz. From on -axis to approximately30 degrees off -axis, the output typi-cally varied 5 to 8 dB in the rangebetween 4,000 and 18,000 Hz. The31/2 -inch driver in the satellites had asharp cutoff rate of about 21 dB peroctave below 150 Hz.

The system's minimum imped-ance of 4.8 ohms occurred at 100and 700 Hz, and the maximum was18 ohms at 4,000 Hz. Its sensitivity,measured 1 meter from a satellitewith a pink -noise input of 2.83volts, was a relatively high 91 -dBSPL. The bass module's harmonicdistortion, with a constant input of2.5 volts (equivalent to a 90 -dB sPL),was about 3 percent below 30 Hz,declining to 2 percent at 50 Hz, 0.9percent at 70 Hz, and 0.4 percent orless between 100 and 200 Hz. Theoverall group -delay variation was0.4 millisecond from 1,000 to22,000 Hz.

Despite its diminutive size, the

PS -3 was able to handle consider-able short-term input levels withoutdamage or serious distortion. Thebass module's woofers "bottomed"audibly with a 100 -Hz input of 390watts into the 4.8 -ohm impedance.The capacity of the satellite systemat 1,000 and 10,000 Hz exceeded theoutput capability of our amplifier,which clipped at 1,150 and 825watts, respectively, into the 5.5- and8 -ohm impedance loads at thosefrequencies.

CommentsThe Design Acoustics PS -3, like

most well -designed three-piece sys-tems, sounded much better thanyou might conclude from examina-tion of its room -response curve.With any speaker, of course, there isan uncertain correlation betweenthe shape of the response curve (nomatter how it was measured) andwhat the speaker sounds like in themeasurement environment. And itis absolutely certain that the soundwill be different again in a differentlistening environment.

Listening blind to the PS -3, with-out knowledge of its components,you would never guess that the bulkof its sound comes from two tinyspeakers. Even if they are in plainview, as they were in our installa-tion, any listener would assume thatanother, larger system was playing.The sound in our listening roomwas smooth and well balanced, andeven though the low bass (under 60Hz) did not match that of speakersmuch larger than the bass module, itwas by no means lacking. We didfind it preferable to place the bassunit against the wall for our listen-ing since that gave the overall sounda more balanced character. Al-though the bass unit was close toone satellite and 6 to 8 feet from theother, there was no sense of a sepa-rate bass source.

The Design Acoustics PS -3 is anexcellent choice for installationswhere larger, more visible speakercabinets are unsuitable for any rea-son. Its price is highly competitivewith those of most conventionalsystems of comparable quality. Andif you do place the satellites wherethey are fully visible, they are attrac-tively styled and finished.Circle 141 on reader service card

70 STERpo REVIEW DECEMBER 1989

Tasty littlenumber.

What we have here is an ultra light with taste. And beforeyou say "impossible,' we'd like to point out that Merit Ultra Lights

is one of America's fastest growing brands. Thanks toEnriched Flavor,' the impossible becomes possible.

A tasty little number, indeed.

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MERITUltra Lights -

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SURGEON GENERAL'S WARNING: SmokingCauses Lung Cancer, Heart Disease,Emphysema, And May Complicate Pregiancy.

© Philip Morris Inc. 1989

Kings: 5 mg "tar,' 0.5 mg nicotine ay. per cigarette by FTC method.

TEST REPORTS

CONRAD-JOHNSON DF1COMPACT DISC PLAYER

Julian Hirsch, Hirsch -Houck Laboratories

ATT first sight, it is clear that theConrad -Johnson DFI is un-like any other CD player on

the market. In spite of itscompact chassis-it measures 19inches wide, 12 inches deep, and 33/4inches high-it weighs a surprising-ly heavy 19 pounds. The satin -goldfront panel, slotted for rack mount-ing, contains a single row of round,polished -metal control buttons anda large knob. The display window isonly 7/8 inch high and 25/8 incheswide, and 1 inch of that width isdevoted to the infrared sensor forthe remote control. The windownormally displays only the currenttrack and index numbers, althoughthe total number of tracks appearswhen a disc is first loaded.

One of the buttons below thewindow, marked o/c, opens andcloses the disc drawer, which will

not accept cD-3's without an adap-tor ring. The PROG button is used toenter up to twenty track numbersfor programmed playback, andTIME/TRACK switches the display tothe elapsed time in the currenttrack. Adjacent red lights identifythe selected display mode. The oth-er buttons control the disc transportfunctions, track skipping (PREY andNEXT), and fast search in eitherdirection with audible sound. In thepause mode, four small dots flashsequentially across the bottom ofthe display window.

Between the transport buttonsand the power switch at the right ofthe panel are three controls uniqueamong CD players. The DF1 in-cludes a built-in preamplifier with ahigh-level auxiliary input and in-put/output jacks for use with a tapedeck. The LEVEL knob adjusts the

gain of the preamplifier to a maxi-mum of twenty times the input.One of two pushbuttons jus: left ofthe knob selects the source or thetape -monitor signal, and the othersupplies either an external programsource or the CD player's output toan external amplifier. The four pairsof jacks on the rear apron of theDF1 are marked AUX (for the inputfrom an external signal source),TAPE IN, TAPE OUT/CD DIRECT(which feeds a tape recorder orexternal amplifier with a constant -level signal), and MAIN OUT. Thelast, whose level is controlled by thefront -panel knob, is the normal out-put from the DFI. If a tape deck isnot used, the tape connectors can beused to insert an external signal pro-cessor or equalizer into the signalpath.

Conrad -Johnson considers polari-ty (which the company refers to as"phase") to be an important consid-eration and designed the DFI sothat its direct CD output is nonin-verting, but the preamplifier sectioninverts the signal polarity. A por-tion of the instruction manual ex-plains the significance of signal po-

72 STEREO RF;VIFW DR EMBER 1989

PROF. W. ALLAN

TAO

TEACA passion for excellence.

7733 Telegraah Roac IA:lobelia CA 9D610

CIRCLE NO, 180 ON READER SERVICE CARD

The Mirage M-ls have garnered their fair

share of raves from the industry. They've

invoked such comments as "...I'm completely

bonkers over this product2 and "...the best

conventional loudspeaker of the decade'.'

Upon first listen, most people are astonished

by their sonic transparency. The speakers

virtually seem to disappear. In our view, that'sthe mark of a good loudspeaker.

We've extended

that philosophy to the

Mirage 60 -Series loud-

speakers as well. Each

reflects an overall

concern for natu-

ralness, genuine

musicality and

transparency.

For a freelx)oldet of M- I reviewsfrom seven leading audio publications,write us or see your Mirage (lazier.

Like the M-ls, they're designed for optimum

dispersion. The perceived sound stage is

dramatically extended without compromising

center imaging. The specially -designed woofers

reproduce low frequencies with undaunted

accuracy.

The mark that Mirage has made on the

audiophile world is substantial. From the

flagship M-ls to the wide range offered by the

Mirage 60 -Series, you simply can't do better.

Just give them a listen.

You'll hear what we mean.

mirageAUDIO PRODUC I S INTERNATIONAL CORP.

16411310311w Sc.irl,rouL13. Ontino. Cn.kla 10 IX 165 (416) 321

CIRCLE NO 45 ON READER SERVICE CARD

TEST REPORTS

larity and suggests how to polarize asystem correctly. It also recom-mends experimenting with theorientation of the power plug toreduce hum and noise from systemground loops and leakage paths. Fi-nally, because the company believesthat interconnect and speaker wireshave a considerable effect on theultimate sound, users are advised toconsult their dealers for specificconnection recommendations.

The DFI is based on the well -regarded Philips disc -playing mech-anism, which has apparently beenslightly modified to suit Conrad -Johnson's requirements. The onlyobvious alteration is the addition ofa damping material to the discclamp. The analog and preamplifiercircuits are built on two boards,heavily populated with capacitors.The cabinet, including its base andtop plate, is made of heavy -gaugesteel, accounting for a good part ofthe unit's weight. Heat -sink fins ex-tending from the rear apron help tocool the electronic circuitry. TheDF1 is supplied with an infraredremote control that duplicates itsbasic operating controls and has arepeat button that repeats only aprogrammed sequence of tracks.

The specifications of the Conrad -Johnson DFI are surprisingly mod-est compared with those of othercurrent CD players. The distortionat the direct CD output is rated asless than 0.25 percent, with a noiselevel of 85 dB below I volt. Therated output of 1.1 volts is roughlyhalf that of most CD players. Thedigital -to -analog (D/A) conversioncircuits are said to provide 16 -bitresolution and use four -times -over -sampling (176.4 -kHz) digital filter-ing. Frequency response of the CDsection is rated as 5 to 19,000 Hz±0.5 dB.

The preamplifier section (at theMAIN OUT jacks) has a rated maxi-mum gain of 26 dB, with a 5 -voltmaximum output. Its frequency re-sponse is said to be from 5 Hz tomore than 100 kHz, with hum andnoise in the audio band 82 dB below1 volt output. Distortion is specifiedas 0.25 percent at rated output (pre-sumably 1 volt). Price: $1,595. Con-rad -Johnson Design, Inc., Dept. SR,2800R Dorr Ave., Fairfax, VA22031.

Lab TestsFor most tests, our outputs were

taken from the CD DIRECT (fixed-

FEATI TRES

Single -beam laser pickup Four -t imes-oversampling

(176.4 -kHz) digital filters Display of current track and

index numbers or elapsed timein track: shows total tracks atloadingProgrammable to play up totwenty tracks in any orderTrack skipping and fast scan(with audible sound) in bothdirections

Built-in preamplifier withfront -panel gain control

O Preamplifier input switchablebetween CD and externalhigh-level source

O Tape recording/monitoringjacks

O CD output at fixed level orvariable through preamplifier

O Infrared remote control forfront -panel functions and repeatof programmed sequence

LABORATORY MEASUREMENTS

Maximum output level: fixed,1.157 volts: variable,approximately 6 to 8 volts

Total harmonic distortion at1,000 Hz: typically less than0.01% from -10 to -60 dB,about 0.1% at 0 dB

Signal-to-noise ratio (A -weighted):99.2 dB

Channel separation: 60 dB below1,000 Hz, 56 dB at 20,000 Hz

Maximum phase shift (5,000 to20,000 Hz): -1.2 degrees at20,000 Hz

Frequency response: +0, -1 dBfrom 7 to 20,000 Hz

Low-level linearity error: less than1 dB down to -70 dB, +6 dB at-80 dB, +9 dB at -90 dB

Cueing time: 5 secondsCueing accuracy: AImpact resistance: top, A; sides, ADefect tracking: tracked 1,500 -

micrometer defects on PierreVerany #2 test disc

level) jacks. A 0 -dB, 1,000 -Hz testtrack produced an output of 1.157volts. The frequency -response curveshowed the "ripples" above 1,000Hz that used to be typical of CDplayers but have become rare in thepast couple of years. The responsevariation, referred to a I,000 -Hz lev-el, was +0, - I dB from 7 to 20,000Hz. The 1,000 -Hz distortion, includ-ing noise, was about 0.24 percent at0 dB. Channel separation, identicalfor both channels, was far less thanwe have ever before measured froma home CD player, 60 du up to 1,000Hz and decreasing gradually to 56dB at 20,000 Hz.

The noise -spectrum level duringan "infinity zero" test track wasbetween -110 and -120 dB overmost of the audio range, with a-92 -dB hum peak at 120 Hz. TheA -weighted noise was -99.2 dB. Ata 0 -dB level, the total harmonic dis-tortion (THD) plus noise was con-stant across the audio range up to10,000 Hz, measuring 0.18 percentin the left channel and 0.09 percentin the right channel. The readingsdecreased at higher frequencies to0.05 percent at 20,000 Hz. The1.000 -Hz distortion was typicallybetween 0.006 and 0.01 percentfrom -20 to -60 dB, increasing toabout 0.06 to 0.18 percent at 0 dB.

Although the linearity of theDFI's D/A converters was gooddown to -70 dB, at - 80 dB the out-put was about 6 dB higher than itshould have been, and at -90 dBthe error was +9 dB. Interchannelphase shift was less than 1.2 degreesover the audio range from 5,000 to20,000 Hz. The de -emphasis re-sponse was accurate to within betterthan 0.5 dB up to 16,000 Hz. Thedynamic range (EIAJ) was 88 to 90dB (there was a slight differencebetween the channels). Quantiza-tion noise was about -80 to -81dB. The frequency (speed) error wasa mere 0.0005 percent.

We also made some measure-ments on the preamplifier sectionalone. It apparently uses relativelylittle global feedback, resulting in agradual overload rather than a sud-den onset of clipping at some criti-cal level. At 2 volts output, the THDplus noise was 0.29 percent. increas-ing smoothly to 0.35 percent at 3volts and 0.61 percent at the rated

76 STEREo RFvIF%v DECENIRFR 1989

PRESENTING THE SAME THINGONLY FORYOUR EARS,

What 3-D did for your eyes Technics can do for your ears.Thanks to the virtues of our SA -R477 A/V receiver with

Dolby Surround Sound.*When hooked up to an extra pair of speakers and your

VCR, it can make moving pictures at lot more moving. Forinstance, when the Orient Express crosses your TV screen, itwill sound like it's crossing your living room. Or when you'rewatching a great war film, it willscund like the bade is takingplace around your couch.

This incredibly life -likesound is brought to you inla '-ge part by a special digit:delay circuit. Which allowsyou to decode the signal onmany pre-recorded videotapes and acoustically shape

the size of the room to the sound of the movie.Naturally, with 100 watts of pure power per channel (at

8 ohms, 20Hz - 20kHz with 0.008% THD) it has the powerto keep you on the edge of your seat. However, you certainlywon't rave to leave it. Because this receiver comes with aremote control that can control all compatible Technicsaudio components, and many TVs and VCRs, as well.

Hear the remarkable soundof the SA -R477 A/V receiverat a Technics dealer near you.

You won't need a pair ofthose silly glasses to appreci-ate this type of 3-D. Just agood pair of ears.

Technics Surround Sound A/V Receiver.

TechnicsThe science of sound

.COrnDalibte Wit, software required Dolby and the doubk-D sythba, are regmteert thyyter-at,, Dt,by LaDoratonet, te,nong Drx, thootet,tag, n, roovogettm i P ryerrnan otIntograph of 1 n ,Intent ,ohlesy The T,11.irc Magahno Centta.1

CIRCLE NO 175 ON READER SERVICE CARD

TEST REPORTS

maximum of 5 volts. The outputwas visibly clipped at 8 to 9 volts.The preamplifier frequency re-sponse was ± 0.03 dB from 20 to20,000 Hz.

The Philips mechanism has al-ways been noted for long slewingand access times, and this one wasin that tradition, although it ismuch improved over the earliestversions. Moving from Track 1 toTrack 15 of the Philips TS4 test disctook 5 seconds, about twice as longas most current players and four tofive times as long as the fastest ofthem. The cueing was always accu-rate, however, and the player han-dled and operated smoothly.

In the error -correction test, theDF1 was able to track through a1,500 -micrometer defect withoutaudible problems, but the next high-er level (2,000 micrometers) on thePierre Verany #2 disc shut down theplayer instantly. The player alsoshut down at Track 41 of that disc,which combines a 1,500 -microme-ter defect with minimum trackpitch, and would not play any levelof the track having two successivedropouts. Offsetting these resultswas the way the heavy cabinet iso-lated the laser mechanism from me-chanical shock. Nothing less than ahard slap on the top of the playerwith the palm of the hand had theslightest effect on its playback, earn-ing it an A rating in this respect.

Coin meltsOur measurements of the Con-

rad -Johnson DFI were discouragingwhen compared with the perform-ance of other current CD players. Ingeneral, however, our results agreedwith the specifications in theplayer's manual.

The DF1's analog circuits wereapparently designed with minimalglobal feedback, possibly in accord-ance with the view that high feed-back can cause transient intermodu-lation distortion. Even though thebandwidth of a CD program is rigid-ly limited to 20,000 Hz, too low tocause such distortion in any prop-erly designed amplifier, we couldaccept this approach as a designer'schoice in spite of the higher (but stillinaudible) conventional harmonicdistortion that it produces.

Less easy to understand was the

low channel separation, which wasat least 30 to 40 dB worse than thatof any other home CD player wehave tested. Fortunately, there wasno audible penalty, since 60 dB is farmore than is needed for full audiblestereo separation.

It is a fact, however, that we donot hear specifications. Surprisinglyfew of the measurements one canmake on a modern audio compo-nent can be correlated successfullywith its sound characteristics. In ad-dition, the measurable aberrationsof any CD player (including this one)are infinitesimal compared withthose of most other system compo-nents. In spite of its test results, weexpected the DF1 to sound perfectlysatisfactory.

Well, it did that, and more. Thesound we heard from the Conrad -Johnson DF1 was as good as wehave heard from any other CDplayer. In fact, at first we thought itwas slightly smoother and easiersounding than most, so we set up anA/B comparison between the DF1and a measurably first-rate player.With identical discs in each, syn-chronized in time and exactlymatched in level (the DFI's levelcontrol was invaluable for this), itwas soon apparent that their soundqualities were identical.

That would be no surprise if both

had similar measured performance.But the comparison player's meas-urements were up to today's state ofthe art, with channel separation wellover 100 dB across the audible rangeand distortion and noise readingsfar lower than those of the DF1.Even the ripple -free and ruler -flatresponse curve of the comparisonplayer (within a small fraction of adecibel up to 20,000 Hz) did not dis-tinguish its sound from that of theDFI, with its almost 1 -dB variationover that range.

For listening, then, we would rankthe Conrad -Johnson DFI with to-day's best CD players. Beyond that,it is an uncommonly attractivecomponent, far more ruggedly builtthan most in its price range and bet-ter than most, regardless of price, indealing with external shock and discerrors. Our most serious criticism ofits design concerns the display,which seems to carry simplicity toofar. In our view, a CD player shouldshow at all times at least the currenttrack number and the elapsed time.The DF1 can display both thoseitems, but not simultaneously. Itsbuilt-in preamplifier with tape -monitor loop, however, adds a newdimension of versatility; this genu-ine convenience also sets the DFIapart from other players.Circle 142 on reader service card

78 SITAR) IR EV I FW DECEMBER 1989

OURS -DISC CD CHANGER GIVES YOU AT LEASTS HOURS OF UNINTERRUPTED PLAYING ME,

At Technics, we firmly believe thatmagnificent music should bring anaudience to their feet in a concert hall.But not in a living room.

That's why we designed our newSL-PC20 5 -Disc CD Changer. Thanks toits unique top -loading rotary design,you can change four discs while thefifth keeps playing. So you can keep themusic going, nonstop, all night ifnecessary.

Plus, the SL-PC20 allows you toplay any combination of five 3 -inch or5 -inch discs in a row. It has a 25 -key

wireless remote control. And a highspeed linear access motor.

All together, they allow you to swiftlygo from one track to another in a randomorder, as often as you want. Withoutever leaving the comfort of your sofa.

But while your mind may beconcentrating on other matters, theTechnics CD Changer is always payingclose attention to the music. Becauseits quadruple oversampling digitalfilters and two separate digital -to -analogconverters together help to deliver thecleanest possible sound.

The Technics 5 -Disc CD Changer.Because, we think the music from yourCD Changer should continue as long asthe mooc does.

FREE CD OFFERGet 2 free CD's plus up to 12 more

with a free membership in the BMGCompact Disc Club, when you pur-chase any Technics CD player betweenSept 15 and Dec. 31, 1989. See yourparticipating Technics dealer for details.

TechnicsThe science of sound

CIRCLE NO. 176 ON READER SERVICE CARD

ENERGY. LOUDSPEAKER

DON'T LIVE IN ANEC

true performance of a loudspeaker

can only be measured in the real world.

Not the ideal environment of an anechoic

chamber. yen though Energy loud-

speakers are the result of highly -sophisti-

cated CAD/CAM modeling and anechoic

testing, we take the extra measure of

fine-tuning them through an exhaustive

series of real -world listening tests. That's

why Energy is the preferred choice of

thousands of demanding listeners. ur

unique tweeter design is case -in -point.

It provides ideal off -axis frequency re-

sponse for superior imaging, extended

sounds tage, and exquisite transparency.

The "dual hyperdome" configuration

dramatically increases low -frequency

power candling when compared with

conventional designs. It allows the low -

frequency transducer to roll off naturally

for a smoother transition to the tweeter.

ur top -of -the -line model utilizes a triple -

chamber vented woofer enclosure that

greatly extends bass response and

acoustically cancels output non- lin-

earities between the two woofers. The

7th-orcer bandpass design provides

exceptional woofer damping for flatter

response across the entire woofer range.

II this "technospeak" is fine-and

necessary for understanding why all

Energy models sound so amazing. But

the real test is your ears. nergy loud-

speakers are more natural no matter

what the listening room is like. r where

the speakers are placed. o your senses

a favor. ake time to include them in your

listening comparisons. You'll be immedi-

ately convinced of their sonic faithful-

ness and uncanny musicality.

.AUDIO PRODUCTS INTERNATIONAL CORP.

.3641 tOcNicol Ave. S:arborough. Ontario. Canada M1X 1G5 (416)321-1800

CIRCLE NO. 58 ON READER SERVICE CARD

TEST REPORTS

PIONEER SP -9 1 DDIGITAL SOUND PROCESSORJulian Hirsch, Hirsch -Houck Laboratories

p1ONEER'S SP -91 D, a recentaddition to the company'sElite series of audio compo-nents, is a digital sound pro-

cessor designed to simulate a vari-ety of acoustic characteristics, orsound fields, in a listening room toenhance the sound of stereo repro-duction. It also includes Dolby ProLogic circuitry for decoding the sur-round -sound tracks of video pro-grams.

The SP -91D provides eight sur-round -sound effects and sixteenpreset sound -field control pro-grams. The key parameters of all thesound -field programs are user -ad-justable, and a modified or newlycreated program can be stored inany of sixteen user memories forlater recall, giving a total memorycapacity of thirty-two sound -fieldprograms.

The adjustable parameters are:initial delay (the time between the

direct sound and the first reflectedsound to reach the ear), room size(the delay between the several earlyreflections), liveness (the decay timeof the early reflections), reverb time(the time required for the later mul-tiple reflections to decay), HF reverb(the decay time of high frequencies,which can be faster than the decayof low frequencies), and equaliza-tion (the frequency response of theprocessed -signal channels).

Not all of these parameters areadjustable for each stored program.For four of the programs, room sizeand liveness are not adjustable, be-ing replaced by reverb-time and HF-reverb adjustments (which cannotbe varied in the other twelve pro-grams). Equalization is separatelyadjustable for the front and rearchannels for all programs using abuilt-in seven -band digital equalizerwith a ± 12 -dB control range in eachband. Each preset mode has its own

specific equalization characteristic(easily changed as desired) stored inmemory.

The surround modes include Dol-by Pro Logic with a phantom centerchannel, 3 -CH LOGIC, which adds aseparate center -channel output, twotheater modes, stadium and studiomodes, and two simulated surroundmodes for use with mono programsources. Most of the parameters forsurround operation are not adjusta-ble because of the specific require-ments of the Dolby Pro Logic sys-tem. The exceptions are the initialdelay, which is normally 20 milli-seconds (ms) but is adjustable from15 to 30 ms, and the rear -channelequalization.

The SP -91D is normally connect-ed in a tape -monitor or external -processor loop of a preamplifier orreceiver. Its master volume controlthen becomes the system volumecontrol. There are two basic operat-ing modes: four -channel and six -channel. Four -channel is the sim-pler to install, requiring only theaddition of a pair of rear speakersand an amplifier for the delayed andprocessed signals from the SP -91D.A processed program is also deliv-ered to the main (front) speakers,

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TEST REPORTS

where the delayed and modified sig-nals are combined with the originalprogram. The relative proportionsof all signals are fully adjustable,separately for the left and rightchannels in both the front and rearspeakers.

The six -channel mode is similarexcept that it calls for a separate pairof front processed -sound speakersdriven by their own amplifier. Themain front speakers reproduce onlythe original, unmodified stereo pro-gram. In either mode, additionalpower amplifiers are required if youuse the center -channel or subwooferoutputs.

The front panel of the SP -91Dcontains two small knobs to adjustinput level and balance and a largermaster volume knob. Small buttonsoperate the tape -monitor and au-dio -mute functions.. A display win-dow in the center of the panel showsall pertinent information on the op-eration of the unit, including thecurrent surround mode, indicationof sound -field or surround opera-tion, status of the equalizer andparameter adjustments, and the set-tings of each of the equalizer bands.Flat keys below the window selectthe digital equalizer, surround,sound -field, or user -set modes, andthere is a pair of up and down keysto adjust their parameters.

The rear apron of the Pioneer SP -91D contains jacks for signal input,line -level outputs (and a selectorswitch) for the four- and six -channeloperating modes, a center -channeloutput, and a mono output for driv-ing a subwoofer. The tape-recordingand tape -monitoring output jackscarry only unprocessed signals.

Pioneer's block diagram of theSP -91D shows that in the sound -

field modes the signals first gothrough analog -to -digital (A/D) con-verters, then through a digital signalprocessor (DSP), a large-scale inte-grated circuit. After processing, thedigital signals pass through digitalfilters and four digital -to -analog(D/A) converters whose outputs be-

The Pioneer SP -9 IDprovides eight surround-sound effects and sixteenpreset sound -field controlpro:rams. Users can adjustall parameters and storesixteen nen, programs.

come the front processed and rearsignals. The Dolby Pro Logic por-tion of the unit appears to use stan-dard analog circuits, although thenominal 20 -millisecond delay ispresumably derived from the unit'sdigital system.

The SP -91D is furnished with aremote control whose keys operateall of its signal -processing functions,including setting the individual pa-rameters with the aid of the front -panel display. A random -noise testsignal, activated from the remoteunit, automatically switches se-quentially through the front left,center, and right speakers, then thetwo rear speakers, as an aid in bal-ancing their levels. When the vol-ume is controlled from the remoteunit, the main volume knob is oper-ated by a motor.

The Pioneer SP -91D is attractive-ly styled to match other Elite seriescomponents, with glossy wood -

FEATURES

O Sixteen factory -presetsound -field programs andmemories for sixteenuser -selected programs

O Dolby Pro Logic decoding witheight program modes

O Adjustable for initial delay,room size, liveness, reverb time,HF reverb, front and rearequalization

O Four -channel and six -channelmodes

O Seven -band digital graphicequalizer; independent settingsfor front and rear processedsignals

O Motor -driven master volumecontrol; can serve as systemvolume control

O Display of complete systemoperating status

O Infrared remote control for alladjustments

grain end plates and gold markingson a glossy black panel. It measures18 inches wide, 13 inches deep, and4 inches high, and it weighs 131/4pounds. The chassis is copper -plated for electrical conductivityand formed with a pattern of de-pressions for mechanical rigidity.Price: $1,000. Pioneer Electronics(USA) Inc., Dept. SR, 2265 E. 220thSt., Long Beach, CA 90810.

Lab TestsThe maximum level of the pro-

cessed front -channel outputs was7.36 volts at the clipping point. Ourmeasurements were made with thelevel adjustments set for unity gain(0.5 volt input for 0.5 volt output at1,000 Hz). The total harmonic dis-tortion was 0.008 percent at I voltoutput and 0.0018 percent at 2volts, all third -harmonic, and itreached 2 percent at 3 volts, whereseveral harmonics were present inthe output. The A -weighted noiselevel in the processed output was- 90.5 dB referred to a 0.5 -volt lev-el, about 12 dB lower than the rated- 90 dB referred to 2 volts output.

Driving the SP -91 D with single -cycle tone bursts, we examined theprocessed output on an oscilloscopeto verify the delay times listed in theinstruction manual. The initial de-lay was as specified, usually 10 or 20milliseconds but adjustable in 1 -mssteps between 1 and 50 ms. A typi-cal preset mode (HALL I) follows theinitial delay with four smaller reflec-tions of different amplitudes at 10 -ms intervals. In others, such asHALL 4, these later reflections areaccompanied by an extended low-level reverberation. Highly rever-berant modes, such as CHURCH,have negligible early -reflection sig-nals, with most of the interval be-tween pulses occupied by a relative-ly large, decaying reverberation thatappears on an oscilloscope like arandom noise (as it should).

A conventional frequency -re-sponse curve measured in any of thesound -field modes had a ragged,irregular appearance, similar to aroom -response curve for a loud-speaker, and it looks that way forthe same reason: interference be-tween a number of signals that havedifferent propagation times. Asmoothed curve, however, showed

84 STEREO REVIEW DECEMBER 1989

JVC SUPER DIGIFINEAUDIO SERIES

JVC Super Digifine Audio SeriesIn full view of the possibilities

SUrtiDigital Technology is no longer a shimmer onsome distant horizon. We are now in full viewof the possibilities that the technology affords us.The Super Digifine Series from JVC turnsthese possibilities into reality

RX-1010VTN Audio/Video System Control Center

CSRP Gettingcontrol over thepossibilitiesWith technologies as advanced asDigital Acoustics Processing, DolbyPro -Logic, electronics equalizationand digital delay processing plus thevariables of front and rear channellevels, balance, loudness compensa-tion and even room compensation,the RX-1010VTN is an engineeringmarvel. It can quite literally recreateany acoustic experience, whether itbe a movie in your neighborhoodtheater or the sound of a choir in agreat cathedral. But how does onecontrol the over 10 million possiblesettings necessary to achieve this?

CSRP - or COMPU LINK Source -Related Presetting - does the chorecompletely and automatically. Toucha single button and all the parame-ters change to a setting that isappropriate for the source you'veselected.

Then if your listening determinesthat some fine tune adjustmentsshould be made, make them. Onemore button updates the memorywith your changes and from then onrecalls all the settings everytime youreturn to that source.

For example: When you turn onyour hi-fi system and listen to a CD,you get response specially custom-ized for CD listening. Level andchannel balance are properlyadjusted, a customized equalizationis recalled, and parameters for JVC'ssound field processor - the Digital

Acoustics Processor - are all opti-mized for the size and acoustics ofyour listening room.

Or, as you switch to video, settingsyou've preset for the Dolby Pro -Logicdecoder, such as the center -channel

Example of Fluorescent Display with CSRP Preset(VCR -1 as a source)(1) Source selected

(2) Volume. balance.loudness setting

(3) S.E.A. graphic EOsetting

(4) Dolby surround setting

(5) DAP setting

(6) Normal setting

4%.

Audio/Video Inputs and Outputs on Back(S -Video Terminals Included)

mode and center and rear levels, areautomatically recalled.

This also holds true for all programsources - records, tapes anc evenindividual radio stations. S nce theRX-1010VTN accepts connection ofup to eight audio and video programs,and provides presets of 40 FM/AMstations, this means it can handlecustomized control settings for atotal of 48 different program sourcesor stations. That's control.

IP DAP - Digital Acoustics ProcessingIn the RX-1010VTN, there's a ROM(Read -Only Memory) that stores thesound field patterns we measured atfamous halls and theaters all overthe world. Seven patterns, fromsymphony hall to movie theater, areprogrammed in memory for instantrecall.

And you can fine -adjust these pat-

terns to suit the size, "liveness" andwall type of your listening room. Thisensures that the ambience of yourlistening room is completely com-pensated for so that you enjoy thereflections and reverberations of onlya desired hall.

Dolby Pro -Logic

SYMPHONY HALLRECTAL HALLOPERA HOUSECHURCHLNE CLUB

. STADIUMMOVIE THEATER

DIGITAL AP

PRO LOGIC

Z/ 3 WIDESZE UVE WAU_

With sound steering, active matrixand center channel output, DolbyPro -Logic Surround provides youwith an enhanced sense of directionand sharply centered dialog. When

watching videos, it will make you feelas if you were sitting in a first-classmovie theater, especially since thedigital acoustics processor is alreadyat work.

The remote is a convenient LCDtouch panel. The amplifier is a state-of-the-art Super -A design.

Our RX-1010VTN simply doeseverything and keeps everythingsimple.

"'Dolby" and the double -D symbol are trademarksof Dolby Laboratories Licensing Corporation.

.,00UST,C.S .00ESS SYSTEM RECEWER

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XL-Z1O1OTN Compact Disc Player

K2 InterfaceRevealing possibilitiesat the sourceChanging the digital code on a CDinto music requires that a digital -to -analog converter choose 1 of 65,536possibilities every 1/44,100th of asecond.

It's commonly assumed that digitalsignal is composed of l's and O's,each represented by the presence orabsence of a square -shaped pulse.But the fact of the matter is, a digitalsignal contains ripple -a type ofdistortion that changes the shape ofa waveform - and jitter, componentsthat move the timing of a pulse for-ward or behind.

These "non -code" componentscan result in a sound that differs fromthe intent of the digital source. TheK2 Interface solves this problem bycompletely regenerating the digitalsignal. At the heart of the K2 Interfaceis essentially an ultra -high-speedcamera with a shutter speed of 20nanoseconds (20 billionths of asecond). Based on these quick snap-shots, it recreates the digital signal asa perfect square wave.

Providing a perfect signal to theD/A converter allows for accuratereproduction of all the nuances suchas sound staging and depth.

As a matter of fact, in many waysboth frequency range and dynamicrange are expanded. High frequen-cies sound clearer. There is aheightened sense of the power inthe mid- to low -frequency range.

Comparison of K2 Interface and ConventionalTransmission SystemThe JVC K2 Interlace strips the transmitted signal of rippleand idler as it travels from the digital to analog processingcircuit

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Data Transmission WaveformsThe clean shape of data transmission waveforms indicatesthat the K2 Interface has removed ripple and fitter

Without KI

Way K2

The K2 Interface optically decoupler the digital from theanalog section

Music seems to acquire more depthand width, providing clear images ofinstruments and voices. Overall,sound is smoother and more naturalacross the audio spectrum.

Precision D/A Converter SystemUsing Four D/A UnitsThe XL-Z1010TN features two D/Aconverter units for each channel -four in all. There is a 16 -bit converterfor the most significant bits and a2 -bit converter for the two least sig-nificant bits. Since the least signifi-cant bits have greatest bearing onthe sound quality at low level, JVCuses an elaborate discrete D/Aconverter system for these bits toensure higher precision. All fourconverters operate with 18 bits"full time" whether the level is highor low. Our "quadruple full-time linear18 -bit combination D/A converter"allows you to enjoy digital sound at itsmost delicate and dynamic.

XP-A1O1OTN Digital Acoustics Processor

Bringing newpossibilities to thehomeMany of us have already invested infine audio systems for our homes.Even the best, however, sound likemusic being played in a homeenvironment.

A new age is dawning in audiorealism, thanks to the vast advance-ments in digital engineering. Now itis possible to simulate the acousticambience of a live music space -concert hall or movie theater - andrecreate it right in your own listeningroom.

The new JVC XP-A1010TN DigitalAcoustics Processor is the key. Noother component available today soaccurately brings concert hall ambi-ence to the home.

The processor features a ROM(Read -Only Memory) containing ahuge amount of data on reflectionsand reverberations - "sound fieldpatterns" - our engineers measuredin actual halls and theaters through-out the world.

,

Acoustic Response of a Musical Space

CHURCI

Sound Field Analysis Pattern

JVC's Unique Advantages ofAcoustics SynthesisThe JVC XP-A1010TN offers anumber of unique advantages. One,

Symmetrical 6 -Point Sound Field MeasurementMicrophone Set

excessive reflections and reverber-ations added by your listening roomcan be compensated for, and so canreverberations contained in thesource program. This means a pre-cise sense of the size and shape of asimulated space is accurately re-created in any listening room.

Two, the entire process, from inputto output, is performed channel bychannel independently. Therefore,critical time -related information con-tained in music is retained, providinga natural sound field ambience.

Three, the size of the sound source-a point, like a solo or a spread,like an orchestra - is preciselyreproduced.

The XP-A1010TN comes with soundfields from 20 actual concert halls,jazz clubs, theaters and stadiums.You can customize an additional20 patterns of your own. With theXP-A1010TN, the possibilities nowinclude the recreation of the concerthalls around the system in yourhome.

AX-Z1010TN High -Power Class -A Amplifier

Digital Pure -ANew possibilitiesfor class -AThere's no doubt that an amplifieroperating in class -A mode provideslower distortion and cleaner soundthan those in popular class -B orclass -AB. Their inefficiency, however,makes class -A amplifiers require ela-borate heat sinking, and still theamps waste much of their power inthe form of heat. This results ininflated cost and relatively low poweroutput. But to enjoy the dynamicsound of digital programs, you needa lot of power.

How to combine the low -distortionsound of class -A with efficiency andpower demanded by digital audio?

Class -A vs. Class -B OperationWith class -A, combined output from the paired transistorslooks very close to that of the input. With class -B. this isnot so, leading to crossover and switching distortion.

Output Waveform

Class -A Class -8

Enter the Digital Pure -A Type IIJVC has the solution - the DigitalPure -A Type II circuit featured in theAX-Z1010TN "Digital" IntegratedAmplifier.

The main signal is sent to a timebase processor where it's stored inmemory for a fraction of a secondbefore it goes to the D/A converter.The prediction signal is sent to thebias circuit to optimize bias appliedto the power transistors dependingon dynamics of the upcoming signal.What you get out of this is low -distor-tion class -A sound with highefficiency and high power.

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Block Diagram of Digital Pure -A Circuit Type II

Musical OutputWaveform -

Operation of Digital Pure -A II

This ingenious design takes theadvantage of the fact that digitalsignals can be stored in memorytemporarily without changing theirfrequency response or phaseresponse.

In the Digital Pure -A Type II, digitalsignals fed directly from digital equip-ment are split into two: the mainsignal and the "prediction" signal.

The AX-Z1010TN is a "digital" inte-grated amplifier incorporating a D/Aconverter system complete with theK2 Interface, 8 -times oversamplingand quadruple D/A converters.

And the amp features a specialdesign for analog programs too -Opt Super -A, another JVC exclusivecombining low distortion and highefficiency.

TD-V1010TN Discrete 3 -Head Cassette Deck

The world's finestcassette deck?A distinct possibility!When it comes to specifications forcassette decks - such as wow &flutter, frequency response and sig-nal-to-noise ratio - we can safelysay today there is only marginal roomfor further improvement. This isbecause of the steady but sure ad-vances over the years in mechanicaldesign, heads, noise reductiondesigns and tapes.

We have isolated "dynamic"response as one of the final steps inensuring taped sound that's as pureand transparent as can be. We evendeveloped a new specification tomeasure the degree of purity andtransparency a cassette deck canprovide:acoustic modulation noise.

In this measurement system, thetest deck is subjected to a high100-phon sound pressure duringrecording and playback. More rigo-rous than conventional modulationnoise tests, this new method bettersimulates a real -world situationswhere the deck must operate whilespeakers are playing music.

Taped Sound Free of AcousticModulation NoiseBased on what we discovered from

"Acoustic Modulation Noise"

Response of Conventional Deck

Response of Rigidly Built Deck

Closed -Loop Dual -Capstan Drive Mechanism

our test, we've developed solidmechanical designs in order to sup-press resonance and vibration. Theresult of our efforts is taped soundthat rivals digital.

Moreover, there are other wayswe've improved clarity and purity ofthe taped sound of the TD-V1010TN.A "CD DIRECT" switch lets you routethe signal from your CD player directto the cassette deck. We've cut downwiring to a minimum length usingremote rods and controls. We usethe time -proven closed -loop dual -capstan tape transport to suppressmodulation noise. "Fine" amorphousheads, highly pure PCOCC copperwire and high bias frequency alsoenhance the purity and transparencyof the taped sound.

If you think that taped sound cannotcompare with digital programs, youowe yourself a listen to theTD-V1010TN.

)f

FX-1010TN Computer -Controlled FM/AM Tuner

Self-adjusting tothe possibilitiesThe FX-1010TN is a smart tunerthat adjusts itself to the endlesspossibilities in the capture of radiosignals.

Our reception servo automati-cally selects the optimumoperating mode - front-end gain,

s7Sup

IF bandwidth, stereo mode, etc. -after checking the degree of inter-ference and the strength of thestation you're tuned to. It guaran-tees you get the best receptionanywhere and from every station.And yet the digital noise, which a

Flowchart of Optimum Reception Servo System

computer could create to muddysound, is cut down by the"Opticalink" system separatingthe digital section from the analog.

The computer is put to use forspecial conveniences, too. Youcan preset up to 40 FM/AMstations for one -touch recall, andgive a name to each preset sta-tion. You can let the tunerautomatically preset all 40 FM/AMstations for you. You can "shop"for stations one by one. Also youcan set the muting level to tune allstations in your area or only a fewpowerful ones.

Add circuitry designed for lowdistortion and wide dynamic rangeand you'll see that the FX-1010TNis the tuner that addresses thepractical world of radio reception.

We are no longer at the threshold but have passedwell into the world of digital technologies and theirapplications. In full view of the possibilities, we haveendeavored to develop products that will endure thetest of time and stand as small reminders that tech-nology can advance while remaining sensitive to theneeds of its users.

JVCJVC COMPANY OF AMERICA

DIVISION OF US JVC CORP.41 Slater Drive, Elmwood Park, N.J.07407

TEST REPORTS

that the overall frequency responseof the SP -91D was generally quiteflat over the full audio range. Withthe sound -field processor switchedoff, the front -channel response ofthe SP -91D was down 0.2 dB at 20Hz and 1 dB at 20,000 Hz. The centerfrequencies and amplitudes of theequalizer response curves were asspecified.

CommentsAs we have observed in previous

test reports, measurements of digi-tal signal processors like the PioneerSP -91D convey little useful infor-mation about their sonic character-istics. Listening is the true test ofsuch a device.

Despite its deceptively simplefront panel, the SP -91D is a verycomplex product with far more ver-satility (and potential for misuse)than meets the eye. The instructionmanual is quite good, especiallycompared with some we have en-countered for earlier signal -process-ing devices, but it does require care-ful reading and hands-on practice toget the best results.

One characteristic the SP -91Dshares with other sound -field pro-cessors is that the effects of mostchanges in its parameters are quitesubtle. In many cases a parametercan be varied through its entire

range with little or no audible effecton the sound of a particular pro-gram. But with a different program,or with another combination of pa-rameters, varying the same parame-ter might produce more audible re-sults.

Fortunately, the sixteen factory -preset modes offer enough varietythat there should be little need foruser modifications in most cases.Once you have a bit of practice inadjusting levels throughout the sys-tem, the contribution of the SP -91Dbecomes more striking. As with allsuch systems, its contributionshould never be obvious; if theeffect of the processing is clearlyaudible, it is being misused. Whenthe system is operating correctly,you should be able to walk into theroom and simply hear a natural -sounding performance without au-dible clues as to the speaker config-uration or other special qualities ofthe system. Only when the process-ing is shut off (by a button on theremote control) should the presenceof the SP -91D become unmistak-able-by its absence! The resultingcollapse of the sound field into thefront speakers will be so apparentthat you will wonder how you evergot along without sound -field en-hancement.Circle 143 on reader service card

"You idiot. Igor, stop with the bringing me brains, already-I'm doingvacuum -tube amplifier research!"

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CRUTCHFIELDSTERFo REVIEW DF.CEMBER 1989 9:1 I Crutchfield Park, Dept. SR, Charlottesville, VA 22906

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COMBIILAYERSLab Tests: How do leading

plikvers measure up inaudio and video performance?

Y interest in videodiscs goes back tomy involvement with the ill-fatedEVR (Electronic Video Recording)system developed many years ago atCBS Laboratories. The resolution of

that optically based system was so much betterthan you could get from tape in those days that Iwas spoiled for life. When I saw my first Laser -Vision demo, it was, in the immortal words ofYogi Berra, "déjà vu all over again." The pic-ture was sharp, the colors were snappy, and vid-eo noise was noticeably lower than in the VHSand Beta VCR systems of the day. Even thesound was better: wider frequency response,greater dynamic range, and wow and flutter lowenough to be inaudible. The only thing thetape formats had over LaserDisc was theability to record.

Although the videodisc format has alwaystrailed tape in popularity, it has continuedto evolve and to grow in strength. The latestdevelopment is the combi-player, whichcan reproduce every type of consumer op-tical disc-audio or video-including 3 -and 5 -inch audio CD's, 8- and 12 -inch CAV (con-stant angular velocity) and CLV (constant linearvelocity) laser videodiscs, and the gold -colored5 -inch cp-v's that combine 5 minutes of video

BY ED FOSTER Diversified Science Laboratories

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PHILIPS CDV487 ($949)

HE CDV487 is one step downfrom Philips's top combi-player, the CDV488, which wasreviewed in the October issue.

It lacks the CDV488's video framememory. Thus, it provides still -frame,bidirectional frame advance, andmultispeed playback (in nine stepsfrom 3 seconds per frame to threetimes normal speed) only for CAVvideodiscs. Since today's videodiscs arealmost always recorded in the ctvmode, to increase their playing time toan hour per side, video special effectswon't be available for most of themwith this player.

The CDV487 does give you directaccess to any video chapter or audiotrack via keypads on the main chassisand the remote control. It also permitsdirect access to any video frame on aCAV disc by the same means, as well asbidirectional chapter/track skippingand dual -speed scanning from the

remote control or the front panel. Onct...v discs, you can cue to an "elapsedtime" from the beginning of the disc,and on any kind of disc, you canreturn to the beginning of the currentchapter or track by pressing play asecond time. On videodiscs recordedwith a table of contents and cp's withindex points, you can skip from pointto point.

As many as twenty chapters or trackscan be programmed for playback inany desired order, and there's a repeatfunction that replays the programmedsequence, the current chapter or track,the entire side of the disc, or anyportion of it that has been marked as ablock. You can play the tracks of anyCD or CD -V in random order. Inaddition, you can use the PhilipsFavorite Track Selection system tostore programs for as many as 218CD'S, CD -V'S, and videodiscs (if theyhave tables of contents).

YAMAHA CDV-1600 ($899)

HE CDV-1600 is the simplestand easiest to use of the threeplayers reviewed here. Yet it isthe only one that enables you

to cue directly to CD index points. (ThePhilips CDV487 permits indexskipping, but not direct access to anindex point by number.) And in aworld where black seems to havebecome the standard high-tech color, Ifind the CDV-1600's titanium finish awelcome alternative.

For cp's and cv-v's, the Yamahaoffers cueing by track number, elapsedtime, or index number; on videodiscs,you can search by chapter number (ondiscs with a table of contents), frame

number (on CAV discs), or elapsed time(on CLV discs). You can skip across adisc a chapter or track at a time orscan it at fifteen or sixty times normalspeed. A "single -play" function can beset to pause the player at the end of thecurrent track or chapter. Still -frame,frame -by -frame advance in eitherdirection, and multispeed playback(bidirectionally in ten steps rangingfrom three frames per second to twelvetimes normal speed) are available forCAV videodiscs. The CDV-1600 has afifteen -selection memory and can be setfor repeat play of a single selection, aprogrammed sequence, an entire side,or a portion set off by block markers.

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with an additional 20 minutes ofdigital audio. The three players re-viewed here-the Philips CDV487($949), the Pioneer CLD-3070($1,200), and the Yamaha CDV-1600 ($899)-are among the finestexamples of this new breed.

Lab TestsIn the early days, the soundtracks

on LaserDiscs were recorded using astereo frequency -modulation sys-tem similar to those later adoptedfor Beta Hi-Fi and VHS Hi-Fi.Shortly thereafter, a CBS -developednoise -reduction system called CXwas applied to improve the dy-namic range, which in the Laser -Disc system was not nearly so goodas it would be in hi-fi VCR'S. Afterthe compact disc was developed,16 -bit digital encoding was added tothe LaserDisc system as well. Cur-rent videodiscs are almost alwaysrecorded both digitally and with the:CX-enhanced FM system so thatthey will be compatible with playersthat don't have digital decoders.

The three combi-players reviewedhere, of course, do have digital au-dio decoders. Each also has an FMdecoder with CX noise reduction sothat it is compatible with olderdiscs. The players detect the pres-ence of a digital audio signal andautomatically use that systemwhenever they can. You can, how-ever, force them to switch to theanalog soundtrack by pressing a se-lector button.

Diversified Science Laboratoriestested the audio performance of theplayers in both modes of operation,using the CBS CD -1 test CD to eval-uate the digital systems and the Pio-neer M-1 test LaserDisc to spot-check playback of the FM tracks. Inthe FM mode without CX, the Phil-ips CDV487 had a slightly better A -weighted signal-to-noise ratio (s/N)than the other players (62 dB, com-pared with 61 dB for the Pioneerand 59 dB for the Yamaha), but withthe noise -reduction system on, theYamaha topped the list at 74 dB,compared with 70 dB for the Pio-neer and 70.8 dB for the Philips.

Output from a signal recorded at0 dB was close to a half volt from allthree players, which should be ade-quate considering that the FM trackon a videodisc can be recordedsomewhat above that level. Totalharmonic distortion (THD) plusnoise at 0 dB and 1,000 Hz rangedfrom a low of 0.24 percent on thePioneer to 0.31 percent on the Phil-

ips, with the Yamaha nipping theheels of the CLD-3070 at 0.26 per-cent. The three figures are so closethat they're not a deciding factor.Channel separation was a remark-ably high 82 dB at 1,000 Hz on theYamaha, but both the Philips andthe Pioneer came in at slightly morethan 70 dB, which is much greaterthan you need in any event. Chan-nel -imbalance figures for the Yama-ha and Pioneer players were lessthan a third the already negligible0.23 dB of the Philips, but these arenot significant differences either.For FM audio performance, chalkup a dead heat.

Undoubtedly, the digital audioperformance of these players ismore important than that of theirFM systems, and here there weremore significant differences. By thenumbers, the Philips CDV487 hadthe smoothest frequency response,beating out the Yamaha by a whisk-er. The eight-times-oversamplingYamaha produced less ripple in theaudio band, however, and since itsresponse departed from perfect flat-ness only above 15,000 Hz, I'm notsure that I wouldn't give it the nod.The Pioneer had the most ripple,and its response above 8,000 Hzrose gradually to a peak of 0.2 to 0.3dB between 14,000 and 18,000 Hzbefore dropping sharply.

Basic response was measuredwithout the slight high -frequencyrolloff needed to flatten the re-sponse of CD's recorded with pre -emphasis, which can be used toreduce noise at high frequencies.(Most cD's are recorded withoutpre -emphasis.) The de -emphasis er-ror was least (no more than 0.1 dB)on the Philips player and worst(about 0.5 dB at 4,000 Hz) on theYamaha.

The Yamaha CDV-1600's digital -to -analog (D/A) converter was themost linear of the three. In fact, ithad one of the most linear conver-sion systems that I've yet measuredon a regular CD player, to say noth-ing of a combi-player. The CDV-1600's linearity was within 0.1 dB at- 80 dB, 0.6 dB at - 90 dB, and 0.8dB at -100 dB, which is trulyremarkable performance. The Phil-ips converter was also very goodand suffered only by comparisonwith Yamaha's. It was on the mon-ey down to -70 dB and off by 0.6dB at -80 dB; the greatest nonlin-earity (3.4 dB) occurred at the - 90 -dB level. The Pioneer CLD-3070came in a somewhat distant third. It

PIONEER CLD-3070 ($1,200)

OUCH potatoes will love thePioneer CLD-3070. Of thethree players covered in thisreview, it is the only one

capable of playing both sides of avideodisc by itself (co's and CD-v's arerecorded on only one side, so there isno advantage with them). The AlphaTurn mechanism that Pioneerdeveloped to rotate the laser pickupfrom one side of a disc to the otherincreases the player's height, but manyusers will consider that a small price topay for the convenience of almostuninterrupted playback.

The CLD-3070 is also the only oneof the three players to have a videoframe memory. That means it canoffer video special effects on CLV aswell as CAV discs. The special effectsare controlled with the ioc-dial/sHurnE-ring combination located onthe front panel and replicated on theremote unit. The JOG dial enables youto control the frame rate by hand atanywhere from double speed in eitherdirection down to stop -motion. TheSHUTTLE ring offers fast -forward orreverse playback at two, five, or tentimes normal speed. The oG/SHUTTLEcombination also serves to zip youaround CD'S and co-v's.

With the CLD-3070's video memory,you can get strobe motion at rates

The disc drawer of acombi-player has differentindentations fordifferent -size discs.

ranging from fifteen frames per second(that is, every other frame) to oneframe every 3 seconds, or you cancapture and display a single frameusing its one-shot memory function. Ifyou want to view a still frame whilelistening to music, this is the way to doit. Intro -scan plays the first 8 secondsof each video chapter (the last frame ofeach chapter is stored and displayed bythe one-shot memory while the playersearches for the start of the nextchapter). With cD's and co-v's,intro -scan plays the first 8 seconds ofeach track. There's also a random -playfeature for ars and CD -V's andchapter/track skip and scan to get youaround the disc.

Using the player's ten -key pad, youcan do a direct search for any chapteron a videodisc recorded with chapternumbers or for any CD track. On CAVvideodiscs you can search by framenumber as well; for CD's and CLVvideodiscs, this feature is replaced witha search -by -elapsed -time function. TheCLD-3070 has a twenty -slot programmemory for rearranging chapters ortracks. It works with cD's, cD-v's, andvideodiscs that are encoded withchapter numbers. The deck can repeata programmed sequence, an entiredisc, or any section you have set off -with block markers.

STEREO REVIEW DECEMBER 1989 97

LABORATORY MEASUREMENTS

DIGITAL AUDIO

Frequency response (20 to 20,000 Hz)

De -emphasis error (maximum)

Signal-to-noise ratio (A -weighted)

Distortion at 0 dB

(THD + N, 20 to 20,000 Hz)

Linearity (at 1,000 Hz)

-60 dB- 70 dB

- 80 dB

- 90 dB

- 100 da

Channel separation (at 1,000 Hz)

Channel balance (at 1,000 Hz)

Lineoutput (maximum)

FM AUDIO

PHILIPS PIONEER YAMAHA

+0, -0.1dB t 0.3 cla +0, -0.15dB-0.1 dB -0.2dB +0.56dB111.5dB 101.3dB 108dB

s0.009% .0.085% <0.005%

0 dB -0.5dB 0 dB

0 dB -0.1 dB -0.1 dB-0.646 -0.4 dB -0.1 dB-3.4 dB -3.7 dB -0.6 dB-2.4dB -4.5dB -0.8 dB

>120 da 110dB 105.3 dB

±0.03 dB ±0.02 dB ±0.01 dB1.89 volts 1.95 volts 1.95 volts

Siptal4o-noise ratio (A -weighted)

CX offCX on

Distortion at 0 dB(THD +N at 1,000 Hz)

Channel separation (at 1,000 Hz)

Channel balance (at 1,000) Hz)

Line output (at 0 dB)

VIDEO

62 dB

70.8 de

0.31%

70.5 dB

±0.12 dB

0.40 volt

61 dB

70 dB

0.24%

72 dB

±0.04 dB

0.49 volt

59 dB

74 dB

0.26%

a:-..82 dB

±0.03 dB

0.45 volt

Video frequency response

at 2.0 MHz -2dB -2dB -1.8 daat 3.0 MU/ -3.4 dB -4dB -4dBat 4.1 MHz -6dB -6.3 dB -3.8 dB

Luminance level 94% 105% 96%

Chroma level (low to high) -5 to -3.5dB -7 to -6 dB -4.8 to -4.5 dBChroma phase error (low to high) +5* to +6° +5° +4° to +7°Chroma differential gain as 15% 10% as5%

Chroma differential phase + <5* <°5 ± <5*

was off approximately 0.5 dB at-60 dB, 3.7 dB at -90 dB, and 4.5dB at -100 dB.

The CLD-3070 was also the onlyplayer to have measurable distor-tion pretty much across the board at0 dB (full level). At 10,000 Hz, itssecond -harmonic distortion meas-ured 0.065 percent, which was thehigh for the group. The A -weightedS/N was lowest on the Pioneer, at101.3 dB, compared with 108 dB forthe Yamaha and 111.5 dB for thePhilips CDV487.

In other electrical characteristics,the players were impeccable. Out-put voltage at 0 dB was the usual"slightly less than 2 volts," channelbalance was well within 0.1 dB, andchannel separation was greater than105 dB. There were differences in

measured tracking ability, however.The Yamaha and Philips playersvaulted all hurdles on the Philips410 056-2 test disc, whereas the Pio-neer stumbled on the highest -level"black dot" test (800 micrometers).Interestingly, the Pierre Verany testdisc tripped up the Yamaha first (onthe 0.55 -millimeter dropout band);the Pioneer held out to the 1.00 -mmlevel and the Philips to 1.25 mm.

LL three players per-formed well in the video tests. Ifyou are accustomed to the picturequality typical of vcR's, any of these

units will give you an eye-openingexperience. The Pioneer and Philipsplayers had almost identical videofrequency responses -down about6 dB at the highest test frequency,4.1 MHz. This implies a horizontalresolution of about 330 lines, whichequals the best you could get froman NTSC-standard broadcast. Al-though that is perfectly adequateperformance, the Yamaha CDV-1600 was able to do a bit better. Itsoutput was down only 3.8 dB at 4.1MHz, which is as extended a videofrequency response as I can recallmeasuring. On the basis of viewinga standard wedge pattern from a testdisc, I would estimate that theCDV-1600 is good for at least 350lines of horizontal resolution.

Each player delivered a lumi-

98 STEREO REVIEW DECEMBER 1989

nance level within 6 percent ofstandard, which is essentially per-fect, and a chroma differentialphase (a measure of how tintchanges with scene brightness) ofless than 5 degrees, which is as lowas can be measured. Chroma differ-ential gain (change in color satura-tion with scene brightness) rangedfrom a low of 5 percent on theYamaha to a maximum of 15 per-cent on the Philips; the Pioneer splitthe difference at about 10 percent.

s is usually the case,the chroma output from the playerswas below standard. The Yamahaand Philips units were down about4.5 dB, and the Pioneer was approx-imately 6.5 dB low, but all three fig-ures are within the correction rangeof the auto-chroma-level circuitryin modern monitors and should notbe a cause for concern. The Yama-ha's output had the most nearlyconstant level across the color spec-trum, so it may be expected toreproduce the various shades withslightly more uniform saturationthan the other players. On the otherhand, the Pioneer delivered the low-est and most uniform chroma phaseerror and therefore might be ex-pected to produce slightly more ac-curate hues than the others. But ineither case we're splitting hairs.

ConclusionsAll three of these combi-players

performed quite well, and choosingamong them is not simple. The Pio-neer CLD-3070 clearly outshinesthe others in features. Not only doesit play both sides of a laser video-disc without human intervention,but it is also the only one of thethree to offer video special effectson garden-variety cLv discs. Thatcan be an important considerationfor videodisc collectors. Philips'sFavorite Track Selection (FTS) sys-tem distinguishes the CDV487,which also boasts fine audio andvideo performance and producedsome of the best measurements ofthe lot. Compared with the othertwo players, the Yamaha CDV-1600is relatively plain, but I think it's theone I'm going to miss most when Ihave to send them all back. Itssound is sparkling, its picturessharp, and its colors gorgeous! El

City, disc: a laser vid-eodisc recorded ata constant angularvelocity-that is, ata fixed rotationalspeed of 1,800 rpm.At this rate, one vid-eo frame is recordedfor each revolution,or "track," of thedisc, making it pos-sible to freeze aframe by stoppingthe laser pickup. This great y simplifiesthe creation of certain special effects,but the playing time of a 2 -inch CAVdisc is limited to 30 minutes per side.

chrome differential gain: a measure ofthe degree to which chroma level (colorsaturation) varies with scene brightness.Usually the error is in the direction ofreduced color saturation with increas-ing scene brightness. Ideally, differen-tial gain would be zero.chrome differential phase: a measure ofthe degree to which chroma phase (hue)varies with scene brightness. A perfectreading is zero.

chrominance (chrome) leveh the outputlevel of each chrominance :chroma, orcolor) component of a video signal.

level determines relative colorsaturation. The maximum output foreach hue is standardized, which enablesus to report the amount of error, indecibels, compared with the correct lev-el. It is very common to ind chromalevels ranging from -4 to -6 dB. Mod-ern monitors have automatic chroma-level circuits that can usually correct forlow chroma output from a video source.If color saturation is inadequate, resetyour monitor's color control.chrominance (chroma) phase: the rela-tive phase angle of each chrominance(chroma, or color) component of thevideo signal with respect to the phase ofthe chroma burst. Chroma phase deter-mines hue, or tint. The phase angle foreach hue is standardized, wnich enablesus to report the measured chroma phaseas the error, in degrees, relative to thestandard. A perfect reading is 0 degrees.Readings within ± 2 degrees are essen-tially perfect. Errors that ar fairly con-stant across all colors can be correctedby touching up the tint control on themonitor. Therefore, the spread of thechroma-phase readings is more signifi-cant than the magnitude of the errors.a..v disc: a videodisc recorded at con-stant linear velocity, such that a fixedlength cf track passes the :aser pickupeach second. A CLV disc rotates at avariable angular rate (from 500 to 1,800rpm on a 12 -inch disc) depending onthe radius where the laser pickup islocated. The number of frames per track

A GLOSSARY OF VIDEO TERMS

s.

titI\ r

.:111LLIIIIIINP0-

re.

varies, and it is notpossible to producespecial effects mere-ly by stopping thepickup. On the otherhand, since none ofthe track length iswasted, the playingtime of a 12 -inchciv disc can be asmuch as 60 minutesa side.

horizontal resolution: the number of in-dividual vertical lines that can be dis-tinguished in a monochrome pictureacross a width equal to the height of thepicture. Horizontal resolution (in lines)car be no more than approximatelyeiglty times the video bandwidth (inwiz), and the quality of a monitor'sCRT and focusing circuit may furtherlin-it the resolution. Potential horizon-tal resolution can be calculated from thevideo response or estimated by viewinga 'wedge" pattern.luminance level: the output level of theluminance (black -and -white) compo-nent of a video signal for a white screenof maximum brightness. Together withthe black level, the luminance levelestablishes the contrast range of the pic-ture. The output level for a 100 -percent -white picture is standardized, whichenables us to report the measured lumi-nance level as a percentage of thisstandard level. A perfect reading is 100percent. Readings lower than that indi-cate that the equipment being testedwil not drive a monitor to full bright-ne with standard control settings. Itmay be necessary to turn up the moni-tor s picture or contrast control to coin-peasate. Readings greater than 100 per-cer t suggest the opposite condition.

video frequency response: a measure ofthe potential horizontal resolution of amcnochrome picture. Video response isusually measured with a "multiburst"signal comprising bursts of sine waves.On a monitor, this pattern produces setsof vertical bars that are spaced moreand more closely together as the fre-quency is increased. There is no univer-sal y accepted rule to determine whatconstitutes "acceptable" signal loss. Weuse a very stringent criterion and estab-list the video bandwidth by the fre-quency at which response has fallen 6dB. Since the bursts occur only at specif-ic 'requencies, it is often necessary toest mate the -6 -dB point.video noise: a reference to luminancenoise, which produces "snow" in amcnochrome picture; chroma AMnoise, which produces a blotchy effectin color scenes; and chroma phase-mcdulation (PM) noise, which causesrardom color changes.

STEREO REVIEW DECEMBER 1989 99

"Whatever we do always has a strong beat."BY RON GIVENS

LITTLE over a year ago, TomTom Club returned to the placewhere Tina Weymouth andChris Frantz first started outas part of Talking Heads-thefamous CBGB's on Manhat-

tan s Lower East Side. It was famil-iar turf in another sense. Back in thesummer of 1975, Weymouth andFrantz, who are Tom Tom Club,shared a loft near the same premiseswith Talking Heads' lead singer andsongwriter, David Byrne, when theywere all students. The place had nohot water and no shower.

"Friends would invite us over fordinner," Frantz recalled recently inthe midtown office of their man-ager, "and we'd all take along tow-els." Thirteen years later, now mar-ried and clearly dry behind the ears,Weymouth and Frantz could count their three-week gig at CBGB's a tri-umph.

Today, wherever Weymouth andFrantz go, the beat follows. As therhythm section of Talking Heads(she on bass, he on drums), as theproducers of such bands as ZiggyMarley and the Melody Makers,and as the studio -band -turned -tour-ing -band Tom Tom Club, theymake music with powerful rhythms,whether sly and infectious or denseand moody. Last summer Wey-mouth and Frantz released their

third Tom Tom Club album,"Boom Boom Chi Boom

Boom" on Sire, and went ontour to promote it. The

first single from thealbum, Suboceana,

went straight upthe dance

charts.

"Our breakthroughs, in TalkingHeads as well as Tom Tom Club,have been made in dance music,"said Weymouth. "Whatever we doalways has a strong beat."

"Dance is probably what we dobest," Frantz agreed. "Whenever wetry to do something in a dance style,it works. We'd be fools not to takeadvantage of what we do best."

Dance music has seldom beengiven such a multifaceted showcaseas in Tom Tom Club's new album.Call of the Wild, for example, isperky and syncopated. Weymouth'sbreathy vocals seem like a crossbetween Betty Boop and MarleneDietrich, Kewpie-doll-like yetthroaty. Suhoceana, on the otherhand, is danceable despite its dense,somber synthesizer textures andslowly gliding pulse. Challenge ofthe Love Warriors is a percussionfestival for drums, bongos, synths,and heavy female breathing.Femme Fatale is a remake of theclassic Lou Reed song, with Reedhimself on guitar along with the oth-er Heads, Byrne and guitarist-key-boardist Jerry Harrison.

ERSONAL and professional in-terruptions made for an on -again, off -again recording pro-cess for "Boom Boom ChiBoom Boom." Weymouthgave birth to the couple's sec-

ond son, Egan, in 1986. (Their first,Robin, is seven.) In addition to thesongs they wrote for the films Siestaand Married to the Mob, Weymouthand Frantz also produced two al-bums for Ziggy Marley and the Mel-ody Makers. Although they enjoyproducing other musical acts, theydon't actively seek this work. "Weget asked to produce a lot of bandsat this point, and we almost alwayssay no," Frantz said. "We only wantto produce something if we thinkthat it's terrific and that it'll be apleasure to produce."

Another major distraction wasthe last Talking Heads album,"Naked." The Heads recorded mostof the music for it in Paris, and itsworld -beat emphasis drew greatcritical praise, but sales were disap-pointing. The band didn't tour insupport of the album and did verylittle video promotion either. In asense, the individual Heads had somuch to do outside of the group

Backstage at CBGB's: from left, guitarist and touring -band member Mark Roule, Lou Reed,Tina Weymouth, Chris Frantz, and touring keyboardist Gary Pozner

that they had little time for theirwork together. David Byrne hadmovie projects of his own: compos-ing music for The Last Einperor andtrying to raise money for filming atheatrical piece, The Forest, that hecreated with avant-garde dramatistRobert Wilson. Jerry Harrison hadan album by his solo band, CasualGods, and a tour of his own. AndWeymouth and Frantz were plug-ging away on "Boom Boom ChiBoom Boom."

When they started Tom TomClub, it was as a studio band thatwould give them a different kind ofcreative satisfaction from theirwork in Talking Heads. But thingshave changed. The Heads haven'ttoured since 1982, so the couple hasgone on the road with Tom TomClub. At this point, they still getmany of their creative opportunitiesfrom their affiliation with TalkingHeads, but it now appears that theHeads won't release another newalbum until sometime next year-atthe earliest.

Frantz believes that the band haslost some of its audience by notplaying live. "Because we haven'ttoured as Talking Heads, sales therehave gone from Platinum to mereGold," he said. "Making the recordis only half of it. Performing isessential."

"Our live audiences for TomTom Club are great," Weymouthadded. "We can be very playful withthem, and that's important becauseit keeps the music alive." Frantz hasstrong disdain for bands that per-form in concert with taped backingtracks, and he believes that the mu-sic -video scene has been polluted by

commercialism. "The videos alllook exactly like commercials, andthe commercials for soda pop andautomobiles are made to look likemusic videos," he said.

N. i w audiences are important.. they feel, and this fall they've

been touring to parts of thecountry where Talking Headshas never performed andsharing stages with bands that

play very different styles of music."It'll be nice for us to gain anaudience that isn't automatically aTalking Heads audience," saidFrantz.

Strangely enough, as Tom TomClub tries to gain a wider audience,Weymouth and Frantz find them-selves competing with their olderselves. The push for "classic rock"on radio stations today means thatairplay frequently goes to oldies bybands like Talking Heads and TomTom Club instead of to newer mat-erial.

"It's a battle for us," said Frantz."Everybody plays the stuff we didten years ago, but they won't playwhat we've just done." In concert,Weymouth explained further, "theyyell for our hit, so we get it out ofthe way early and do Genius of Lovesecond in the set."

What's most important to the twoof them, however, and what makesany aggravation worth bearing, isthe chance to perform in front of alive, engaged, and appreciative au-dience. "There's nothing like it,"Frantz said. "With Tom Tom Club,we just want to get out and rock thehouse."

Long may they rock. 0

l'" `s "r7%'-';'"' a

1611111111111kBY WARREN BERGER

HERE was a time, and it wasn't long ago, when the finer pointsof audio equipment design-appearance, ergonomics, andthe like-were regarded lightly, if at all, by hi-fi companies. Itwas the Age of Engineering, when style was out of style, andall that seemed to matter were the specs, the size, and thenumber of buttons and switches.

That era has now passed, and a new age of enlightenedaudio design is in full swing. Blame it on style -conscious yuppie con-sumers (they get blamed for everything else), or credit it to a newgeneration of audio designers who will no longer be pushed around by

Apogee Acoustics'Diva full -rangeribbon speakersare available inoptional fauxfinishes such asthe grigio perlamarble shownhere. The Divasystems are 73inches high, 31inches wide, andonly 3 inchesthick. A paircosts $9,450in faux .finish.

102

p

Pearl & Oakleyof Wales makesthe Cerca brand ofomnidirectionalspeakers inglazed ceramicenclosures. TheVictoria 120($1,495 a pair) isa three-way systemthat stands 331/2inches high andmeasures 1334

ches across.

ONNAMME11911911rq

"2 0 0 0 0 0 C

The Proton 600Series (right)combines style andperformance in anintegrated amp with6 dB dynamicheadroom, a tunerwith Scholz IIcircuitry, a cassettedeck, and acompact disc player.

tweaky engineers; whoever's re-sponsible, the world of hi-fi has nev-er looked better. And more oftenthan not, contemporary audioequipment designs are as practicalas they are pretty.

Characteristic of the new look aresleek components in basic black ormuted dark colors, with clean, un-cluttered control panels and easy -to -use remotes. One "smart" switchoften takes the place of two single -function controls, and lesser -usedcontrols may be hidden behindmovable panels. The pieces of a sys-tem can complement each otheraesthetically and logically, rightdown to the speakers. And thosespeakers do not resemble the plainbrown boxes of old-they come in agrowing variety of shapes andcolors, with some even resemblingworks of art.

The revolution in design didn'thappen overnight. Bang & Olufsenwas creating audio "designs for liv-

Adcom oilers whiteand silver frontpanels as stylishalternatives to theusual black look. .41left are the GFT-555tuner ($350), theGFP-555 preamp($550), and theGFA-545 poweramp ($550).

ing" decades ago, and other Euro-pean manufacturers have, for anumber of years, also strived for asense of stylishness and user -friend-liness. Examples of these effortscould be seen over the years atEuropean audio fairs, which havealways focused as much on style assound, but it wasn't until recentlythat the audio fashion movementbegan to take hold in the UnitedStates, traditionally known for a se-rious, no -frills approach to audiodesign. And even the Japanese arenow becoming stylish, fighting offan old enthusiasm for techno-flash.

"It's a response to what today'scustomer wants," explained SteveGirod, vice president of marketingat Yamaha. "People are more con-cerned than ever about how audioequipment looks in the home envi-ronment, how it fits," he told me."Women are getting more involvedin the purchase of hi-fi equipmentand bringing their sensibilities into

the market, and at the same timemen are becoming more consciousof style. In the past people respond-ed to technology and buttons, butthat's not the case any more."

Girod pointed to the latest line ofYamaha components, the 90 Series,as an example of how the companyis reacting to this phenomenon. Thepieces of the new line are smaller,rounded at the edges, and finishedin dark blue. Girod and other Ya-maha marketing people refer to thelook as "Euro-style." As it happens,they're not the only ones using thatterm lately. From the Far East to theWest Coast, "Europhilia" is aliveand well among audio designers.

"Europe has always had a reputa-tion for turning out the best designs,whether it's in automobiles, furni-ture, or hi-fi," said Lee Adams,managing director of SoundstreamTechnologies, which is based inJapan. According to Adams, Sound -stream's designs "combine a num-ber of different European influ-ences, including some Germantouches and some Italian."

The current popularity of Euro-pean styling has naturally benefitedcompanies from that continent, andthey're now making the most oftheir design savvy. It's a boomtimefor Bang & Olufsen, which now feelsthat "the rest of the industry is mov-ing in our direction and trying tocatch up," according to John Stone,B&O's U.S. product manager.

1

HAT won't be easy for somemanufacturers. B&O has re-fined its design approach-anattempt to create user-friendlysystems that blend into thehome-over a period of dec-ades, and not without strug-gles. "Good design is notsomething that's easily mas-

tered," Stone said. "Over the years,we've worked hard to resolve thenatural conflict between engineersand designers-and even now it'snot a simple matter."

Still, it's a challenge that manycompanies are now prepared to un-dertake, perhaps out of necessity. AsStone pointed out, technologicaldifferentiation is becoming harderand harder to achieve. Nowadays,the company whose products standout by virtue of appearance andfunctionality has a significant edge.

Purposeful DesignHow does one recognize and

judge good design in audio? At theMuseum of Modern Art in New

104 l'EREO REV] EM' DECEMBER 1989

Bang & Olufsen'swall -mountableBeosystem 4500consists of a receiver($1,098), a CDplayer and acassette deck ($800each), a turntable($499). and asystem remotecontrol ($175). Th-'Beolab 5000speakers are $2.055a pair.

York, associate curator CaraMcCarty looks for audio designsthat are "new and innovative, butwith a purpose." Among the audioproducts on display at MOMA areseveral B&O components, whichMcCarty praises for "simplicity andunobtrusiveness-they blend into aliving room like furniture." Similar-ly, McCarty spoke of the beauty andpracticality of a Brionvega systemdesigned by Mario Bellini: Thecomponents are housed in an ele-gantly minimal cube, which opensand closes.

McCarty noted that the B&O andBrionvega systems, along with otherhi-fi pieces on display at the mu-seum, always incorporate user bene-fits into the stylish package. In thebest designs, style and function areso intertwined they are virtually in-separable.

While there are, of course, someradical audio designs on the markettoday that could be labeled "art forart's sake," the better ones almostalways manage to balance functionand form. "In all instances, westrive for design that's simple,understated, and ergonomicallysmart," said Soundstream's Adams.Indeed, function takes precedencewith some designers: "The mainpurpose of industrial design is tomake the operation of advancedtechnology easier for the consum-er," declared Rene Weiss, who de-signs for Proton and other audiocompanies.

1

HAT sense of balanced designcan be seen in Weiss's workfor Proton. Weiss's sleek, all -black finishes have helpedforge the company's identity,while his placement of con-trols has made the compo-nents easier to use. In thecompany's new 600 Series,

buttons are grouped together byfunction, and seldom -used controlsare concealed behind motorized, ro-tating panels.

An interesting blend of style andfunction can also be found in thecomponents of Adcom (whose cur-rent fashion statement includes thewhite look), a/d/s/, Revox, Merid-ian, NAD, and others. With occa-sional exceptions, these companiesopt for subtlety in design ratherthan outrageous shapes and colors."We feel that far-out designs are acuriosity more than anything else,"a/d/s/ consultant Larry Daywitttold me.

Curiosity pieces do have their

place in the audio world, particu-larly where turntables are con-cerned. Perhaps in response to thosewho would dismiss the turntable asa thing of the past, a number ofmanufacturers have opted for a fu-turistic look. European companiessuch as Grundig and Goldmund, aswell as Canada's Museatex, createstate-of-the-art turntables that putsome or all of the complex internalworkings on display for a high-techappearance.

Remote PossibilitiesIn contrast, a /ow -tech appearance

is what counts with remote controls:The more functions are concealed,the better. Remote control is now akey element of the design process; ithas, in effect, allowed designers toclean up and simplify componentfaceplates, since much of the opera-tion is now handled by the remoteunit. At the same time, however, ithas forced designers to come upwith creative approaches to fittingall of those controls onto an evensmaller surface.

The best remotes on the marketare those that limit the number ofbuttons, group them logically, andprovide visual aids, such as color -coding or varied shapes and sizes, tocut down on confusion. As Yama-ha's Girod pointed out, "Manufac-turers started out trying to impressconsumers with a hundred buttonson a remote, but consumers havecompletely rejected that ap-proach."

Now companies such as Mitsubi-shi are concealing buttons (the re-mote control for the M-AV1 receiv-er has a sliding cover plate over less -used buttons). The a/d/s/ RC -1 re-mote uses an internal "page" sys-tem, also concealed under a panel,to provide hundred -function accesswithout the mess. Obviously, with aremote, functionality is most im-portant; still, a little style, perhapsin the form of interesting color andcontours, can make the unit lookbetter on the coffee table.

Speakers as ArtErgonomics is less of an issue

with speakers, though style may beparticularly important consideringthat speakers tend to be the mostvisually prominent elements of asound system. Rebelling against theintrusion of speakers in interior de-signs, a growing number of style -conscious consumers and installershave recently been hiding speakers

in the walls, though in some casesthat has led to compromised soundquality.

Now, a number of speaker manu-facturers are responding with mod-els designed to "fit in" with roomdecor. Pearl & Oakley Acoustics, anewcomer to the audio market, hasintroduced a line of ceramic speak-ers with antique -porcelain finishes,such as the Victoria, which isshaped to resemble an elegant vase.The "speaker as art" approach isalso in vogue at Apogee, wherespeakers are being hand -painted.Artists create individual designs onhigh -density particleboard exteri-ors; customers select speakers asthey would works of art, or requestcustom work for an additionalcharge. "If these speakers are goingto be the focal point in a room, theyneed to look the part," said SaraBloom, who oversees this designprocess for Apogee.

HILE not many speakermakers are commissioningmodern-day Michelangelosto paint speakers, many areexpanding the variety offinishes they offer. MBQuart, for example, now of-fers at least nine finishes foreach model. "A customized

approach is very important now-the idea is to fit in," said AndyOxenhorn, the company's NorthAmerican sales manager.

Of course, there is also somethingto be said for speaker designs thatdo stand out in a room, as MBQuart knows. One of the company'smost talked -about speakers rightnow is the new Aera, which featuresa pulsating sphere on top of a rhom-boid -shaped box.

Another eye-catcher is the Duettofrom Revox, a one-piece, prism -shaped speaker system that pro-duces a stereo sound stage: Thespeaker houses two sets of threedrivers on opposite sides of a singlecabinet; the sets of drivers areacoustically coupled to each other,building a stereo matrix.

Whether the aim is to blend in orto make an artistic statement, de-sign is of the essence in hi-fi today.And as one manufacturer told me,that's good news for the familyaudiophile. "What it means," saidBrian Gammon of Museatex, "isthat your equipment won't have tobe hidden in a basement recreationroom any more. Stereo systems cannow be brought out of the dungeonand into the living room."

106 STEREO REVIEW DECEMBER 1989

I \ I

SOBSJWHAT DO SIGNAL PROCESSORS DO?COULD YOU GET BETTER SOUND IFYOU ADDED ONE TO YOUR SYSTEM?

BY DAVIDN an ideal world, hi-fi systemswould reproduce the full rangeof musical sound with perfectlyflat frequency response. Everylistening room would be of op-timal shape and size, with a per-fect balance of acoustically ab-

sorptive surfaces and live, reflecting ones.All musical recordings would be mas-

tered with exemplary tonal balance-nottoo bright, not too dull, but just right. Andthe blend of direct, pinpoint imaging andspacious reflected sound would be equallyflawless, reproducing the original acousticspace of the live performance with com-plete authenticity.

Dynamic range would be no problem inthis ideal world. An amazing medium thatstores sound as digital code on a shiny plas-tic disc the size of a large coaster would beable to play back music with every nuanceof loud to soft found in the concert hall.

One out of five isn't bad. We've got theCD, a digital medium whose dynamic rangeapproaches perfection. But the fact is, wedo not live in an ideal world-or anythingvery like one. And nearly every other linkin a hi-fi system's signal chain can be sub-ject to sonic compromise.

Most loudspeakers, for example, are intruth limited. They don't reproduce theentire range of deep bass or all the semi -audible high -frequency overtones, they arenot perfectly evenhanded in meting outbass, midrange, and treble sound, and theyinteract with the listening room in unpre-dictable, less -than -ideal ways.

Recordings-even in this digital age-donot adhere to any standard of tonal bal-ance. There are bright ones, dull ones, and

SIMONin-between ones. The reproduction ofacoustic space is all over the map, too. Youcan find spacious discs, dead -soundingdiscs, reverberant discs, and purely studio -produced, "multi -mono" recordings thatmake no effort whatsoever to create a con-cert -hall sound.

Even dynamic range remains an area ofconcern. While many CD's are essentiallyunfettered in this regard, plenty were mas-tered from older recordings-particularlythose of historic performances from beforeabout 1970-that cannot utilize all of thedigital medium's potential. And analog LPrecords remain strictly limited to about 20dB less dynamic range than the typicalcompact disc. What's more, the CD's widedynamic range is just too much for manylistening situations: Soft passages can belost in a room's background noise, andlouder ones and sudden transients mayblow you out of your seat.

What's a poor hi-fi fan to do? Look intosignal processors, that's what.

Transducers such as microphones andspeakers change information from one me-dium to another-from sound waves toelectrical waves, and back again. Programsources such as phonographs, tape decks,tuners, and even CD players are also basi-cally transducers, turning a recorded orbroadcast signal into an equivalent electri-cal audio signal that can be sent to anamplifier. Amplifiers take the audio signalsthey receive and make them bigger-morevoltage, more current, more watts-with-out, in theory, changing the essence in anyrespect.

Almost every other audio component is asignal processor, a device that changes

BORDER ART BY BARBARA FRIEDMAN STF.REO REVIEW DECEMBER 1989 107

(processes) the audio waveform(signal) in some way. The bass andtreble tone controls on a receiver arethe most common examples of sig-nal processors: They alter the bal-ance of low -frequency and high -fre-quency signal content, making thesound brighter or duller, richer orthinner.

Of course, the goal of high-fidelityaudio is to reproduce the originalsound with as little change as possi-ble, so many audio hobbyists areaghast at the notion of adding a sig-nal processor to their systems-often to the point of favoring pre-amplifiers that omit even those ba-sic bass and treble knobs. But if youaccept the idea that we live in animperfect world, and that our hi-fisystems are forced to play imperfectmaterial in environments that arefar from flawless, then plugging in asignal processor makes sense.

Hooking It UpSignal processors are often

hooked up to a system between thepreamp and power amplifier. Sincemost are "unity -gain" devices-thesignal they put out is no stronger orweaker overall than the signal theyreceive-when set for zero process-ing they should have no effect onthe system's performance. Andwhen a processor is wired up thisway, the preamp's own controls, in-cluding the all-important volumeadjustment, will operate as usual.

F course, many of ususe receivers or inte-grated amplifiers inplace of separatecomponents. In suchcases, a processorshould be patched

into a tape -monitor loop, and forthe best signal-to-noise perform-ance, processors should be insertedthrough a tape loop with separatesalso. This way, whenever the tape -monitor button on the receiver oramp is pressed, the signal proces-sor's effects will be heard, modify-ing whatever source-CD, tuner,tape deck, or turntable-is selected.Fortunately, most signal -processorcomponents provide a set of tapejacks, switched from the front pan-el, to replace the loop the processorfills on the receiver or amp. Manyprocessors also permit the signalsent to a tape deck connected totheir jacks to be processed, which isuseful in making tapes for playbackon other systems-in the car, forexample.

EqualizersBy far the most common signal

processor in home hi-fi systems isthe equalizer, an apparatus that issimply an elaboration on the tone -control concept. The name comesfrom the device's ability to evenout, or equalize, frequency -responseirregularities. Where bass and treblecontrols provide only two bands ofequalization corresponding to theirnames-that is, low frequencies andhigh frequencies-an equalizer pro-vides more precise processing thatusually extends over the entirerange of audible sound.

There have been many types ofequalizers over the years. Profes-sional recording studios routinelyuse parametric equalizers, whichcan be set to fine-tune either a veryspecific, narrow range of frequen-cies or to act on a broader sonicregion. Graphic equalizers are thetype most often encountered inhome hi-fi systems. Most graphicequalizers have ten discrete bandsof operation, each one roughly cor-responding to an octave of audiblemusical sound. They usually sport aslider control for each band, oftenarranged in ten pairs to permit sepa-rate control of left and right chan-nels. The sliders operate just like theround knobs used for most tonecontrols, but linearly. Each bandcan be boosted or cut by as much as12 or 15 dB.

There are several advantages tohaving such fine control over thetonal balance of music. Most worth-while is the ability to correct for fre-quency -response errors that exist inthe program source, that are causedby the reproduction system, or thatare caused by the listening roomitself.

Take the first case. With a graphicequalizer, an overly bright record-ing is no problem. Since you havecontrol over as many as three orfour different precise "treble"ranges, you can adjust the top -endbalance to taste without simulta-neously modifying the upper mid-range-a crime of which many sim-ple treble controls are guilty.

The second case: Like the vastmajority of audio fans, you proba-bly listen to speakers whose bottomoctave is substantially rolled off:The very deepest bass-say, below40 Hz-is not as powerful in play-back as it was in the original per-

formance. With an equalizer, youcan raise the lowest -frequency band(usually centered around 30 Hz) by afew decibels without also boostingthe mid -bass "boom" region. Aslong as you maintain an overall vol-ume setting that avoids overstress-ing either your woofers or your am-plifier, you can discover deep -basscapabilities in your system you maynever have dreamed it had.

INALLY, consider the lis-- tening room. The typi-

cal American living room is far from ideal

for hi-fi reproduction.Its dimensions usuallyinduce standing waves

that make almost any loudspeaker'sbass reproduction less accurate thanits designers intended. The room isusually packed with soft, acoustical-ly absorbent furniture, carpeting,and draperies that swallow up agreat deal of treble energy before itcan reach the listener's ears. Toooften, side walls crowd in or a sofablocks the way, causing reflectionsor sonic "shadows" that make thecritical midrange less than flat aswell.n

A equalizer permits you to cor-rect-to some degree-each ofthese problems. Of course, youmight also want to have some plainfun. Individual bands can be usedto isolate a particular instrument orvocalist, or to suppress one. Or youmight load up the low -bass andhigh -treble ends of the spectrum tocreate a "disco" effect for your nextparty.

These days, most serious equaliz-ers include much more than just abunch of sliders. The most commonaddition is a spectrum analyzer,which provides a bar -graph displayof actual response levels in eachoctave band. Some models even in-clude a calibrated microphone and abuilt-in generator that sends pinknoise-a full -range test signal-through your system. With the mi-crophone placed at the listening po-sition, you play the test signalthrough your system at an averagelistening level and adjust the indi-vidual sliders until the spectrumanalyzer shows the smoothest possi-ble response-in your listeningroom, with your speakers.

Dynamic Range and MoreEqualizers are only one kind of

signal processor. Another sort is thedynamic -range processor, whichcontrols how wide a dynamic

108 STEREO RiviEw DECEMBER 1989

i.-..4N1

BBE Sound's Model 1002Sonic Maximizer (S189)

includes a dyne mictreble equalizer and a ph Ise -

correction circuit tailoredto the characteristics of

typical loudspeakers. It isdesigned to increase

clarity without ad lingharshness.

f,e. .4.

The fully digital CP-2 is aneconomy version of

Lexicon's superb CP-1surround processor. ft

provides Dolby Pro Logicdecoding for movie

soundtracks as well assome ambience -synthesis

features. Price: 5995.

Yamaha's DSP-3000 DigitalSound Field Processor($1,899) has sophisticatedbuilt-in programs tosimulate acoustic spacesranging from a small jazzclub to a cathedral.

The dbx 3BX-DS DynamicRange Controller providesexpansion or compressionof as much as 50 percentin each of three frequencybands. The amount ofprocessing is individuallyadjustable for eachband. Price: $499.

Two graphic equalizersfrom Soundcraftsmen, thecompany responsible forpopularizing this type ofcomponent: The Pro-EQ 44(top, 5549) has twenty-onebands for one -third -octavecontrol; the AE2000(bottom, $8491 is a ten -band equalizer with aspectrum analyzer.

S' FERE() REV I EW DECEM BER 1989 109

range-how much variation be-tween loud and soft-will be repro-duced by the system. There are twotypes of dynamic -range processing:expansion and compression. Ex-pansion increases the dynamicrange, making loud peaks louderand soft passages softer-an effectuseful for many analog LP'S, cassettetapes, and FM broadcasts since thesemedia inherently impose some re-striction of dynamic range. A fringebenefit of most expansion systemsis a significant reduction in audiblebackground noise.

Compression actually reduces dy-namic range, automatically "turn-ing up" soft passages or notes, and"turning down" loud ones. Whywould you want to compress music?One good reason is to create con-stant -level, continually audiblebackground music, as for a cocktailparty. Another is to enable a wide -dynamic -range recording, such asfrom a compact disc, to be dubbedonto cassettes for car listening. Judi-ciously applied compression canmake an enormous difference inhow enjoyable wide -dynamic -rangematerial, such as some classical mu-sic, will be in the noisy automotiveenvironment, where road and en-gine noise often blots out most mu-sical subtleties.

Many signal -processing compo-nents are a bit more difficult topigeonhole. Subhartnonic synthesiz-ers, for instance, actually create newbass information. They can restorebottom -end impact to historic re-cordings-your old Paul Revereand the Raiders records, for exam-ple-and add an earth -shakingfoundation to modern ones. Whilesome audiophiles may debate theaesthetic merit of subharmonic syn-thesizers, no one can deny theirimpact, which is substantial.

UDIO "sweeteners" areanother processor cate-gory intended to makerecorded music soundbetter than new. Oneproduct, for example,performs a number of

subtle transformations on an audiosignal, dividing it into three bands,dynamically equalizing the treblerange, and applying independent"phase corrections" to all threebands. The result can make a defi-nite sonic difference, giving moresnap to transients, additional detailto treble material, and more "air" tothe acoustic space.

Another hard -to -categorize box is

Carver's outboard Sonic Hologra-phy Generator (the same function isbuilt into most Carver preamplifi-ers). This device performs somequite complex phase processing, in-cluding interaural-crosstalk cancel-lation, to create a stereo image thatwith many recordings extends to theleft and right beyond the speakers.

Surround SoundAfter equalizers, the most com-

mon signal processors these daysare surround -sound devices. Thesecome in a bewildering variety ofshapes, sizes, and models. Most of-fer at least two basic functions:decoding Dolby Surround informa-tion on video soundtracks, and syn-thesizing surround effects from un-encoded music sources. Today,both functions are widely availableas integral features of many high -end receivers, integrated amps, andpreamps as well.

Dolby Surround is a process origi-nally devised by Dolby Labs forfilm sound. It extracts a rear -chan-nel signal from specially encodedvideo sources, including videodiscs,hi-fi videotapes, and broadcasts.The rear -channel signal, which re-quires an additional, modest pair ofspeakers and amplification, repro-duces ambient sound and behind -you and to -the -side sound effects,just the way the filmmaker in-tended, for an immeasurably moreengrossing audio/video experience.Dolby Pro Logic, an enhancementavailable in the more sophisticatedDolby Surround processors, adds acenter -front channel to keep dia-logue firmly anchored on -screenand improves the separation andnaturalness of the surround effects.

Ambience processors (which areoften included in Dolby Surroundand other surround -sound proces-sors) perform a different set of ma-nipulations on the audio signal, spe-cifically for music listening ratherthan video sound. They, too, yieldone or more channels beyond thebasic stereo pair, and these outputswill require one or more additionalspeakers and amplifiers. The differ-ence is that ambience synthesis doesnot require an encoded signal butworks on any stereo audio source.

The goal of most ambience pro-cessors is to simulate an acousticspace like that in which the originalperformance might have takenplace-in many cases, a specific

concert hall. A well -designed pro-cessor that's properly set up withappropriate secondary speakers andamps-these can make a real differ-ence-will provide an astonishinglylifelike sense of transporting you tothe concert venue of your choice.

N the more sophisticatedunits, ambience process-ing involves some verycomplex machinationsin the digital domain.These ambience proces-sors first transform the

signal from the source into a digitalaudio "bit stream." Then they per-form a variety of digital operations:delaying the rear channels, digitallysynthesizing reverberations, and ap-plying carefully tailored equaliza-tion to imitate the tonal characteris-tics of hall reflections.

Digital Signal ProcessingThe new digital ambience proces-

sors are a window on the future ofsignal processing, where everythingwill be accomplished wholly in thedigital domain. The secret of digitalsignal processing, or DSP, is thatonce an audio signal is converted toa stream of binary numbers, whatyou can do to it is limited only byyour imagination and taste-and bydigital memory capacity and pro-cessor chip speed. A new generationof DSP chips will soon make the dig-ital signal processing options avail-able to us all but boundless. Wheth-er you want to change a signal'samplitude, as with equalizers anddynamic -range processors, or time,as with ambience processors, orwhether you actually want to syn-thesize new information, as withsubharmonic synthesizers, DSP willbe the way to go.

The DSP approach has another ad-vantage: It can easily accept outsideinformation. For instance, a DSPprocessor in your car might monitorroad speed and engine noise andcontinually adjust its dynamic com-pression to compensate for a clam-orous automotive environment. Anambience processor in your homesystem might read an identifyingcode from each CD, DAT, or what-ever in your library and automati-cally dial up the acoustic space ap-propriate to that particular musicalperformance. And those are onlytwo of the more obvious examples.Just turn up your imagination forothers. And keep one eye on thehorizon and an ear to the ground-it's an ongoing process.

1 10 STEREO REVIEW DECI 'OBER 1989

We're making abig deal outofpractic

The most difficult job for a compact discplayer is to reproduce low amplitude signals.Fortunately, Yamaha has created a remarkableCD player that rises to the occasion.

The CDX-1120 reproduces those lowamplitude

:1: signals that untils.N I-- now, have beendistorted or lost

in the noise generated by the digital -to -analogconversion process in most CD players.

Allowing you to distinguish the subtlevariations between, say, both an oboe andclarinet softly playing middle C.

As well as enjoy improved ambiance,revealing the acoustic characteristics wherethe performance took place.

And superior imaging, clarifying the place-ment of each instrument in an orchestra.

All worthy reasons to take a good, softX-listen to our remarkable new CD1120. Onlythen, can you truly appreciate Yamaha's SuperHi -Bit Technology.

Yamaha's exclusive Super Hi -Bit Systemutilizes the additional information generatedby our 20 -bit digital filter to more accurately

noreproduce the low amplitude signals comingfrom the disc.

To achieve this superior sound definition,Yamaha uses four 18 -bit D/A converters, eachwith an exclusive 4 -bit FloatingSystem to boost linearity to 22 -bits.

Delivering four times greaterresolution of low amplitude signalsthan even fixed 20 -bit D/A convertersystems.

What's more, Yamaha's exclusiveSuper Hi -Bit DAC Direct Outputprovides phase accuracy so close tothe original recording, it's unpre-cedented in the industry.

The CDX-1120 also featuresDigital DeEmphasis and DigitalVolume Control to give the bestpossible signal output - - uncom-promised by analog components.

To fully appreciate the phenomenal CDX-1120, pay a visit to your local Yamaha dealer.

Once you hear it for yourself, theadvantages will comeacross loud - and soft MAMA- and clear.

A full -functionremote lets 111control every-thing.With 2 1 -track randomaccess pro-gramming.5 -way repeatplay and more.

HA®

1989. Vain:ilia Electronics Corporation. CSA. Fur tlw nearest yin! Call 1-14111 n62-68011.

"McIntosh . . . no other transistor am i eris capable of reproducing as well.""All the sounds, even those different one fromanother, remain separated and distinctive. Thereresults a sensation of contrast, precision, and un-common clarity.... A close analysis of different frequenciesreveals an extremely deep bass, very rich inspatial detail . . . The upper bass region is verylinear testifying to an extraordinary richness ofinformation. The very structured mid -range con-tributes enormously to listening pleasure.The feeling of power is never refuted and instead

-.of stunning the listener, the 7270 recreates anaudito environment of a majesty that no othertranststor amplifier is capable of reproducing aswell." Need,we say more?

-REVUE rotKsori, foremost French stereo magazine.

For a copy of the RE(UE DU SONand information on the.McIntosh MC 7270Amplifier and other McInt products write:McINTOSH LABORATORY INC.P.O. Box 96 EAST SIDE STATION, T. A47BINGHAMTON, NY 13904-0096

POWER OUTPUT

1111 1010511

50 ,20 -30 -20 10 3Pf -

CIRCLE NO 29 ON READER SERVICE CARD

Gam-

+ BY WILLIAM LIVINGSTONE +

ALE it takes to make Christ-mas shopping fun is time,Money, and ideas. The edi-tors of STEREO REVIEW can

do nothing to increase the amount oftime or money at your disposal, butevery year we try to give you ideas forsuitable 'Christmas, Hanukkah, orNew Year's gifts for yourself or otheraudiophiles and record collectorsamong your friends, business asso-ciates, and family.

This year, for a wider range of holi-day gift ideas, Editor in Chief LouiseBoundas invited the staffs of our buy-ing guides and cur associate publica-

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tion Car Stereo Review also to takepart in preparing the Christmas giftlist, and their thoughts on the subjectare included below along with thoseof STEREO REVIEW's edit'o'rs and con -tflbuturs.

Although we don't set a price ceil-iRg, we try to limit our suggestions toaccessories records, books, andtbys-things that cost less than a pairof speakers or an actual electroniccomponent. Within those guidelinesthere are a great many things that willmake the holidays happier for anyonewho enjoys music -eproduced elec-tronically in the home or car.

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.-1111.

The care and feedingof compact discs areon a lot of people'sminds this year. Senior

Editor Rebecca Day suggests the re-volving Diamond Tec CD holder,which takes up little space andstores fifty-six cD's. It costs $21.99.For cleaning cD's and even remov-ing light scratches, Music EditorChristie Barter recommends Bib'sA-640 Compact Disc Polish set. Itincludes a polishing cloth and a sup-ply of spray that will clean fivehundred cD's for $12.95. It alsoworks on laser videodiscs.

To take along a supply of cD's foruse with car players or portables,Assistant Editor Jae Segarra recom-mends Geneva's PF-750 leather CDtote, priced at $30. Before going out,you remove the CD'S from theirjewel boxes and put them in thetote's clear plastic antistatic sleeves.It holds ten CD's along with theirbooklets.

For maintenance of your CDplayer, you can use Discwasher'sCLD 2 laser lens cleaner, $27.95, a

Always welcome is a gift of blank tapefor either audio or video recording.

gift suggested by Managing EditorDavid Stein. Louise Boundas's listincludes AudioSource's LLC OneCD Laser Lens Cleaner at $29.95.

Contributing Editor Craig Stark isfascinated by the Pierre Verany testdisc (Compact Revue du DisqueLaser) CDPV/2. It is a two-cD setthat can be used for laboratory anal-ysis or simply to see how well yourcompact disc player performs whenfaced with such faults in CD'S asdropouts, multiple errors in a row,and so forth. The set is availablefrom Old Colony Sound Lab, P.O.Box 243, Peterborough, NH 03458-0243 for $34, plus $2.25 for ship-ping and handling. For telephoneorders with credit cards call (603)924-6371.

Cleanliness counts for a lot in get-ting the most out of your audioequipment, particularly for playingLP records. Christie Barter suggeststhe Ortofon RC -013 record -care kitfor anyone with an LP collection.The kit includes a stylus cleaner anda record -cleaning brush and solu-tion to remove dirt and eliminatestatic. Price: $16.95.

Contributing Editor Ralph Hod-ges, who writes the "High End" col-umn for STEREO REVIEW, thinks agood present for the LP collectorwould be the Cantosweep, a smallrecord -care brush that rides aheadof the cartridge, removing staticcharges and dirt from the groovesduring play. It is distributed by Can-ton North America for $30. Movefast on this one-when present sup-plies are sold, Canton plans to dis-continue the product.

Senior Editor Robert Ankoskochooses Trackmate's TM161 cas-sette -deck maintenance kit ($14.95),which cleans and demagnetizesyour tape deck's heads in one pass.I've had good results with Realis-tic's head demagnetizer, which costs$9.95 at Radio Shack stores. Assist-ant Art Director Catherine Flemingrecommends the Nakamichi DM -10 head demagnetizer, which costs$38.50, and Executive Editor Mi-chael Smolen, a strong advocate ofdigital audio tape, points out thatAllsop has already introduced a giftfor those happy few who own DATplayers. It is the Model 7500 DATcleaning system (a wet/dry systemthat cleans both heads and tapepath). Price: $29.95.

Senior Editor William Goldmanthinks blank audio or video tapemakes an excellent gift, and he men-tions such standard brands asBASF, Fuji, Maxell, Memorex,Sony, TDK, and 3M. He finds the100 -minute audio cassette lengthparticularly useful and recommendsDenon's HD8-100 or Maxell'sXLII-S100, both $4.99 each.

To make a more equipment -oriented tape fan happy, Robert An-kosko says give him (or her) NilesAudio's TSB -3 Tape Deck SwitchBox, which makes it easy to record,play back, and dub from any ofthree tape decks. Price: $80.

Similarly thinking of the realequipment lover and user, MichaelSmolen suggests Kinetic Audio'sStereo Amplifier/Line Level Con-trol ($150) for bi- and multi-ampingand other amplifier level adjust-ments. Smolen also recommends

A set of infrared wireless headphoneswill give the user,freedom of movement.

Kinetic's Stereo Amplifier/SpeakerSelector (also $150), which switchesthe outputs of two stereo amplifiersinto a single pair of speakers or runstwo pairs of speakers from a singleamplifier.

The editors of this magazine findsome of the claims made for thevery heavy and costly interlinks andspeaker cables unconvincing, but ifyou know someone who thinks theyimprove sound, give that person asmuch of the weighty wire as you canafford. David Stein says a moremodest solution is Vampire Wire's21000 speaker cable at $1.95 a foot.Another nice gift, Stein says, wouldbe Esoteric Audio's T-Lok speakerconnectors (with 24K gold platingand single banana or dual bananaconstruction) for only $22 a pair.

Car Stereo Review's Assistant ArtDirector Laura Sutcliffe and Rebec-ca Day are both tired of wires andlike the freedom afforded by in-frared wireless headphones. Ms.Sutcliffe says they permit you toexercise to music or just listen to itwithout disturbing your spouse or

You can find a suitable book to give amusic lover, whatever hic torte mar he.

1 14 STEREO REVIEW DECEMBER 1989

roommate. She chooses Sony'sMDR-IF5K headphones, which fea-ture an arc -shaped transmitter/recharger and various power andplug adaptors for $200. Ms. Daygoes for Koss's top -of -the -line JCK/300 Kordless Stereophone systemwith emitter panel, modulator base,and AC adaptor for $275.

Editorial Assistant Chris Gianco-la, who works on our buyers' guidesand Car Stereo Review, is thinkingof FM reception at this holiday time.He suggests that you improve recep-tion for yourself or a loved one withan indoor antenna, and he recom-mends Terk's top -of -the -line 9800Series powered indoor FM antenna(with Schotz low -noise amplifier)for $85. For bigger spenders Gian-cola suggests Parsec's AM/FM anten-na for highly directional AM recep-tion and omnidirectional FM recep-tion. Price: $149.95.

Database Coordinator MichaelCuffe reminds us that every ownerof an audio (or audio/video) instal-lation needs a flashlight in his toolkit to help identify the variousinputs on the backs of components.The Panasonic Flexible Light, Mod-el BF -331 EBP, is especially versa-tile, Cuffe says. Its long flexible neckmakes it easy to illuminate placesthat are ordinarily difficult to reach.Price: around $9 at hardware stores.Batteries not included.

As remote controlsproliferate on our cof-fee tables, many com-panies have made uni-

versal remotes to coordinate thecontrol of a number of componentsin one unit. Denon's RC -605, forexample, which has 130 program-mable keys shared by two programs,also stores the signals of other re-mote controls. Price: $120.

William Goldman recommendsthe Philips AK9133GY01 "SmartOne" remote control, whichprompts you through a learningprogram and tells you when youhave made an error. It can handleup to three remote -controlled unitsat one time. Price: $80.

Editorial Assistant Barbara Aikenlikes Onkyo's RC-AV20M, a uni-versal remote that can operate au-dio/video components from a vari-ety of manufacturers. With ahundred programmable functions,it offers full control of more thanten components. Price: $100.

For the smaller audio/video sys-tem, Editor at Large Michael Riggssuggests Radio Shack's Realistic

Model 150 universal remote con-trol, which can learn and reproducethe commands of four individualremotes. Since it has fewer keys, it iseasier to operate than the more elab-orate models and is less forbidding.Price: $49.95.

Also casting a vote for user friend-liness, Louise Boundas recom-mends a gift for owners of Mitsubi-shi television sets in the form of thePRM-I, a remote control the size ofa fountain pen. Compatible withMitsubishi TV sets up to four yearsold, it offers the basic functions ofpower, volume, and channel selec-tion. (For more complex functions,such as timer control, the full -fea-tured remote would still be needed.)Price: $24.95.

Ms. Boundas reminds shoppersthat speaker stands are not onlydecorative but have an acousticfunction as well. Mission's Designerstand of tubular steel, for example,features the carpet -piercing spikes

that are important to some audio-philes. Price: $149 a pair. CustomWoodwork & Design's Woodmorespeaker stands come in 9-, 15-, and30 -inch heights, all with adjustablelevelers. Price: $80 to $100.

Recommended by Ms. Boundasare Sound Decor's "SpeakerChairs" in light golden oak and darkwalnut oak. Each stand can be ad-justed to accommodate a speaker 12to 22 inches wide. The tilt angle canbe adjusted from 90 to 115 degrees.Price: $89 a pair. Available onlyfrom Sound Decor, 419 Main St.#14, Huntington Beach, CA 92648.Write or call for shipping costs:(714) 969-1406.

Technical Editor William Wolfeis also the Editor of Car StereoReview, and his gift selections haveto do with car electronics. He rec-ommends Soundquest's Model2030 "Silencer," which mutes yourcar stereo system whenever a call isreceived by your cellular phone.

The range of music now available on compact discs makes it possible to find a cpto match anyone's taste-rock, pop. solo piano, opera, or Christmas music.Exciting new releases make excellent gills for collectors of video discs and tapes.

GIVe COnVelilelICe with remote controlssuch as those from Onkyo andMitsubishi (top). Panasonic's flash willlight the way to tidy connections withVampire Wire and Esoteric's T-Loks.

You don't miss calls when you'replaying the system loudly, and youdon't have to look away from theroad to turn the system down beforeanswering. Price: $70.

As a gift for those who haveremovable car stereo head units,Wolfe suggests Clarion's CCC-100,a case that makes carrying such aunit easier and prevents it from get-ting scratched or dented. Price: $30.For the same purpose Rebecca Daysuggests Coast's AT -10 car stereotote bag, which costs $19.95.

Contributing EditorKen Pohlmann, whoalso serves as Techni-cal Editor for Car Ster-

eo Review, thinks of driver safety atholiday time. He recommendsShure's ClearVoice 800 HF Micro-phone, which clips onto the shoul-der strap of a driver's seat belt mak-ing it possible to talk on a cellularphone system conveniently andsafely. Price: $135.

Instead of accessories, many ofthe gift ideas submitted by our staffand contributors were LP's, tapes, orcD's. Art Director Sue Llewellyn

. to% 4,..

116 S'l I kt.o R Ew DECEMBER 1989

recommends Peter Gabriel's "Pas-sion," the music for the film TheLast Temptation of Christ (Geffen24206, two LP's or cassettes or oneCD). "It's incredible," she says."I've listened to it at least onceevery day since I got it."

Rock fans in the office have beenimpressed by Lenny Kravitz's "LetLove Rule" (Virgin 91290), whichtops the list of Car Stereo Review'sArt Director Loren Falls. She likesthe obvious influence of John Len-non and notes that Kravitz's collab-orator in writing two of the songswas his wife, the actress Lisa Bonet.A pop/rock CD suggested by Wil-liam Wolfe is the Replacements'"Don't Tell a Soul" (Sire/Reprise25831).

Every record that comes into theoffice passes through the hands ofEditorial Assistant Maryann Salt-ser, who chooses Rykodisc's DavidBowie package "Sound + Vision"(RCD 10120/21/22). The three -CDset includes such classic early -Bowiealbums as "Ziggy Stardust" and"Diamond Dogs," rare singles, andpreviously unreleased recordings.Pressed for a description, Ms. Salt-ser responded succinctly: "Great!"

Car Stereo Review's AssociateEditor Michael Mettler says, "Twoboxed -set retrospectives that belongon the holiday gift list of every seri-ous fan are the Allman Brothers''Dreams' and the Rolling Stones''Singles Collection-The LondonYears'." The Allman collectionfrom Polydor (839417) comes onsix LP's or cassettes or on four cam's.The Stones retrospective from Abk-co (1218) is on four LP'S or cassettesor three CD'S.

Contributing Editor Chris Albert-son highly recommends the jazzsinger Susannah McCorkle's sub-lime "No More Blues" on LP, cas-sette, or CD (Concord Jazz 370).Louise Boundas is equally enthu-siastic about the classical pianistCarol Rosenberger's serene recital"Night Moods" (Delos 3006), a col-lection of meditative pieces by Cho-pin, Faure, Granados, and others.

Not a member of the early -musiccult, I would still like to throw myconsiderable weight behind twoBeethoven recordings on period in-struments. One is the new release ofBeethoven's Fourth and Fifth Sym-phonies by Roger Norrington con-ducting the London ClassicalPlayers (Angel 49656, cassette orCD); the other is Anthony New -man's performance of Beethoven's

Piano Concertos Nos. 2 and 4 withthe Philomusica Antigua of NewYork under Stephen Simon (New-port Classic 60081, cassette or cD).Both are exciting and make clearthat it is not the age of the instru-ments that counts, but the perform-ers' musicality.

Cartoonist Charles Rodriguessays the five Saint -Satins piano con-certos performed by Aldo Ciccoliniwith the Orchestre de Paris underSerge Baudo have given him greatpleasure on LP'S for years. He rec-ommends the new reissue of the seton two CD's (Angel 69443) for a giftof musical joy.

"Give a surprising gift," says Da-vid Stein, "in the form of an unher-alded gem on a small label." One heendorses is "Music of Arnold Ros-ner," four orchestral works and aMagmficat by a contemporaryAmerican composer who deservesto be better known (Laurel Record,2451 Nichols Canyon, Los Angeles,CA 90046-1798; $15.98).

Contributing Editors David Pat-rick Stearns and Eric Salzman bothstand behind the new full-scaleoperatic recording of Gershwin's

Entertaining gifts for kids featuresinger/songwriter Joe Scruggs (shownwith characters from his songs), TopCat, and Ralfi. The ROBO cassetteplayer is a new model from Sanyo.

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Porgy and Bess (Angel 49568, threecassettes or three cp's). Opera re-viewer Robert Ackart chooses thevery exciting performance ofStrauss's Elektra with HildegardBehrens and the Boston Symphonyconducted by Seiji Ozawa (Philips422 574, two CD's). Ackart says, "Itis superb in every way."

Editorial Assistant Rocco Mat-tera, a devoted opera fan, recom-mends the digitally remastered CDreissue of tenor Mario Lanza's dura-ble "The Great Caruso" (RCA60049) and the recording debut ofsoprano Susan Dunn, an aria recitalconducted by Riccardo Chailly(London 421 420). Mattera says,"Of the new young American divasI've heard, Dunn is the most im-pressive."

Contributing Editor Roy Hem-ming, a specialist in American the-ater and film music, adds to the list"Starring Fred Astaire," a two-cD ortwo -cassette set (Columbia 44233).He says the thirty-six songs hereprove Astaire was a first-class singeras well as a first-class dancer.

An original gift suggestion fromContributing Editor Ian Masters ismembership in the BMG CompactDisc Club (6550 E. 30th St., Indian-apolis, IN 46219-1194) or the CBSCompact Disc Club (P.O. Box 1129,Terre Haute, IN 47811-1129).

Loren Falls thinks this is an ap-propriate time to give the gift of hol-iday music. That might be "RickyVan Shelton Sings Christmas" (Co-lumbia FCT 45269), in which thecountry star performs the best-known Christmas songs in a pleas-ing pop style. Similar songs and car-ols are delivered in jazz fusion styleby Dave Grusin, Lee Ritenour,Diane Schuur, Chick Corea, andothers on "A GRP Christmas Col-lection" (GRD 9574).

Recorder player Michala Petri

The Country .111,wc Hall qf Fame'scalendar will give pleasure for a year.

Adjustable stands. such as the SpeakerChairs from Sound Decor, make itpossible to position loudspeakers forthe best performance they can deliver.

stars in a lovely collection of oldEnglish carols and North Europeanholiday music, "Noel! Noel! Noel!"(RCA Victor 60060, CD or cassette).Petri is accompanied by the West-minster Abbey Choir and the Na-tional Philharmonic Orchestra con-ducted by Martin Neary.

Contributing Editor Alanna Nashrecommends Peter Guralnick'sbook Lost Highway: Journeys andArrivals of American Musicians(Harper and Row), $12.95 paper-bound. It's not just about countrymusic, but Ms. Nash says it handlesthat subject sensitively.

According to Ms. Nash, the 1990calendar from the Country MusicHall of Fame is the best one yet,with photographs of current countrystars along with pictures and inter-esting information about those ofthe past: $8.95 plus $2 postage fromCountry Music Foundation Press, 4Music Square East, Nashville, TN37203. Call 1-800-255-2357.

Louise Boundas recommendsRock On Almanac (Harper andRow), a chronology of the first fourdecades of rock-and-roll, by NormN. Nite. Price: $27.50 hardbound,$16.95 paperbound. To the book listChristie Barter adds Rock Moversand Shakers (Billboard), an A to Zof the people who made rock hap-pen, edited by Barry Lazell, $16.95paperbound.

The Great Song Thesaurus byRoger Lax and Frederick Smith(Oxford University Press), $75,strikes Contributing Editor RonGivens as a marvelous gift. "It's atreasure trove of information," hesays, "that is arranged in ways thatmake it a wonderful reference bookbut also entertaining to read."

According to Contributing Editor +Phyl Garland, a wonderful tripthrough the greatest period of jazz isprovided by Miles: the Autobiogra-phy by Miles Davis with QuincyTroupe (Simon and Schuster),$22.45 hardbound. "After all thestudies by others, Davis is finallytelling his own story with eloquenceand charm and fresh insights intohis life and music," Garland says.

With so many new recordings ofearly music, Contributing EditorStoddard Lincoln says record col-lectors need the background pro-vided by Harry Haskell's book TheEarly Music Revival (Thames andHudson), $29.95. Contributing Edi-tor David Hall recommends Eric A.Gordon's "boldly honest" Mark theMusic: The Life and Work of MarkBlitzstein (St. Martin's), $29.95. Ac-cording to Hall, this biography ofthe composer tells everything youwanted to know about the Ameri-can theater of the Thirties throughthe Fifties but were afraid to ask.

Contributing Editor RichardFreed waxes eloquent on FranzLiszt: The Weimar Years, 1848-1861, the recently published secondvolume of a Liszt biography byAlan Walker (Knopf), $39.95. Freedcalls it "a noble, altogether out-standing achievement in behalf of aunique figure who could not beserved with less."

To the Liszt list I

would like to add AnArtist's Journey, Liszt'sown writings from

1835-1841, edited and translated byCharles Suttoni (University of Chi-cago), $24.95. The New York TimesBook Review called it "superb."

New books by STEREO REVIEW'Sown writers include Opera in Crisisby our distinguished London EditorHenry Pleasants, which is hot offthe press (Thames and Hudson),$19.95. Also new is Ken Pohl-mann's The Compact Disc, A Hand-book of Theory and Use (A -R Edi-tions), $45.95 hardbound, $29.95paperbound. The paperback editioncan be ordered by mail for $29.95postpaid from A -R Editions, 801Deming Way, Box P, Madison, WI53717. Phone: (608) 836-9000.

For anybody who watches movieson home video, Julian Hirsch, thedirector of Hirsch -Houck Laborato-ries, recommends the gift of a re -winder for videocassettes. Ambico'sV-0757, on our list last year, is stillavailable at the same price, $49.95.A new model, the V-0755, which

118 STEREO REVIEW DECEMBER 1989

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winds tape faster and also cleans it,costs $69.95.

Our principal rock critic, SteveSimels, is also an avid videophile,and at the top of his list of recom-mended videodiscs this Christmasis the carefully restored version ofthe 1956 science -fiction classic For-bidden Planet (Criterion Collection53, two discs, $99.95). Presented inits original wide-screen aspect ratio,the disc version includes scenes de-leted from the film. Simels calls it"tremendously exciting."

A more recent science -fiction classic is BladeRunner (1982). Nowavailable in the Super

VHS format ($59.95), it wouldmake a tremendously exciting giftfor the owner of an S -VHS deck. Ialso recommend the bent fairy taleThe Princess Bride in S -VHS($49.95). Both are available fromSuper Source Video, P.O. Box410777, San Francisco, CA 94141;add $4.50 shipping and handling forthe first tape and 50(r for each addi-tional one. For phone orders orinformation on S -VHS videotapesof the Bolshoi Ballet using Sony'snew D2 digital technology, call I -

800-331-6304; in California, (415)558-8688.

Contributing Editor Louis Mere-dith recommends a video version ofHandel's Messiah performed withgreat conviction by soloists, chorus,and the Atlanta Symphony underRobert Shaw. Video Artists Interna-tional, VHS Hi-Fi (VAI 69050,$49.95). Excellent sound.

There are lots of sources of videofor kids, featuring Peanuts, the Dis-ney characters, and others. SueLlewellyn says that when she was achild, her favorite cartoon characterwas Top Cat, and for a video gift forgood children we recommend therecently released feature-length TopCat and the Beverly Hills Cats (KidsKlassics 6704, $9.95).

An audio cassette containingsongs for Thanksgiving and Hanuk-kah as well as Christmas and NewYear's is Francine Lancaster's beau-tifully arranged and performed "Fa-vorite Holiday Songs." Price: $9.95,or gift -boxed with a book, $16.95,from Lancaster Productions, P.O.Box 7820, Berkeley, CA 94707. Forordering information call 1-800-634-4476; in California, (415) 549-7110. Lancaster also distributes avery pretty new recording of thecomplete score of The Nutcrackerperformed by the San Francisco

144141.4

When you give accessories that cleanequipment (top), store compact discs(center), or carry removable carstereo equipment (bottom), youare still giving the gift of music.

Ballet Orchestra conducted by De-nis de Coteau. Price: $11.95.

The trick with musical gifts forchildren is to find things the parentscan stand to hear repeated. MichaelRiggs, the father of a four -year -oldson, recommends the work of Rail,the Springsteen of children's music,available in all formats from A&M.Riggs particularly favors Raffi's cas-settes "Singable Songs" (CS 0202)and "More Singable Songs" (CS0204), which are available togetheron one CD (SD 2202). A live per-formance with some participationfrom a young audience, "Raffi inConcert with the Rise and ShineBand," is available on audio tape(CL -0235), videocassette (A&M VC61719, $19.95), and videodisc(A&M LV 38402, $29.98).

Riggs's son David is also a fan of +Joe Scruggs, whose recordings forthe young-such as "Traffic Jams,""Abracadabra," and "Even TrollsHave Moms"-have stood the testsof time and repetition with childrenand adults in my family. Scruggshas just released his first Christmasalbum, "Merry Christmas," a col-lection of nine standard Christmassongs in fresh new arrangementsplus four up-to-date originals. Hon-est adults confess that they playScruggs tapes even when the kidsare not around. I recommend themall. Price: $9.95 each plus $1.50shipping and handling from Educa-tional Graphics Press, P.O. Box180476, Austin, TX 78718. Call 1-800-274-8804 for phone orders.

Just in time for Christmas,Scruggs has made his first video,appropriately titled "Joe's FirstVideo." Cleverly combining live ac-tors with animated characters, itpresents nine Scruggs hits, includingLate Last Night and kids' fave GooGoo Ga Ga. Price: $19.95 from Edu-cational Graphics.

Similar to the My First Sony lineof colorful audio products for chil-dren (which continues to grow),Sanyo's new ROBO line includeseasy -to -operate voice recorders,telephones, and a talking clock.Louise Boundas recommends theROBO-01 stereo cassette player,which works on AC power or bat-teries and weighs only three pounds.Price: $79.99.

Database Assistant Adam Herbstrecommends a toy for the child inall of us, the Rockin' Flowers byTakara. They are sound -sensitive,bespectacled plastic flowers, which,when placed in front of speakers,will gyrate in response to music.Price: $30 from such toy stores asF.A.O. Schwartz.

In response to the request for giftsuggestions, Database AssistantTommy Lau submitted a list ofwhat he would like to receive him-self. "For the outdoors I'd like theRockustics Rocky, Jr. speakers at$700 per pair. They camouflage wellwith their stonelike enclosures. Forthe living room I'll stick with thecamouflage motif with the CercaClassic 120's ($1,700 a pair), whichcome in ceramic vase enclosures.For a listening room the size ofMontana, I want the Custom Moni-tor from Guss Enterprises at a mere$100,000 per system. I hope these fitin the sleigh."

Are you listening, Santa?

120 S' FERE() R o - :w DECEMBER 1989

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BEST RECORDINGS OF THE MONTH

Stereo Reviezv's criticschoose the outstandingcurrent releases

LINDA RONSTADT:ROCK WITH APOP FLAVOR

FROM one point of view, Lin-da Ronstadt's recording ca-reer during the 1980's hasbeen a Grand Tour of Pop.

She's sung classic American tunes,British light opera, Mexican maria-chi-but not the rock or country -rock that made her a solid -gold art-ist. Now with her new album, "CryLike a Rainstorm, Howl Like theWind," she's come home to rock-and-roll, although it sounds like amuch different place.

Vocally Ronstadt has neversounded better. Whether she's blast-ing a high note across several bars,or caressing an extra ounce of ten-derness out of a soft phrase, orgracefully angling toward a melis-matic throb, Ronstadt knows justhow she wants to use her voice.Unquestionably, working in styleswhere she couldn't rely as much onlung power has given her a furthereducation in phrasing and enuncia-tion. Not to mention confidence:Here she sounds at all times relaxedand secure.

That confidence may explain whyshe's challenged herself by promi-nently featuring guest vocalist Aar-on Neville. A charter member of theNeville Brothers and the man whobrought us Tell It Like It Is, Nevilleis a singer of breathtaking beauty.Only a self-assured artist would riska duet with this guy-and Ronstadtdoes four. The blend of these twosweet, creamy voices is exquisite.And the dipping -and -swirling, two -voices -as -one ending of the IsaacHayes-David Porter classic WhenSomething Is Wrong with My Babyis worth the price of admission allby itself. But there are other high-lights. Ronstadt must be a long-timePaul Carrack fan, since two songs inthe album come from his superb,woefully neglected "Suburban Voo-

doo" album of 1982. And the BarryMann-Cynthia Weil-Tom Snowballad Don't Know Much is an an-themic gem.

"Cry Like a Rainstorm, HowlLike the Wind" may be the first truepop -rock album. This synthesis hasbeen achieved by someone who un-derstands and loves both pop androck. It took Ronstadt several yearsto make the necessary discoveries,and the trip has brought her backwhere she belongs. Ron Givens

LINDA RONSTADT: Cry Like aRainstorm, Howl Like the Wind. LindaRonstadt. Aaron Neville (vocals); othermusicians. Still Within the Sound of MyVoice: Cry Like a Rainstorm; All MyLife: I Need You; Don t Know Much:Adios: Trouble Again: I Keep It Hid: SoRight. So Wrong; Shattered; H henSomething Is Wrong with My Baby:Goodbye My Friend. ELEKTR 60872-I,© 60872-4, 60872-2 (42 min).

SPIRITED STRAUSSFROM GERARDSCHWARZ

ERARD SCHWARZ and theNew York Chamber Sym-phony have just come upwith a wonderful record-

ing of the incidental music RichardStrauss provided for Moliere's LeBourgeois Gentilhomme. Originallyintended to serve as the dramaticpretext for the first performances ofthe Strauss/Hofmannsthal opera Ar-iadne auf Naxos in 1912, the Mol-iere framework was subsequentlyspun off and restaged as a three -actcomedy with additional incidentalmusic. What Schwarz gives us onhis Pro Arte disc is the completescore used in that production,

BEST RECORDINGS OF THE MONTH

.S'cliwar.:: delightful Strauss

which was directed by Max Rein-hardt in Berlin in 1918.

Not only is it fascinating to hearStrauss's witty and colorful musicpresented in full and in its originalorder, but Schwarz's elegantly spir-ited performance is the best I haveheard on records since the memora-ble versions of the familiar suitefrom Sir Thomas Beecham andFritz Reiner (the Reiner is nowavailable on CD). The excellent re-cording has just the right degree ofintimacy for the chamber -orchestrainstrumentation. The annotation,however, fails to offer either a Ger-man -English text for the vocal andchoral portions or a synopsis of theplay itself, not to mention the cast-ing for the singing roles, whichinclude, among others, Jourdain(the bourgeois "gentleman"), the"Mufti" in the Turkish scene, andthe shepherd and shepherdess. Butin terms of listening the disc is trulydelightful. David Hall

R. STRAUSS: Le Bourgeois Gentil-homme. Op. 60. Kaaren Erickson (so-prano); Cynthia Clarey (mezzo-sopra-no); Roger Roloff (baritone); New YorkChamber Chorus and Symphony Or-chestra, Gerard Schwarz cond. PROARTE CCD 448 (66 min).

124 SITREO REVIEW DE.CFNIBFR 1989

STEVIE RAYVAUGHAN IS"IN STEP"

TEXAS guitar slinger StevieRay Vaughan is in fine formin his fifth album, "InStep," serving up a heaping

helping of hard -charging, roadhouserock and blues. It's a nonstop, juke -joint blowout that doesn't let upuntil the very end, at which pointVaughan eloquently takes his leavewith the reflective eight -minute in-strumental Riviera Paradise. Forthe combustible Stevie Ray, thisrecord represents a career plateau.He has conquered his demons, astruggle forthrightly documentedhere in the song Wall of Denial, andhis clear-headed, gutsy guitar workcomes straight from the heart.

He dives right in with The HouseIs Rockin', a number in which thetension between strict meter andfrenetic release recalls Jerry LeeLewis's irresistible call to get crazy,Whole Lotta Shakin' Goin' On. Thenext two songs, Crossfire and Tight-rope, address, in similarly metapho-rical terms, the dangerous and dis-orienting currents one can getcaught in after catching the rock-and-roll wave. Crossfire has an in-fectious, Al -Green -in -Memphis soulgroove, and by the time Vaughantakes his second solo, after the lastchorus, his fingers are on fire.

Vaughan plays what he means in"In Step." The emotions are verynear the surface, and they're honestones: a love of the blues and thepain that allows him to play themwith authority. Wall of Denial isthepivotal song, addressing the hardfacts of a troubled life with nakedcandor. Gritty determination to getthe past behind him fuels one sat-isfying solo after another.

Mixed among all the foot -stomp-ing originals are a trio of well-cho-sen numbers by three Chicago bluesgiants. Vaughan and his back-uptrio, Double Trouble, tackle a fastblues by Willie Dixon (Let Me LoveYou Baby), a slow one by BuddyGuy (Leave My Girl Alone), and awicked tickler by Nowlin' Wolf(Love Me Darlin'). Each half closes

with an instrumental: Travis Walkis the sort of jumping jive that barbands routinely end sets with, leav-ing the crowd hungry for more, butRiviera Paradise is a long, drifting,bell -toned piece of guitar impres-sionism whose low-key, jazzy am-bience finds Vaughan wanderinginto Wes Montgomery and KennyBurrell territory. It's a lovely medi-tation, revealing a sensitive side ofhimself that this tall Texan rarelyshows.

Vaughan sings and plays like achampion, pulling no punches,wasting no notes, and laying down afiery groove that will have youdancing the blues right out of yoursystem. In its emotional generosity,"In Step" recalls a quote fromDuane Allman: "Records are reallygifts from people. To think that anartist would love you enough toshare his music with you is a beauti-ful thing." Amen. Parke Puterhaugh

STEVIE RAY VAUGHAN ANDDOUBLE TROUBLE: In Step. StevieRay Vaughan (guitars, vocals); ReeseWynans (keyboards); Tommy Shannon(bass); Chris Layton (drums). TheHouse Is Rockin'; Crossfire: Tightrope:Let Me Love You Baby; Leave My GirlAlone: Travis Walk; Wall of Denial:Scratch-n-Snifk Love Me Darlin'; Riv-iera Paradise. EPIC' OE 45024, © OET45024, EK 45024 (41 min.)

I'aughan: roadhouse rock

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BEST RECORDINGS OF THE MONTH

FIRKUgNiL"PLAYSMARTIN('

NE of those "obvious" op-portunities that no onegot around to doing any-thing about till now has

just been realized splendidly byRCA Victor: an hour's worth ofpiano music by the Czech composerBohuslav Martini', played with tru-ly unique authority by his country-man Rudolf Firku§nY. Incredible asit may seem, this elegant and vitalpianist will be seventy-eight yearsold in February; he first met Mar-tini' before he was out of his teensand subsequently gave the first per-formances of almost all of the com-poser's works for piano solo.

One of the works on the new disc,the pungent Fantaisie et toccata,was written for FirkuKnj% in 1940when both men were in southernFrance-Martini" having fled Paris,where he was on the Nazis' blacklist-waiting anxiously for passageto America. In a note of his own forthe new recording, the pianist re-marks, "This particular work ex-presses the anguish of the situa-tion-Europe was in chaos and areturn to our native country becamean unattainable dream." The musiccontains passages that evoke Mar -fillies feeling for his homeland. Thenational feeling present in his earlyworks had been displaced now andthen by the influence of his Frenchmentor, Albert Roussel, and by hisresponse to jazz, but it was to beprominent in one form or anotherin virtually all of his compositionsfrom the late Thirties to the end ofhis life, in 1959.

Most of the intervening years,from 1941 to 1953, were spent inthe United States. It was here thatMartini' became a symphonist andhere that he composed his threebooks of etudes and polkas forpiano in the summer of 1945. BrianLarge, in his portion of the annota-tion, suggests Smetana's CzechDances as the model for these ingra-tiatingly folk -flavored pieces, andthe nine Firku§ny chose for the disccertainly bear him out.

126 STEREO REVIEW DECEMBER 1989

The earliest item in this collectionis Les Ritournelles, a set of sixpieces composed in 1932, just afterMartini's arrival in Paris; the latestis his only piano sonata, composedin Nice in 1943. Perhaps even morepersonal to FirkuKnY than the Fan-taisie et toccata is the remainingpiece on the disc, his own arrange-ment of a poignant excerpt from theopera Julietta, which he undertookwith Martini's permission andplayed for him often in the periodjust following their arrival in NewYork as refugees.

No one else could bring what Fir-kuinY brings to this music in termsof understanding, commitment, orexecution. Each piece opens up en-tirely and irresistibly to his touch.RCA has done him and Martini'proud with fine sonics and reallythoughtful documentation, whichincludes a striking photograph ofFirklignY and Martini" together inMarseilles in 1940 as well as thenotes by the pianist himself and byBrian Large, the distinguishedbiographer of both Martini" andSmetana. Richard Freed

MARTINI: Les Ritournelles; Fantai-sie et toccata; Sonata No. I; Moderatofrom "Julietta"; Etudes and Polkas.Rudolf Firlogn9 (piano). RCA 0 7987-2 -RC (59 min).

Firkuink elegant and vital

NOW ON CDCompact discs ofpreviously released LP's

POPULARO TIM BUCKLEY: Greetings fromL.A. ENIGMA 73506-2. "Superthroatsings again" (December 1972).O ROSEMARY CLOONEY:Everything's Coming Up Rosie.CONCORD CCD-4047. "A little gem"(April 1978).O BENNY GOODMAN: The EarlyYears. BIOGRAPH BCD -I09. Recordingsdating from the Thirties.O HELLO DOLLY! (Jerry Herman).RCA 38I4-2-RG. Original -castrecording of the 1964 Broadway hit,with Carol Channing.O EARL "FATHA" HINES: WayDown Yonder in New Orleans.BIOGRAPH BCD -108. Recordings Hinesmade when he was seventy, in 1976.with a band of New Orleans regulars.O FREDDIE KING: Getting Ready.SHELTER/DDC SRZ-8003. Recorded atthe Chess Studios in Chicago in 1970.Includes two previously unreleasedbonus tracks.O ERNEST TUBB: Lire 1965. RHINOR2 70902. Recorded at Seattle's SpanishCastle Ballroom in 1965.O DWIGHT TWILLEY BAND:Sincerely. SHELTER/DDC SRZ-8002.Includes the 1975 hit I'm on Fire andfour bonus tracks.

CLASSICALO BACH: St. Matthew Passion.Grimmer, HitifTgen. Dermota,Fischer-Dieskau, Edelmann;Furtwangler. MoviMENTOMUSICA/KOCH 013.005 (three co's).Historic live recording made in Viennain 1954.O KORNGOLD: Die tote Stadt.Neblett, Kollo, Prey; Leinsdorf. RCA7767-2-RG (two co's). Premiererecording of this 1921 opera by acomposer who later became one ofHollywood's most successful.O NIELSEN: Symphony No. 5;Saga -Dream. Horenstein.UNICORN-KANCHANA/HARMONIAMUNDI UKCD 2023. "An importantand unique recorded performance"(Best of Month, July 1970).O ROSSINI: Bianca e Falliero.Ricciarelli, Horne, Merritt; Renzetti.LEGATO LCD -I38-3 (three CD's). The1986 Pesaro Festival production.recorded live.O SMETANA: Piano Music(complete). Repkova. CPO/KocH 999010-2 (four co's). Rarely performedmusic by the popular Czech composer,recorded for Supraphon in 1952-1953by Vera Repkova.

RX-1130 RECEIVER

125 watts per channel into 8 ohms fmm 20-20,000Hz at no more than 0.015% THD

Low impedance drive capability pmvides 360 wattsper channel into 2 ohms dynamic power

Additional amplifier section for two rear channelswith rear channel level contml

Five digital Surround Sound modes (Dolby,"Natural, Hall, Simulated Stereo, Live)

Computer Servo Lock tuning

MM/MC Phono Selector

Banana plug compatible speaker connectionterminals

24 -segment signal quality meter

Continuously variable loudness control

Learning -capable multi -function remote control

Eight audio inputs, three video inputsFour audio outputs, three video outputs

S -VHS compatible

Separate fmnt and rear pre -main couplingterminals

Eight -mode REC OUT selector

Continuously variable delay time control

CD Direct switch

Motor -driven volume contml with LED indicator

Sleep timer

Center defeat bass/mid-range/treble tone controls

16 -station random access preset tuning with multi -status memoryAbsolute Linear Amplification (ALA) circuitry

Preset indicators with preset number and stationfrequency

Front panel headphone jack

Tone bypass switch

High -gain AM loop antenna

Manual or auto IF Mode selector (wide or narrow)

Auto search tuningManual up/down tuning

It any of these features compromised its sound, this is the first thing we'd remove: YAMAHAr 1989. Yamaha Electronics Corp., USA. Fir the dealer newest you, adl 1.800.662-6800. iMby Surround is a registered trademark of Dolby Laboratones.

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POPULAR MUSIC

Discs and tapes reztiewed byChris Albersm, Phyl Garland,Ron Giz,ens, Roy Hemming,Alanna Nash, ParkePilterbangh, Steve Shnels

BABYFACE: Tender Lover. Babyface(vocals); vocal and instrumental accom-paniment. It's No Crime: Tender Lover;Let's Be Romantic: Can't Stop MyHeart; My Kinda Girl; and five others.SoLAR/CBS FZ 45288, © FZT 45288, ©ZK 45288 (49 min).

Performance: Something specialRecording: Very good

As a singer. Babyface has an exception-ally appealing approach that combinesthe thrusting vigor of contemporary ur-ban pop with the lushly melodic roman-ticism of gentler times. The result in"Tender Lover" is an album that imme-diately grabs your attention and holds itto the end. Although he has his ownsound, Babyface has listened carefullyto the giants of black popular music andincorporated the best elements of theirstyles into his work. In Let's Be Roman-tic, with its haunting minor mode andinfectious rhythms, his model is clearlyMarvin Gaye. In Can't Stop My Heart,the beat is propulsively insistent, andBabyface exudes the nervous energy ofa Michael Jackson. Another jewel isSunshine, a sweet song reminiscent ofStevie Wonder. But all of the songs arecaptivating, and Babyface performsthem with minimal accompaniment onbass and percussion and back-up vocalsin only two tracks. With his gift forsong. Babyface is a most welcome newtalent. P.G.

BEE GEES: One. Bee Gees (vocals andinstrumentals); instrumental accom-paniment. One; Ordinary Lives: Body-guard; It's My Neighborhood; Tears;and five others (six others on CD).WARNER BROS. 25887-I, © 25887-4, ©25887-2 (52 min).

Performance: Stayin' aliveRecording: Flawless

Come home, Bee Gees, all is forgiven.You don't have to be embarrassedabout your disco roots any more. TheSaturday Night Fever has broken, andyou can go back to work now.

"One" unveils an altogether cooler

EXPLANATION OF SYMBOLS:

= DIGITALLY RECORDED 1.P0 = TAPE. CASSETTE

= COMPACT DISC (TIMINGS ARE.TO NEAREST MINUTE)

CROSSROADS FOR TRACY CHAPMAN

THE brilliance that Tracy Chap-man displayed in her debut lastyear has been sustained in hersecond album, "Crossroads."

Again she presents compelling songs ofsocial commentary in a plangent voicethat instantly commands attention. Butthere is a difference this time: There arefewer grim pronouncements. Her edgeof anger has been softened a bit, andthere seem to be more songs aboutlove.

Not that Chapman has changedcourse or made compromises in thewake of success. The center of her artremains her ability to convey a sense ofthe bitterness and despair that plaguecontemporary society while addressingsome of the causes, all within the con-straints of a carefully crafted four- orfive-minute pop song. And she does itwith a fine poetic sensibility. Suhcity,which opens the second half, capturesthe bleakness of life among the urbanpoor and points the finger at an uncar-ing political establishment. MaterialWorld decries shoddy values, and AllThat You Have Is Your Soul cautionsthose who seek justice not to be seducedinto selling out. The messages are clear,but they're not so bluntly stated as insongs like Talkin"bout a Revolution orBehind the Wall in Chapman's first

album, so that the listener is free to paymore attention to the music.

The music itself is not so unadornedon this outing as in Chapman's debut.Jack Holder weaves a lively filigree ofbanjo notes around her strong vocal inFreedom Now, and throughout the setvarious percussion instruments andeven an occasional violin or viola add agood deal of textural richness withoutdetracting from the generally lean quali-ty of the instrumental sound. The mu-sical climax is reached in Born to Fight,a strutting, jubilant statement of de-fiance laced with touches of jazz and theblues and topped off with a trumpetobbligato by Snooky Young. Here, de-parting from her fundamentally folkishsong style, Chapman recalls somethingof the blues style of the young Odetta,suggesting another terrain she might ex-plore as she continues to build aremarkable career. Phyl Garland

TRACY CHAPMAN: Crossroads. Tra-cy Chapman (vocals, guitars); instru-mental accompaniment. Crossroads;Bridges; Freedom Now; MaterialWorld; Be Careful cf My Heart; Subcity;Born to Fight: A Hundred Years; ThisTime; All That You Have Is Your Soul.ELEkTRA 60888-I, 060888-4, © 60888-2 (43 min).

STEREO REVIEW DECEMBER 1989 129

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Built-in Do by Surround brings you thrilling"movie theater" presence from encoded videotapes and discs. Hall Effect adds auditorium -style ambience to nearly any stereo source.You also get wireless remote, 30 -station mem-ory, high-tecl alphanumeric LCD display anddubbing facilties for two VCRs and two tapedecks. For or ly $549.95. See and hear thenew Optimus components today.

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Bee Gees, more temperate in theirrhythms, more relaxed in their vocalapproach. The same age group thatraptly watched John Travolta crabwalkand somersault across a Brooklyn dancefloor in 1977 has grown a little olderand a lot richer, and "One," like a pieceof modular furniture, comfortably fitsin with their life style. The Bee Gees'latest recording fills the midrange fre-quencies with glossy, billowy vocalsnested on a cushiony featherbed of elec-tronic keyboards and drum programs."One" is as synthetic as Sweet 'n Low,satisfying a craving for sugary pop with-out piling on the calories.

As always with the Bee Gees, everyloose end is tucked neatly out of sight."One" is as polished as the brasswork atTrump Tower. Peter Vettese, late ofJethro Tull, provides glossy keyboardsover which the Bee Gees harmonize intheir seamless, gravity -free way. Hookscome to them effortlessly. Even pro-fessed nonfans won't be able to resistthe involuntarily hummable chorusesof One, Ordinary Lives, Flesh andBlood, and Bodyguard, all of which areTop -40 readymades, provided radioprogrammers can see past their anti -BeeGees bias. And why shouldn't they? Thegrating, redundant rhythms of discohave given way to a smooth, adult -rockbackbeat that's sufficiently demure tolet us carry on a conversation while it'splaying. The vocal lines-satiny, whis-pered come-ons such as, "Hold me likeyou know me/I'm a falling star"-willprovide subliminal cues to assist inwhatever social endeavor you're en-gaged in.

So dim the track lighting, uncork thatspecial bottle of chardonnay you'vebeen saving, sidle up to your date on thepillowy sofa, cue up your co of "One"with the remote control, and get readyfor results. P.P.

GARTH BROOKS. Garth Brooks (vo-cals); vocal and instrumental accom-paniment. Not Counting You; I've Got aGood Thing Going; If Tomorrow NeverComes; Everytime That It Rains; Alaba-ma Clay; and five others. CAPITOL. Cl-90897, © C4-90897, C2-90897 (30min).

Performance: On his wayRecording: Good

Newcomer Garth Brooks is a twenty-six -year -old Oklahoman whose person-al creed is to "get the flag back out onthe porch and God back to the suppertable." With that kind of an introduc-tion, he would appear to be the state-of-the-art Okie from Muskogee, onewhose taste in music never veers abovethe Mason-Dixon line and whose neckis as scarlet as tomatoes in June. Thatimage fades into the sunset, however,with one spin of his debut album, pro-duced by Allen Reynolds. In itBrooks-who in a crazy mixed meta-phor wears a cowboy hat and a turtle-neck shirt in the cover photo-draws on

The Graces: Gia Cianthoni. ('hurl tte Colley, and Meredith Brooks

such expected tried-and-true vocal in-fluences as Merle Haggard and GeorgeJones. But as a writer, Brooks also callson Dan Fogelberg and James Taylor formore contemporary inspiration.

It's in the writing that Brooks dis-tances himself from the other GeorgeStrait and Randy Travis clones, with acouple of unexpected and somewhatoffbeat tunes balancing the more stan-dard fare. One of these, Everytime ThatIt Rains, details a vertical tryst with awaitress in a roadside cafe, and another,Not Counting You, turns the tables onthe swaggering, love -'em -and -leave -'emmacho types. Then there's the borrowedNobody Gets Off in This Town. adelightful, jazzy tongue-in-cheek ode toNowhere. U.S.A. ("Nobody gets off inthis town/High school colors arebrown"), and the Bastian-Berghoffsong Cowboy Bill, which pays a sweetand poignant tribute to a childhoodhero. To be sure, Cowboy Bill lacks thedepth of Guy Clark's Desperados Wait-ing for a Train, which plumbs the samewaters, but it's a little chancy for adebut that has to fly high and quick.

As a vocalist, Brooks, the son of Col-leen Carroll, who recorded two LP's forCapitol in the late Fifties, has an easygo-ing, lasso -throwing pace that tends tocompensate for his lack of a distinctivestyle, his big -boy timbre, and Rey-nolds's fairly stock arrangements.Brooks isn't in the same league withGeorge Strait, and probably never willbe, but he comes across as immensely

likable and as one of country music'smost flexible White Hats-turtleneckshirt and all. .4.N.

THE GRACES: Perfect View. Char-lotte Caffey (vocals, guitar); MeredithBrooks (vocals, guitar); Gia Ciambotti(vocals); other musicians. Lay DownYour Arms; When the Sun Goes Down;Perfect View; Fear No Love: Time Wartsfor No One; and five others. A&M SP5265, © CS 5265, CD 5265 (35min).

Performance: DrivingRecording: Pretty good

It may be unfair to pick apart a groupand assign overriding credit to one indi-vidual member, but I can't help think-ing that Charlotte Caffey made the Go-Go's an honest -to -goodness rock band.The resemblance between the Graces,for which Caffey is the principal song-writer as well as a guitarist and vocalist,and the rockingest work of her formerband is indeed great. Of course, the oth-er members of that influential all -female band were important, too, butnone of their subsequent work has thesame spirit as the best of the Go-Go's.

"Perfect View" isn't a Go-Go's rec-ord, though. Some of the songs-LayDown Your Arms, for example-havethe same drive and punch, but others-Tomorrow, for another example-aren't even close. The Go-Go's oftenblunted their insights with goofiness orhumor, but the Graces have a serious,

STEREO REVIEW DECEMBER 1989 131

Stones Charlie

III: 1989 Rolling Stones mediacircus-new album, reuniontour, fan and press hysteria-isnot by any stretch of the imagi-

nation one of the more surprising affairsof the decade. We knew that they'd beback, notwithstanding the well -publi-cized feud between Mick Jagger andKeith Richards. Jagger's solo career wasgoing nowhere, which for a guy with hisego was an insufferable situation, andbesides, it's not every year that agingrock stars can take home $65 millionand make the cover of Forbes maga-zine.

What is peculiar about the Stones' sit-uation-and by conservative estimate,their new "Steel Wheels" is the band'sfourth "comeback" album-is that forthe very first time, the former ModPrinces have nothing to prove beyondthe mundane issue of whether they canStill Do It. After all, nobody in his rightmind expects the Stones to come upwith a masterpiece along the lines of"Beggars Banquet" any more, and thisyear, unlike the good old days of 1978and "Some Girls," there aren't anyangry young punks nipping at theirheels and screaming about irrelevancy.In fact, with the exception of Sting and acouple of hopelessly idealistic collegekids, you'd be hard pressed these daysto find a soul willing even to suggestthat any pop music might mean any-thing important. Well, at least with astraight face.

So all the Stones have to demonstratewith their new album is that they canstill sound like themselves, and on that

STILL ROLLING

Watts. Bill Wyman. Mick Jagger. Ron Wood, Keith Richards

level they've succeeded splendidly."Steel Wheels" was recorded in a briefperiod, the way they used to work in theSixties, and it does indeed sound likethe Rolling Stones in their glory days. Acollection of (mostly) flat-out rockers,with the guitars cranked up, at the veryleast it puts pathetic Stones -manquéacts like Guns n' Roses in some kind ofperspective. On the other hand, there'svery little subtext here, and anybodylooking for more than a good, profes-sional, at times viscerally exciting 1989rock-and-roll album is advised to searchelsewhere.

By and large, the music in "SteelWheels" is splendid, reminiscent of butin every way richer than the idiomexplored in Richards's solo album,"Talk Is Cheap." There's the usualblues and country, with an interestingside trip into Middle Easternisms cour-tesy of the Master Musicians of Joujou-ka in Continental Drift. The band'sinstrumental interplay remains as tele-pathic as ever (all together now: Godbless drummer Charlie Watts), andChris Kimsey's production has an ap-parent immediacy that conceals enor-mous craft.

But with the exception of Richards'stwo big showcase numbers, SlippingAway and the amusingly adulterousCan't Be Seen, the center does not hold.To put it bluntly, Jagger's lyrics are notterribly interesting. Again, this isn'tmuch of a surprise. The man is obvious-ly bored with being a Rolling Stone, andwhile he's a vastly underrated lyricistwho's never less than facile (Sad Sad

Sad is the kind of throwaway triflethat's beyond the capabilities of a lot offamous but lesser rock writers), it's clearthat nothing crucial is being said here,and that is, ultimately, dispiriting.

As I said, though, nobody today reallyexpects anybody in rock to have any-thing crucial to say, so perhaps I'mknocking the old reprobates unfairly fordoing what we've always loved themfor-taking the pop trends of the dayand making them their own. It's nottheir fault that the prevailing trend rightnow is bread and circuses, and in an eraof diminished expectations, a better -than -workmanlike album like "SteelWheels" is all anybody could ask fromthe Rolling Stones.

Still, the idea of an essentially mean-ingless Stones album is a little hard foran old fan to come to terms with. I sup-pose what I'm really saying is that nexttime they come back, it would be nice ifthey faced a challenge more momentousthan simply impersonating the GreatestRock -and -Roll Band in the World.

Steve Simels

THE ROLLING STONES: SteelWheels. The Rolling Stones (vocals andinstrumentals); Chuck Leavall (key-boards); other musicians. Sad Sad Sad;Mixed Emotions; Terrifying; Hold Onto Your Hat; Hearts for Sale; Blinded byLove; Rock and a Hard Place; Can't BeSeen; Almost Hear You Sigh; Continen-tal Drift; Break the Spell; SlippingAway. ROLLING STONES/COLUMBIA 0OC 45333, ©OCT 45333, © CK 45333(53 min).

132 STEREO RimEW DEcEmBER 1989

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Stereo Review

focused intensity that isn't undercut bythe catchiness of the music. In thesesongs, even the hooks have hooks. Thethree -vocalist approach lends itself tosome involved harmonies and rounds,although only two songs toss the lead -vocal chores back and forth among allthree members of the trio. Altogether, afresh, energetic debut. R.G.

RICHARD MARX: Repeat Offender.Richard Marx (vocals); vocal and in-strumental accompaniment. Nothin'

You Can Do About It; Satisfied;; Ange-lia; Heart on the Line; Too Late to SayGoodbye; and five others. EMI E I -90380, E4-90380, E2-90380 (46min).

Performance: PowerhouseRecording: Very good

Richard Marx was born to rock. Hisfirst album, "Richard Marx" in 1987,sold more than two million copies andearned him a Grammy nomination andthe top spot in a number of music-mag-

Jensen blasts.The sound of a Jensen® car stereo doesn't merely blow your socks off. It's powerfulsound. Intense. And after it has stripped the tread from your tires and rippedyour doors off their hinges, it still has the power to send you through the roof.

JXL-693 6"x9" TRIAXIAL° LOUDSPEAKERS 175 watts peak/85 watts continuouspower Polycarbonate dynamic cone tweeters. Long throw woofers. CD capability.Made in the U.S.A. SJS-9000 RECEIVER 60 watts of power. Instaloc' tuning.24 presets. Dolby!'" CD ready. Pull-out anti -theft chassis. Write for a free brochure.

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01.4 c 1989 International Jensen Inc4136 N. United ParkwaySchiller Park, IL 60176. Dept. 11

azine "Best New Male Artist" readerpolls. Now, his second offering, "Re-peat Offender," proves that his successwas well earned. As with his debut, "Re-peat Offender" is chock full of potentialhit singles, all enormously hook -ladenand laced with emotional urgency inmelody, lyrics, and delivery. Althoughnothing here is quite as seductive asDon't Mean Nothing, his powerhousesingle from 1987, Marx grabs hold withthe first cut, Nothin' You Can Do AboutIt, and never lets go.

As both co -producer (with DavidCole) and co -creator of all the material,Marx shows that his instincts arc usual-ly right on the money. Aside from occa-sional forays into overproduction, espe-cially in Children of the Night, a saluteto a program for teen runaways. Marxhas developed just the right intensity ofdramatic performance, underscoringhis stark and edgy brand of guitar -driv-en rock-and-roll with rollicking, good-time blues (Real World) and soulful,caring ballads (Right Here Waiting). Al-though his songs are more musicallydynamic than rich with lyrical content,he is careful to distance himself fromexcessive braggadocio and to presenthimself as both the vulnerable romantic(Heart on the Line, If You Don't WantMy Love) and the frustrated AngryYoung Man (Satisfied), all attractivethemes in the land of eternal adoles-cence.

Marx is not nearly so lushly romanticas George Michael, but as If You Don't14 'ant My Love amply demonstrates, hehas studied Michael's performancesand compositions for rhythmic twistsand turns, for the harnessing of highenergy, and for the proper attitudes ofteen -idol anguish. All in all, he makesthem work very well indeed. .4.N.

JAMES McMURTRY: Too Long inthe Wasteland. James McMurtry (vo-cals, guitar); vocal and instrumental ac-companiment. Painting by Numbers;Terry; Shining Eves; Outskirts; Song.lbra Deck Hand's Daughter; I'm Not fromHere; and five others. COLUMBIA FC45229, © FCT 45229, (D) CK 45229 (44min).

Performance: StrongRecording: Clean

Imagine Lou Reed singing WoodyGuthrie songs with John Mellencamp'sband. That's what James McMurtrysounds like in "Too Long in the Waste-land." The comparison may be a bit tootidy, but at least it will indicate howstrong an impression McMurtrymakes.

First, the songs. McMurtry is a popu-list, which is to say he writes about ordi-nary people in anonymous small towns.He tells of simmering frustration, re-pressed dreams, and heedless escape.McMurtry's people don't have to copewith the large political and ecologicalproblems that faced Woody Guthrie'sfolks, which makes their despair all the

134 STEREO Ryv I EN' DECEMBER 1989

Can ou find the audiophile loudspeakers in this room?This elegant interior contains true audiophile loud-

speakers in not so plain sight. They're the Custom Seriesfrom KEF, the world's most respected speaker engineers.

To help you find them, consider the following: theCustom Series begins with a two-way system, theCR200F, whose careful design mates perfectly with thewall's surface for the smoothest frequency response andthe most unobtrusive appearance.

The kicker is the optional addition of the world'sfirst in -wall subwoofer, the CR250E This matching bassdriver and crossover system fits into a standard wall, butits bass response extends down to 321-1z.

The elegance of the KEF Custom Series includes itsingenious industrial design, a unique two -stage

assembly that makes them the easiest to install andcustom paint or cover.

Whether you're an architect, interior designer or any-one interested in room design and sound quality, find theKEF Custom Series.

You'll find them in the upper left hand corner, on thewall directly above the standing clarinet. And also bywriting to KEF Electronicsof America for the name ofyour nearest KEF Customdealer.

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BILLY HILI,

Dennis Robbins, Martin Parker, John Scott Sherrill, Reno Kling, Bob DiPiero

jUST when you'd about given upon Nashville for lack of wit, stim-ulus, and deep-dish funk, alongcomes Billy Hill to set youstraight with "I Am Just a Rebel"

on Reprise.Who exactly is Billy Hill? Well, the

official bio says he was born on a moun-taintop in Tennessee, where his fatherwas killed in a bar when he was onlythree. Any illusions that Hill might beanother Davy Crockett, however, weredispelled in 1964, when he was expelledfrom elementary school for stealing aschool bus, a tuba, and three boxes ofNecco wafers.

"We knew it was him," the schoolprincipal commented at the time. "Hewas the only kid in the first grade whosefeet could reach the pedals."

But then, of course, none of that istrue, because there is no Billy Hill-justa "hill -billy" band (get it?) that revereshim as its fictional inspiration.

If Billy were real, though, he'd proba-bly sport a ducktail, tote his cigarettes inthe turned -up sleeve of his white T-shirt, and tool around town in a rustedhulk of a '68 Chevy truck, rolling theradio dial from country to rock andback again. Funkier than Southern Pa-cific, and far more authentic than Shen-andoah or Sawyer Brown, Billy Hillmakes the kind of music Levon Helm,John Anderson, and J.J. Cale wouldmake if they got drunk together onmoonshine: It's hillbilly angst on acornlikker high.

Formed originally as a knock -aroundband called the Wolves in Cheap Cloth-ing (listen for the wolf call at the end ofthe record), Billy Hill is made up ofsongwriters John Scott Sherrill, DennisRobbins, and Bob DiPiero (responsiblefor such hits as American Made, Wildand Blue, and Church on CumberlandRoad) as well as bassist Reno Kling, analumnus of Steve Earle's band, andMartin Parker, former drummer forRicky Skaggs.

Sherrill and Robbins, who alternatethe album's lead vocals in a relaxed ifalmost self-consciously craggy style,

know from their hit -making history ex-actly what themes, rhythms, and melo-dies people like. The album's first track,Too Much Month at the End of theMoney, is a classic wage-earner's la-ment, and Robbins serves it up as pureredneck mayhem driven by a rockabillybeat. Other tunes have a slightly morefamiliar ring. Rollin' Dice, a full -tilt,slide -guitar rocker, is more than justthematically akin to the Rolling Stones'Tumblin' Dice, Just in Case You Wantto Know comes close to the GeorgeJones of The Window Up Above, andthe title track, I Am Just a Rebel, isLynyrd Skynyrd with a sense of hu-mor-innovation as creative copying.But there are other, more haunting-and more original-offerings here too,such as the backwater, big -moon soundof What's a Boy to Do and the restlessballad These Lonely Blues.

What is more impressive than theindividual tunes, though, is the well-oiled machinery of the band, the prod-uct of a decade or more of informaljamming and just plain good chemistry.When Robbins lets out a scintillatingmoan on his slide guitar, Kling's facilebass throbs with shuddering after-effect.

In the end, then, "I Am Just a Rebel"is that odd item in the country recordbins-a disc for both trailer -park Amer-ica and Ralph Lauren urban cowpokes.But is it really, as the promotionalmaterial boasts, "the cutting edge ofNashville music," a threat to thepuffed-up pabulum that still passes formost of commercial country music? Ah,say that it's so, Billy, say that it's so.

Alanna Nash

BILLY HILL: I Am Just a Rebel. BillyHill (vocals and instrumentals); instru-mental accompaniment. Too MuchMonth at the End of the Money; Nickelto My Name; I Can't Help Myself (Sug-ar Pie Honey Bunch); These LonelyBlues; Rollin' Dice; What's a Boy to Do;Just in Case You Want to Know; I AmJust a Rebel; Drive On By; Gettin' OnDown the Road. REPRISE 25915-1,25915-4, © 25915-2 (33 min).

more profound. A drifter in I'm Notfrom Here observes that his home town"looked like so many towns I might'vebeen through/On my way to somewhereelse." It didn't take a dust bowl, or cap-italistic union -breakers, to dull the spir-it of McMurtry's people-just small-town life, harsh and infertile.

Now, the singing. McMurtry doesn'thave a nice voice. His singing is plainand unadorned because that's all he cando. Whenever he reaches for a highnote, he sounds strained. This is all tothe good, because in its straightforward-ness, his voice communicates sincerity.It also allows you to concentrate on hiswords-metaphors of barrenness like"a ghost of a moon in the afternoon"and details like the kind of car a status -conscious, Jesus -loving sister drives: anOldsmobile.

Finally, the band. It sounds like Mel-lencamp's for a good reason: Mellen -camp produced the album, using mem-bers of his own band. The restrainedarrangements don't waste a note, andthey don't distract from the writing.The sound of the album is almost iden-tical to that of "Big Daddy," the Mel -!encamp album that came out earlierthis year, but the clarity and purposive-ness of McMurtry's recording is so viv-id that I can't help wondering whoinfluenced whom.

In fact, "Too Long in the Wasteland"is such a strong, coherent piece of workthat once you hear it you won't needcomparisons. These are McMurtry'ssongs, sung by him, with a band that heowned, at least for this album. Youshould hear it. R.G.

YOUSSOU N'DOUR: The Lion. Yous-sou N'Dour (vocals); vocal and instru-mental accompaniment. The Lion/Gaiende; Shakin' the Tree; Kocc Barma;Bamako; The Truth; and four others.VIRGIN 91253-1, 91253-4, 0 91253-2(49 min).

Performance: ExhilaratingRecording: Crisp

More Americans know of YoussouN'Dour than any other world -beat mu-sician. Because he toured with the likesof Bruce Springsteen, Sting, Peter Ga-briel, and Tracy Chapman, he was, nat-urally, heard by millions. He has sinceworked again with Peter Gabriel on themusic for the movie The Last Tempta-tion of Christ. "The Lion," N'Dour'sfirst solo album since the HumanRights Now! tour, furthers his accultur-ation with a more professional record-ing job and a more sophisticated blend-ing with Western pop stylings. Forsome, his music may have lost some-thing in the translation. But "The Lion"is still powerful and true to his rootswhile offering music that will be palat-able to American tastes.

A few cosmetic changes have beenmade to improve the sound quality.N'Dour's previous recordings had atendency toward brightness that made

136 STEREO REVIEW DECEMBER 1989

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them sound brittle. "The Lion," how-ever, has genuinely low lows, and thisaural bottom helps to temper the natu-ral highs of his voice. Since N'Dour'snative tongue is Wolof, there's a steeplanguage barrier for most U.S. listeners,but one song has English lyrics-Shak-in' the Tree, a duet with Peter Ga-briel-and N'Dour slips into Englishfor parts of a few others. Providing a lit-tle more instrumental focus is DavidSancious, a former member of the EStreet Band who solos on guitar, key-boards, and alto saxophone, relievingthe music of some of its essential repet-itiveness.

This sweetening does not detractfrom the basic sound of N'Dour's mu-sic, which remains a delicious poly -rhythmic stew. Drums, bass, guitars,keyboards-all offer fixed patterns aswell as tiny filigrees off the beat. Overthis, N'Dour presents sweet cascadingmelodies. His near -countertenor deftlyleaps and prances around the melody,reminiscent at times, in its piercingattack and well-rounded follow-through, of the trumpet playing of LouisArmstrong. The combination ofrhythms, counterrhythms, melodies,countermelodies, and N'Dour's voice isexhilarating, even overpowering. R.G.

LINDA RONSTADT: Cry Like aRainstorm, Hot, Like the Rind (seeBest of the Month, page 123)

DON MICHAEL SAMPSON: Crim-son Winds. Don Michael Sampson (vo-cals, guitars, keyboards, percussion);instrumental accompaniment. HeartPumping Like Thunder; Lone Wolf'Cherokee River; Love by Spring; LongBlack Train; and five others. REDHORSE 0 R-103, R-103CD (52 min);from Red Horse Productions, P.O. Box158304, Nashville, TN 37215.

Performance: Finding his wayRecording: Very good

Don Michael Sampson (who's taken tousing his middle name since "Coyote,"his impressive 1983 album) is managinga difficult balancing act these days.Since his move from California toNashville several years ago, Sampsonhas attempted to write commercial hitrecords for other artists and still pro-duce his own albums of songs that testi-fy to the strength and spiritual persever-ence of the heart. As far as his solo LP'sgo, there are definitely pluses and mi-nuses.

On the minus side, Sampson, who'sgreatly influenced by two oddly similaryet opposing cultures-those of theAmerican Indian and the roots -rockmusicians of early Sun Records-has atendency to work two or three chords todeath and to let his songs drag on toinfinity, smothering the poetry of hislyrics by a closed -mouthed vocal de-livery and a heavy rhythmic beat. Onthe plus side, however, he has a wonder-fully open and giving essence. Each of

Don Michael Sampson: balancing act

his songs is a palpable exploration of thepower, redemption, and freedom of thesoul and a passionate quest for themeaning of birth and death.

More often than not, "CrimsonWinds" seems poised to make a trans-cendent breakthrough to a place where,for Sampson at least, the smallest signwill be as eloquent and buoyant as a pri-mal shout of joy. In its entirety, it is alsoan enriching chronicle of an artist stillstruggling to find his way. A.N.

PAUL SHAFFER: Coast to Coast. PaulShaffer (vocals, keyboards); other musi-cians. When the Radio Is On; One Cupof Coffee; What Is Soul; Coast to Coast;Metal Beach; and six others. CAPITOL.C1-48288, ©C4-48288, ©C2-48288 (42min).

Performance: DisappointingRecording: Excellent

Paul Shaffer is an amusing fellow, andfor all the post -Las Vegas irony he dis-plays on Late Night with David Letter-man, he's a considerable musician. Butthis first solo outing by the best-knownCanadian rocker (?) since Neil Young ispretty much what you'd expect from abandleader with a lot of famousfriends-a chaotic, though vaguely lika-ble, mess.

The basic concept is promising-dif-ferent cuts reflecting the musical stylesof different cities-and Lord knows thetalent lineup is impressive; WilsonPickett, Dion, Prince's David Z., JoeSatriani, the list goes on for weeks. Butgiven Shaffer's (to be charitable) defi-ciencies as a singer and the Masterpieceby Committee approach necessitated bythe number of strong musical personali-ties on board, it's surprising the albumis as mildly entertaining as it is. Basical-ly, it's a collection of cameo appear-ances-only the blues musicians, KokoTaylor and the still irrepressible EricBurdon, get much solo time.

There are, of course, moments. BrianWilson's Eighties surf instrumentalMetal Beach is loopy fun, and AllenToussaint's New Orleans arrangementof One Cup of Coffee is atmosphericenough that you can almost overlookShaffer's anemic lead vocal. But the restof "Coast to Coast" is so overproducedand unfocused that the mind wandersthroughout. Adding insult to injury,Shaffer actually renders what may behistory's first boring recorded versionof the heretofore indestructible LouieLouie.

Postpunk theoreticians will doubtlessfind the whole thing unforgivably de-cadent (I'm disposed to give the guycredit for trying), but one thing is cer-tain: "Coast to Coast" will be in the bar-gain bins long before the next LateNight anniversary special-which isprobably where it belongs. S.S.

STEVIE RAY VAUGHAN ANDDOUBLE TROUBLE: In Step (seeBest of the Month, page 124)

KEITH WHITLEY: I Wonder Do YouThink of Me. Keith Whitley (vocals);vocal and instrumental accompani-ment. Talk to Me Texas; Between anOld Memory and Me; It Ain't NothinI'm Over You; Turn This Thing Around;and five others. RCA 9809 -I -R, (>9809-4-R, 9809-2-R (33 min).

Performance: MasterlyRecording: Very good

Keith Whitley was one of Nashville'smost visible recovering alcoholics whenhe went on a fatal bender last May,shortly before the completion of thisalbum. Whitley, who had spent hisentire life in hard -country and bluegrassmusic, was one of those tortured soulswho can't stand failure or success, andit is the final irony that this album,fraught with spectacular material andfirst-rate performances, would have cat-apulted him from impressive newcomerto real contender-a true vocal compet-itor with George Jones, Vern Gosdin,and Merle Haggard. As the co -producer(with Garth Fundis, of Don Williamsfame), Whitley had ferreted out thekind of songs (four about whiskey anddrinking) that allowed him to deliverintense, dramatic readings and to show-case his fully matured vocal stylings,never better than in Tennessee Courage,Gosdin's song about finding bravery atthe bottom of a bottle. There are nowasted shots here, and nothing is over-played.

Uncharacteristically, Nashville tookWhitley's death hard-harder than anycelebrity demise since that of Hank Wil-liams-not only because of Whitley'sextraordinary talent and gentle naturebut because of his seeming triumphover addiction. "I Wonder Do YouThink of Me" is a splendid compilationof sinewy, hard -style country. But it isalso one of the saddest albums in thehistory of the genre. A.N.

138 STEREO REVIEW DECEMBER 1989

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JAZZ

JIM HALL: All Across the City. Jim gives this album its chameleon -like in 1988, when he was seventeen. TheHall (guitar); Gil Goldstein (piano); quality, and they're backed by bassist fact that Keezer grew up in Eau Claire,Steve La Spina (bass); Terry Clarke Steve La Spina and drummer Terry Wisconsin, which is certainly off the(drums). Belia-Floc, Beinsha Swing; Clark. The common denominators of beaten jazz path, rather than, say, NewPrelude to a Kiss; Young One (for this extraordinarily cohesive quartet are Orleans, Chicago, or New York, whereDebra); R.E.M. State; Jane; and five exquisite taste and musicianship. C.A. jazz thrives, is perhaps an indication ofothers. CONCORD CJ -384, C)CJ-384-C,© CCD-4384 (58 min). GEOFF KEEZER: 'Visiting in the

the new jazz trend's penetration.With its deserved focus on the lead -

Performance: ExcellentRecording: Very good

Wings. Geoff Keezer (piano); Bill Mob-ley (trumpet); Billy Pierce (soprano andtenor saxophones); Steve Nelson (vibra-

er's agile, surprisingly mature piano,this is a superb recording-and gener-ously filled. It contains excellent per -

I'd be hard put to place the music of gui- phone); Rufus Reid (bass); other musi- formances by trumpeter Bill Mobleytarist Jim Hall in a specific jazz catego- cians. The Drawing Board; Accra; and saxophonist Billy Pierce, who havery. His experience runs the gamut of Pierce on Earth; Who Cares?; Waiting been around a few days longer thanmodern jazz, and he has been asso- in the Wings; Personal Space; and five Keezer, and a rhythm section that reapsciated with some of its finest musicians. others. SUNNYSIDE © SSC-1035D (70 huge profit from the presence of RufusHis new Concord album, "All Across min). Reid, one of the finest bassists around.the City," gives him a chance to show Seven of the eleven tunes were writtenoff some of the many facets of his talent,ranging from a bit of free -form jazzreflecting his work with Ornette Cole-

Performance: Potent debutRecording goodVery g

Acoustic jazz is enjoying a healthy

by Keezer, who is at least as interestinga composer as he is a pianist, so don'texpect this remarkable young man to be

man to hauntingly beautiful ballad in- resurgence these days, and the remark- waiting in the wings for long. C.A.terpretations and a rather contempo- able thing is that much of the impetusrary near -fusion sound. The last gets its comes from very young musicians who RAMSEY LEWIS: Urban Renewal.color from pianist Gil Goldstein, an could easily take their careers along Ramsey Lewis (piano); Kevyn Lewisalumnus of the Gil Evans big band more lucrative pop paths. One of the (keyboards); vocal and instrumental ac -whose past associates also include gui- most recent arrivals on the serious jazz companiment. Jagged Edge: Eye ontarists Pat Martino and Pat Metheny. scene is Geoff Keezer. "Waiting in the You; Dr. Ramsey; 2 -Slam; Livin' Large;Goldstein is as versatile as Hall, which Wings," his debut album, was recorded Berniece; and three others. COLUMBIA

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140 SEEM) REVIEW DECEMBER 1989

CIRCLE NO 114 ON READER SERVICE CARD

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Performance: Popping along nicelyRecording: Very good

Pianist Ramsey Lewis's infectiouslyrhythmic style has always managed tostir the jazz fan even when his perform-ance bordered on pop. Hits like HangOn Sloopy and The "In" Crowd reliedheavily on rhythmic patterns for theirwidespread appeal, and today, morethan two decades later (has it reallybeen that long since we snapped our fin-gers to those tunes?), Lewis is still usingthat successful formula. The beat issomewhat different now, and so is theoverall sound, but that is largely thanksto the input from a new generation ofLewises, particularly the pianist's son,Kevyn, whose keyboards dominate"Urban Renewal." Much of the albumis decidedly pop, with sound effects,programmed drums, and back-up vo-cals. It's only in the second half of theprogram that jazz enters the picture, inBerniece and There's No Easy Way,where the familiar gospel -tinged Ram-sey Lewis piano comes to the fore. Put itall together, and you have an albumthat appeals strongly to toe tappers andfinger poppers but also serves up a bit ofslightly adulterated jazz. I don't take itseriously, but I rather like it. C.A.

PAT METHENY: Letter from Home.Pat Metheny (guitars, synthesizers);

Have You Heard;Every Summer Night; Better DaysAhead; Spring Ain't Here; 45/8; 5-5-7;Dream of the Return; and five others.GEFFEN GHS-24245, M5G-24245,24245-2 (62 min).

Performance: LostRecording: Cavernous

While I can admire guitarist Pat Methe-ny's musicianship, it is often difficultfor me to admire his albums. This newGeffen release plods along listlessly andbecomes interesting only on those rareoccasions when Metheny takes charge,but even then the proceedings aremarred by excessive echo. This is trueelevator music, but it does containmeaningful work by Metheny. Why heallows his guitar to be drowned in amorass of trite background vocals andprogrammed synthesizers is beyondme. As it is, "Letter from Home" bor-ders on being junk mail. C.A.

PETER MOFFITT: Riverdance. PeterMoffitt (keyboards, flute, cello, percus-sion); Danny Wilensky (saxophones);other musicians. Candle Power; TalkTalk Talk Talk; Birds; Al Dente; Whena Man Loves a Woman; and five others.Novus 3059-1-N, © 3059-4-N, 3059-2-N (51 min).

Performance: Very goodRecording: Excellent

I suppose you'd have to describe pianistPeter Moffitt's music as fusion, but it

142 STEREO REVIEW DECEMBER 1989

has greater jazz value than most musicthat goes under that label these days.The album relies heavily on percussionback-up to cushion the leader's key-board (often a real, honest -to -goodnessgrand piano) and Danny Wilensky'ssometimes grating saxophone, but Mof-fitt's compositions and arrangementsmake "Riverdance" totally appealing.He writes catchy phrases and milksthem to the utmost through interestingarrangements that blend contemporarysounds with a joyful spirit lovingly bor-rowed from Rio or old New Orleans.There is a certain amount of program-ming involved, but I have heard Moffittbring the same feeling to performancesin a small Greenwich Village club.Clearly, he's a musician who loves jazzbut is not tied to it.

I would like to hear Moffitt's groupwith a less mannered saxophonist. Wil-ensky has a tendency to stomp clichésinto the ground, especially in live per-formance. Here he is more controlled,as in his featured number, the PercySledge hit When a Man Loves a Wom-an. Generally speaking, this type ofmusic rarely moves me, except towardsthe nearest door, but I do look forwardto Moffitt's next release. C.A.

YELLOWJACKETS: The Spin. Yel-lowjackets (instrumentals). Geraldine;The Spin; Storytellers; Prayer for El Sal-vador; Whistle While You Walk; andthree others (four others on cD). MCAMCA -6304, © MCAC-6304,6304 (53 min).

Performance: SubstantiveRecording: Excellent

As I hear it, Yellowjackets is one of thefew current fusion groups that has any-thing of substance to say to the jazz lis-tener, and the statements made by thisquartet in "The Spin" are its most rele-vant so far-relevant to jazz, that is.The album forms a perfect bridge foranyone wanting to cross the river ofblandness that separates serious jazzfrom the trite pop fare that all too oftenpasses for jazz. There is nothing blandabout this album, but the music doestravel from a readily accessible fusionstyle to sounds that ought to satisfy theserious jazz fan. Saxophonist Marc Rus-so modulates from a careful Jan Gar-barek mode into hard -driving bop withremarkable ease, and pianist RussellFerrante has never demonstrated histalent more effectively. Bassist JimmyHaslip and drummer William Kennedyare also in top form here, making this amost delightful album from beginningto end. A highlight of the recording isthe title tune, in which Russo soars, butmy absolute favorite is a medley thatcombines Billy Strayhorn's A Flower Isa Lovesorne Thing with Bud Powell'sHallucinations. Unfortunately, themedley-which runs eight minutes andexemplifies the high caliber of Yellow -jackets' musicianship-appears only onthe CD. C.A.

CIRCLE NO. 17 ON READER SERVICE CARD

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LL

by Christie Barter& Ron Givens

O

THE Korean violinistKyung-Wha Chung is

making her EMI/Angel debutthis fall as soloist in theDvofik concerto and thesame composer's Romance inF Minor, with the Philadel-phia Orchestra under Riccar-do Muti. She is also joined by

her sister, the cellist Myung-Wha Chung, and her brother,pianist -conductor Myung-Whun Chung, in another re-cording for the label, this oneof piano trios by Tchaikovskyand Shostakovich.

The three Chungs, born inKorea and trained in NewYork, have frequently playedtogether professionally, buttheir activities as a family en-semble are sure to be cur-tailed by their flourishing in-dividual careers-especiallysince Myung-Whun's timewill be taken up as musicdirector of the Paris Opera at

Byrne (center): salsa to samba

R D

its new home on thePlace de la Bastille.

Kyung-Wha's next releaseas a soloist will be with KlausTennstedt and the RoyalConcertgebouw Orchestra inthe Beethoven concerto,which she also recorded someten years ago for London/Decca. The new EMI record-ing was made in Amsterdamlast month.

SURE, David Byrne hasbrought us a lot of music.

Ten albums with TalkingHeads. An album -long col-laboration with Brian Eno.Albums of musical scores formovies (The Last Emperor,True Stories, Married to theMob, and Something Wild),theater (The Knee Plays), anddance (Twyla Tharp's TheCatherine Wheel). But he hasnever, until now, recorded asolo album.

"Rei Momo," Byrne's latestrelease, is his homage to Lat-in music, from Mexican salsaand Caribbean merengue toBrazilian samba. It follows aperiod in which Byrne im-mersed himself in the musicand culture of Brazil. He hasalso compiled two albums ofmusic by Brazilians, "BelezaTropical" (released in Octo-ber) and "0 Samba" (due inJanuary).

"Rei Momo" ("KingMomo," the title given to theking of Carnival) juxtaposesByrne's hip lyrical sensibilitywith a variety of Latinrhythms and song forms.Among the well-known musi-cians performing in the al-bum with Byrne are HerbertVianna of Paralamas andArto Lindsay. 0

iOR all her success onstage and screen, Liza

Minnelli has never had a hitrecord. Even her signaturetunes, Cabaret and New York,New York, were not hits forher. It's only now, at the ageof forty-three, that Minnellihas a chartbuster, and it tooka couple of dance -music starsto help her do it. That song,which made the Top 10 inEngland, is Losing My Mind,from the Stephen Sondheimmusical Follies, as producedby the Pet Shop Boys.

While the discofied Sond-helm tune is anything but

M A K

Minnelli: rock reorientation

typical of Minnelli. it is repre-sentative of her new Epic re-lease, "Results." Seven of theten songs in the album werewritten by the Boys, who co -produced the record after be-ing introduced to Minnelli byheavy-metal rocker GeneSimmons of Kiss. The neworientation may surpriseMinnelli's fans, bat she saysrock music has appealed toher since she was a kid. "Igrew up with the music myparents listened to," saysMinnelli. "But in my room Iwould listen to Jimi Hendrix,Laura Nyro, Janis Joplin-allthe usual stuff. I liked all thewild ones." 0

HE news from composerI Jerry Herman is, first,that he's going to be teachinga course in musical comedy atthe University of Miami and,second, that he'll start re-hearsals in February on a newmusical show, ferry Herman,Broadway, with Leslie Ug-gams, Kaye Ballard, and LeeRoy Reams.

zz

0z

A lot of the material in thatshow will undoubtedly derivefrom the program of his songsHerman put together for hisrecent appearances at a NewYork City night club, Rain-bow & Stars, high above (asthey used to say) RockefellerPlaza. The program is docu-mented by a new live record-ing on Arabesque, "Rainbow& Stars: An Evening with Jer-

Herman: Broadway again

Pr -

144 STEREO REVIEW DECEMBER 1989

0

ry Herman." With assistancefrom Reams and Karen Mor-row, Herman plays and singssongs from his Broadway hitsas far back as Milk and Hon-ey and as recent as La Cageaux folks. 0

e OR a band that has foughtr and fought and foughtover the years, Jefferson Air-plane seems unable to staybroken up. Various membersof this legendary San Francis-co group have rejoined sev-eral times. Their best-knownrevival, Jefferson Starship,actually produced the group'sfirst No. 1 album, and it con-tinues, with no former Air-plane members, as Starship.

Now the major members ofJefferson Airplane have madepeace long enough to record"Jefferson Airplane," theirfirst album since 1972, forEpic. Grace Slick, PaulKantner, Marty Balin, JormaKaukonen, and Jack Casadyhave all come aboard for therecording and an extensivetour. Kantner, for one, likesthe danger of combiningthese volatile personalitiesonce more. "That '"s whatrock-and-roll is," he said."You don't know what's go-ing to happen."

As for the tour, which

I)

kicked off on thetwentieth anniversaryof Woodstock this summer,Slick was quoted (in Bill-board), as saying, "The au-diences are really receptive,the demographics are reallywide-it's all different. We'regetting everyone from den-tists to kids in tie-dyes." 0

THE last Tears for Fearsalbum, the 1985 "Songs

from the Big Chair," soldmore than ten million copiesand produced two No. 1 sin-gles, Evervbody Wants toRuk the World and Shout.After touring well into 1986,the two songwriters whomake up the group, RolandOrzabal and Curt Smith, tooka long vacation.

Now, four years, three pro-ducers, and two completelydifferent versions later. Tearsfor Fears has finally finished"The Seeds of Love" for Fon-tana/PolyGram. Collaborat-ing on the album, which has amore soulful sound and lesstech no -pop gloss than "Songsfrom the Big Chair," are PhilCollins on drums, trumpeterJon Hassell, and guitaristRobbie McIntosh (of AverageWhite Band and Pretendersfame). But the most signifi-cant guest participant may be

Tears fir Fears: more soul less gloss

Airplane's Kantner, Balin, Kaukonen, Slick, and Casady

Oleta Adams, a black vocalistwho is featured in two songsand joins in on a third as well.Orzabal and Smith heard herperform in a hotel lounge inKansas City. "She got to me,"Orzabal recalled in an inter-view in the British magazineMelody Maker, "and, for me,if music can open you up andreduce you to tears, then it'sdoing its job. I thought shewas one of the best singers I'dever heard." 0

WHEN Armin Jordantook over as music di-

rector of the Suisse RomandeOrchestra in 1985, he becamethe first native-born Swissconductor since Ernest An-sermet to assume that post.Ansermet resigned in 1968(and died early the followingyear), leaving behind an im-pressive discography with theGeneva -based orchestra. Andalthough a number of non -Swiss conductors succeededhim and made recordings oftheir own, no real partnershipemerged until Jordan camealong. The result so far is aseries of eight widely hailedalbums, mostly of FrencImusic, on the Erato/Casca-ville label, the latest being acoupling of two works by De-bussy, Images and Jeux.

Jordan and the Suisse Ro-mande have also just con-cluded an American tour thatbegan and ended with con-certs at Carnegie Hall in NewYork, with stops as far southas Lexington, Kentucky, andas far west as Chicago in

between. They're back inGeneva now, where they'll re-cord the rest of the Schumannsymphonies in a cycle theybegan in September and willcomplete this spring. 0

GRACENOTES. Billy Idol'snew album for Chrysalis

is titled "Charmed Life." . . .

Jason Bonham, son of the lateJohn Bonham who wasdrummer for Led Zeppelin,has recorded an Epic album,"Bonham," with his ownband. . . . Reggae's premierrhythm section, Sly and Rob-bie, have fused reggae withhip -hop in their latest album

Jordan in Geneva

for Island, "Silent Assassin."... Actor Bruce Willis's sec-ond solo album for Motownis called "If It Don't Kill You,It Just Makes You Stronger.". . . Bon Jovi's best-selling"New Jersey" is the first U.S.rock album to be released onthe state-owned Soviet recordlabel, Melodiya. 0

SFEREO REVIEW DECEMBER 1989 145

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C CLE NO. 103 ON READER SERVICE CARD

CLASSICAL MUSIC

I

I

Discs and tapes reviewed byRobert Acka rt, Richard Freed,David Hall, Stoddard Lincoln,Eric Salzman, andDavid Patrick Stearns

BEETHOVEN: Piano Sonatas: No. 14,in C -sharp Minor, Op. 27, No. 2("Moonlight"); No. 21, in C Major, Op.53 ("Waldstein"); No. 23, in F Minor,Op. 57 ("Appassionata". Mikhail Plet-nev (piano). VIRGIN VC 90737-2 (67min).

Performance: SplendidRecording: Well focused

These are stimulating, satisfying, andutterly splendid performances, as fastid-ious and tasteful as they are brilliant.All three sonatas are demonstrably dra-matic works, and Mikhail Pletnevbrings out that quality to its full propor-tions-but never beyond. This is anaristocratic sort of drama: direct, un-cluttered, poetic. Tempos are just right,rhythms steady, melodic lines clean, dy-namics ideally scaled. Even in the mostrapid passages in the final movementsof the Moonlight and Appassionata youcan appreciate the beauty of the indi-vidual notes without feeling any dimin-ution of the momentum. The power,the poetry, the color all seem to rise nat-urally from within the music; Pletnevmanages to bring a refreshing quality tothese familiar works without looking forways ,to make them different. His per-formances shine with integrity and goodmusical sense, and the well -focused re-cording supports them brilliantly. R.F.

BIZET: Symphony in C Major. RA-VEL: Ma Mere I'Oye; Pavane pour uneinfante defunte. Scottish Chamber Or-chestra, Jukka-Pekka Saraste cond. VIR-GIN © 90744-4, 90744-2 (64 min).

Performance: AttractiveRecording: Excellent

The manuscript of the Bizet Symphonyin C, written in 1855, when Bizet hadjust turned seventeen, was given by thecomposer Reynaldo Hahn to the ParisConservatoire, where it was discoveredin the 1930's by an English musicologistwho gave it to Felix Weingartner, whogave the first performance. What a deli-cious discovery it turned out to be.Bizet was just about as precocious as

EXPLANATION OF SYMBOLS:

= DIGITALLY RECORDFID LP= TAPE. CASSETTE

0 = COMPACI. DISC (TIMINGS ARE"10 NEAREST MINUTE)

THE ROMANTIC CELLOjANOS STARKER'S new Delos re-cording of music by David Pop-per is labeled "Romantic CelloFavorites." "Favorites" may be abit of an exaggeration applied to

twenty pieces few of us have ever heardof, let alone actually heard, but once Idid hear them, in these absolutely mag-ical performances, the title was morethan acceptable. This hour -and -a -quar-ter program is not a mere virtuoso reci-tal but more like a confession of love-for the cello and its literature, and inparticular for the legacy of the instru-ment's greatest virtuoso prior to PabloCasals.

Popper (1843-1913) was born inPrague, the son of that city's Kantor. Bythe age of twenty he was playing jointrecitals with the legendary pianist Hansvon Billow. He subsequently held anumber of prestigious appointments,toured widely as a virtuoso, and for thelast seventeen years of his life was a pro-fessor at the Budapest Conservatory,now called the Liszt Academy. He com-posed some didactic pieces, a few large-scale works, cadenzas for a number ofpopular concertos, some songs andtranscriptions, and nearly six dozenbrief pieces for cello and piano.

With the single exception of the Re-quiem for three cellos and orchestra,Popper's big works are all forgottennow, and the Requiem itself is seldomeven mentioned and almost never per-formed. Those dozens of little "charac-ter pieces," though, including the onesStarker has recorded, were performedeverywhere for nearly a hundred years.There could not be a cello recital with-out them. They were more than a lega-cy; they were what kept the Popperlegend alive in the most direct sense. Inthe last few decades, however, theseendearing little gems seem to have beenslipping into limbo with the rest of Pop-per's works. In coming to their rescue,Starker notes that his own teacher,Adolf Schiffer, had been pupil, assist-ant, and eventually successor to Popperat the Liszt Academy, making Starkerhimself "Popper's so -to -speak cellisticgrandson."

As the titles indicate-they areprinted below in the mixture of English,German, French, and Italian in whichthey appear on the Delos label-this ismusic in which sentiment, humor,color, and directness are more promi-nent than profundity. Their commondenominators are virtuosity (many area good deal more demanding than thelistener might imagine) and charm, andthere is an abundance of both qualities,as well as the customary elegance, inStarker's obviously affectionate per -

Janos Starker

formances. He has not made a record-ing quite like this before; perhaps noone has-expect maybe Fritz Kreisler,with whose violin miniatures Starkercompares the Popper pieces. As thefriend listening with me remarked be-fore we were very far into the program,"That's a recording a musician makesto be remembered by."

It is certainly one to remember Pop-per by, and Starker did not make italone. His long-time piano associateShigeo Neriki is a most eloquent part-ner, apparently as enchanted and stimu-lated by the material as the cellist him-self, and he enhances our admirationfor Popper's craftsmanship by showinghow lovely and imaginative the accom-paniments are. The imaginative se-quence in which the pieces are pre-sented further reflects the commitmentthat went into this project, and the sonicfocus is as vivid, warm, and well bal-anced as the musicmaking itself.

Richard Freed

POPPER: Once upon More BeautifulDays (In Memory of My Parents); Ga-votte in D Minor; Mazurka; Vito; Fan-tasie fiber kleinrussische Themen;Begegnung; Papillon; Herbstblume;Gnomentanz; Spanischer Carneval;Nocturne; Gavotte in D Major; ChansonVillageoise; Wiegenlied; Elfentanz; Ser-enade; Spinning Song; Feuillet d'album;Menuetto; Tarantelle. Janos Starker(cello); Shigeo Neriki (piano). DELOSDE 3065 (74 min).

STEREO REVIEW DECEMBER 1989 147

Mozart or Mendelssohn, and his onlysymphony is a most charming and high-spirited romp.

Although the work has had its shareof concert performances, it is probablyeven better known as the score forGeorge Balanchine's ballet Symphonyin C. Similarly, Ravel's Ma Mere/'Oye-originally a children's piece forpiano, four hands, later orchestrated byRavel himself-was turned into a fa-mous ballet. The stories behind themusic are not what we would call Moth-

er Goose (the literal translation of theFrench title) but rather fairy tales of theSleeping Beauty and Beauty and theBeast variety. Ravel himself extendedthe original, and what we have here isthe complete ballet score-in spite ofthe additions, still a marvellously com-pact piece of work and a masterpiece ofsimplicity and understatement. ThePavane pour une infante defunte, thecomposer's best-known work after Bole-ro, was also orchestrated from a pianopiece; it is astonishing how little music

HERBERT VON KARAJAN1908 -1989

1PIK"

rnvrmmrnhvn

Deutsche Grammophon, Herbert von Karajan'srecording partner for over 50 years, is proud to

release his final opera and Bruckner Symphony No. 8with the Vienna Philharmonic.

They will be followed by Brahms, Bruckner andSchumann symphoniesand Tchaikovsky PianoConcerto No. 1 with

Yevgeny Kissin next year,completing Mr. von Karajan's

recorded legacy.

Verdi

trosli110 INJWASCHER11Domingo Barstow Nucci Quivar to

KARAJAN Vienna Philharmonic

© 1989 DG / PolyGram Records

BRUCKNER KARAJANSymphony No. 8

Vienna Philharmonic

by this master orchestrator was original-ly conceived for orchestra.

The Scottish Chamber Orchestra wasfounded in 1974 and quickly achieved alot of recognition. Its present conduc-tor, the up-and-coming Jukka-PekkaSaraste, is Finnish, the music is French,the record company is English, and theresults of their combined efforts arehighly attractive. E.S.

CORELLI: Trio Sonatas, Op. 3, Nos. 1-12. Smithsonian Chamber Players.SMITHSONIAN COLLECTION OD ND 035(75 min). Available by telephone order,I-800-678-2677.

Performance: RavishingRecording: Splendid

Corelli's trio sonatas exerted a phenom-enal influence during the Baroque peri-od, becoming the touchstone for cham-ber music and inspiring works in theirform by every composer in Europe.Like so many works of historic impor-tance, however, they lie neglected to-day. What a shame! The twelve sonatasof Op. 3 are some of the most sophisti-cated and exquisite pieces of music everwritten.

The Smithsonian Chamber Playersinclude Jaap Schrader and MarilynMcDonald (violin), Kenneth Slowik(cello), Konrad Junghanel (theorbo),and James Weaver (organ). Their ele-gant and loving performances set theravishing sound of the two violinsagainst various thethree continuo instruments. The inter-play between the violins is beautifullyworked out, and the players' ornamen-tation is a true adornment to Corelli'scarefully contoured melodies. Let'shope that the group records all of Corel-li's sonatas so that he may be esteemedas highly today as he was in the eight-eenth century. S.L.

DEBUSSY: Etudes; Suite bergamasque.Garrick Ohlsson (piano). ARABESQUEZ6601 (70 min).

Performance: MarvelousRecording: Excellent

While most of Debussy's works carrytitles indicating some sort of descriptiveintent, his twelve Etudes, composed in1915, seem to owe their inspiration tonothing more than his having beeninvolved at that time in editing theworks of Chopin, to whose memory hededicated these pieces. If the Etudes arewithout programmatic titles, though,they certainly are not without their ownelement of fantasy, as Garrick Ohlssonmakes vividly apparent in these mar-velous performances. The late Paul Ja-cobs left us a very attractive account ofthe Etudes, and it has been handsomelyreissued on a Nonesuch CD, but Ohls-son finds still more in them. The taste-ful vitality and exceptional feeling forcolor in his response might even suggestthat this set, still the least performed ofDebussy's big piano cycles, could be -

148 STEREO REVIEW DECEMBER 1989

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come as popular as the Preludes andImages.

Ohlsson also offers here an especiallysensitive performance of the Suite her-gamasque. Anyone who goes directlyfor the third movement, the famousClair de lune, may be distressed to findit stretched out to nearly seven minutes,with momentum barely maintained,but in the context of the preceding sec-tions the approach does work. Thelabeling is not too tidy, with a typo ortwo in the list of titles, but there arecomprehensive notes by Dennis Roo-ney, and the beautifully focused record-ing does full justice to the sound ofOhlsson's Bosendorfer and the excitingcolors he draws from it.

DEBUSSY: Violin Sonata in G Minor(see FAURE)

FAURE: Violin Sonata No. 1, in .4Major, Op. 13. DEBUSSY: Violin So-nata in G Minor. FRANCK: Violin So-nata in A Major. Joshua Bell (violin);Jean -Yves Thibaudet (piano). LONDON

421 817-4, 0 421 817-2 (65 min).

Performance: Noble, but . . .

Recording: Excellent

This is a lovely and generous programof sonatas that make excellent sensetogether, and the performances arc on aconsistently high level. The way JoshuaBell and Jean -Yves Thibaudet respondto each other, the sense of impassionedinvolvement with the music, the uncon-trived elegance in the shaping ofphrases-these are qualities one appre-ciates in any chamber -music perform-ance. The one drawback, for me, isBell's insistently "tight" and occasional-ly wiry tone. It's a matter of his playing,not the recording itself, which is excel-lent, and it's quite at odds with thevoluptuous writing in the Faure andFranck sonatas. It clashes with Thibau-det's comfortably assured, warmly ex-pressive playing, too. It may have beenBell's idea to put a dramatic edge onmusic that can become sugary in care-less hands. If that was the case, perhapshe wasn't listening to Thibaudet closelyenough, after all; his poetic expansive-ness in the piano part does not mini-mize drive or get in the way of drama.But the musicmaking is on a high leveland beautifully recorded, and Bell'swiry tone may not strike every listeneras it did me. R.F.

FRANCK: Violin Sonata in A Major(see FAURE)

GLASS: Metamorphosis; Mad Rush;Wichita Vortex Sutra. Philip Glass (pi-ano). CBS © FMT 45576, © MK 45576(51 min).

Performance: AuthoritativeRecording: Very good

These recent piano works present a farmore intimate side of Philip Glass thanwhat is projected in his well -publicized

Garrick Ohlsson: vital Debussy

operas and theater pieces. Metamorpho-sis is actually a sequence of five pieces,derived variously from Glass's inciden-tal music for a dramatization of theKafka story of that title and from hismore recent score for the movie TheThin Blue Line. They form a sort ofnear -symmetrical arch in which themiddle piece is the most energetic andthe end ones provide a more quiescentframe.

To my ear, there is more variety inthe five parts of Metamorphosis, eventhough they are largely repetitive, thanbetween that work as a whole and thetwo that follow it in this album. MadRush, used for a Lucinda Childs balletof that name (after having been com-posed as an organ piece for the DalaiLama's address at the Cathedral of St.John the Divine in New York in 1981),actually sounds much like a continua-tion of Metamorphosis, and so, for thatmatter, does Wichita Vortex Sutra(composed in 1988 for Allen Ginsberg'sreading of his poem of that name). Thepersistent repetitiveness that is part ofGlass's style is used here for the mostpart to establish a frame of intimacyand a ruminative quality, and togetherwith the thoroughly pianistic characterof the music, these assure a certaindegree of warmth. But the music isrepetitive. There are listeners to whomevery Strauss waltz or every Vivaldiconcerto sounds the same, and there aresurely others who will find greater vari-ety among these Glass pieces than I do.They are played with unarguable au-thority and are very handsomely re-corded. The annotation gives a gooddeal of helpful background information,but the back liner misstates the last title,giving it as Wichita Sutra Vortex. R.F.

HANDEL: Messiah. Emma Kirkby,Emily van Evera (soprano); MargaretCable (alto); James Bowman (counter-tenor); Joseph Cornwell (tenor); DavidThomas (bass); Taverner Choir; Tav-erner Players, Andrew Parrott cond.

EMI/ANGEL. CDCB-49801 two CD's(146 min).

Performance: TidyRecording: Excellent

In his comprehensive annotation forthis set, Clifford Bartlett sensibly ob-serves that "this recording ... is justone interpretation, a single event thatwould, without modern technology, beephemeral: a Messiah, not the Mes-siah." Beyond that, we are advised thatthe performance is "based on the ver-sion Handel used in 1753, which isclose to the version that was to becomethe normal one, but with two sopranos,as in the majority of his performances."The chorus in this case comprises twen-ty-two singers; the orchestra includeshorns as well as oboes, bassoons, andtrumpets. The performance itself is anagreeable one, I think, without beingespecially memorable.

The pacing is admirable; there ishardly a number in which the tempodoesn't seem to come naturally from itscontent, and momentum is well main-tained. Intimacy is stressed in the quietnumbers (perhaps excessively in someof them), and the big choruses are grat-ifyingly robust. What is missing, how-ever, is a sense of tension, the elementthat goes beyond momentum to pro-vide the music with its pulse, its convic-tion, its "liveness." I missed the danc-ing character in "For unto us a Child isborn" and the expansive grandeur thatis even today still possible in the "Hal-lelujah" Chorus-while at the sametime enjoying immensely the confidentunison trills in the latter piece and,indeed, the fine choral singing through-out the performance.

The soloists are less consistently sat-isfying. Emma Kirkby, James Bowman,and David Thomas, all veterans of oth-er recordings of the work, are as reliablehere as before, but Margaret Cablemakes a stolid, joyless statement of "0thou that tellest good tidings to Zion,"and Joseph Cornwell's opening arias of-fer little comfort-how one longs forthe all-out embracing radiance of aRichard Crooks! On balance, a tidy per-formance with more assets than liabili-ties, handsomely recorded and pack-aged, but it is less likely than severalothers to demand a second hearing.Trevor Pinnock's version, like Par-rott's, is accommodated on just twoCD's, and it strikes me as the best buy ina recorded Messiah at present. R. F.

HANDEL: Concerti Grossi, Op. 3.Handel & Haydn Society, ChristopherHogwood cond. L'OisEAti-LvRE © 421729-2 (60 min).

Performance: PredictableRecording: Fine

Christopher Hogwood, whose record-ings often have a musicological pur-pose, here tries to patch up Handel'salready patched -together Op. 3 set of

(Continued on page 156)

150 S FRE() REvit %% PH:FIRER 1989

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concerti grossi. At least two of theserather short -breathed pieces, Nos. 3 and6, were assembled somewhat ineptlyfrom previously existing Handel scoresby the publisher John Walsh, and Hog -wood's coherent realizations of themhere are more than usually balancedand internally consistent. Otherwise hisinterpretations, though characterized byspringy rhythms, graceful, idiomaticphrasing, and sensible tempos, are fairlypredictable. This is Hogwood's first re-cording with the Handel & Haydn So-ciety of Boston, but there seems littledifference between its sound and man-ner of playing and those of Hogwood'sLondon -based Academy of AncientMusic.

The one thing that makes this releaseparticularly attractive is the participa-tion of oboist Stephen Hammer. Manyof these pieces are oboe concertos indisguise, and the disc is a wonderfulshowcase for Hammer's artistry andlyricism, which are a great source ofpleasure throughout. D.P.S.

MAHLER: Symphony No. 3, in D Mi-nor. Christa Ludwig (contralto); NewYork Choral Artists; Brooklyn BoysChorus; New York Philharmonic,Leonard Bernstein cond. DEUTSCHEGRAMMOPHON 0 427 328-I two LP's, C)427 328-4 two cassettes, 427 328-2two CD'S ( 106 min).

Performance: ClassicRecording: Close up

After finding a considerable measure ofinterpretive difference between Leon-ard Bernstein's Mahler of the 1960's onColumbia and that of the 1980's onDeutsche Grammophon, I was pleased(and surprised) to find that his newrecording of the composer's Third Sym-phony has essentially the same temposas his 1962 recording. The ardor of theconductor and the orchestra, again theNew York Philharmonic, are undimin-ished. Such differences as I found be-tween the earlier recording and the newone, made in concert in November1987, are in the direction of greaterrefinement of inner detail and nuance,as well as in the less spacious sonicambience resulting from a closer micro-phone pickup.

While the sense of detail is indeedmarvelous, I miss the space andwarmth of the earlier recording, madein Carnegie Hall. The "mob scene" cli-max of the vast first movement comesacross with more impact on DG thanon Columbia, but the distance effects inthe third movement, for all the lovelyexecution of the posthorn solo, don'tquite match those in the earlier version.In the fourth movement's greatNietzsche setting for contralto, sungwith great feeling by Christa Ludwig,the close-up sound dilutes the sense ofprofound mystery that the music needs.As before, Bernstein's reading of thetwenty -five-minute closing slow move-ment is in a class by itself, and the Phil-

harmonic gives its all-as it doesthroughout the preceding five move-ments. But the close-up miking in thelast pages, with the timpani soundinglike cosmic bells, again fails to matchthe impact of the Carnegie Hall record-ing. All in all, I would say that the newrecording serves as a wonderful supple-ment to the 1962 version but does notreplace it. D.H.

MARTINU: Piano Music (see Best ofthe Month, page 126)

MOZART: Horn Concertos: No. 1, in DMajor (K. 412); No. 2, in E -fiat Major(K. 417); No. 3, in E -flat Major (K.447): No. 4, in F -flat Major (K. 495).Rondo for Horn and Orchestra in E -flatMajor (K. 371). Peter Damm (horn);Academy of St. Martin -in -the -Fields,Neville Marriner cond. PHILIPS C) 422330-4, 0 422 330-2 (61 min).

Performance: MellowRecording: Nice

Mozart wrote three complete horn con-certos for one Ignaz Leutgab, a fellowSalzburger who turned up in Vienna,plus an allegro and rondo (K. 412) thatwere completed, like the Requiem, afterMozart's death by his pupil SOssmayr.There is also a fairly complete sketch fora playful Rondo in E -flat Major that hasbeen orchestrated by Erik Smith, a niceaddition to a slim repertoire.

No heaven -storming here. This isMozart neatly played in a quiet, mellowstyle by the East German hornist PeterDamm, with an elegant assist from theworld's best non -old -instrument Mo-zart orchestra and conductor. To tell thetruth, I would have liked to hear moreof Mozart and Leutgab's storied she-nanigans (they were drinking pals, we're

told, and a fun -loving pair) reflected inthese performances, which are fine buton good behavior. The comic -operaslapstick is there in the music, thoughpeople who think Mozart is God neverfind it. E.S.

ROSSINI: L'italiana in Algeri. AgnesBaltsa (mezzo-soprano), Isabella; Rug-gero Raimondi (bass), Mustapha; FrankLopardo (tenor), Lindoro; Patrizia Pace(soprano), Elvira; Anna Gonda (mezzo-soprano), Zulma; Alessandro Corbelli(baritone), Haly; Enzo Dara (baritone),Taddeo. Vienna State Opera Chorus;Vienna Philharmonic, Claudio Abbadocond. DEUTSCHE GRAMMOPHON 427331-2 two cp's (127 min).

Performance: DelightfulRecording: Excellent

Particular pleasure is afforded when acomic opera is performed by artists whoare obviously enjoying themselves. Thisis such a performance, one in which allthe members of the cast are very much"on top" of their assignments vocallyand very much involved with makingRossini's bubbly nonsense as ingratia-ting as possible. It is perhaps ClaudioAbbado, however, who deserves themost credit for the spirit and glow thatilluminate this recording. His enthu-siasm for the score is consistently mani-fest-in his energizing tempos, dy-namic shadings, and caressing touchwith Rossini's melodies. The fact thatthis studio recording was made concur-rently with staged performances by thesame cast at the Vienna State Opera in1987 undoubtedly contributes to itsoverall zest.

The cast is unusually strong. Grantedthat his voice no longer has the agility itonce commanded, Ruggero Raimondi

Ruggero Raimondi and Agnes Balt.so. joyous Rossini

156 S.FEREO REVIEW DECEMBER 1989

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brings musical style to his bumptiousMustapha. As Elvira and Zulma, Patri-zia Pace and Anna Gonda sing prettilyand with a proper sense of comedy.Frank Lopardo's Lindoro is agile,youthful, and remarkably fluid; he isapparently unbothered by Rossini'shigh -altitude vocal leaps and sings withreal dash. Enzo Dara's Taddeo is suit-ably avuncular, and Alessandro Corbel-li as Haly makes much of his aria onItalian women.

It is, of course, Agnes Baltsa, as theItalian girl, Isabella, who dominates theperformance, and of all the people hav-ing a good time, she seems to be havingthe best. Hers is an infectious portrayal,and I found myself smiling or laughingaloud at the sense of fun she brings tothe role. She easily meets and dismissesall musical hazards; the unforced flightof her singing-the liquidity, the agility,the focus, and the warmth-are exem-plary.

Litallana in Algeri is delightful non-sense dramatically, but it is far frombeing absurd musically; it is one of Ros-sini's most gracious scores, and this finerecording of it, ably engineered, musi-cally polished, and ebulliently alive, iswarmly recommended. R.A.

SCHUMANN: Carnaval, Op. 9; Papil-lons, Op. 2; Faschingsschnank ausWien, Op. 26. Andrei Gavrilov (piano).EMI/ANGEL (§) CDC 49235 (65 min).

Recording: Excellent

Alicia de Larrocha's recent recordingsof Schumann's Carnaval and Fasch-ingsschwank, both more tidy than stim-ulating, were coupled with his Allegroin B Minor, Op. 8. Andrei Gavrilovhere offers the same two larger worksbut with Papillons in place of the Alle-gro. His record is an altogether morewinning proposition, not only becausePapillons is a far richer, more substan-tial piece than the Allegro but becauseall three works come irresistibly to lifeon their own terms. There is nothingwanting in the way of dazzling finger -work or interpretive fantasy. Gavrilovunderstands the Schumannesque es-sence of this music and responds to itwith as much freedom as reverence; hebrings plenty of his own personality tohis playing but never allows Schu-mann's to be crowded out. The variousindividual sections of each work areexquisitely realized, with an apparentlyinstinctive sense of their specific char-acter and emotional range-and of thedegree of flexibility appropriate to eachone. Along with the sort of spontaneitythis music demands, there is an illumi-nating clarity that is greatly to its bene-fit. In sum, outstanding performancesof all three works, and they're excep-tionally well recorded, too. R.F.

R. STRAUSS: Le Bourgeois Gentil-homme (see Best of the Month, page123)

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TI 1 E centenary of the birth of SirAdrian Boult last April was gen-erally overlooked hereabouts.but several CD reissues of his

recordings that came out then will bearound for some time to remind us ofwhat a remarkable conductor he was.While Boult was primarily associatedwith British music in the minds ofAmerican listeners-and justly so, forno English conductor has been a moreenergetic or more effective champion ofhis creative compatriots-his sympa-thies and enthusiasms were by nomeans limited by geographic, ethnic, orparochial considerations. He was a

Adrian Boult

splendid interpreter of a very broadrepertoire, and many of his perform-ances of the great German and Russianworks of the nineteenth century mightserve as norms against which othersshould be measured.

Boult was a contemporary of FritzReiner, whom he outlived by nearlytwenty years. (Reiner, born in Decem-ber 1888, died in November 1963;Boult died in February 1983.) Whilethese two conductors would appear tohave been strikingly different in tem-perament, their recordings show thatthey had a great deal in common musi-cally. Both, first of all, emphasized secu-rity, precision, and clarity as primeessentials, forming a solid base fromwhich flexibility, brilliance, and inter-pretive fine points could be supported.Both were self -demanding and, in re-spect to the music, self-effacing, carefulnot to get in its way, always insuringthat its own character was preserved.

Five Boult CD'S issued in Angel's mid -price Studio series are more than meresouvenirs of a well -loved figure; theyare prime examples of the conductor'sart at its most illuminating. The per-formances, mostly recorded in the earlySeventies, are in many cases unsur-passed, and the sound quality is hand -

162 S. FERE° RFVI DECI.IN1BER 1989

ENCORESsome enough to make them truly com-petitive even now. Three are devoted toWagner, performed by the three topLondon orchestras (CDM 63120,63121, and 63122). Almost all of thefamiliar orchestral extracts are here.and Volume 3, with the relatively un-familiar Faust Overture and a generoushelping from Parsifal, is especially per-suasive. No less so are the two discs ofRussian music with the London Phil-harmonic. The Tchaikovsky collectionon CDM 63095 comprises a dream per-formance of the Suite No. 3-the onewith the famous theme -and -variationsfinale-and excellent ones of the Ca-priccio italien, the Marche slave, andthe Gopak from Mazeppa. On CDM63123 there is more Tchaikovsky, near -definitive performances of the over-tures Romeo and Juliet and 1812, alongwith an account of Glinka's Russianand Ludmilla Overture that may becompared only with Reiner's and simi-larly impressive performances of threeshowpieces by Rimsky-Korsakov-theCapriccio espagnol, the "Procession ofthe Nobles" from Mlada, and the"Dances of the Tumblers" from TheSnow Maiden.

On a CD from another source we dohave Boult conducting English music,and here, too, the term "definitive" sug-gests itself. Nixa, which began reissuingsome of its mono recordings from themid -Fifties on co a few years ago,recently went back to remaster some ofthe material and present it on discs thatnot only sound better than the earliertransfers but are more generously filled.Boult's classic account of Walton's Bel-shazzar's Feast was so issued last year,and now we have his incomparable1953 recording of The Planets. This, thesecond of the five recordings Boultmade of the Hoist suite that he was thefirst to perform (the last was issued inobservance of his ninetieth birthday),was by all means the finest perform-ance, and the sound has been incrediblyrefreshed in the new transfer (NIXCD6013)-to the point of making it a via-ble consideration for first choice evenamong all the digitally recorded stereo

Fritz Reiner

Charles Munch

versions. Filling out the disc now arethe Four Sea Interludes and Passacagliafrom Peter Grimes. Boult gave lessattention to Britten than to other Eng-lish composers and made only tworecordings of his music; this one is stun-ning, a fine companion piece for theHoist.

Reiner's glorious recordings with theChicago Symphony, transferred to CDwith striking success over the last fewyears, are now being transferred fromRCA Victor's full -price Red Seal labelto the mid -price Gold Seal, which canonly make them even more attractive.In the initial batch of five such transfersare the monumental recording of Bar-tok's Concerto for Orchestra with theMusic for Strings. Percussion. and Cel-esta (60 I75-2-RG), the stunning collec-tion of Strauss waltzes (60 I 77-2-RG),and music of Mahler, Debussy, Ravel,Prokofiev, and Glinka.

Another memorable conductor ofthe Boult-Reiner generation, CharlesMunch (1891-1968), was, like Boult, es-pecially identified with the music of hisown country, but he was far more wide-ly acknowledged in a more "interna-tional" repertoire. Disques Montaigne(distributed by Harmonia Mundi USA)has just issued a CD of concert perform-ances with the ensemble now known asl'Orchestre National de France in mu-sic of Beethoven that show Munch athis absolute best (MUN 2061). In theSeventh Symphony and the Consecra-tion of the House Overture, from theinaugural concert in the Maison de laRadio, Paris, in December 1963, youfeel every player must have been sweptup in Munch's Dionysiac impulse. Theperformances are fiery without beingfierce, flexible yet rhythmically solid;they are exceptional for vitality, color,and spontaneity, and yet even the ap-parent impetuosity has an eleganceabout it. The same characteristics, ap-propriately scaled down to more lyricproportions, are apparent in the FourthSymphony, recorded the following yearin Stockholm. The sound quality is sur-prisingly good, if a little bass -heavy. Iwould imagine that anyone who hearsthis disc is likey to find it irresistible,regardless of any duplications it maycreate. Richard Freed

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01

EDITORIAL INDEX 1989

Prepared by Dazfrid Stein

EQUIPMENT TEST REPORTS(Hirsch -Houck Laboratories)

Amplifiers and PreamplifiersDenon AVC-2000 (integrated). Sep. 45Grundig Fine Arts A-903 (integrated). May 59Haller XL -600 (power). Apr. 48: IRIS

(preamplifier), Dec. 65Linn LK I (preamplifier) and LK280 (power).

Jan. 56Luxman TP-I 17 (tuner/preamplifier). Sep. 64Rockford Fosgate RF200 (preamplifier) and

RF2000 (power). Jun. 50Sony TA-E1000ESD (preamplifier). Oct. 90

Audio/Video EquipmentDenon AVC-2000 integrated amplifier. Sep. 45Kenwood KR -V9010 receiver, Nov. 93Mitsubishi M -AV I receiver. Jul. 32Philips CDV488 combi-player. Oct. 68: CDV487

combi-player (Foster). Dec. 94Pioneer CLD-3070 combi-player (Foster).

Dec. 94Yamaha CDV-I600 combi-player (Foster).

Dec. 94

Car Stereo (Hirsch and Pohlmann)Blaupunkt New York SCD 08. Nov. 24Coustic RX-728. Aug. 22Eclipse ESD-230. Jan. 30

Cassette Decks (Stark)Aiwa AD -F780. Jan. 65NAD Model 6340. Sep. 56Pioneer CT -S800. Mar. 41

Compact Disc PlayersAdcom GCD-575. Jan. 51Conrad -Johnson DF1 (with preamplifier).

Dec. 72Fisher DAC-ZI (changer). Sep. 52Harman Kardon HD7500, Nov. 76Hitachi DA -C70 (changer). May 52

Marantz CDC -320 (changer). Feb. 42NEC CD-830DS. May 35Onkyo DX -7500. Apr. 37Philips CDV488 (combi). Oct. 68; CDV487

(combi. Foster). Dec. 94Pioneer PD -7I. Aug. 31; CLD-3070 (combi.

Foster). Dec. 94Sansui Vintage CD -X71 I. Oct. 49Sherwood CD -1 160R. Mar. 46Sony CDP-608ESD, Jun. 33Technics SL -PI 300. Jul. 23Yamaha ('DX -I120. Nov. 61; CDV-I600

(combi, Foster). Dec. 94

Phono CartridgesAudio-Technica AT-MLI70. Jul. 29Ortofon Model 540. Apr. 42ReceiversCarver Model 6250. Mar. 50

JVC RX-801 V. Oct. 60Kenwood KR -V9010, Nov. 93Mitsubishi M-AV1. Jul. 32Nakamichi TA -4A. Nov. 68Onkyo TX -890. Dec. 57Sansui RZ-7000, Feb. 37

Signal ProcessorsJVC XP -A1000 digital surround processor.

May 38Pioneer SP -91D digital sound processor. Dec. 82Proton SD -I000 surround -sound decoder.

Jun. 62

Speaker SystemsAdvent Prodigy Tower. May 47Allison AL 120. Sep. 47Alice Lansing Model 511, Nov. 84Bose 10.2 Series II. Feb. 46Celestion Model 3. Jun. 42Design Acoustics PS -3 Micro -Monitor. Dec. 69Epicure Model I. Oct. 78Jamo Concert 11. Jul. 28Meridian D600. Sep. 108Mission Cyrus 781. Oct. 53Mordaunt-Short MS35Ti. May 62Ohm CAM 16, Apr. 39Paradigm Export Monitor. Jul. 38Precise Monitor 5. Aug. 39Thiel CSI.2. Jan. 53Wharfedale Diamond 111. Mar. 43Yamaha NS -I. Feb. 39

Other EquipmentAudioSource EQ Ten equalizer/analyzer.

Mar. 54Beyerdynamic IRS 690 headphones. Jun. 57Dual CT -5040 tuner. Aug. 34Luxman TP-I 17 tuner/preamplifier. Sep. 64Thorens TD280 MUl record player. Aug. 42

THE. HIGH END (Hodges)The (Record) Dust Settles. Jan. 144Save That Studer. Continued, Feb. 176The Optical Turntable. Mar. 136The Ohm/Walsh Driver. Apr. 112The Black Hole of Bass. May 136The Impossible Achieved?, Jun. 136Six -Inch Overachiever. Jul. 104Work in Progress. Aug. 97MASH to the Rescue. Sep. 164The Silver Standard. Oct. 160DAT: Cons and Pros. Nov. 171The Yellow Room. Dec. 172

SIGNALS (Pohlmann)Pursuing DAT. Mar. 32Sonic Solutions, Apr. 28Chips Ahoy. May 22The Numbers Madness. Jun. 24Dolby S. Aug. 20The Next Revolution(s), Sep. 28The Speaker Gap. Oct. 24Stereo to Go, Nov. 42"Just the Facts. Please." Dec. 22

SYSTEMS (Day)Building on the repeat theme. Jan. 84Updating an entertainment console. Mar. 96A live-end/dead-end garage. Jun. 82Out of sight in La -La Land. Jul. 56Designer audio: Now you see it. now you don't.

Aug. 62Listen while you work. Oct. 100Bringing down the house, Nov. 112

TECHNICAL TALK (Hirsch)Subjective Evaluations, Jan. 42Wanted: Car Audio Standards!. Feb. 34Component Interdependence. Mar. 36FMX Noise, Apr. 30Is Polarity Audible?. May 28System Integration. Jun. 28Hi-Fi AM Radio. Jul. 20Remote Controls. Aug. 26Evolving Test Procedures. Sep. 37Polarity Revisited. Oct. 48Real Hi-Fi at the Movies?. Nov. 48Does It Make a Difference?. Dec. 48

TECHNICAL FEATURESAmerican Audio Classics (Smolen). Jun. 68The Basics (Masters): From Coding to

Recording, Oct. 43; Names and Numbers.Nov. 27; Magnets and Music. Dec. 39

Best Seat in the House (Livingstone). Apr. 62Car Stereo-see Hi-Fi; TravelingCD Players. The New (Masters). Oct. 84: CD

Changers (Masters). Jul. 58; The Making of aCD Player (Wolfe). Aug. 55

CES Show Stoppers. (Day). Apr. 57. Sep. 95Combi-Players. Three Top (Foster). Dec. 94Compatibility (Masters). Nov. 98

DAT: Goes Video (Harrell). Sep. 36: Its a Deal(Boundas). Oct. 4

Design for Listening (Berger), Dec. 102Digital Update (Pohlmann). Oct. 95Distortion. The Audibility of (Masters). Jan. 72Eastern Standards (Smolen), Jul. 42Equipment Buying Guide (staff). Feb. 67European Audio: A Tradition of Excellence

(Smolen). Aug. 48The Explorers: Movers and Shakers in Audio

Technology (Berger). Jun. 84FMX, The Noise About (Warren), Sep. 113Get the Picture! (Kenny). Apr. 69Hi-Fi Hits the Road (Wolfe and Smolen).

May 80Hi-Fi VCR Buying Guide (staff). Apr. 74High -Technology TV-see Get the Picture!Holiday Gifts (Livingstone), Dec. 113Japan Audio Fair 1988 (Harrell), Jan. 95; Made

in Japan (Harrell). Jul. 49; also see EasternStandards

Listening Tests-see DistortionPsycho -What? (Pohlmann), Sep. 116Rodrigues Contest. Jan. 27, Jul. 18Shure Home Theater Sound-see Best ScatSignal Processors (Simon). Dec. 107Speakers. How to Buy (Masters). Sep. 100;

Speaker Design (Hirsch). Nov. 115; TheMaking of an American Speaker (Masters).Jun. 75; Speaker of the House (Berger),Mar. 91

Surround Sound (Pohlmann), Nov. 106Tape Buying Guide (staff). Mar. 87Tape Deck Buying Guide (staff), May 89Tape Recording (Stark). Mar. 82Traveling: Sound Options from the Car

Companies (Pohlmann). May 73Turntables and Cartridges (Masters). Jan. 79Upgrading Your System (Hirsch), Feb. 50Where's the Rot? (Day), Apr. 23

BEST RECORDINGS OF THE MONTHPopularThe BoDeans: Home, Nov. 124

64 S-1 FRE() I -A%' DFCF\IRF R 1989

EDITORIAL INDEX 1989

Case. Peter: The Man with the Blue PostmodernFragmented Neo-Traditionalist Guitar.Aug. 71

Costello, Elvis: Spike. May 103Crenshaw, Marshall: Good Evening, Sep. 123Dash Rip Rock: Ace of Clubs. Nov. 123Harris. Emmylou: Bluebird, Apr. 81Jason and the Scorchers: Thunder and Fire.

Oct. 107Lovett, Lyle: And His Large Band, May 104Madonna: Like a Prayer, Jul. 67Pere Ubu: Cloudland, Aug. 72The Pursuit of Happiness: Love Junk, Feb. 143Raitt, Bonnie: Nick of Time. Jun. 93Reed, Lou: New York, Apr. 82Roberts. Marcus: The Truth Is Spoken Here.

Jul. 68Ronstadt, Linda: Cry Like a Rainstorm, llonl

Like the Wind, Dec. 123Schuur, Diane: Talkin"Bout You. Feb. 144Shocked. Michelle: Short, Sharp, Shocked.

Mar. 104Siouxsie and the Banshees: Peep Show. Jan. 101The Thieves: Seduced by Money, Jun. 94Thompson, Richard: Amnesia, Jan. 102Townshend, Pete: The Iron Man. Oct. 108Vaughan, Stevie Ray and Double Trouble: In

Step, Dec. 124Williams, Lucinda. Mar. 103

Tribute to John Coltrane-Lire Under the Sky.Sep. 124

ClassicalBeethoven: Symphonies Nos. 4 and 5, Jan. 104:

Piano Sonatas Nos. 28-32, Oct. 110;Symphonies Nos. 4, 5. and 7, Egmontand Coriolan Overtures, Nov. 126

Berlioz: Symphonic fantastique. Jul. 68Debussy: Preludes. Book II. Jul. 70Hanson: Symphonies Nos. I and 2, Elegy in

Memory of Serge Koussevitzky, Sep. 126Haydn: Keyboard Sonatas Nos. 33, 38. 58. and

60. Sep. 123Liszt: Piano Concertos Nos. I and 2, Toren/wiz,

Mar. 105Mahler: Symphony No. 9, May 106Martial: Piano Music. Dec. 126Prokofiev: Violin Concertos Nos. I and 2, Jun.

96; Violin Concerto No. 2, Nov. 123Rachmaninoff: Piano Concerto No. 2, Six

Etudes -tableaux, Apr. 84; Symphony No. 2,Jun. 93

Ravel: Piano Concertos, Fanfare for L'Eventailde Jeanne, Menuet antique. Le Tombeau deCouperin, Oct. 108

Rossini: La Cenerentola, Feb. 146Schubert: Symphony No. 9. Feb. 144Schumann: Symphonies Nos. I and 2. Apr. 82Shostakovich: Violin Concerto No. I, Nov. 123Strauss. R.: Also sprach Zarathustra. Don Juan.

Mar. 103: Elektra, Aug. 71; Le BourgeoisGentilhomme, Dec. 123

Stravinsky: The Firebird, Scherzo a la russe,Four Studies for Orchestra, Aug. 73

Norman, Jessye: Song Recital, Jan. 101Orpheus Chamber Orchestra: Prokofiev, Britten,

and Bizet. May 104

GOING ON RECORD/BACKBEATRecording American (Livingstone). Sep. 32Tributes (Simels), Oct. 138Salute to France (Livingstone), Nov. 164

MUSICAL FEATURESBach: English Suites (Lincoln). Aug. 87; also see

BrassBaker, Anita: Giving You the Best That I Got

(Garland), Mar. 108Bartok: String Quartets Nos. 1-6 (Freed),

Feb. 163Battle, Kathleen, and Placido Domingo: Live in

Tokyo 1988 (Freed), Oct. 141Batiz, Enrique-see Chavez and RevueltasBeethoven: Diahelli Variations (Freed), Jul. 89;

Symphonies Nos. 1-9. Overtures (Salzman),Jan. 128; Symphonies Nos. 1-9 (Salzman).May 126

Bernstein, Leonard-see MahlerBilly Hill: 1.4m Just a Rebel (Nash). Dec. 136Bogguss, Suzy: Somewhere Between (Nash),

Jul. 76Brass Music by Bach, Gabrieli, Frescobaldi.

Monteverdi. et al. (Salzman). Nov. 162Browne. Jackson: World in Motion (Givens).

Oct. 113Budget Compact Discs (Livingstone). Jun. 122Burton, Gary: Times Like These (Givens).

Mar. 116Canadian Brass-see BrassChapman, Tracy: Crossroads (Garland).

Dec. 129Chavez: Sinfohia de Antigona, Sinfonia

romantica (Freed). Nov. 158Clark, Guy: Old Friends (Nash), Jun. 102Country, Hooked on (Nash), Jan. 86Empire Brass-see BrassEncores: CD reissues of recordings by Adrian

Boult, Fritz Reiner, and Charles Munch(Freed), Dec. 162

Fairground Attraction: The First of a MillionKisses (Givens), Mar. 107

Gabrieli, G.-sec BrassGershwin: Porgy and Bess (Salzman), Oct. 148Haimovitz, Matt: Lalo. Bruch. and Saint -Sens

(Freed), Oct. 152Harrison: Elegiac Symphony (Salzman).

Nov. 155Henley, Don: The End of the Innocence

(Puterbaugh), Nov. 132Holiday Gifts (Livingstone). Dec. 113Horszowski, Mieczyslaw: Mozart, Chopin. and

Schumann (Freed), Mar. 126Jazz, The New (Albertson). Mar. 98: Classic

Jazz on CD Offer, Oct. 35Hovhaness: Mysterious Mountain, Lousadzak

(Salzman), Nov. 155Jarrett, Keith-see HarrisonKeita, Salif: Koran (Givens). Nov. 150tang, k.d., and the reclines: Absolute Torch and

Twang (Nash). Aug. 75Laubin Brass Ensemble-see BrassMahler: Symphony No. I (Freed), Sep. 145Marc V.: Too True (Garland), Jul. 80Mozart: Short Piano Works (Freed). Jan. 127;

Le no::e di Figaro (Lincoln). May 119

Mutter. Anne -Sophie (Kupferberg). Jul. 63Newman, Randy: Land of Dreams (Givens),

Jan. 113Norman. Jessye (Livingstone). Oct. 102Norrington, Roger (Stearns). Sep. 105Orbison, Roy: Mystery Girl (Nash), May 114Oslin. K.T. (Nash). Aug. 67Petty, Tom: Full Moon Fever (Simels). Jul. 73The Proclaimers: Sunshine on Leith

(Puterbaugh), Jun. 99Prokofiev: War and Peace (Salzman), Aug. 93Record of the Year Awards, Feb. 59Revueltas: Gamins, Alaska para charlar.

I'entanas (Freed), Nov. 158Richards, Keith: Talk Is ('heap (Simels).

Jan. 11)9Rock City Angels: Young Alan's Blues

(Puterbaugh), Feb. 151The Rolling Stones: Steel II 'heels (Simels),

Dec. 132Schiff Andras-see Bach and MozartShostakovich: Symphony No. 11 (Hall).

Jun. 115Simple Minds (Karr). Nov. 103Snow. Phoebe: Something Real (Nash), Jul. 84Springsteen, Bruce: Yideo Anthology/1978-88

(Meredith). Jun. 110Staples. Mavis: Time Waits for No One

(Garland). Oct. 116Starker, Janos: Romantic Cello Favorites

(Freed), Dec. 147Stay Awake (Simels). Feb. 160Strauss, R.: Ariadne auf Naxos (Ackart).

Mar. 119Straw, Syd: Surprise (Givens). Nov. 129Sullivan, Maxine. and Scott Hamilton Quintet:

Swingin' Sweet (Garland), Jan. 124Summit Brass-see BrassTashians. Barry and Holly: Trust in Me (Nash).

Oct. 128Tate, Jeffrey (Kupferberg). May 86Teelee Toons: The Onnmercials (Simels).

Sep. 140

They Might Be Giants: Lincoln (Slack).Mar. 110

Throwing Muses: llunkpapa (Puterbaugh).May 109

'Til Tuesday: Everything's Dillerent Now(Puterbaugh). Apr. 96

Tin Machine (Puterbaugh), Sep. 129Tom Tom Club (Givens), Dec. 100Travis. Randy (Reilly). Jun. 90Upshaw, Dawn: American Vocal Works (Freed).

Sep 152Villa -Lobos: Bachianas brasileiras, Nos. 1-9

(Freed), Apr. 87Wagner: Die Walkare (Stearns). Jan. 134Walker, Jerry Jeff: Live at Gruen(' Hall (Nash).

Sep 136The Waterboys: Fisherman's Blues

(Puterbaugh), Apr. 95It 'ill the Circle Be Unbroken. Volume Two

(Nash), Aug. 82XTC: Oranges and Lemons (Simels). Jun. 108

S I ERE() REV I FAA' Dl' :F.N1B1. R 1989 165

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HIGH -ENO, LOW PRICES. ADSBANG 8 OLUFSENCARVERDBXDENONH KNAKAMICHI AND MANYMORE! FULL MANUFACTURERS WARRANTY. TECH ELEC-TRONICS SYSTEMS. SINCE 1981. GAINESVILLE. FL. (904)730-3885.

ATTENTIONDENON CUSTOMERS

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THE HIGH END

by Ralph Hodges

THEYELLOW ROOM

WE call it the yellowroom because itswall-to-wall carpetingis the improbable-

and dirt-revealing-shade of canaryyellow. I find this ludicrous, butmoney is too short for us to changeit right now.

The room occupies a second -floorrear corner of a two-story house justacquired by my wife and me. It isabout to become, probably to itssurprise, a combination workplace,library, and state-of-the-art (I hope)listening room. It is virtually emptyat this writing, however, so I amfaced again with the dilemma ofanticipating what a room will soundlike when no sound has yet beenmade in it except for that of myfumbling around with cartons. Youmay be interested to learn how Inormally go about this, because theyellow room, if it works out, willloom large in future installments ofthis column.

First, and very important, is am-bient noise level. While no formalmeasurements have yet been at-tempted, the room seems quiet ex-cept when it rains (there are sky-lights). I am not worried muchabout infrasonics from the occa-

sional passing truck as I plan noserious recording work here.

Next I consider resonant modes,which small domestic spaces areprone to develop at very audible fre-quencies. A listener experienced inthis sort of testing can often tellmuch by setting up a speaker andrunning pink noise through it. Morecan be told with pink noise and aspectrum analyzer. When I triedboth the above, things sounded gen-erally okay, and the spectrum ana-lyzer showed essentially the rever-berant -room response of the loud-speaker, which is a fairly well-known quantity in this case.

You have no pink -noise experi-ence and no spectrum analyzer?Then it's possible to turn to somesimple mathematics to predictsome-certainly not all-of themodes a room may exhibit.

As most readers probably know,the worst possible listening room isa perfectly cubical one, with identi-cal length, width, and height. All themajor dimensions in such a roomare liable to develop a mode at thesame frequency, so that it and itsovertones honk or boom at youunmercifully. A much better roomis one in which no major dimen-sions are the same or simple multi-ples of each other. Modes will thenbe distributed over a range of differ-ent frequencies and will be less like-ly to reinforce one another. Theoret-ically, the best possible room hasdimensions in the ratios of about 1to 1.25 to 1.6. These proportionsresult in the most even distributionof potential modes, with a mini-mum of clustering.

The yellow room is 161/2 feet longand almost 13 feet wide, so one ofour calculated ratios (1.27 to 1) isalmost right on the money. Nowwhat about the height? Ahem. Yes,the height.

Well, the ceiling looks like this:Way down the length of the room.where the window casement is, it isalmost 7 feet up. From that point itangles up steeply for three-quartersof the room's length, to a peak ofjust over 12 feet. Then it drops 4feet vertically and levels off at aheight of 8 feet for the remainder ofthe room. Yes, I know. Omigod,what's that going to sound like?

You can see why I consider the

yellow room a rather daring experi-ment in empirical listening -roomacoustics. Most of the ceiling is notparallel to anything else, and non-parallel surfaces defeat the forma-tion of modes (some moneyed au-diophiles have actually installedrooms with subtly skewed walls intheir homes), so this could be good.Still, a quarter of the ceiling is paral-lel to the floor, and I suppose there'sa chance the space under it mightbehave something like a separatechamber that interacts bizarrelywith the main space. It might pro-vide a huge cavity resonance, or itsvertical end might create a viciousslapback. For what it's worth, how-ever, if we consider that quarter ofthe ceiling the only legitimate one,and relate its 8 -foot height to theroom width, out pops 1 to 1.625,our final magic number. Clever, eh?

The yellow room has other char-acteristics that I wonder about. Theoutside long wall is wallboard overcinderblock. The outside short wall,except for a large window area, iswallboard over wood frame. Un-doubtedly the two inner walls arewallboard on studs, except for alarge panel of glass brick. Such vari-ety of materials is usually not thebest thing for good listening acous-tics, but some of it is hard to avoidin most homes. As for the yellowroom, there is mild flutter echo-the stinging sound you hear rightafter a handclap in a bare room. Isuspect wall treatment will lick it.

Finally, what of our friend thecomputer? Why not turn our acous-tical questions over to some sophis-ticated program? Thinking theremay have been some interestingnew work along these lines, I polledsome acousticians, acoustical -mate-rials fabricators, and a few knowl-edgeable equipment manufacturers,and in their collective opinion thereis no such animal that makes anysense for small -room purposes. Thetask is a highly complex one, andeven if the computer could detectthe existence of a problem, it couldnot identify its cause. So, like mosteveryone else, the yellow room andI are stuck with ears, inventivespeaker placement, pocket calcula-tor, maybe a few rudimentary testinstruments, and dumb luck. Wishus some of that. 0

172 STEREO REvi FIN DECEMBER 1989

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CIRCLE NO. 93 ON READER SERVICE CARD