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THE ULTIMATEMACHINE

JVC'S NEW R-X500B RECEIVER IS A SUPERBEXAMPLE OF HOW FAR JVC WILL GO TO BRING YOU

THE ULTIMATE IN SOUND.Some hi-fi equipment delivers slightlyhigher fidelity. Especially when it's de-signed by JVC` In fact, JVC's entire line

of high fidelity components is knownthroughout the world for technologicalbrilliance and painstaking craftsman-ship.

The R-X500B receiver is a case inpoint. With the technology of JVC'spower amp, equalizer and tuner, plus

remote equalization and unheard -of -re-finements, it is virtually without equal.ADVANTAGE: A POWER AMP WITH INCREDIBLE

POWERS

The R-X500Bboasts two of thehighest refinementsin power amp tech-nology available to-day-DynamicSuper A and GmDriver. DynamicSuper A improves

performance in two significant ways.One, it renders music reproduction silkyand pure by eliminating offensiveswitching distortion. Two, it capably con-trols speaker motion by forming an idealinterface between the amplifer and thespeaker.

HIGH FIDELITYWatch for the JVC Jazz Festival on PBS. Check local listings.

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SIGNALLEVEL -TUNER PRESET

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JVC's newest technology, Gm Driver,improves actual in -use performance atall listening levels, high and low, by driv-ing the power stage at a con-stant voltage.ADVANTAGE: AN EQUALIZER WITH A

GRAPHIC DIFFERENCE

Since 1966, when JVC pio-neered equalizers for homeuse, we have remained in thevery forefront of equalizertechnology.

The computer controlledgraphic equalizer in theR-X500B is a superb exampleof engineering to achieve anend. It combines unequalledversatility with automatic capa-bilities, while maintaining sonicintegrity.

degradation never enter the picture.ADVANTAGE: A TUNER AS SMART AS A

COMPUTER

SPECIFICATIONS

AMPLIFIER SECTIONOutput Power100 Watts per channel, min. RMS, bothchannels driven into 8 ohms, from 20Hzto 20kHz, with no more than 0.007%total harmonic distortion.

Signal -to -Noise Ratio ('66IHF/DIN)Phono-80dB/66dBVideo/Aux/DAD/Tape-100dB/67dB

RIAA Piono Equalization± 0.5dB (20Hz -20kHz)

S.E.A. SECTIONCentre Frequencies -63, 160, 400, 1k,2.5k, 6.3k, 16kHzControl Range- ± 10dB

FM TUNER SECTION ('78 IHF)50dB Quieting SensitivityMono-14.8dBf Stereo -38.3 dBf

Signal to Noise Ratio (IHF-A Weighted)Mono/Stereo-82dBf73dB

Five equalized responses can bememorized for instant recall at a touch.

And an infrared wirelessremote control makes itpossible to adjust equali-zation from your arm-chair without sacrificingsound quality.

In a further refine-ment, JVC engineersopted for an LSI to han-dle electronic switchingfor both channels at

seven different control frequencies. Theresult-electrical loss and tonal

The R-X500B puts anadvarced microcomput-er in charge of the digit-al synthesizer tunerand references it to theaccuracy of a quartzoscillator, making ithighly versatile andeasy to use. The micro-computer lets you pre-set 15 AM and 15 FMfrequencies, scan themall for 5 seconds each.read out aerial signalstrength in 5dB incre-ments, plus muchmore.

ADVANTAGE: JVC

It is the attention to enginee-ing detailand craftsmanship evident in theR-X500B which separates every JVChi-fi component from all others. JVCmakes changes in design for the sake ofimprovement. Not just for the sake ofchange. And the result is the differencebetween excellent and average. See,and hear, this difference at your nearestJVC dealer.

JVC_ 'ME FOCA HO FxMillv Ckvemon -I Saw E Park N J 07407 JVC CANADA LTD. Sr-Wpm:ugh. OM

"Sherwood products offer excellentperformance at very reasonableprices:' Leonard Feldman, Audio Magazine

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ISMER!!MN I MIMI I

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The occasion of Mr. Feldman's comment was hisreview of our S2680-CP top -of -the -line receiver. Hisstatement was sparked by the fact that, while quiteaffordable, the S2680-CP, like all Sherwood receivers, isdesigned and built with the care, precision and innova-tion which have become Sherwood trademarks.

A tradition of affordable quality. More than threedecades ago Sherwood was founded on this philoso-phy: Through innovation, make quality audio equip-ment more affordable. That philosophy has beennurtured throughout Sherwood's history and is thefoundation of our newest line of receivers.

We never cut corners on sound. All fiveSherwood receivers deliver true high-fidelity perform-ance. Even our budget -priced S2610-CP sounds betterthan many separate components. And the entire groupis laced with features that can make significant differ-ences in your listening enjoyment. Ultra -low -bass EQ,multi -deck dubbing, auto -scan digital tuning and dis-crete phono preamp circuitry are standard on several

Sherwood models, yet missing from many otherbrands, regardless of price.

Certified Performance. Sherwood is the onlymanufacturer to test and certify the performance ofeach individual receiver. On the outside of every cartonyou will find a certificate showing the measurementdetails of the power amp, phono preamp and FM tunersections of each receiver. These are not just the ratedspecs; these are the actual measured performance dataof the individual unit, so you know exactly whatyou're buying.

Find out what the experts say. Get the wholestory on why Sherwood receivers-in Mr. Feldman'swords-" ...offer excellent performance at veryreasonable prices."To get your own copy of his review of theS2680-CP and to find out just how much quality andinnovation you can afford, visit your nearest Sherwoodaudio specialist today. To find him, call (800) 841-1412during west coast business hours.

SherwoodQuality and Innovation You Can Afford.

13845 Artesia Blvd., Cerritos, CA 90701 In Canada: The Pringle Group, Don Mills, Ontario

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VOLUME 34 NUMBER 11 NOVEMBER 1984

AUDIOCurrents Edited by Peter Dobbin 10Stereo TV goes on the air; A sophisticated commercial -killer for VCRsCrossTalk by Robert Long 19Input shortage; Assessing product reliability; Speed vs. quality in dubbingThe Autophile by Gary Stock 20CDs and stereo AM: Is there merit in the new media?Basically Speaking by Michael Riggs 23Phase shift in the digital age: Can you hear it?New Equipment ReportsDBX Soundfield One loudspeaker 24 Canton CT -2000 loudspeaker 33Marantz DR -80 loudspeaker 29 Technics SB-R200 loudspeaker 34Innovative Techniques ITC -1 loudspeaker 30

NEW TECHNOLOGIES*The Link by Peter W. Mitchell 37

Easy ways to get wide -range sound from broadcast or taped video progamming* The Nifty Nine . by Frank Lovece 44

A collection of TV sound enhancers and stereo TV decodersVideo Lab TestsPioneer SD -25 monitor and SD -X5 TV tuner 46Polk VS -19 Videosound shielded loudspeaker 52Music Reviews 56

Popular Compact Disc: "Hotel California"; "The Ballad of the Fallen"; "Born in the U.S.A."Classical Compact Disc: Beethoven's Opus 111 and Appassionata; Reich's Music for 18 Musicians

New Compact Discs: More than 75 pop and classical releases arrive on dealers' shelves. 69

CLASSICAL MUSIC* Seventeenth Annual High Fidelity/International Record Critics Awards by Theodore W. Libbey, Jr. 70

The nominees, the winners, and the story behind the judging in Granada, Spain1985 Annual Preview of Forthcoming Recordings, Part 3: LPs 74More than 400 expected releases from BIS, CBS Masterworks, EMI, Hungaroton, and othersReviews: Sondheim's Sunday in the Park; Bartok Divertimento from Budapest; Te Kanawa recital 80Critics' Choice 83The Tape Deck by R. D. Darrell 85

BACKBEAT/Popular Music* The Concert -Video Shell Game Reviewed by Joyce Millman 86

Improve your chances: A guide to souvenirs, straight shoots, and statementsPop Reviews: Public Image Ltd.; Bangles; John McCormack; Neville Brothers 88Jazz Reviews: Four percussionists on "Pieces of Time"; Heath Brothers; Roach and Taylor 90I, James Brown Reviewed by John Morthland 92

DEPARTMENTS Reader -Action Page 100About This Issue 7 Advertising Index 100Letters 7 *Cover Story

HIGH FIDELITY (ISSN 0018-1456) is published monthly et 825 7th Ave., New York, N.Y. 10019, by ABC Leisure Magazines. Inc., a subsidiary of American Broadcasting Companies, Inc. Copyright c 1984 by ABCLeisure Magazines, Inc. The design and contents are fully protected by copyright and must not be reproduced in any manner. Second-class postage paid at New York, New York, and at additional mailingoffices. Authorized as second-class mail by the Post Office Department, Ottawa, and for payment of postage in cash. Yearly subscription in U.S.A. and Possessions $13.95; elsewhere $19.95 Single copies$1.95. Subscribers: Send subscriptions, inquiries, and address changes to HIGH FIDELITY, P O. Box 10759, Des Moines, Iowa 50340. Change of address: Owe old andnew addresses, including ZIP code. Encloseaddress label from last issue and allow five weeks for change to become effective. POSTMASTER: send change of address to HIGH FIDELITY. P.O. Boa 10753.Des Moines, IA 50345.

REDEFINITION.THE CARVER RECEIVER: Redefines your expectations of receiver perform-

ance with the power you need for Digital Audio Discs plus virtually noise -freestereo FM reception. A receiver with astonishing performance incorporating twohighly significant technological breakthroughs: Bob Carver's Magnetic FieldPower Amplifer and his Asymmetrical Charge Coupled FM Detector.

ESSENNAL POWER:Your system needs an abundanceof power to reproduce,without distortion, the dynamic range of music on Digital Audio Discs and fineanalog recordings.

The Magnetic Field Amplifier in the CARVER Receiver gives you 130watts per channel* of pure, clean power with superbly defined, high fidelityreproduction.

The Magnetic Field Amplifier produces large amounts of power (absolutelynecessary for the accurate reproduction of music at realistic listening levels)without the need for heavy heat sinks, massive transformers, and enormouspower capacitors required by conventional amplifier design.

Unlike conventional amplifiers which produce a constant, high voltage levelat all times, irrespective of the demands of the ever-changing audio signal (Evenwhen there is no audio signal in the circuit at all!), the Magnetic Field Amplifier'spower supply is signal responsive. Highly efficient, it produces exactly and onlythe power needed to carry the signal with complete accuracy and fidelity.

The 130 watts -per -channel* CARVER Receiver is about the same size andweight of conventional receivers having merely 30 watts per channel!

NOISE -FREE RECEPTION: The AM -FM CARVER Receiver gives you FMstereo performance unmatched by that of any other receiver.

As it is transmitted from the station, the stereo FM signal is extremely vulnera-ble to distortion, noise, hiss and multipath interference.

However, when you engage CARVER's Asymmetrical Charge Coupled FMDetector circuit, the stereo signal arrives at your ears virtually noise -free. Youhear fully separated stereo with space, depth and ambience!

"This receiver combines the best elements of Carver's separate tuner andamplifier...The Carver Receiver is, without question, one of the finest productsof its kind I have ever tested and used. Bob Carver is definitely an audio and r.f.genius" Leonard Feldman, Audio Magazine, June 1984

"I consider the Carver Receiver to be the "most" receiver I have yet testedin terms of the quantitative and qualitative superiority of almost all its basicfunctions." Julian D. Hirsch, Stereo Review April 1984

The CARVER Receiver has been designed for fidelity, accuracy and musi-cality. You will want to visit your CARVER dealer for a personal audition of thisremarkable instrument.

*130 watts per channel RMS into 8 ohms, 20 Hz to 20 kHz with nomore than 0.05% total harmonic distortion.

CARVERCORPORATION PO. Box 1237. Lynnwood. WA 98036POWERFUL MUSICAL ACCURATE

Distributed in Canada by Evolution Audio, Ltd.

PublisherSteven I. Rosenbaum

Editor -in -Chief Associate PublisherWilliam Tynan

Editor, Musical AmericaShirley Fleming

Senior EditorMichael Riggs

Managing EditorPeter DobbinArt Director

Skip JohnstonCopy Editor

Ken RichardsonTechnical Department

Technical Editor: Michael RiggsElectronics Features Editor: Peter Dobbin

Assistant Editors: Lida A. Silverman, (SpecialProjects), Randy Brozen (Administration)

Consulting Technical Editors:Edward J. Foster, Robert Long

Contributing Editors:Paul D. Lehrman, Gary Stock

Music DepartmentClassical Music Editor: Theodore W. Libbey, Jr.

Popular Music Editor: Georgia ChristgauAssistant Editor: Mildred Camacho-Castillo

Photo Editor: Susan E. FingerhutContributing Editors: Robert E. Benson, Crispin

Cioe, Mitchell Cohen, R. D. Darrell, The Rev.Thomas L. Dixon, Edward Greenfield, Paul Hume,

Paul Moor, John Morthland, George Movshon,Steven X. Rea, Thomas W. Russell III,

James Wierzbicki, John S. Wilson

Art DepartmentAssistant Art Director: Pamela Byer

Technical Art: Roy Lindstrom, Nina Wallace

Assistant to the Publisher: Randi GoldmanAssistant to the Editor -in -Chief: Janet Wolf

ProductionDirector of Production: Kathleen Davis

Advertising Production Manager: Janet CermakAssociate Production Editor: Susan E. Fingerhut

Production Assistant: Paula Ballan

CirculationVice President, Circulation

Stephen J. Bernard

Circulation Director V. P., Newsstand MarketingDominic Mustello

Circulation Director SubscriptionsLillian Gmitruk

Circulation Subscription Staff: Mary Beth Colucci,Barbara Donlon, Timothy Farrell,William Johnson, Janice Raiford

Customer Service: Mary Losi

o yo

HIGH FIDELITY and HIGH FIDELITY/MUSICAL AMERICA are pub-lished monthly by ABC Leisure Magazines, Inc.. a division ofABC Publishing. Inc., and a subsidiary of American Broadcast-ing Companies, Inc. ABC Publishing, Inc.: Robert G. Burton.President; ABC Leisure Magazines, Inc.: Ronald Stuart. Presi-dent; Steven I. Rosenbaum, Vice President. High FidelityGroup; Herbert Keppler, Senior Vice President, PhotographicPublishing Division; Roger Canavan, Controller; Ernest G.Scarfone, Vice President, Graphics and Production; StephenBernard, Vice President, Circulation; Dominic Mustello, VicePresident, Newsstand Marketing. Member Audit Bureau ofCirculation. Indexed in Reader's Guide to Periodical Literature.Current and back copies of HIGH FIDELITY and HIGH FIDELITYMUSICAL AMERICA are available on microfilm from UniversityMicrofilms, Ann Arbor, Mich. 08106. Microfiche copies 11973forward) are available through Bell & Howell Micro Photo Divi-sion. Old Mansfield Road, Wooster, Ohio 44691.

Advertising OfficesNew York: ABC Leisure Magazines, Inc., 825 7th Ave.,

7th Floor, New York, N.Y. 10019. Tel.: 12121265-8360. James A.Casella. Advertising Director; Richard J. Marino. AssociateDirector of Advertising; Michael H. Goldberg, Eastern Adver-tising Manager; James R. McCallum, Record AdvertisingManager; Cecelia M. Giunta, Classified Advertising Manager;Kathleen Davis. Director of Production; Janet Cermak. Advertising Production Manager.

Midwest: High Fidelity, Hitchcock Building, Wheaton,III. 60187. Tel.: 13121 653-8020. Starr Lane. Midwest Advertis-ing Manager.

Los Angeles: ABC Leisure Magazines, Inc., 2020 Ave-nue of the Stars, Suite 245. Century City. Calif. 90067. Tel.:12131 5576482 Rita Weitzen, Western Advertising Manager.

Editorial correspondence should be addressed to TheEditor, HIGH FIDELITY, 825 7th Ave., New York, N.Y. 10019.Editorial contributions will be welcomed, and payment forarticles accepted will be arranged prior to publication. Sub-missions must be accompanied by return postage and will behandled with reasonable care; however, the publisherassumes no responsibility for return of unsolicited photo-graphs or manuscripts.

4 HIGH FIDELITY

*EP

'Technics Linear Tracking and Quartz Drive.If your next turntable giws you less,you're settling for less of a turntable.

To create a turntable with either linear tracking orquartz drive is an achievement in itself. But to create aturntable with both linear tracking and quartz driveis pure Technics.

A Technics turntable with linear tracking gives you atonearm that moves straight across the record. The waythe record was originally cut. So you get none of thedistortion or tracking error that are so common withconventional turntables.

Quartz drive is the most accurate drive system in theworld. That means the wow and flutter that plaguesconventional turntables is inaudible.

So Technics turntables, with both linear trackingand quartz drive, deliver performance few turntablesanywhere can match.

The new Tecf-nics SL -J2 offers completely automaticoperation automatic speec wlectior, automatic discsize selection, automatic start, stop, return and more.There are front -panel cont-D15 Including a digitaldisplay of the track number you're listening to. Ancall of this technology has teen placed in z- turntableabout the size o: a record jac<et.

Technics turntables also feature the innovativeP -Mount plug-in cartridge system. For optimum tone -arm, cartridge performance end ease of cartridgeinstallation.

So why settle for less. Explore the entire line ofTechnics turntables at a dealer near you

TechnicsThe science of sound

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S -X1130 Audio/Video/Stereo Receiver

Introducingone brilliant ideaon top of another

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

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

For more brilliant, innovative ideas, check out our full line of superior receivers.You'll know why we're first, the second you hear us.

There's more worth hearing and seeing from Sansui. Write: Consumer ServiceDept., Sansui Electronics Corp., Lyndhurst, NJ 07071; Carson, CA 90746; SansuiElectric Co., Ltd., lbkyo, Japan.

P-ateig Akre Re 1.AStaid.

About This IssueWIDE -RANGE TELEVISION SOUND. Untilrecently, its existence was one of thebest -kept secrets in home entertainment.Actually, it has been available in aprimitive state since the 1950s and withhigher quality since the late 1970s. Butfor 99 percent of you, TV soundprobably means the pinched, distortedoutput of the squawky 3 -inch speaker inyour television set.

I first discovered how good (andbad) TV sound can be almost 20 yearsago, when I moved to an area with astation broadcasting on Channel 6. Quiteby accident, I found that the audioportion of Channel 6 is transmitted at87.7 MHz, which can be picked up at thevery bottom of the dial on any home FMtuner or receiver. The advantages ofpulling in the sound on a good tuner wereobvious, but it soon was equally apparentthat merely bypassing the TV's built-inspeaker and using a high -quality speakerin its stead also made a substantialimprovement.

In the last few years, improvedbroadcasting techniques, Hi-Fivideocassette decks, and (most recently)stereo television sound have presentednew audio options to the home videoaudience. These developments and audio -video equipment designed to takeadvantage of them make good TV sound

easier to obtain than ever before. You'llprobably be surprised how simple it is tohook your TV set into your stereosystem. In "The Link," regularcontributor Peter W. Mitchell provides acomprehensive overview of the subjectand explains how to assemble an audio -video system that's right for you.Meanwhile, in "The Nifty Nine,"contributor Frank Lovece surveys someof the new stereo TV decoders and avariety of signal processors dedicated toupgrading video sound. And our videolab tests this month include a report on a"video" loudspeaker-one of the newbreed designed from the ground up to beused next to a TV set or video monitor.

Full-length pop concert videos areone source of programming for youraudio -video system, but they vary widelyin content. As Joyce Millman points outin "The Concert -Video Shell Game," thebest advice is to rent and view beforebuying.

Headlining our classical musicsection are the Seventeenth Annual HighFidelity/International Record CriticsAwards for the best releases of 1984.Classical Music Editor Theodore W.Libbey, Jr., takes you behind the scenesat the judging in Granada, Spain. Alsothis month, we conclude our three-partpreview of forthcoming recordings with a

HIGH FIDELI1!

AUDIO VIDEO"COVER DESIGN Skip Johnston

Cover Photo: Grant Roberts

ON THE COVER A pair of PolkAudio VS -19 shielded loud-speakers provides the sound inan audio -video system com-prising a Pioneer SD -25 moni-tor. Denon DRA-750 AM/FM re-ceiver. and Quasar VH-5845X0VHS Hi-Fi videocassette re-corder. Odeon chair and table-top courtesy of Conran's.

listing of more than 400 LPs. And ourMUSICAL AMERICA edition offers twoviews of the dynamic conducting ofArturo Toscanini-one in an excerptfrom a new book by B. H. Haggin, theother in Bill Zakariasen's review of anall -Russian program taken frombroadcasts of 1943.

Rounding out our music coverage isa listing of more than 75 new popularand classical Compact Discs that havejust arrived on dealers' shelves.-W.T.

LettersMore CD Reviews!

I enjoy your record reviews, but 1 find yourCD reviews limited in number. Your classicaland BACKBEAT sections usually include catalognumbers of both records and cassettes, but rarelythose of Compact Discs. I expect the reason forthe lack of identification is the inability of record

not in March 1951. as asserted.The noted change in style was due far more

to the change in personnel than to any coercionon the part of Fred Rose. Williams and DonHelms were merely resuming a long-standingpersonal and musical relationship, forged while

Compact Discs are expensive. I cant afford to go companies to manufacture CDs for simultaneous working the honky-tonk circuit in and aroundinto a record store and randomly buy one, hoping release with their LP and cassette counterparts. southern Alabama. Thus, an affinity of style hadit will be a good recording and performance. In This will continue until more CD manufacturing long since been established. Besides, Rose wasrecent issues, HIGH FIDELITY has reviewed about plants come on line to fill the demand. Mean- far too intelligent a producer to attempt totwo or three classical and four or five pop CDs- while, it would be helpful if you would list pm- "force" an artist to do anything, preferring tosometimes even fewer. Walk into a good store,and you may find yourself looking at 300 CD

viously reviewed recordings that are now avail-able on Compact Disc.

guide and suggest.Finally, in discussing various lead guitar -

titles, with more coming in every week. Your Chris Johnson ists, mention should have been made of Sammypublication should be reviewing at least two doz- Nepean, Ontario, Canada Pruett's immediate successor, the talented Boben Compact Discs in every issue just to keep up McNett, whose distinctive contribution can bewith the new recordings appearing, let alone the In our October issue, we began expanding our heard on such selections as Long -Gone, Lone -reissues of old recordings now coming out on CD coverage. This month, you will find a corn- some Blues, Why Should We Try Anymore?, andCD. plete listing of all newly released popular, jazz. Crazy Heart.

Equipment reviews are important. So are and classical CDs. Future issues will include a Ted Lislereviews of new technology, articles on buyinghi-fi and video gear, and articles on how to makeuse of it. But the most important thing you aredoing is evaluating the software: We need more

greater number of reviews.-Ed.

Hank's HistoryLouisville. Ky.

John Morthland replies: The Drifting Cowboysunit formed in 1949 was at first strictly a road

reviews of the recordings, audio and video. The review "Hank the Drifter" [July] contains band: Rose felt they weren't ready to record.Howard Ferstler several historical errors. Throughout his career as However, he did have them attend Hank's ses-Tallahassee, Fla. an entertainer, Hank Williams led several groups sions so they could watch and learn from the

of Drifting Cowboys. However, the war years studio pros, and he gradually worked them intoI recently acquired a Compact Disc player and brought a hiatus in his professional activity; the recordings until by 195/ the final lineup ofhave been extremely impressed with its perfor- hence, he had no regular road band when he Drifting Cowboys plus selected sidemen was inmance. The Compact Disc certainly proves itself began recording. in the fall of 1946. The last place. Whether Rose "forced" or "suggested"when compared to records in terms of distortion,flutter, dynamic range.

Drifting Cowboys unit was formed in July 1949and began recording immediately thereafter-

that Helms play in a higher register is a questionof semantics: In separate interviews, both Helms

NOVEMBER 1984 7

The best wayto puttgether a

sionalsound system

is to letprofessionals do it.

The professionals at Toshiba. With their incredibleSystem 55.

And what a system. It includes an integrated amplifierwith 85 watts per channel*, a direct drive turntable, a digitalsynthesized tuner, a full auto -reverse cassette deck, a set of3 -way speakers, plus the options of a compact disc player anda 20 -band graphic equalizer. All enclosed in an elegantcabinet with glass door and top. In Touch with Tomorrow

Toshiba's System 55. It'sone of the soundest investments

Toshiba America. Inc 82 Totowa Road. Wayne NJ 07470you'll ever make.*85 watts per channel, minimum WAS power into 8 ohms,from 20 to 20,000 Hz wrth no more than 0 05% THD.

TOSHIBA

cffiicrirz) CiTeti ;

, _

- - - - -Miff I it 1:1,),Ii4411i1J111,14,114,144:3

and Jerry Rivers have described how Roseexplained to the steel player what sound hewanted and Helms then provided it. / refrainedfrom mentioning McNett not because he lackedtalent, but because 1 lacked space.

KudosI enjoyed your comprehensive, in-depth cover-age of the Summer Consumer Electronics Show[September, October]. The articles were infor-mative and well done-and particularly usefulnow that your principal competitor seems to havelost interest in covering these shows. It's up toyou to carry the torch. Keep up the goodwork!Roger MasonAvondale Estates, Ga.

My compliments on your circulation increase["About This Issue," July]. HIGH FIDELITY is thebest sound magazine, and as a subscriber sinceJune 1978, I can say I always look forward toreading it. Much continued success.Paulo Fernando A. TerraSao Paulo, Brazil

With great interest and pleasure, I read the firstissue [August] of my subscription to the "new"HIGH FIDELITY. I was a reader of your magazinemany years ago, and I must applaud your effortson the '84 version.

Like many audiophiles, I have switched todigital sound. Your reviews on Compact Discsare very useful and most appreciated. It is diffiultto find good information on the quality of partic-ular CDs. Please try to include more reviews.

And like many other audiophiles, I, too,have become a videophile and am making thejump to Hi-Fi (VHS). In one issue, you havegiven me more information about the availableVHS Hi-Fi machines and their features thanappeared in the last several issues of the twomajor video magazines put together.

Good work.Barry L. SmithJackson, Ohio

Thanks for "Safe Listening" ["The Autophile,"August]. I live outside Chicago and drive I1miles on a six -lane highway to my job in the city.I have witnessed a few accidents and many closecalls caused by drivers flipping over tapes, hunt-ing for their favorite radio stations, or adjustingEQ levels. I would like to post your article atwork so everyone can have "safe listening."Thanks again!M. C. StoneCrestwood, III.

Thank you for the Compact Disc articles by SamSutherland and E. Brad Meyer in your Marchissue. They are the first articles I have read in anyaudio magazine that are well informed, docu-mented, unbiased, and directed to the heart of thematter. The people at Sheffield Lab should framecopies of them and hang them in their workingplace.William R. E. LockeHialeah Gardens, Fla.

Letters should be addressed to The Editor, HIGHFIDELITY, 825 7th Ave., New York, N.Y. 10019.All letters are subject to editing for brevity.

8 HIGH FIDELITY

Introducing the CantonCT 2000 floor standingspeaker - our first using

proprietary vent technol-ogy. The result is sound

reproduction so fast, naturaland free of coloration youmust hear it to appreciatethe acoustic achievement

it represents.Engineered to meet the

most exacting demands ofdigital technology, the CT2000's superior dynamicrange, resolution and tran-

sient response stem fromCanton's solid technical

expertise.And, like the entire Canton

product line, every elementof the new CT 2000 is

designed, engineered andmanufactured within

Canton's factory...this givesus the solid quality forwhich we are known

worldwide.Solid Detailing goes into

every Canton speaker aswell. That's why we offer ourspeakers in a variety of finefinishes, like walnut and oak

veneers, rich black,

bronze and white lacquersand now a premium finish,gloss mahogany. For atCanton, we believe speak-ers shoulc look as good asthey sound.And who' about the CT2000's technical specs?We think you'll find thesesolid as well:Efficiency:

92dB (1 meter/1 watt)Frequency Response:

18-30KHzPower Handling:

300 Watts (musicspectrum)

Distortion:0.1% (DIN Standard)

Dimensions (WxHxD):14" x 38" x 14"

Sold acoustic technology& design principles, soliddetailing & quality. For youit means it means a solidinvestment. Visit your localCanton dealer today.

CantonNorth America, Inc254 First Avenue NorthMinneapolis, MN 55401

G1NTONtic reine Vusik

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AUDIO/VIDEO

CurrentsNew products and new technologies Edited by Peter Dobbin

Stereo TV TaxisFor TakeoffAs stereo (or stereo -ready) television gearbegins rolling off the assembly lines, atten-tion is turning to the other, equally impor-tant side of the equation: broadcasting.Those BTSC decoding circuits won't beworth a plugged nickel if no one is trans-mitting the necessary signals. So far, HF'sintrepid video sleuths have turned up threestations that are broadcasting in stereo:KIRO, Channel 7, Seattle (CBS); WTTW,Channel 11, Chicago (PBS); and KCTA,Channel 2, Minneapolis/St. Paul (PBS).And we have reliable, but unconfirmed,reports that KTLA in Los Angeles, KPLRin St. Louis, WBZ in Boston, KRBK inSacramento, and WFSB in Hartford are justabout ready to go.

Editing OutMammon/Mr - ONO 11111 - - UM IN

The idea of automatic commercial -cuttershas always been intriguing: Imagine settingyour VCR for unattended recording, thenplaying back a feature-length film fromwhich all commercials have been deleted.A few years ago, several such editors wereon the market, but their popularity wanedwhen disgruntled tapesters discovered whata mess they made of their recordings. Theircorrect operation depended on the broad-caster transmitting a second or so of com-plete black or dead silence before and aftera commercial. But broadcasters are notori-ously inconsistent, and it was not uncom-mon for the automatic editors to keep theVCR in the pause mode after a commericalended (if it caught the beginning at al;).After five minutes of this, the VCR wouldsimply shut itself off to protect the tapefrom breaking. The situation with black -and -white movies was, to put it mildly,even weirder.

Now, however, Vidicraft claims tohave solved many of these problems, andits CCU- I20 ($400) is said to be 98 percenteffective thanks to some fancy on -boardcomputing. The device actually has threemicroprocessors: one that takes over theVCR's own clock/timer functions (for 9-day/12-event programmability), one that

enables it to communicate with specificmakes and models of VCRs (via their infra-red remote sensors), and one that monitorsthe video and audio signals to identify dis-tinct broadcast segments. According toVidicraft, the analysis procedure is far moresophisticated than that used by earlier edi-tors. It can, for instance, differentiatebetween the fade -to -black used to introducea commercial and the occasional darkeningof the picture that occurs during programs(in both color and black -and -white broad-casts).

The CCU- 120 does not cause the VCRto pause during commercials; rather, once acommercial has been identified and record-ed, the device orders the VCR to backscanto the beginning of the segment, andrecording begins again. Because everyVCR differs in its backscan rate, the read-only memory (ROM) chip that contains theappropriate infrared control codes also isprogrammed to compensate for these vary-ing speeds. But Vidicraft says that evenwith these measures, a typical 30 -secondcommercial will create a 9- to 12 -secondblank between program segments, and a 2 -minute commerical will result in a blank offrom 14 to 22 seconds. The company esti-mates that average program loss due toaccidental deletions and return -to -programdelays will average less than 60 seconds perrecording hour. If the CCU -120 intriguesyou, make sure that a unit compatible withyour VCR is available. You can request thisinformation from Vidicraft, Inc. (0704 S.W. Bancroft St., Portland, Ore. 97201).

AccuphaseSupertuner4=mmINMENN\ _

Radical circuitry in both its AM and FMsections is said to give the Accuphase T-106 tuner exceptionally low distortion. TheFM section uses a new differential -gain lin-ear FM detector, and the flat group delay ofthe IF filtering further enhances linearity. Asynchronous AM detector completely re-jects interference, according to AccuphaseLaboratories. The $1,050 tuner has a 14 -station memory plus manual tuning thatsimulates the comforting feel of an old-fashioned variable capacitor. For moreinformation, contact Madrigal, Ltd. (P.O.Box 781, Middletown, Conn. 06457).

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TDK enters the digital recording erawith a BANG! Introducing our exclu-sive HX-S metal -particle formulation!or Type II (High -Bias) recordings. Itdelivers everything promised by metallape-on any cassette deck with aType II switch.

High frequency saturation ceases tobe a problem since TDK HX-S is capa-pie of an MOL of + 4 dB at 10 kHz.

HX-S also delivers exceptional high -end response. Plus a wider dynamic-ange. With further improvements inoverall sensitivity of up to 1.5 dB.

These superior recording charac-.enstics make HX-S perfect for dub -Ding high-powered. treble -intensivedigital source material with optimum-esults.

And TDK makes sure the perform-ance never fizzles, with our speciallyengineered, trouble -free LaboratoryStandard cassette mechanism fordurability and reliability. Plus theassurance of our Lifetime Warranty.

So before you try any other cas-pick up TDK HX-S, the first

metal particle formulation for Type II:High -Bias) and digitally -sourced-ecordings.

It's absolutely digital dynamite!

&MKTHE MACHINE FOR YOUR MACHINE.

AUDIO/VIDEO Currents

Genesis Renewed

Quietly turning out speakers in the fastnessof New Hampshire, Genesis Physics wasnever a company known for daring forays

into exotica. With the recent hiring of WinBurhoe, a speaker designer renowned forhis innovative work at AR, KLH, and EPI,the Genesis approach is undergoing someradical updating. Burhoe's first project forGenesis is the Model 44, a two-way systemwith a I -inch inverted -dome tweeter, an 8 -inch woofer, and a 10 -inch passive radiator.The tweeter handles an unusually wide fre-quency range-from 1.1 kHz on up-butthe low crossover frequency is said to min-imize cancellation effects while enablingthe woofer to operate more comfortably(i.e., with less breakup) over its range. The44's enclosure is described as a "quasi infi-

"1:1101111r

NEW from DALI: High Quality EuropeanSpeaker System...and an Opportunity toMake Money in Your Spare Time!

Denon, NAD, Micro Sciki, DALL CerwinVega... these are just a few of the well-known brands we have been successfullymarketing in Europe for several years. NowDanish American Ltd.. Inc. (DALI) offers ourwell -proven direct to consumer marketingconcept to you.

We sell factor direct, offering high -qual-ity, European manufactured. real -woodwalnut veneer speaker systems at prices yousimply will not believe. Yet DALI does notcompromise on quality. These systems usethe same superb drivers found in other brandname speakers selling for 5250 and more!

How can DALI charge so little for somuch quality? Because we design. manu-facture, import. and sell only through ourown organization. We eliminate the 30%

importer. distributor markup, the -`1, to 10 -sales -representative commission, and the'0% to 120% retailer profit markup. We'vereplaced all of that with an operating marginof only 30%!

DALI offers four world class systems, allsold on an unconditional. 30 -day. risk -freeguaranteed -satisfaction hasis...or yourmoney hack. More, we offer every DALIcustomer an opportunity to become a DAIdistributor.

For your free brochure describingour systems and the opportunity tocombine your hobby with a chance toearn additional income in your sparetime as a DALI distributor, completeand mail the coupon today. Or call(805) 252-7203.

Mail Coupon to: DALI P.O. BOX 55386 VALENCIA, CALIFORNIA 91355Please send me full details about:

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NAME ADDRESS

nite baffle," shaped to minimize interac-tion between the drivers, the cabinet, androom boundaries. Genesis also claims thatit has paid much attention to cabinet bracingand diaphragm fabrication in an effort toeliminate unwanted resonances. For moreinformation, write to Genesis PhysicsCorp. (Newington Park, Newington, N.H.03801).

Nak's Newest

The Nakamichi BX series of cassette decksis now topped by a high-performance modelsporting many design elements heretoforefound only in the company's most expen-sive models. The BX-300 ($650) is a dis-crete three -head design with off -tape moni-toring, an asymmetrical dual -capstan trans-port, and a direct -drive capstan motor. Apitch control enables you to vary playbackspeed, and a bias fine-tuning knob givesyou the ability to adjust the deck to therequirements of various tape formulations.Like all other Nakamichi decks, the BX-300 has separate bias and EQ switches. Inaddition, the deck is equipped with bothDolby options, master fader and output lev-el controls, and an automatic repeat func-tion. For more information, write toNakamichi U.S.A. Corp. (19701 SouthVermont Ave., Torrance, Calif. 90502).

Good -Buy KenwoodA/V Receiver

The most intriguing of three new Kenwoodquartz -tuned AM/FM receivers providesfor TV sound as well as conventional audio.The $305 KVR-A50 sports connections fortwo VCRs (or videodisc players), withswitching for A -to -B dubbing. Similaraccommodations are made for two audiodecks. The tuner section has 16 station pre-sets, and the power amp is rated at 45 watts(161/2 dBW) per channel. For more infor-mation, write to Kenwood Electronics(1315 E. Watsoncenter Rd. , Carson, Calif.90745).

Double -SpeedReduxThough double -speed cassette decks causeda flurry of excitement some years back, theextra high -frequency headroom that camewith a tape speed of 33/4 ips didn't strike the

CITY STATE ZIP PHONE (

12 HIGH FIDELITY

Unless you're listening to PanasonicTri-phase-car stereo speakers,you may not be hearing all of your music.Tri-phase ;peakers from Panasonic They'rereally three speakers in one. So they leliver rich,accurate s:.und. Not just from the high and lowfrequer cies. Bu: also from the critical midrange.

The ulti -late test of a car sterec sp-aaker is howeffective w i s c-eates E stereo "image': an accurate

uciol of -the original live performance. Itsrwtiru rrientabon_

Otereo speakers have been-, They can:a n not two

threc.,, speaker

Panasonic

design helps create a stereo image that is breathtakingin its defirition and mus cal clarity.

Panasonic -ri-phase speakers have a powerful,high-energy magnet. Tfts, coupled with the use of rug-ged mate-ials and advancJ technology, means thesespeakers are efficient And can hand ,e the kind ofpower that today's music d-ar ands.

And you can have tlis high-energy music in almostany car. Because Panasonic car spea<ers fit many carswith simp e "bolt -in" ins-allet on.

So if you wculdlike to f -ear all your rrusic, just listento Pana t litiphase car stereo speakers. They're at adeale-

Panasonic,just slig-t y aheac of our time.

AUDIO/VIDEO Currents

11111111average user as sufficient to warrant thetradeoff in recording time, and every com-pany making such decks quietly droppedthem. ADS, however, feels that the specialdemands of Compact Disc recording war-rant a return engagement, and its C-3($800) seems bound to win a followingamong demanding tapesters. Designed tocomplement the Atelier series of Eurostyledcomponents, the C-3 gives you both nor-mal- and double -speed operation, separaterecording and playback heads for off -tapemonitoring, and Dolby C. The new deckhas a front -loading cassette drawer, equal-ized peak -reading meters, and a music -search function. For more information,write to ADS, Inc. (One Progress Way,Wilmington, Mass. 01887).

An Analog Delight

At $1,450 in oak and $1,600 in Koa wood,the Sota Star Sapphire is one of the priciestturntables around, but if you're after state-of-the-art (sota, for short) design, then thisunit deserves your consideration. Basical-ly, the Star Sapphire is an enhanced version

of the original Sapphire table (test report,May 1983), with a continuous vacuumhold-down system that keeps records inintimate contact with the platter mat, there-by flattening warps and deadening vinylresonances. The vacuum pump is housed ina separate enclosure, and the amount ofvacuum pressure can be adjusted to obtainonly the minimum amount necessary to dothe job. Like the standard Sapphire, thenew model is a belt -drive design with afour -point spring suspension. It will accepta variety of tonearms, and an ample supplyof lead buckshot is provided so that you canadjust the mass of the tonearm/platter/sub-chassis system to achieve a suspension res-onance of slightly less than 3 Hz. For moreinformation, write to Sota Industries (P.O.Box 7075, Berkeley, Calif. 94707).

ImagingEnhancement,Sci-Coustics Style

swwwwwelAW111111.111,11t

E

According to its designers, the IMXDimensional Enhancer will increase theillusion of spatial reality in any stereo soundsource without resorting to extra speakersor amplification channels. Through a pro-prietary (and, so far, undisclosed) jugglingof phase relationships between channelsand frequency shaping within them, ambi-ence information is enhanced-with resultsthat are claimed to be more readily appre-ciable than with competing techniques. The

$170 processor offers control over thedegree of enhancement provided, to com-plement room acoustics and the specificsound system in which it's used. For moreinformation, write to Sci-Coustics, Inc.(Tenth Floor, 1275 K St. NW, Washington,D.C. 20005).

Sony PersonalPortacorder

Heading the newest personal portables fromSony is the $350 WM-D6C, a stereo cas-sette deck with line inputs and outputs forconnection to a home system. The quartz -locked tape drive is rated at 0.04% wow andflutter, WRMS (a relatively flattering mea-surement technique, though the figure isstill impressive for a pocket portable). Dol-by B and C noise reduction, switchableplayback EQ, three tape -type options, man-ual recording -level control, and variableplayback speed all are included. The WM-D6C comes with an MDR -40L stereo head-set, a carrying case, and a shoulder strap. Arechargeable battery pack, AC adapter, andcar battery cord are optional. For moreinformation, write to Sony (Sony Dr., ParkRidge, N.J. 07656).

CorrectionIn our guide to "Super Stereo VCRs" (Au-gust), we cited the wrong price for Akai'sVS -603 VHS Hi-Fi videocassette recorder.The correct price is $1,195.

HEYBROOK's New II-2 series 2 TurntableTHE REFINEMENT OF A MUSICAL INSTRUME N.'The new Heybrook TT2 Turntable keeps

acoustical and mechanical resonances toan absolute minimum, while the extremesolidity of the design allows the arm andcartridge to track the record without be-ing adversely affected by external sources.The resulting sound is clean, detailed, anddynamic, with satisfying solidity andweight. Detail resolution is excellent andstereo imagery is precise and with gooddepth, allowing the listener to appreciatefully all aspects of the music.Truly a musical instrument - Heybrook's

TT2 series 2 Turntable comes completewith the Heybrook tonearm or an arm -board to suit the tonearm of your choice.Available in black or walnut finish.The new TT2 from Heybrook . . .

Made For Music.

D'Ascanio Audio

11450 Overseas Highway, Marathon. Florida 33050OH INF HEYBR )OK COMPONENTS. WRIT PHONE (305) 743-7130

Presenting High Bias1Vthe Ultimate Tape Guarantee.

Memorex presents High Bias II, a tape so extra-ordinary, we're going to guarantee it forever.

We'll guarantee life -like sound.Extraordinarily flat frequency response at zerodB recording levels, combined with remarkablylow noise levels, means music is captured live.Then Permapass:m our unique oxide -bonding process,

'locks each oxide particle-each musical detail-iontothe tape. So music stays live. Not just the 1st play.;Or the 1000th. But forever.,

We'll guarantee the cassette.We've engineered every facet of our transport mechanism

, to protect the tape. Our waved -wafer improves tape -wind.Silicone -treated rollers insure precise alignment andsmooth, safe tape movement. To protect the tape andmechanism, we've surrounded them with a remarkably;cassette housing made rigid and strong by a molddesign unique to Memorex. ' YOU'LL FOREVER WHOM

We'll guarantee them forever.If you ever become dissatisfied with ' IS IT UV( .

Memorex High Bias II, for any reason,simply mail the tape back and we'll ,.:-Ire . NUS It.replace it free.

.r MEMO

Mitsubishi BringsNew MeaningTo The Term

Stereo Separation.

What separates the Mitsubishi E-404 from con-ventional systems istit the fact that it includes adigital audio disc player, or a linear -tracking program-mable turntable, or a dual -transport cassetterecorder, or, for that matter, a digitally -synthesizedtuner/receiver with graphic equalizer.

No, what makes this system unlike any other isa full -function wireless remote control, providingtotal access, total control of an astonishing numberof operations, all from the comfort of your easy chair.

AUDIO TECHNOLOGY TAKESA GIANT S1 EP BACKWARDS.

The E -404's detachable control panel, called appro-priately enough the System Commander, integratesthe convenience of infrared remote control with the

intelligence of micro-processor technology.

(The result isnot unlike having a computer run your stereofor you.)

With the System Commander cradled conven-iently in your lap, you can select a "program" of upto 9 cuts from the phonograph. Or you can punchin a 9 -selection program from a pre-recordedaudio cassette. And from the compact disc, you canchoose a program of another 9 selections.

From any of these sources, you can pick yourselections to play in any sequence you wish - lastcut first, first last, whatever.

You can even arrange to have a program of upto 9 selections recorded on a blank cassette, eachcut evenly spaced for professional sounding results.

A MEANINGFUL DIALOGUE.

FUNCTION ?C

PHON0r Flipp It

FPI 81E -

PM 5 30

Selections are entered via theSystem Commander touchpad.When a command is given, the func-tion requested is visually displayedon the tuner/receiver, accompaniedby an affirmative "beep" response

(if a mistake is made, two "beeps" are sounded).Once the E-404 has been programmed, play-

back is fully automatic, randomly selecting the cutsyou've chosen from the source you've chosen-be itphono, cassette, or compact disc.

HEARING IS BELIEVING.

If you're impressed by what the E-404 can do,you'll be equally impressed by how it does it.

The E-404 is designed to interface with apersonal computer. It even offers a self -test pro-gram that lets you know if every function isperforming properly.

The AM/FM stereo receiver, delivering 35watts minimum RMS per channel? offers autosearch with 18 station presets.

The compact disc player employs a three -beamoptical pickup (in place of the conventional singlebeam) ensuring stable, error -free tracking.

Its speakers are three-way bookshelfcapable of frequency responsefrom 40 to 25,000 Hz. TackA Tape B

The E -404's twin cassette decks feature Dolby'B noise reduction with logic -controlled transportand cassette -to -cassette dubbing at double speed.

With its completeness and full programmability,you can guess the price of the Mitsubishi E-404audio system. Or you can visit your Mitsubishiaudio dealer.

Though the possibilities presented by the E-404 And be very pleasantly surprised.may at first seem overwhelming, its operation is,in fact, quite simple. JatirrsuBisiiMosuboht Deane Sales Arnenca. Inc 3030 E VIctona St.. Rancho Dommettez, CA 90221 Dolby as a rest stered trademark of Dolby Laboratones. *35 atom per channel, nun RMS. both channels down into 8 ohms from 50 Hz to20 kHz ttIth no more than 0 3% total harmonse thstortlon

THE EXPERTS SAID THEY HEARD EXCELLENT FREQUENCY RESPONSE,A HIGHER MOL, AND GREATER DYNAMIC RANGE.

BUT NOT IN THOSE WORDS.

Wicked lows. Manic highs. Nasty passages.It all translates the same.Music sounds better when it§ recorded

on Maxell XL -S cassettes.That§ because we've improved our crys-

tallization process. So we can now producemagnetic particles that are both smallerin size and more uniform in shape. Whichallows us to pack more of these particleson the tape§ surface, in turn, making itpossible to record more information withina given area of tape.

AC bias noise is reduced by 1dB. And maximum output levels areincreased by L5dB on XLI-S and 2dB on XLIS.

As a result, XL -S delivers a signifi-cantly expanded dynamic range. Anoticeably improved signal to noise ratio.And a fuller impact of dynamic transients.

So if you want to hear your music theway it was meant to be heard, put it onMaxell XL -S.

Because recording tapes just don'tget any better.

Or any badder. IT'S WORTH IT

AU DIONIDEO

CrossTalkPractical answers to your audio and video questions by Robert Long

Input ShortageI find myself with a shortage of inputs. Ihave a Beta Hi-Fi VCR, a PioneerLaserdisc player, a Compact Disc player,a turntable, an open -reel tape deck, anda cassette deck-and I want to add astereo TV set. The only receiver I canfind that might satisfy my needs is thenew Pioneer SX-V90. Is there anythingelse?-Glen Grisham, Studio City, Calif.

Don't despair-help is on the way in theform of a whole new generation of audio -video receivers spawned by the presumedimminence of stereo TV broadcasting inthis country.

Meanwhile, there are relatively inex-pensive switching boxes that will let youfeed several stereo leads into one high-level(aux) input to expand the capabilities of areceiver. Or, for even more flexibility, youcould go for the fancier switching unitsfrom the likes of Niles Audio or Russound.And there are more specialized switchboxes(those from DBX come to mind) that mightserve your purposes, depending on just howyou plan to interconnect this melange.

Another, perhaps better, alternative isto use the audio -video switching capabili-ties built into most TV tuners and monitor/receivers for routing the signals from yourVCR and videodisc player. The audio out-put from the tuner/switcher would feed asingle aux input on a conventional amplifieror receiver. For more on this subject, see"The Link," page 37, and "The NiftyNine," page 44.

Soup -UpCan an equalizer be used to compensatefor frequency irregularities induced byDBX noise reduction with a cassettedeck?-Jerry Hall, Porterville, Calif.

If you mean to imply that such irregularitiesare necessarily introduced by DBX noisereduction, I suspect that your ideas aremore influenced by your eyes (in looking atresponse graphs) than by your ears. Theswept tones that we-and just about every-body else in the audio world-use for test-ing don't affect compander noise reductionsystems (DBX or Dolby) the way musicdoes. At any given instant, the sweep is atone frequency only, whereas musicalsounds invariably contain more than that,even when only a single instrument is play-ing. The response with multiple signal fre-

quencies is almost always flatter than itlooks in the swept -tone graphs, which rep-resent worst -case testing. So don't try toequalize for what you see on the printedpage-only for what you hear in playback.

If there really are audible response dif-ferences between source and playback withyour setup, an equalizer can help. If youequalize the signal before it is recorded,comparing playback with the pre-EQsource until the two are as close as possible,then the recording should always soundright for that setup. But there's no readilyapparent reason for the response irregulari-ties, and they may disappear when you playthe tapes in a different system. From thatpoint of view, you'd be better off equaliz-ing the sound in playback, for whateverequipment you're using.

Crystal BallYour April 1983 test report on the AkaiAA -R42 calls it "a thoroughlyrespectable receiver." How about itsrepair record? I'd like to buy one, butI'm concerned about reliability.-IryPaster, San Diego, Calif.

Ouch! For years this has been a sore spotbecause we recognize the importance ofsuch information but have never been ableto come up with a dependable, rational, fairway to test for it. The brand-new models wetest have no repair records as such. Compa-nies do (if you can reliably determine whatthey are), but it's unfair to tar a new modelwith the failures of its predecessors. By thetime statistics on a given model might beamassed, it often is withdrawn or scheduledfor demise in favor of others with the cur-rently "hot" features, so the record nolonger is of much interest to potential pur-chasers. And the cost of buying and subjec-ting to accelerated use enough samples ofevery model we evaluate to permit validconclusions would be prohibitive. Some-times the lab or listening tests turn up wor-risome specifics, which we pass on to you,but otherwise any assessment of reliabilityis largely guesswork.

Speed vs. QualityWill the reproduced sound quality ofcopies made on one of the high-speeddual -transport decks match that of theoriginal? I was told that the dubbingdecks introduce distortion, but I thought

that higher speed means improved soundquality.-Theodore Floyd, Tampa, Fla.

In general, the higher the playback speed,the higher the quality. In other words, allelse being equal, a tape recorded for play-back at 3% ips usually will sound betterthan one recorded for playback at 1'/s ips.High-speed dubbing is another matter.Potentially, it can compromise quality,though whether you will hear the differencewill depend on the specific model you usefor the dub and the quality of the original.

Watts Up?My Yamaha R -I000 receiver is rated at100 watts into 8 ohms. The manual says,"4 ohms, 1 kHz, 0.5% THD, clippingpower: 120 W." I prefer the KlipschHeresy loudspeakers, which handle only105 watts. I've read up on speakerimpedance and power handling, but Ican't figure out how far I can turn up myreceiver without damaging the speakers.Is 120 watts what my receiver will pushinto 4 ohms, or is it the efficiency of thesound?-Harlow F. Henry, APO, SanFrancisco, Calif.

There are times when I wish speaker man-ufacturers had never dreamed up thatalmost meaningless "power handling"spec. It's anybody's guess how it's arrivedat for a given model, and it misleads manyreaders down the sort of garden pathsyou're lost in. Your figures are all withinthe 20-dBW (100 -watt) ball park, so youhave nothing to worry about.

If there were a gross mismatch-say,10 dB. or a factor of ten if the power isexpressed in watts-there might be reasonto ponder a bit. If the amplifier figure ishigher, it raises the question of what hap-pens if you drop the tonearm onto a recordwith the volume turned all the way up, forexample. Maybe you'll blow a driver, may-be not. If the speaker's handling figure isgrossly larger than the amp's output, youmay drive the latter into clipping before thespeaker shows signs of distress, and theresulting distortion could blow a tweeter,whose power handling invariably is far lessthan the rating might lead you to suppose.You simply can't make any hard-and-fastassumptions. In most home settings, how-ever, there's no cause for concern.

We regret that the volume of reader mail is toogreat for us to answer all questions individually.

NOVEMBER 1984 19

AUDIO

The AutophileGoing on the road with stereo by Gary Stock

CDs, Stereo AM:Merit in theNew Car Media?AS GUEST "AUTOPHILL. columnist in June,John Bishop presented a strong case for theCompact Disc as a mobile music format.Though his argument is a cogent one, I dis-agree most heartily with his conclusion-namely, that "the Compact Disc's immi-nent arrival on the car audio scene signalsmajor advancements in an environmentwhere high fidelity reproduction currentlycomes only with great expense and care."As someone who has been intimatelyinvolved in the design and installation ofmany autosound systems, I contend thatcassettes and CDs are sonically equivalentas mobile music sources and that cassetteswill continue to be the preferred mediumfor the road.

To justify his support of CDs in thecar, Bishop is careful to explain why themedium's dynamic -range capabilitieswould not threaten typical car amps andspeakers. In fact, his argument-that muchclassical music never exceeds 60 dB or soof dynamic range and that pop recordingsrarely exceed 20 or 30 dB -points up justhow much overkill car CD players repre-sent. A decent car tape deck is capable ofreproducing a dynamic range of more than65 dB, and those equipped with Dolby C orDBX can easily top 70 dB. So there has gotto be something else very special about theCD system to justify the added expense ofdigital hardware and software.

Supporters of car CD players say thatthe "something else" is accuracy, and sureenough, they're right. HIGH FIDELITY'S testreport last month on the Sony CDX-5 play-er disclosed that this car unit is the equiva-lent of home CD decks in basic perfor-mance-flat frequency response, no mea-surable wow and flutter, and so on. Indeed,if you were to choose between CompactDisc and tape on the basis of measure-ments, there would be no contest. But youdon't listen to a car stereo system athome.

It's true that good car speakers canreproduce a very broad frequency range, acapability not often put to the test by tapeplayers whose head -alignment problemsalmost invariably result in some high -fre-quency rolloff. But how important is super -extended high -frequency response in a car?It would be nice to have, but the placement

of car speakers just about precludes suchsounds from reaching your ears. Highlydirectional, they arc absorbed by the firstsoft object they encounter-usually theupholstery or, with door -mounted speak-ers, your midriff. That's not to say that highfrequencies arc impossible to hear in a car,but rather that proper reproduction has moreto do with speakers and their placementthan with the source.

Another issue is whether CD -playertechnology has evolved to the point wheretruly roadworthy systems can be made. Thepreproduction Sony CDX-5 tested by HFmistracked four times over a 2I -mile stretchof potholes and hairpin curves. A tape play-er may well have reacted poorly over thesame run, but if the new format is to gaincredibility as a mobile music source, it mustdo better than tape in this respect. And I'llpass quickly over reports coming out ofJapan that describe as extremely road -sen-sitive the Fujitsu Ten CD player beingoffered by Toyota as a factory option insome domestic cars. (Fujitsu Ten may alsofeel that frequency response accuracy in acar is less than vital: The model the compa-ny introduced at the recent Summer Con-sumer Electronics Show has a three -posi-tion switch that enables you to tailor theresponse differently for rock, jazz, andclassical music.)

Finally, will CDs themselves survivelife on the road? If you own a home CDplayer, you know that the little silvery sau-cers are not totally immune to dust, grease,and scratches. The instructions packed withthem caution you not to touch their opticalsurface or to leave them in conditions ofextreme heat or cold. In fact, DeutscheGrammophon states, "In storing and han-dling the Compact Disc, you should applythe same care as with conventionalrecords." That is, keep them out of dusty,overheated, or refrigerated environmentslike a car. And how long do you think a CDwill remain pristine when you're trying toextract it from its case while barreling downthe road at 55 miles per hour? The car pho-nographs of the early '60s were failures inpart because people were unwilling to riskruining their records in the hostile environ-ment of a car. And records were relativelycheap then. With CDs going for about $15each, are you willing to risk ruining evenone of them when you can dedicate a $2cassette copy for car use?

Though you've probably heard aboutstereo AM, chances arc you've never actu-ally heard it. To avoid flak from the losers.

the Federal Communications Commission(FCC) refused to endorse a single system,leaving it up to broadcasters and hardwaremanufacturers to choose among four com-peting transmission methods. The result isthat each of the systems has won some sup-port from broadcasters, leaving receivermanufacturers reluctant to putincompatible decoders in their AM radios.

Then came Delco, the huge electronicsarm of General Motors. Its support of theMotorola stereo AM system and announce-ment that 1985 GM cars can be bought witha decoder -equipped radio/tape player (theEqualizer 5) were enough to cause Pioneer,a giant in the aftermarket car -stereo busi-ness, to swing its allegiance to Motorola.And others are sure to follow.

What this means is that you finallyhave a chance to hear for yourself whatstereo AM sounds like. All you have to dois go to a GM dealership and snuggle into acar equipped with one of the new radios.Delco assures us that most dealers will havethe Equalizer 5 on display.

There are well over 125 stations cur-rently broadcasting with the Motorola sys-tem, and though we would like to cite themall, we have room for only a few:

Calif.: Los Angeles. KFI (640 kHi) and KPRZ(1150): San Francisco. KSFO (560)

Colo.: Denver, KLZ (560)Fla.: Miami, WCMQ (1210)III.: Chicago. WAIT (820)Ind.: Indianapolis. WIRE (1430)Ky.: Louisville. WHAS (840)La.: Shreveport. KOKA (1550)Mass.: Boston. WBZ (1030)Mich.: Detroit. WJR (760)Mo.: St. Louis. KSD (550)Nev.: Las Vegas. KMJJ (11401N.J.: Paterson. WPAT (930)N.Y.: Buffalo. WKBW (1520): Rochester.

WPXY (1280)N.C.: Chapel Hill. WCHL (1360)Okla.: Oklahoma City, KXXY (1340): Tulsa.

KRMG (740)Ore.: Portland. KGW (620)Pa.: Allentown. WSAN (1470)Tenn.: Memphis. WKDJ (980): Nashville. WSM

(650)Texas: Dallas. KRQZ (570)Utah: Salt Lake City. KBUG (1320)Vt.: Burlington. WDOT (1390)Va.: Norfolk. WTAR (790)Wash.: Seattle. KMPS (1300)Wisc.: Madison. WISM (1480)

To get the full list, send us a stamped, self-addressed envelope, and we'll mail it off toyou. If your local GM dealer is within 100miles of a transmitter, reception should beokay. If it sounds good, let us know. Dittofor awful. Believe it or not, we've been justas frustrated as you in assessing the impactof what once promised to be a revolution inAM broadcasting. HF

20 HIGH FIDELITY

Until you experience a B/a upunkt car stereo system,you'll never know how alive sound can be.

That's why B/a upunkt car stereo systems come asstandard equipment in some of the finest cars in the world.

Yet it's surprising how easy it is to afford one.For the Blaupunkt dealer near ycu, call 7-800-228-5333In Nebraska, 7-800-642-8788.

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In fact, it might just be the most revolu-tionary piece of equipment in the entire homeentertainment revolution.

Because it serves as a control center formore pieces of audio and video equipment thanany other competitive product of its type.

Through the SX-V90, you can channel twoVCRs (of any format), one TV monitor, oneregular TV, one video disc, one compact disc,

o cassette decks, two turntables, and onegame or one computer.

But not only does the SX-V90 have the bestconnections in the business, it also has ingenuity.Because as well as reproducing video sourcedsignals (such as MTV), it creates simulated-

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In short, it turns your television into a stereo.As for the quality of the stereo, with its

advanced DDD tuner technology, and 125 wattsof powerper channelminimum

2(at 8 ohms,from 20-20,000 Hzwith nomore than0.005%THD), theSX-V90 ranks at the top of audio receivers.

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AUDIONIDEO

Basically SpeakingAudio and video concepts and terms explained by Michael Riggs

Phase ShiftA RECURRING EOCUS of controversy, phaseshift has once again emerged as a hot topicamong engineers and audiophiles. Currentdebate centers on whether the high -frequen-cy phase shift introduced by the steep ultra-sonic filters in almost all digital audioequipment is audible. The answer is (as weshall see) pretty cut-and-dried, but there areother, less glamorous cases in which thequestion of phase shift's effect on soundquality is harder to resolve.

An audio signal can be analyzed into acollection of simple sine waves of variousfrequencies and amplitudes. Each completecycle of a sine wave-from zero to a peak,back down through zero to a low point, andthen back to zero-covers 360 degrees,with the peak at 90 degrees, the trough at270. and the crossing between them at 180.A sine wave's instantaneous phase is itspresent point in this cyclical progression.

Consider two 250 -Hz signals, onestarting exactly a millisecond (thousandthof a second) after the other. Each completes250 full cycles per second, or one cycleevery 4 milliseconds (msec). Thus, a 1 -

millisecond delay puts the later signal 90degrees behind the first. This difference isthe phase shift between the two signals.

There certainly are conditions underwhich the relatively simple sort of phaseshift described above will be audible. Forinstance, if two signals of the same frequen-cy are mixed together, they will combineinto one with an amplitude determined bythe phase angle between them. If there is nophase shift, the output will simply double;if they are 180 degrees out of phase, theywill have equal but opposite amplitudes andthus cancel each other out.

Another situation arises if the signalsare not mixed together, but are insteadreproduced separately through differentloudspeakers. Then, if the signals are below1.5 kHz or so. the brain will interpret themas a single sound coming from somewherebetween the two speakers and will take thephase shift as a clue to the location of thephantom sound source. (Above about 1.5kHz, the ear can no longer actually followthe waveform and therefore loses the abilityto determine its precise phase.) This is oneof the bases of the stereo effect.

But these are not very enlighteningcases from the standpoint of the phase -shiftdebate, where the question is primarily oneof how the phase shift introduced by a filter

500 Hz

Any given delay creates a phase shift proportional to the signal frequency.

will affect the sound within a single chan-nel. Although filters normally are designedto alter the frequency response, they alsochange the phase response unless specialmeasures are taken. In the case of a typicallow-pass (high -cut) filter, for example. thesignal will be delayed by an amount thatincreases with frequency; the steeper the fil-ter slope, the faster the delay will rise.Thus, a complex input signal, such asmusic, will emerge at the output with itsvarious frequency components dispersed intime relative to the same signal unfiltered.Naturally. these delays also manifest them-selves as phase shift.

The experimental evidence regardingwhether such phase shift is audible-and ifso, at what threshold and to what degree-is mixed. Nonetheless, it is possible to drawsome tentative conclusions. What data areavailable support the notion that phase shiftis harder to hear at the extremes of the audioband than at middle frequencies. This alsois what one would expect. since hearingacuity of all kinds seems to be best in therange of human speech. And present theo-ries of how we hear virtually rule out anysignificant phase sensitivity at very highfrequencies. Among other things. this seri-ously weakens the argument against thetypes of filters commonly used in digitalaudio circuits, which affect primarily thevery top of the audio spectrum.

Even more convincing are the experi-ments that have been directed specificallyto this point. I was involved earlier this yearin a test in which such a filter was switchedin and out of the circuit while music wasbeing played. No one present could reliablydetect any difference in the sound. Experi-

ments have been reported in which as manyas nine such filters were strung together,one after the other, without anyone beingable to hear them.

My own experiments and those of oth-ers support a similar conclusion withrespect to infrasonic filters (those with cut-offs in the vicinity of 20 Hz and below),which do not seem to cause any audibledegradation of music signals. On the otherhand, there is evidence that phase shift maybe at least a small factor at middle frequen-cies on certain types of signals. It has beenobserved, for example, that polarity rever-sal is occasionally audible on some materi-al. Polarity reversal (sometimes calledabsolute -phase inversion) amounts to a

180 -degree phase shift at all frequencieswithout an accompanying delay. It is mosteasily achieved by swapping the hot andground leads on both the speakers, so thatthe driver diaphragms move out when theynormally would move in, and vice versa.But its not easy to hear, and even whenthey can tell the difference, subjects arerarely able to discern which is the "cor-rect" setting. (This is not to be confusedwith wi-ing speakers out of phase with eachother, which would be quite audible.)

Experiments with simulated loud-speaker crossover networks have some-times given positive results on certain typesof program material. In all such cases, how-ever. the effects have been very subtle.Moreover, it appears that among audiocomponents. only loudspeakers and per-haps some analog tape recorders have thepotential to generate enough phase shift atthe right frequencies to make an audiblemark. HF

NOVEMBER 1984 23

AUDIO

New Equipment ReportsPreparation supervised by Michael Riggs, Peter Dobbin, Robert Long, and Edward J. Foster.Laboratory data (unless otherwise noted) supplied by Diversified Science Laboratories.

A Sit -AnywhereLoudspeakerFrom DBXDBX Soundfield One floor -standing loudspeakersystem, in particleboard enclosures with walnut oroak veneer finish, with SFC-1 Soundfield ImagingController. Dimensions: 141/2 by 42'/a inches (front),141/2 Inches deep; SFC-1, 18 by 13/4 Inches (frontpanel), 73/4 inches deep plus clearance for controlsand connections. Price: $2,500 per stereo system.Warranty: "limited," five years parts and labor onSFX-1 speakers, two years on SFC-1 controller.Manufacturer: DBX, Inc., 71 Chapel St., Newton,Mass. 02195.

SO MANY LOUDSPEAKERS are introducedeach year that it's hard to imagine how any-one could possibly come up with a genuine-ly new idea. And yet it continues to happen.Perhaps the most interesting recent exampleis DBX's first loudspeaker, the SoundfieldOne, which attempts to reconcile two clas-sically conflicting goals: precise stereoimaging and a large optimum listeningarea.

The Soundfield One achieves this bytrading off the intensity and timing cues thatthe ear uses to determine where a sound iscoming from. Its radiation pattern is shapedso that as you move closer to one speaker,its output in your direction gets weakerwhile the other speaker's gets stronger. Thefar speaker's loudness advantage offsets thelonger time required for its output to reachyour ears.

Although this sounds simple, it com-pelled DBX to adopt a thoroughly uncon-

ventional approach to loudspeaker design.The first stage involved empirical researchto determine exactly what the SoundfieldOne's radiation pattern should be to achievethe desired result; the second was to make ithappen. The technique adopted was origi-nally developed for radar. A number of dis-crete radiating elements are clusteredtogether, with the amplitudes and phases oftheir individual outputs adjusted so thattheir collective output has exactly thedesired "shape." This is called a phasedarray.

The Soundfield One's array consists of14 drivers-four 10 -inch acoustic suspen-sion woofers, four 4 -inch midrange cones,and six 1/2 -inch dome tweeters-connectedand controlled through an elaborate com-puter -designed crossover network. Thebass and midrange drivers are in verticalarrays on the four sides of the main enclo-sure. A hexagonal turret on top of the cab -

Report Policy: Equipment reports are based on labora-tory measurements and controlled listening tests. Unlessotherwise noted, test data and measurements are ob-tained by Diversified Science Laboratories. The choice ofequipment to be tested rests with the editors of HIGHFIDELITY. Samples normally are supplied on loan from themanufacturer. Manufacturers are not permitted to read

reports in advance of publication, and no report or por-tion thereof may be reproduced for any purpose or in anyform without written permission of the publisher. All re-ports should be construed as applying to the specificsamples tested. HIGH Foam, and Diversified ScienceLaboratories assume no responsibility for product per-formance or quality.

0

1

24 HIGH FIDELITY

AC POWERdbx

AUTO BYf UN UI iAMBIENCE ADJUST

MONITOR (SOURCE TAILOW FILTER (20/32 HZ)HIGH FILTER (15/20 KHZ)

1110511211CI 1

I 1

LOW BLEND ON/OFFAUTO STEREO BALANCE

ADJUST. (ON/OFF)

SPECTRA- BALANCE ADJUST.-LOW -FREQUENCY EO

ROOM RESPONSE CHARACTERISTICS

DB

+10+5

0

5

-10

--.<..Y

HZ 20 50 100 200 500 1K 2K 5K 10K

boundary -dependent regionon -axis responseoft -axis (30 ) response

SENSITIVITY (at 1 meter; 2.8 -volt pink noise.250 Hz to 6 kHz) 88 dB SPL*

AVERAGE IMPEDANCE (250 Hz to 6 kHz)5.5 ohms

SFC-1 Controller

OUTPUT AT CLIPPING (at 20 Hz)

MAXIMUM INPUT LEVEL (at 1 kHz)

S N RATIO (re 0.5 volt; A -weighted)normal settingsworst -case

INPUT IMPEDANCE

OUTPUT IMPEDANCE

'See text.

6.36 volts

6.66 volts

811/2 dB63 dB

240k ohms

465 ohms

20K

inet holds the tweeters-with one facingdirectly inward and another directly out-ward, toward the side wall. These twotweeters are in the same vertical plane as thein- and out -facing lower -range drivers,while the remaining four are at 60 -degreeangles to the vertical plane passing throughthe middle of the front and back baffles.

Perhaps because the output to theinside (toward the other speaker) is greaterthan on any other axis, the inward -facingtweeter is slightly different in constructionfrom the others. The lowest output istoward the outside, with intermediate val-ues at angles between these two extremes.(Below about 150 Hz, the pattern becomesomnidirectional, but at such low frequen-cies our ability to localize sound sources isvery poor, making the transition inaudible.)When plotted out, it looks something like adistorted ellipse. This is quite differentfrom the basic radiation patterns of conven-tional loudspeakers, which tend to fall intothree categories: direct radiating, in whichthe output shifts gradually from omnidirec-tional at low frequencies to a narrow beamin the high treble; bipolar (like most elec-trostatics), in which the output is a figureeight that narrows gradually with increasingfrequency; and omnidirectional, in whichthe output is approximately equal in alldirections at all frequencies.

Instead of restricting the SoundfieldOne's output to the front hemisphere, DBXelected to make its rearward response a mir-ror image of its forward radiation. This isintended to emulate the basic radiation pat-tern of most performing groups and to allowthe reflected sound from the wall, whicharrives at the ears a few milliseconds laterthan the direct sound, to enhance the senseof depth and ambience in the reproducedmusic. The wooden top of the SoundfieldOne's bonnet is designed to prevent unde-sirable reflections off the ceiling.

The crossover divides the signalamong the three driver ranges (at 450 Hzand 3.15 kHz) and shapes the speaker'soverall radiation pattern, but it does notattempt to flatten the frequency response.This task is left to the SFC-1-an externalequalizer and control box with wood endcaps designed for placement in a processoror tape monitor loop or between your

preamp output and power -amp input.Diversified Science Laboratories' measure-ments confirm the roughly bowl -shapedequalization curve published in the owner'smanual. The EQ pulls down the output inthe midrange and lower treble, by a maxi-mum of about 11 dB at 1 kHz, while boost-ing it 10 to 12 dB at the frequency extremes.The net effect is that the speaker is driven15 to 20 dB harder at 20 Hz and 20 kHz thanit is at midband.

This is very aggressive equalization,and it will demand more power from youramplifier than our sensitivity figure (mea-sured over a band that excludes very highand low frequencies) ordinarily wouldimply. Fortunately, the distribution ofmusical energy partially offsets potentialeffect of the EQ curve, so the demandsmade on the speaker's power -handlingcapacity are less severe than they mightseem at first glance.

Nonetheless, DBX has incorporated anumber of safety features, the most impor-tant of which is what it calls a power mon-itor. Leads connected from your poweramp's output terminals to a set of springclips on the SFC-1's back panel enable itscircuitry to keep track of the amp's output.When it detects what it considers excessivepower, the SFC-1 automatically reduces itsgain enough to prevent damage until thecondition is corrected. The power moni-tor's status is shown by a set of three LEDson the SFC- l's front panel: a green one thatlights under normal conditions, an amberwarning lamp, and a red light that comes onwhen the output is cut back. A steep infra-sonic filter prevents the speakers (and youramplifier) from being overloaded by pulsesfrom record warps or other garbage in therange below 20 Hz.

Also included are switchable low andhigh filters. The former moves the infrason-ic filter's cutoff up slightly, so that responsebegins to fall off below 32 Hz and isapproximately 3 dB down at 26 Hz. Thehigh filter's effect begins at about 12 kHz,reducing the output by 3 dB at approximate-ly 18 kHz. These also are intended to keepspurious out -of -band information out of thesystem, and since their effect within theaudible band is so small (and restricted tofrequencies where there usually is little or

NOVEMBER 1984 25

AUDIO New Equipment Reportsno musical energy), DBX recommends thatthey normally be left on. In our listeningtests, we were almost never able to detectwhen the filters were switched in or out, sowe would concur with DBX's suggestedsettings.

Among the SFC-1's remaining fea-tures are a switchable tape monitor loop toreplace the one occupied by the processorand an option for automatically bypassingthe processor's circuitry when no signal ispresent at the power monitor terminals.This assures that you will not inadvertentlyequalize a pair of headphones or remotespeakers into oblivion. Also handy is arumble suppressor that blends the two chan-nels below 100 Hz to cancel vertical turn-table rumble or acoustic feedback. Thisdoes virtually no damage to the stereoimage, especially on LPs, which are almostuniversally mono at the low end to preventvertical overcutting. One rather odd controlis the one for "auto balance." DBX says itspurpose is to keep the two channels in bal-ance when you switch from source tosource.

The most important-and most fre-quently used-controls are those for low -and high -frequency compensation. Basical-ly, these are tone controls, but with unusualcharacteristics. The bas's compensation iseffective only below about 150 Hz, produc-ing a maximum boost of 10 to 15 dB on topof that already present and a maximum cutof 5 to 10 dB. Its purpose is to adjust thespeaker's low -frequency response to theacoustics of your listening room. However,even the owner's manual cautions againstoverdoing the boost. We would happilygive up a little on that side for more flexi-bility in the cut settings, which have most oftheir effect below 60 Hz, leaving the middleand upper bass (where most of the reallyannoying problems pitch camp) un-touched.

The high -frequency compensationslider actually is a spectral -tilt control. Itsnominally flat position is all the way up; asyou turn it down, the response pivotsaround the 160 -Hz region, pushing up theoutput at 20 Hz by as much as a few dBwhile reducing the output at 20 kHz by asmuch as 10 dB. This is a very useful sort oftone control that we previously have seenonly on the Quad preamps. DBX hasmarked an area in the middle of the slider'stravel as "normal," saying that manyrecordings balanced to sound right on con-ventional loudspeakers will sound best onthe Soundfield One when settings in thatrange are used.

A third slider, to the left of the othertwo, is labeled ambience. When it is cen-tered, the processor delivers a normal stereosignal. Moving it to the right increases theproportion of L-R information in themidrange, to open up the stereo image.Pushing the control in the other directionhas the opposite effect, reducing the sepa-ration in the midrange to dry up an overrev-

erberant recording or accentuate a center -stage soloist.

DSL performed a number of tests onthe controller alone to determine whether itmight present any interface problems. Theinput impedance is more than adequatelyhigh, and the output impedance is quitelow, so neither should present any matchingproblems. Overload margins are generousenough to forestall clipping under any con-ceivable normal operating condition. Andwith typical control settings, noise is verylow. However, a worst -case combination ofadjustments degrades the signal-to-noise(S/N) ratio by about 18 dB, which mightcause audible hiss, particularly if the con-troller is inserted between the preamp out-puts and power amp inputs, rather than intoa processor or tape loop.

DSL conducted its usual loudspeakertests with the Soundfield One placed sever-al feet out into the room. Although DBXsays the maximum setting of the high -fre-quency compensation control will deliverflat response, the lab's curves showed aslightly rising characteristic. Centering theslider in the designated "normal" rangeeliminated this effect, so DSL used thatposition for all further measurements.

As you can see from the curves in ourdata column, the room -corrected third -octave response at this setting is remarkablyextended, as well as very flat and smooth-particularly off axis, where the curve iswithin a 10 -dB envelope over essentiallythe entire audible range. Response is flatdown to the 25 -Hz band, which is excep-tional performance for a loudspeaker. Therise in the upper treble appears to be causedby a pronounced tweeter resonance atapproximately 16 kHz.

The curves also demonstrate theSoundfield One's pre-eminent feature: thecarefully shaped radiation pattern that givesthe speaker its unique imaging characteris-tics. The off -axis curve lies several dBabove the on -axis plot, indicating that theoutput level in that direction is greater. DSLalso measured the response on the speaker'sinward -firing axis (not shown), which cameout at an overall level several dB higherstill. This is exactly the pattern DBXdescribes as having been its design goal.

Almost equally remarkable is theSoundfield One's impedance curve, whichis perhaps the flattest we have ever seen. Itsmaximum value is 7.3 ohms at approxi-mately 3.2 kHz, its minimum 4.5 ohms atthe top of the audible band. (This is, by theway, the first time we can recall seeing noimpedance peak at the fundamental wooferresonance.) The speaker thus presents analmost purely resistive load at all audio fre-quencies, making it very easy for any goodamplifier to drive. This is particularly note-worthy in a loudspeaker having so manydrivers and a complex crossover network.

Because of the speaker's unusual radi-ation pattern, our standard on -axis mea-surement technique probably yields a

26 HIGH FIDELITY

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AUDIO New Equipment Reportsslightly understated sensitivity figure. Pow-er -handling capability appears to be ade-quate, if not outstanding. On our 300 -Hzpulse test, audible distortion set in 24 voltspeak-equivalent to 181/2 dBW, or 72watts, into 8 ohms-for a calculated peaksound pressure level (SPL) of 1061/2 dB atone meter. Distortion measurements essen-tially confirm this finding. At a moderatelyloud 85 dB SPL, total harmonic distortion(THD) averages about '/4 percent from 100Hz to 10 kHz. At 95 dB SPL, THD aver-ages approximately 1/2 percent from 100 Hzto 4 kHz. (At higher frequencies, and below50 Hz, the SFC- I controller protected thespeaker by reducing the levels, thus pre-venting measurements.) And at 100 dBSPL, the average distortion is up to 2 per-cent from 100 Hz to 2.5 kHz, with thespeaker protecting itself at higher frequen-cies and below 80 Hz. Too much should notbe made of this behavior, however. Wewere able to play the Soundfield One veryloud in our listening room without tippingit into audible distortion, triggering itsprotection circuits, or clipping our am-plifier.

For the majority of our auditioning, weused approximately the same placementthat DSL did, but the speaker's perfor-mance seems to be relatively noncritical inthis regard. Most recordings came off bestwith all three control sliders at their centerpositions. The resulting sound was assmooth, clean, and neutral as we have everheard from a loudspeaker. And in terms ofdeep bass extension, the DBX has fewpeers.

The Soundfield One's trump card is itsimaging, which is extraordinary. It is capa-ble of a very big, open, "unboxed" sound,but always well focused and with gooddepth of field when the recording permits.Nothing is more astonishing than to standright next to one speaker and still hear aproper stereo image between it and the oth-er. The image really does remain stablealmost regardless of where you sit or stand.No other loudspeaker that we know of canperform this feat. With the Soundfield One,your living -room layout need no longer be astave to your stereo system. That, in itself,constitutes a significant advance in the stateof the art.

Good ValueIn MarantzBookshelf

Marantz DR -80 loudspeaker system, in particleboardenclosure with wood -grain vinyl finish. Dimensions:121/2 by 23 inches (front), 9 inches deep. Price: 5150each. Warranty: "limited," five years parts and labor.Manufacturer: Marantz Company, Inc., 20525 NordhotfSt., Chatsworth, Calif. 91311.

M ARANTZ HAS CHOSEN to call its latest loud-speakers the Digital Reference MonitorSeries. That may seem a somewhat over-bearing title for the DR -80, the least expen-sive of the three models. Nonetheless, thisspeaker is a good value at an unpretentiousprice.

The two-way bass -reflex system has aI -inch soft -dome tweeter (a standard fea-ture of the DR Series) and an 8 -inch wooferwith a translucent Low Noise Plastic (LNP)cone. With the enclosure standing vertical-ly, the woofer is centered in the lower halfof the baffle panel; the ducted port is higherup and to the left, the tweeter still higherand to the right. All are covered by a knitblack fabric stretched over a wooden frame.On the back panel are spring clips for thesignal leads.

Diversified Science Laboratories mea-sured third -octave response with the speak-er in several positions. Our graph showswhat happened with it on an I8 -inch stand,39 inches out from the wall. With respect tothe on -axis average, response is within-±31/4 dB from the 80 -Hz band to that cen-tered on 16 kHz on -axis and +21/4, -31/4 dBoff -axis, which is quite good. Placing thespeaker on the floor with its back near awall or on the stand and against the wallincreased deep -bass response but tended tooveremphasize the 100 -Hz region. Similarresults were obtained with the speaker onthe floor and out away from the wall, exceptthat the emphasized region was somewhat

higher in frequency-centered on about160 Hz and covering the whole midbassregion, at some expense in response below100 Hz.

Listeners complained of an unnatural"chestiness" when we played musicthrough the DR -80s in this floor -standingposition. When we put the speakers onstands (approximating the response shownin the graph), the heaviness disappeared.For a model of so moderate a price,response, directivity, and imaging were alljudged subjectively good.

Total harmonic distortion (THD) aver-ages about 1/2 percent above 100 Hz at amoderately loud 85 dB sound pressure level(SPL), increasing progressively to about 2percent at 100 dB SPL. These figures arehigher than usual, and the consistently highmeasurements, plus noticeable signal com-pression, at frequencies above 1 kHz (andparticularly at 4 kHz) suggest undue flexingof the soft -dome tweeter diaphragm. In our300 -Hz pulse test, the DR -80 accepted theequivalent of 251/2 dBW (approximately350 watts) into 8 ohms without audible dis-tortion or buzzing.

Sensitivity is, perhaps, slightly higherthan average for a system of this descrip-tion. Impedance varies between 26 ohms (atwoofer resonance, near 63 Hz) and about4'/2 ohms (between the port and woofer res-onances and at the woofer's minimum, near170 Hz). From 2 kHz up, the impedancecurve is quite flat, remaining between 5 and

NOVEMBER 1984 29

AUDIO New Equipment ReportsROOM RESPONSE CHARACTERISTICS

DB

+50

5

10

HZ 20 50 100 200 500 1K 2K

boundary -dependent regionon -axis responseoff -axis (301 response

5K 10K 20K

SENSITIVITY (at 1 meter; 2.8 -volt pink noise.250 Hz to 6 kHz) 92 dB SPL

AVERAGE IMPEDANCE (250 Hz to 6 kHz)9.1 ohms

8 ohms. Although we would not expect anygood amplifier to have trouble driving a sin-gle pair of DR -80s, it probably is best toavoid running another set of speakers inparallel with them.

If you're looking for a good buy in a

speaker of traditional "bookshelf' size(approximately two cubic feet), you mightdo well to consider the DR -80, which ismore compact, less expensive, and at leastas "musical" as most of its direct compet-itors. Give it a listen.

Lt` -J

An InnovativeMinispeakerInnovative Techniques ITC -1 loudspeaker system, inparticleboard enclosures with wood veneer finish.with BDR (Bass Distortion Reducer) EC) filter unit.Dimensions: 71.4 by 12 inches (front). 71 4 inchesdeep: BDR, 7 by 2 inches, 4 Inches deep plusclearance for connections. Price: $800 per stereosystem. Warranty: "limited." three years parts andlabor. Manufacturer: Innovative Techniques Corp.,703 Revere Dr., Herbedsville, N.J. 08723.

ROOM RESPONSE CHARACTERISTICS

DB

+5

-510

I)

ITC -I

HZ 20 50 100 200 500 1K 21( 5K 10K 20K

boundary -dependent regionon -axis responseoff -axis (30°) response

IT NO LONGER is remarkable when a tinyspeaker is capable of more than punysound. Yet the Innovative Techniques ITC -

1 is remarkable. The "bigness" of itssound results, in part, from the arrangementof the drivers. In the first place, it's a three-way (not two-way) system. Second, whilethe tweeter and midrange driver face out-ward in the usual fashion, as does the slotthat serves as a vent, the woofer-whichappears to reproduce everything up to aboutI kHz-fires upward. We suspect that theresulting reflections from walls, ceiling,and furniture contribute to the size and sta-bility of the stereo image, which is quiteimpressive.

Because it comes in at such a high fre-quency-in the neighborhood of the sopra-no high C-the "midrange" driver handlesthe overtones, rather than the fundamen-tals, of most musical tones. Its range thusmight be better described as the lower tre-ble. The tweeter's output appears to overlapthat of the midrange driver in the octavebetween 3 and 6 kHz and to take over com-pletely only at very high frequencies.

Astonishingly, the impedance curvegives no clue to the presence of either cross-over. It clearly shows the twin bass reso-nances characteristic of ported systems (theimpedance rises to 48 ohms at about 25 and80 Hz) but is otherwise almost perfectlyflat, lying between 7 and 12 ohms. Thisimplies that the speaker is almost purely

resistive-and therefore exceptionally easyto drive-above 200 Hz. The relativelyhigh average impedance (9 ohms over ourusual test range, about 121/2 ohms across theentire audio band) also helps in this regard,and we would not hesitate to run two pairsof ITC -1s in parallel. However, it doesexact a toll in sensitivity, which is lowerthan average, even for so small a system.Diversified Science Laboratories' measure-ments indicate that these speakers requireseveral dB more power (that is, about twiceas much) to deliver the same output as moretypical models.

Included with the stereo speaker pair isa dedicated equalizer, designed for use in aprocessor or tape loop or between your pre-amplifier and power amp. Innovative Tech-niques calls the device a Bass DistortionReducer, or BDR. The name is apt to theextent that the equalizer filters out infrason-ic and extremely low bass information thatthe speakers cannot reproduce cleanly. TheBDR also serves as part of the bass align-ment system. It introduces no responsechange (just a gain of about 1/2 dB) down tobelow 500 Hz. Response rises very gradu-ally in the bass, picking up steam below 80Hz (where it is up 3 dB), peaking sharply (at+6 dB) in a narrow range around 55 Hz,and dropping off steeply (at about 18 dB peroctave) below.

DSL measured overall system re-sponse with the speaker on a 24 -inch stand,

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EP4 dp

441,

AUDIO New EquipmentSENSITIVITY (at 1 meter; 2.8 -volt pink noise.250 Hz to 6 kHz) 86,2 dB SPL

AVERAGE IMPEDANCE (250 Hz to 6 kHz)9 ohms

APPROX. TWEETER CONTROL RANGE (re "flan+4, -6 dB at 10 kHz

APPROX. MIDRANGE CONTROL RANGE (re "flat")+ 3, -5 dB, 1.6 to 6.3 kHz

BDR (supplied equalizer/Infrasonic filter)

OUTPUT AT CLIPPING (at 1 kHz)

S/N RATIO (re 0.5 volt; A -weighted)

INPUT IMPEDANCE

OUTPUT IMPEDANCE

8.9 volts

107 dB

34k ohms

0.17 ohm

Reportsas suggested by ITC, and at several dis-tances from the wall behind it. Our graphshows the result with the speaker againstthe wall, which produced the most extendedbass response. On -axis response is between+41/2 and -3 dB from the 50 -Hz band up;off -axis response is between +41/4 and -11/4dB over the same range except at theextreme top, where tweeter directivity takessome toll.

Moving the speaker eight inches fromthe wall introduced a mild peak centerednear 630 Hz, with dips an octave above and(especially) below-all evidently resultingfrom interference between the direct and thereflected sound. Moving it well out fromthe wall (40 inches) noticeably weakeneddeep bass response and reshuffled themidrange roughness a bit.

Some response adjustment can bemade at the tweeter and midrange controlson the back panel. (The signal -lead bindingposts are in the same area, which is bothrecessed and rather cramped, makingattachment of bared wires difficult.) Themidrange control has a roughly shelvingaction; that for the tweeter tilts response upor down. The lab set both at their (uncali-brated) median settings, following ITC'sbasic recommendation. We mostly fol-lowed the same practice for listening,though for some placements we preferred alittle more tweeter attenuation. One reasonfor the preference, however, was the speak-er's tendency to emphasize ticks and hiss,

which may be more a question of tweeterroughness than of a response tilt.

Total harmonic distortion (THD) aver-ages less than I percent from 80 Hz up forsound pressure levels (SPL) of less than 95dB. That drive level, which puts averagedistortion a bit over the 1 -percent mark,was the highest to which the lab subjectedthe ITC -1 with steady-state signals. (Aspeaker as small as this one-particularlywith its low end boosted-can easily bedamaged by such sine -wave testing, even ifit can produce high volumes on music.) Inour 300 -Hz pulse power -handling test, it

accepted the lab amp's full peak output-equivalent to 261/2 dBW (450 watts) into 8ohms-delivering a calculated peak soundpressure level of 113 dB at one meter on -axis. This is very good performance, espe-cially for a speaker of this size.

The sound does strike us as best withthe speakers standing well above the floorand away from side walls. Bass response isgreatest (but not necessarily best) whenthey are against the "proscenium" wall,though the sound still is impressive whenwe move them out into the room-wherethe attractive spaciousness of the stereoimage seems even more apparent. But thelatter position sometimes interpolates aslight throatiness into string tone. Our over-all impression is that the ITC -1 is among thefinest minispeakers available and one of thefew that don't cry out for an add-on "sub -woofer" to do what the woofer should.

Canton'sMaxispeakerCanton CT -2000 floor -standing loudspeaker system,In particleboard enclosure with white, walnut, orgloss mahogany finish. Dimensions: 14 by 381+2Inches (front), 14 Inches deep plus clearance forconnections. Price: $1,000 each in white or walnutfinish, $1,125 In mahogany. Warranty: "full," fiveyears parts and labor. Manufacturer: CantonElektronik GmbH & Co., Germany; U.S. distributor:Canton North America, Inc., 254 First Ave. N.,Minneapolis, Minn. 55401.

ROOM RESPONSE CHARACTERISTICS

DB

+50

5

10

HZ 20 50 100 200 500 1K 2K 5K

boundary -dependent regionon -axis responseoff -axis (30°) response

CT.50C0

101<

SENSITIVITY (at 1 meter; 2.8 -volt pink noise,250 Hz to 6 kHz) 92 dB SPL

AVERAGE IMPEDANCE (250 Hz to 6 kHz)6 ohms

NOVEMBER 1984

20K

IN THIS COUNTRY, Canton probably is bestknown for its minispeakers. Standingslightly more than three feet tall, the CT -2000 is a far cry from that. Everythingabout this speaker suggests a remarkableattention to detail. Most obvious is the fur-niture -grade finish of the enclosure. Oursamples were covered in a fine mahoganyveneer, sanded smooth, lacquered, and pol-ished to a deep, reflective shine. It is with-out doubt the most beautiful cabinet workwe have ever seen in a loudspeaker. Othernice touches include a large pair of color -coded screw -down clamps on the back pan-el for attaching amplifier cables and anattractive perforated steel grille that coversthe drivers.

The CT -2000 is a three-way system,with a 121/2 -inch woofer, a 41/4 -inchmidrange cone, and a 1 -inch titanium dometweeter in a vertical array. Crossovers are at400 Hz and 3 kHz. Unlike previous Cantonspeakers, it is a bass reflex design, insteadof acoustic suspension, so the enclosure isvented, rather than sealed. The woofer is"tuned" by a pair of ducted ports thatexhaust out the rear of the cabinet. Canton

the floor. These measurements were takenwith the tweeter control at maximum (thenormal setting, according to the manual).Turning the control all the way down killsthe tweeter output altogether-an optiontoo extreme to be of practical use.

With the treble full up, the responsehas a rising character that yields an over-bright-even harsh-sound. We finallysettled on a cut of two major divisions (thecontrol's markings are uncalibrated) andwere then quite pleased by what we heard.The deep bass is not strong, to be sure, andwe detected no special properties of propa-gation or imaging attributable to the flat -diaphragm design. But neither did we per-ceive any of the colorations or oddities ofdirectionality that have compromised somany previous flat -panel designs (particu-larly inexpensive ones).

In our 300 -Hz pulse power -handling

says this yields a desirable combination ofextended bass response and high sensitivi-ty-a claim that Diversified Science Labo-ratories' measurements bear out.

DSL plotted the CT -2000's room -cor-rected third -octave response in two posi-tions: with its back a few inches from a walland several feet out into the room. All of theinformation shown in our data columnrefers to the latter placement, which gavethe smoother curves. As you can see, theon -axis response rises gently from -51/2 dBin the 40 -Hz band to +6 dB at 20 kHz. Theoff -axis curve tracks it quite closely exceptat very high frequencies, where the tweet-er's increasing directivity pulls down theoutput slightly, yielding a slightly flatteroverall response. The series of small peaksand dips between approximately 150 Hzand 1.2 kHz probably is caused by interfer-ence from reflections off the floor, but near -field measurements of the output from themidrange driver suggest that an irregularityin its response is responsible for the peakcentered on the 2.5 -kHz band.

Although the CT -2000's bass responseis unusually extended, it falls off very

33

uutyt. a c v UM, as urc twm 0435-1C50-nance frequencies characteristic of portedand passive -radiator systems (here, about53 and 100 Hz) and in the crossover range(near 2.5 kHz). If you were to parallel twopairs of SB-R200s, most amplifiers wouldtake the load in stride. Sensitivity is aboutaverage.

In effect, the SB-R200 is a bookshelfspeaker that you can hang on a wall. That isto say, Technics has focused its ingenuityon solving practical problems of loudspeak-er design more than theoretical ones. Theresult makes for satisfying listening withoutqualifying as a major sonic breakthrough.However, it will permit good stereo inmany rooms that defy satisfactory place-ment of traditonal speakers, and certainly iteliminates one of the major problems in set-ting up a surround -sound or ambience sys-tem-where to put the back speakers. In itsown way. that is a breakthrough.

NOVEMBER 1984 35

AUDIO New Equipment Reportsslightly below 100 Hz when the speaker isplaced out in the room. Moving it backagainst a wall reverses this effect, causingthe output to bump up somewhat. Theresulting curves have a distinctly sway-backed appearance but are otherwise v_rtualclones of those shown here. We did no: findthe difference nearly as apparent in listen-ing as it is on paper.

Canton has not bought the CT -2000'sexcellent deep -bass response at the expenseof sensitivity, which is notably high. Thespeaker's impedance reaches a maximumof 20 ohms at 50 Hz. Over the rest cf theaudible range, it remains between 4.5 and 8ohms, except for a sharp dip to 2.6 ohms at3.5 kHz. That could be trouble for iomeamplifiers, but most should take it in stride.We would not recommend running a pair ofCT -2000s in parallel with another set ofspeakers, however.

In our 300 -Hz pulse power -handlingtest, the Canton accepted without distress

V: percent from 100 Hz to 10 kHz at a mod-erately high volume of 85 dB SPL and isstill less than 1 percent at a very loud 100dB SPL. Moreover, the distortion is loweven in the very deep bass, where mostspeakers start to give up-only 2 percent at30 Hz for 100 dB SPL.

We did most of our listening with thespeakers placed as they were for testing,well away from room walls, but other posi-tions gave similar results. As the responsecurves suggest, the CT -2000 has a bright,vivid sound. However, it is very smoothand completely free of harshness. Theeffect is more one of forwardness-asthough you were sitting up close to themusicians-than of a tilt in the spectral bal-ance. This can lend an enhanced sense ofimmediacy, especially to good, clean jazzrecordings, but is rather fatiguing on mate-rial with any distortion or built-in trebleemphasis. Female voices are rendered par-ticularly well, and there is no lack of bass

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NEWTECHNOLOGIES

THE LINKHOW TO GET WIDE -RANGE SOUND FROM YOUR TV OR VCR BY PETER W. MITCHELL

FROM ANTENNA OR CABLE

Getting Started

Although the fidelity of a

conventional (non-Hi-Fi) VCR's

tape playback may be low, the

quality of the audio line output

from its TV tuner can be

remarkably good. So even if

you're starting out from the

bottom, with an old television

set and a budget VCR, the

simple hookup shown here can

provide wide -range TV

sound-and facilitate taping it

on audio cassette.

RF (ANTENNA) INPUT

MONOVIDEOCASSETTERECORDER

AUDIO LINE OUTPUT

Y -CONNECTOR

AUX TAPE

TELEVISIONSET

CASSETTE

DECK

STEREO

AMPLIFIER

IF YOU'VE RESISTED connecting your video and audio gear together, I have some advice for you: Try it,

you'll like it. Laserdiscs. Iii-Fi videocassettes, and network television broadcasts are remarkable

experiences when reproduced properly. Trouble is, even relatively sophisticated audiophiles can run

aground when confronted with the task of integrating two media that have heretofore occupied dis-

tinctly separate worlds. Before tackling the fine points of what's involved in making a successful

NOVEMBER 1984 37

THE LINK

Advanced Systems

This is one way of connecting

a moderately complex audio -

video system so that a Hi-Fi

VCR can be used both for

television-recording from its

built-in tuner/timer-and as a

high -quality audio -only

recorder. (Some VCRs

automatically disengage their

internal tuners when cables

are plugged into their line -

level input jacks, so it may be

necessary to unplug the audio

input cables to permit off -the -

air taping.) The system

includes a separate TV tuner

to allow viewing of one

program while another is

being recorded from the VCR's

tuner.

AUDIO IN OUT VIDEO OUT

HI-FIVIDEOCASSETTERECORDER

DETAILER/ENHANCER

;4101400----

marriage between two suchvery different personalities, 'TAPE 1 0

should point out that even basic(i.e., mono) TV sound hasundergone some dramatic im-provements-changes thatmost of you have been unawareof simply because the three-inch speaker in your TV setcan't communicate the differ-ence between a cannon blastand a cap -gun crack withouthelp from the visuals.

It's true that TV soundused to be afflicted with limitedbandwidth and high levels ofdistortion and noise. But in1978 the old method of distrib-uting network programs fromNew York to local stations,using a microwave relay for thevideo but telephone lines for thesound, was replaced by a new"diplexing" system. This an-ticipated the conversion tostereo by allowing two channelsof wide -range, low -distortionaudio to be combined with the

Peter W. Mitchell, a frequentcontributor to these pages, hasbeen listening to TV soundthrough wide -range audio sys-tems for 15 years.

AUDIOCASSETTE

DECK

UT IN

TAPE 2 OUT IN

\kiksm.

AMPLIFIER- -

").

video for microwave or satellitedistribution. At the same time,program producers and localstation engineers started payingattention to audio quality: Thewhistles, hum, and harsh clip-ping, which had been annoy-ingly endemic in TV sound,gradually disappeared.

So during its last few pre -stereo years, TV audio hasbecome a high fidelity mediumcapable of providing clean,wide -range sound. And this,arguably, is a more importantdevelopment than the imminentaddition of stereo. To appreci-ate why, recall how dramatical-

STEREO

ly movie theater sound wasimproved in the past decade bythe widespread adoption of theDolby Stereo process. Its sig-nificant innovation, however,was not stereo or surround -sound, both of which had beenavailable in first -run movies for30 years. (In Dolby Stereofilms, most of the dialogue andall of the low bass are stillmonophonic; only the musicand special -effects sounds arein stereo.) The great impact ofDolby Stereo was due mainly toits noise reduction (accommo-dating a greater dynamic range)and to the included one -third -octave equalization of each the-ater's sound system. The EQflattens and extends the sys-

38 HIGH FIDELITY

AUDIO OUT

TELEVISIONTUNER

VIDEO OUT

AUDIO

UDIO IN

OUT

VIDEO OUT

VIDEO IN

dr,

VIDEODISCPLAYER

LINE -LEVEL

VIDEOSWITCHER

VIDEOMONITOR

tent's frequency response by anoctave or two at each end, pro-viding powerful bass and crisphighs.

In a similar vein, the bene-fits of an audio -video match -up

will have more to do with thebasic sound quality of all pro-grams than with the spatial per-spective of the few that are instereo. Much atmospheric de-tail and musical scoring inmono -only programming goesunheard through typical TVspeakers. Even late -night re-runs of ten -year -old Columboepisodes gain in entertainmentvalue when heard through awide -range audio system.

This, in a nutshell, is whyit makes good sense to combine

video and audio components.The impact of a wide -range vid-eo soundtrack heightens dra-matic tension, tends to keepyour attention focused on thescreen, and makes the programa more involving and satisfyingexperience-even without two -channel reproduction. So don'tlet any slowness on the part ofbroadcasters in implementingstereo TV stop you.

Component Video

The methods for connect-ing your equipment together,and the consequent limitationson your flexibility in using thesystem, will depend mainly onwhat sort of video gear youhave. So let's begin with thefundamentals.

A conventional all -in -oneTV set can be separated intothree sections: a tuner, whichselects the desired broadcastchannel, amplifies it, and thendemodulates it to extract theaudio and video signals; a videomonitor, consisting of a picturetube, display circuitry, and con-trols; and an audio section, usu-ally containing a 2 -watt ampli-fier and a small speaker. Theminimum goal is to replace thepuny audio system with a largeramplifier and a full -range loud-speaker. Naturally, most video-philes will want to upgrade fur-ther to obtain improved picturequality and greater operatingflexibility.

ILLUSTRATED RADIO

The main limitation of thebasic one-piece TV set is thatsignals can enter only throughits antenna terminals. For thisreason, every VCR and video-disc player contains an RF (ra-dio frequency) modulator, gen-erating a mock broadcast sig-nal, usually on Channel 3 or 4,which is fed to the antenna ter-minals. If the same sort of thingwere done in hi-fi, every turnta-ble would have an FM modula-tor, and when you wanted toplay records you would tune inthe turntable at an unused fre-quency on the FM band. Ofcourse, this is not the case:Every stereo receiver has directinputs for audio signals, by-passing the tuner.

Not surprisingly, qualitycan suffer in the process ofmodulating the audio or videosignal up to RF and thendemodulating it back down inthe TV tuner. The resulting pic-ture flaws may not be noticedon a 12 -inch set, but the largerand better the video monitor,the more significant they be-come.

If you have more than onedevice feeding RF signals to theTV (such as a VCR, a videodiscplayer, a computer or videogame, and the antenna orcable), you'll need an RF selec-tor switch to choose the desiredsource for viewing. Unfortu-nately, the high frequencies in-volved (Channel 3 is at 60MHz, for example) make it dif-

When you patch TV audio into your component stereo system, one of the first benefits is the ease with which TV soLndtracks can be recordedon audio (not

video) cassettes. This approach-taping audio instead of video-may be especially helpful to those VCR owner! who find that they are recording more

programs than they have time to watch. Indeed, in many cases, listening to TV shows (on the car stereo or with a personal -portable tape player) can be just

as enjoyable as watching them. If this seems unlikely, think about the nature of television: Most programming is just illustrated radio. Although much of the

cost of TV production is devoted to the video, most of the show's information is conveyed by the lowly audio track Often, the picture is merely a means of

holding your attention while the real program content is fed to your ears.

If you're still doubtful, try a simple experiment: Cover the TV screen and listen to an assortment of programs. Some comedies and action series depend

on visual references, but the bulk of TV programming-news, talk shows, soap operas, documentaries, and most dramas-may work quite well as radio.

For comparison, turn the sound off and try to watch TV: Without narration and dialogue, most shows are incomprehensible.

N U 39

Surround -SoundOn a Budget

Ralph Hodges, in our

November 1983 issue: "A

dedicated Dolby Stereo

decoder is not essential for

demonstrating to yourself that

there is surround -sound

information on many stereo

video films. If you have a four -

channel matrix processor (SQ

or QS) left over from the '70s,

AMPLIFIER

try it as a decoder. The sound

may not be exactly right, but it

will be close enough to make

you sorry that you never tried

it before.

"If you don't have an old

quad decoder but can scare

up a second pair of

loudspeakers, a simple

homemade Hafler dematrixing

circuit-consisting of a length

of lamp cord and a

potentiometer to control the

level of the rear speakers-

will put you in business. Total

parts cost is well under S5.

The diagram shows you how

to wire everything together.

Note that you do not need an

extra amplifier for the rear

speakers: The out -of -phase

surround information and the

power necessary to drive the

back speakers are obtained

by tapping the amplifier's

positive speaker outputs and

wiring the rear speakers'

ground terminals together."

STEREO

SPEAKERS

ficult to avoid interferencecaused by crosstalk within theswitch. For good results, theswitch should have a rated iso-lation of at least 60 dB betweeninputs-but the techniquesused to achieve such isolationusually result in a loss of severaldB in signal strength (whichmay cause some pictures tobecome annoyingly grainy orsnowy). Moreover, it is diffi-cult for these switches to main-tain the constant impedance thatis required-either 75 or 300ohms for coaxial or twinleadwiring, respectively. Mis-matched impedances tend toproduce color smearing andghosts (closely spaced to theright of the image) as signalsbounce back and forth along thelength of the RF cable.

So, if you want clean vid-

PROJECTIONTV

POTENTIOMETER(5-WATT/25-OHM RATING)

eo to go with your audio, it

would be better to avoid inter-posing any switches, splitters,or other devices in the RF signalpath. Connect the antenna orcable lead to the tuner's RF ter-minals, and feed demodulatedvideo signals directly to themonitor and audio signals to theaudio amplifier. Any sourceswitching must therefore bedone at "line level" in the sameway that switches in a stereoreceiver select among phono,tape, aux, and tuner.

Still, if you are not readyto replace your old TV set, youmay have to continue using RF:onnections. For best results,keep the signal path simple.Where possible, use 75 -ohmcoaxial cable rather than 300 -ohm twinlead. Make secureconnections and avoid sharp

SURROUND -SOUND{AMBIENCE)SPEAKERS

LISTENINGAREA

bends or kinks in the cable.Within a couple of years,

however, the traditional RF-only TV set will be obsolete-replaced by a hybrid in whichthe video tuner and monitor arefunctionally separate buthoused together in one cabinet.At first glance, such a monitor/receiver looks like an ordinaryone-piece TV set, but closerinspection reveals the importantinclusion of one or more directaudio -video inputs and the cor-responding line -level input se-lector switches. This kind of setprovides, at least in principle,the same potential flexibilityand signal quality as separatevideo components. But moni-tor/receivers span a broad rangeof performance levels: Al-though some actually consist oftop-flight separates packaged in

40 HIGH FIDELITY

THE LINKone cabinet for economy, someothers contain the same circuit-ry used in standard TV sets, andmost fall somewhere in be-tween.

The ideal approach, wherecost permits, is to split the TVtuner and video monitor intophysically separate compo-nents. As in audio, this ap-proach enables you to upgradean individual segment of thesystem to obtain the latest tech-nology and highest perfor-mance. And it is usually truethat new developments in cir-cuitry appear first in sepa-rates.

Individual components of-fer convenience as well. TheTV tuner and other programsources (VCR, videodisc play-er, etc.) can be housed withyour audio gear on shelves or ina cabinet-perhaps withinarm's reach of your favoritechair-keeping the intercon-necting cables short and neat,while the monitor can be nes-tled between the stereo speakersacross the room. Most TV tun-ers have auxiliary inputs toaccept line -level audio and vid-eo signals from tape and disc,so that the tuner can serve as amaster video -control center.With such a device, you needonly one video output cable tocarry the selected picture signalto the monitor and just one setof audio cables to pipe all vid-eo -related sound to an auxiliaryinput of your stereo amp.

With a simpler TV tuner,you may need a separate audio -video switchbox to handle theselection, routing, and dubbingof line -level audio and videosignals. And, as in audio, onceyou have access to line -levelvideo signals you can insertprocessing equipment in thesignal path to improve the finalresult.

For general-purpose use,video signal processors accom-plish four basic tasks. A detailenhancer is a video equalizerthat boosts and shapes the highfrequencies to sharpen the pic-ture. (A composite video signalspans a frequency range of 60

Hz to 4.2 MHz, with the highestfrequencies corresponding tofine details in the picture.) Astabilizer restores the 60 -Hzsync pulse to prevent picturerolling when you're viewingtapes that have been Copy -guarded to prevent unautho-rized duplication. A proc (pro-cessing) amp gives you flexiblechairside control over the pic-ture's brightness and colorcharacteristics. And with an RFmodulator, you can put theselected and processed signalonto Channel 3 for distributionto a one-piece TV set anywherein the house, so that the picturefrom the VCR or videodiscplayer can be viewed in the bed-room or kitchen, too.

Equipment technology isevolving so rapidly that design-ers are having to play catch-upto keep pace with video compo-nent applications. For instance,signal -routing selectors let youselect among several programsources and send the chosenvideo signal to a VCR for tapingor to a monitor for viewingwhile routing the audio to a ste-reo amplifier. But with theadvent of Hi-Fi VCRs, whichmay be used for both videotap-ing and high-performance au-dio -only recording, additionalinput switching is needed at theVCR so that it can record eitherfrom a video program source orfrom your stereo system's tape -out jacks.

Putting N Together

For many people, the mostdifficult challenge in the mar-riage of video and audio is notelectronic but tactical: Wheredoes the equipment go? Thecustomary assumption is thatyou will simply move the TVset or video monitor to a loca-tion midway between yourpresent stereo speakers, rear-range the furniture accordingly,and route all video -related au-dio to your stereo amplifier'sauxiliary input.

That plan may fall apartquickly if you have already con-nected a Compact Disc player

to your amplifier, for few ampsand receivers today haveenough line -level inputs to ac-commodate all the new sources.Indeed, your first accessorypurchase may well be a line -level switchbox or patchbay.

If your speakers are cur-rently straddling a fireplace,picture window, or cabinet,making it impractical to placethe TV screen between them,are you willing to move them(to a sonically inferior location,perhaps) for the sake of the vid-eo? The more serious questionis whether you even want a TVset in the same room as yourprimary music -listening sys-tem. The uses of video are con-tinually expanding (teletext in-formation services may benext), and eventually they mayleave little or no time for purelyaudio enjoyment.

If you live alone, suchscheduling conflicts are yourown to deal with, and it makessense to have everything in oneroom so that your video soundcan have the full benefit of theeffort and money you haveinvested in setting up a fine ste-reo system. But in householdswith two or more people, theideal approach may be to keepthe audio -dominated and video -dominated functions separate,reserving a room for each.However, this involves not onlythe costly redundancy of twostereo systems but also the dif-ficulty of acoustically isolatingthem.

Your true priorities maycome to light when you allocatethe equipment. Which systemgets the more powerful amplifi-er, the larger speakers, the sub -woofer, the four -speaker sur-round -sound array? Some an-swers are easy. For instance,regardless of the theoretical sig-nal-to-noise ratio of a Hi-FiVCR or the BTSC (Zenith/DBX) system for stereo TV, novideo soundtrack is likely tohave the dynamic range of aCompact Disc. Therefore, a

medium -power amplifier usual-ly will suffice for TV sound. Onthe other hand, the growing

practice of using small speakersfor TV, with little bass below100 HZ, is shortsighted. TVaudio and film soundtracksoften contain lots of deep bass.In fact, my subwoofer getsmuch more daily exercise fromTV sound than from recordsand CDs.

Surround -sound has obvi-ous appeal in a home video the-ater, since encoded spatial in-formation is already present inthe video versions of Dolby Ste-reo films, waiting to be ex-tracted and used. This is a fer-tile field for experimentation.The optimum placement of theloudspeakers, for example, de-pends not only on the shape ofyour room but also on theequipment you use for extrac-ting the surround signal. Thepossibilities range from a pas-sive Hafler/Dynaquad setup(with rear speakers bridged be-tween the main left and right"hot" speaker terminals, as

shown in the illustration),through a revived mid -1970squadriphonic decoder, to Fos -gate and SSI products sold forthis purpose [see test reports,November 1983 and August1984, respectively].

Back in the '50s, there wasa serious proposal that the twochannels of stereo be used toreproduce a different sort ofsonic perspective from what weare accustomed to now with theaccepted left -right system. Onespeaker was to be placed infront of the listener for thedirect sound and the other inback for spatial ambience. Theidea didn't get far, but I amreminded of it when I use atime -delay ambience -synthesissystem with monophonic TVsound. Though the system isnot appropriate for all programmaterial, the result has been sogood sometimes that stereoseemed quite unnecessary. De-lay systems have met with onlylimited success among audio-philes, but as the technologycomes down in price, the homevideo theater may be just theplace for a revival of the con-cept.

NOVEMBER 1984 41

THE LINK

IMAGING: A QUESTION OF ANGLE

The idea of the home video the-ater makes obvious sense whenthe video monitor is a big -screen projection set, but howdo you make the concept workwith a normal -size screen? Howcan you resolve the sensoryconflict that occurs when theears hear a stereo image 8 feetwide while the eyes see a 19 -inch image? Conversely, if youhang small, magneticallyshielded speakers on the sidesof the TV screen, how can youget any stereo spread?

The sensible approach is toconsider angular spread, notlinear width. For good stereo,speakers are usually set up tosubtend a total angle of about 45degrees, as seen from the listen-er's position. (The normalrange is from 30 to 60 degrees,with 45 degrees a typical val-ue.)

The angular width of a TVpicture depends on your view-ing distance. The optimum dis-tance is obtained by matchingthe visual acuity of the normalhuman eye (three minutes ofarc) with the limited resolutionof NTSC-standard video (about330 lines)-that is, by deter-mining the furthest point fromthe screen at which your eye canresolve the finest details that theset is capable of displaying.There is a simple formula forthis: Optimum viewing distanceis equal to the nominal (diago-nal) picture size multiplied by a

number between three andfour.

Thus, the preferred view-ing distance for a 19 -inchscreen is between 57 and 76inches. If you watch from far-ther away than 61/2 feet, youcan't see all of the fine detail inthe picture; if you sit much clos-er than 41/2 feet, you begin tosee blurry contours and the tri-color phosphor dots or stripes inthe screen itself. If your speak-ers are 8 feet apart, you proba-bly are sitting 10 or 12 feetaway from them, which is toogreat a viewing distance for a19 -inch screen. The screenshould be moved forward, clos-er to your chair, which willincrease its apparent angularwidth, reducing the disparitybetween the visual and sonicimages (as shown).

A bit of trigonometryshows that at the optimumviewing distance, the apparentangular width of any TV screenis about 15 degrees (even withbig -screen projection sets). Butas noted earlier, the normalangular spread for stereo speak-ers is from 30 to 60 degrees. Ifyou have a wide -stage stereosetup with an angle of 45 to 60degrees between your speakers,the disparity between visual andsonic image width may indeedprove bothersome. But a stereospread of 30 degrees, whichmany listeners find adequate formusic, is a compromise that

8 FT

15

trI

45'

works quite well for video. IfTV audio engineers follow theexample of their Hollywoodcounterparts, music will occupythe full width of the stereostage, but dialogue will be keptnear the middle-well withinthe TV image area. If the engi-neers fall into the trap of pro-ducing ping-pong sound withdialogue leaping back and forthbetween extreme left and right,the result will be objectionablewith almost any speaker spac-ing.

By the way, the magneticfield of a speaker can distort thecolor in a video monitor, butyou needn't worry about itunless you want to put thespeakers right next to thescreen. A spacing of 2 feetbetween the near edge of thespeaker cabinet and the TVscreen is completely safe, and Ifoot is usually satisfactory. iw

10 FT.

OPTIMUMVIEWING DISTANCE

61/2 FT.

Matching Images

With an 8 -foot speaker

spacing and a 10 -foot

listening distance, a 19 -inch

screen may seem tiny. Moving

the monitor closer, to the

optimum viewing distance,

reduces the disparity between

visual and sonic images. The

"ghost" speakers in the

diagram show where you

might place special video

speakers for a more

convenient match between

sight and sound.

42 HIGH FIDELITY

ADVERTISEMENT

Consumer Information Series -"

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

by J. Robert O'Connell

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

able and the consistent sound qual-ity, play after play. Both of thesetopics are important. But what alsomust be considered, and is all toooften ignored, is the impact of thisnew format on your present audiosystem.

Look at the three horizontal linesat the bottom of the accompanyinggraph. The top of the three repre-sents the noise floor (minimumnoise level) of a conventional LP.The middle one represents theambient noise floor of a typical room.The bottom line of the three repre-sents the noise floor of a compactdisc. It's evident that, for the firsttime, the noise content of a recording (thedisc) is lower than that of the room itself. Sowith a compact disc, the recording doesn'tlimit the softest sounds you can hear, theambient room noise does.

Now look at the two curves on the top ofthe graph. The red curve shows a signalplayed from a compact disc. The blackcurve shows the same signal played from aconventional LP. Note that the peak outputfrom the disc is substantially greater thanthat available from the LP.

In a real -life situation, the differencebetween the noise floor and the peak out-put of a recording is the audible dynamicrange in a listening room. In the case of theconventional recording, it's the differencebetween the black curve and the noisefloor of the record. In the case of the corn -

Recording Engineer

pact disc, it's the difference between thered curve and the noise floor of the room.So obviously, compact discs can offer moreavailable dynamic range.

This increased dynamic range anddecreased noise floor places new

speaker must also have high power han-dling capability. There's no sense feeding ahigher level signal to a speaker if the resultwill be 'blown" tweeters rather than a moreenjoyable experience. Finally, and per-haps most importantly, the speaker must

be able to create the lifelike impact

120

110

100

90

80

70

60

50

40

30

20

10

DYNAMIC RANGE COMPARISONBETWEEN A COMPACT DISC AND AN LP

N

100

COMPACT DISCCONVENTIONAL

Of f

200 300 400 500 600 700 800(time, in msec) - - NOISE FLOOR OF CONVENTIONAL RECORDING

AMBIENT NOISE FLOOR OF A TYPICAL ROOM

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

demands on your audio system. Remem-ber that each 3 dB of additional dynamicrange requires double the amplifier powerto reproduce it. So, compared with conven-tional recordings, compact discs requirehigher amplifier power. But amplifier poweris only one of the criteria which determinesthe quality of compact disc soundreproduction.

Extended dynamic range also placespreviously unheard of demands on yourspeakers. And, after all, speakers, morethan any other component, determine thequality of sound you actually hear from acompact disc. The higher the speaker'ssensitivity, for example, the less the neces-sary amplifier power to reproduce thepeaks in source material captured by adisc. But consider more than just sensitiv-ity. To reproduce the incredible dynamicrange available from compact discs, a

and flawless clarity captured by thedisc.

At Bose® we've invested 20 yearsdeveloping Direct/Reflecting®speaker systems to deliver spa-cious, lifelike sound. We've alsodesigned them to meet thedemands of lifelike recordings, suchas the compact disc (our 901®Series V system, for example, israted for unlimited power handling).But the only way to evaluate ourspeakers, or anyone else's, is to lis-ten to them. For help in propertyevaluating speakers, we refer you to

article #2 in this series, "Why didn't theysound like that in the showroom?" by JohnCarter, Chief Engineer.

For reprints of article #2, as well as moreinformation on Bose products and a list ofBose authorized dealers, please write:Bose Corporation, Dept. HF, 10 SpeenStreet. Framingham, MA 01701. 0

ADVERTISEMENT

Now that wide -scale stereoTV broadcasting is imminent(or a reality if you live in Chi-cago, Seattle, Minneapolis, orBoston-see "Currents," page10), how do you upgrade yoursystem to receive it? If your TVset, TV tuner, or VCR has anMPX (multiplex) jack, then allyou'll need is an outboard MTS(multichannel TV sound) adapt-er.

Zenith, a codeveloper withDBX of the BTSC stereo broad-casting technique, is offeringthe CV -524 decoder ($180).When it is used with a ZenithTV set or VCR equipped withthe company's proprietary Rea -di -Plug MPX system, installa-tion is a quick, simple do -it -

General Electric (Mail Drop#20, Portsmouth, Va.23705).

The Technics SH-4090 de-coder (approximately $180) isbeing marketed as a comple-ment to the company's audio -video receivers (the SA -550,SA -450, and SA -350, eachequipped with a VHF -band TVaudio tuner), but Technics saysit is compatible with any VCR,TV tuner, or TV set that has anMPX output. The device,which will decode SAP sound-tracks, has no built-in amplifi-er. For more information, writeto Technics (1 Panasonic Way,Secaucus, N.J. 07094).

Sony's MLV-1100 decod-er ($200) is unabashedly gener-

Rhoades, a company official,maintains that "proprietary cir-cuitry" in the device does justthat. Caveat emptor. Examin-ing a photo of the device, wecould see no SAP switch, sobilingual reception probably isnot included. For more infor-mation, write to Rhoades Na-tional (P.O. Box 1052, Colum-bia, Tenn. 38401).

Peed. 11 Up

Though TV broadcasters cancite chapter and verse on whythey use so much compressionand limiting, the net result fordiscriminating listeners is flat,dull sound. DBX lets you undosome of the damage with a TV -

component setup means lots ofboxes and a snake pit of inter-connect cables. Sansui's AV -77audio -video processor ($350)addresses the problem by com-bining a host of functions onone chassis. The unit has directvideo and stereo -audio connec-tions for a TV tuner, a videodiscplayer, a video camera (includ-ing microphone), an audio tapedeck, and two VCRs. Front -panel switching makes it possi-ble to route any input to a VCRfor taping or to dub from oneVCR to another. Also includedare DBX noise reduction fortaping stereo soundtracks, a de -hisser for cleaning up non-Hi-FiVCR sound, and a stereo syn-thesizer circuit. A contingent ofTHE NIF TY NINE

PLUG INTO THE NEW WORLD OF STEREO TV SOUND. BY FRANK LOVECEyourself job. The adapter has aset of fixed -level outputs forrouting the stereo audio throughan outboard amplifier, but atiny built-in stereo amp (2 wattsper channel) and variable -leveloutputs enable you to drive apair of speakers directly. Theunit will also decode a BTSCbroadcast's second audio pro-gram (SAP) for reception ofbilingual soundtracks. For moreinformation, write to Zenith(1000 Milwaukee Ave., Glen-view, III. 60025).

General Electric takes adifferent tack with its SBA -800adapter. This one lacks usercontrols, switching, and ampli-fication; in fact, you can use itonly with GE television sets andmonitor/receivers that haveMPX jacks and front -panelstereo/mono and SAP controls.The unit clings to the back ofthe TV set by Velcro strips. Asis customary for GE, there is nosuggested retail price, butyou'll probably see the SBA -800 in the stores for about $100.For more information, write to

Frank Lovece is a free-lancewriter specializing in video.

ic. Though styled to resemblethe rest of the company's Pro -feel line of video components,it has standard phono plugs, andhookup to video tuners and TVsets (with an MPX jack) is easy.A built-in 5 -watt stereo ampwith bass, treble, and balancecontrols makes the unit fairlyflexible should you decide todrive a pair of speakers from it.(The other option is to use itsfixed -level outputs and a larger,outboard amplifier.) An SAPswitch enables you to tune inbilingual broadcasts. For moreinformation, write to Sony(Sony Dr., Park Ridge, N.J.07656).

And now for somethingcompletely different-theRhoades TE-800. A combina-tion stereo/mono audio switcher(three in, one out), BTSC stereodecoder, and stereo synthesiz-er, it seems a good value at$200. Our only reservation isthat we don't quite buy the man-ufacturer's claim that it willdecode stereo from either MPXor mono audio inputs. A monosignal simply does not containthe information needed to de-rive true stereo. But David

sound peak unlimiter, the SX-20 ($150). The device's effectis said to be most apparent onloud transients, where its 12 dBof adjustable impact restorationcan jolt you right out of yourseat. The SX-20 accepts theaudio output of a VCR or TVtuner (stereo or mono) andfeeds the processed signal to anoutboard amplifier.

Another DBX device ad-dresses compression rather thanpeak -limiting. The SX-10($150) can increase dynamicrange by as much as 18 dB-giving loud sounds an extra 6dB of oomph and decreasingsoft ones by 12 dB. The neteffect of such expansion, whenused with moderation, is in-creased naturalness. And withnoisy reception, you'll find thata bit of downward expansionserves as a useful and unobtru-sive noise suppressor. For moreinformation, write to DBX,Inc. (P.O. Box 1000, Newton,Mass. 02195).

Video "Nom* Coehle

The current trend is to audio -video separates, but a complete

video "art" controls enablesyou to blend colors, enhancepicture sharpness and detail,and do vertical and horizontalwipes. For more information,write to Sansui (1250 ValleyBrook Ave., Lyndhurst, N.J.07071).

Plicer-Upper

Radio Shack's Archer VideoSound Processor is a littlegem-and at $80, a bargain toboot. Hook it up to your stereoreceiver's tape -monitor jacks (itgives you a duplicate set toreplace the ones it occupies),and a front -panel switch en-ables you to choose the audiosource to be processed (VCR/TV or stereo receiver). For non-Hi-Fi mono VCR sound, youmight want to activate the unit'sDNR noise reduction, whichhas an adjustable threshold sothat you can cut the hiss withouttotally obliterating the treble.Or you can switch in the stereo -synthesizer circuit and enjoy abit of ersatz two -channel repro-duction. The Video Sound Pro-cessor is available at localRadio Shack dealers. IQ

44 HIGH FIDELITY

fn ys

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t9'02'

,.-%. 1...0 c,0

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g? i /-. ,,4,;,

co

NOVEMBER 1984 45

VIDEOEQUIPMENTREPOR TS

PIONEER SD -25 MONITORAND SD -X5 TV TUNERSpecial features: wireless remote control, audio -video switcher with stereo audioinputs, built-in stereo loudspeakers, surround -channel audio outputs, and slots fora TV tuner and one other input module. Dimensions: 25 by 22 inches (front), 20inches deep plus clearance for connections; screen, 25 inches (diagonal). Price: SD -25, $1,200; SD -X5, $150. Warranty: "limited," two years parts and labor on picturetube, one year on all other components. Manufacturer: Pioneer Electronic Corp.,Japan; U.S. distributor: Pioneer Video, Inc., 200 W. Grand Ave., Montvale, N.J.

THE PIONEER SD -25 is one ofthe most versatile (and expensive)25 -inch monitors we've examined.

Besides functioning as a high-performance video display, it serves asa switcher with direct inputs for avideodisc player and two other audio -

46

video sources (VCRs, TV tuners, andthe like). And in addition to line -levelaudio outputs (for feeding an externalpreamp, amp, or receiver), the SD -25has a built-in 10-dBW (10 -watt) stereopower amp and a pair of tilt -outspeakers, permitting almost completely

HIGH FIDELIT

11111111111111111111111 111111[111111111[111 111111111111111111111111111

N E W TECHNOLOGIESself-contained operation.

To convert the SD -25 to a full-fledged television receiver, you needonly purchase the SD -X5 TV tunerpack, which slips into a dedicated slotat the far right of the SD -25's maincontrol panel (behind a flip -downdoor). Another slot, just to the left ofthe one for the tuner, accommodateseither of two $70 auxiliary packs. TheSD -R5 module provides an RGB inputthat you can hook to the video outputsof some personal computers, for high -resolution color graphics, or perhapseventually to a DBS (direct broadcastfrom satellite) receiver, for enhancedcolor television reception. The SD -K5Karaoke module contains a reverb ampand microphone hookup so that youcan sing along with music -videoprograms on special PioneerLaserdiscs. Virtually unknown in theWest, this novel form of entertainmentis all the rage in Japan, and Pioneer isnot alone in trying to introduce it here.

For review purposes, we equippedthe SD -25 with its matching SD -X5tuner module and treated it as amonitor/receiver. Although thisconfiguration will not decode stereoTV broadcasts, it does provide a set ofback -panel jacks for connecting anexternal multiplex adapter. Unlike mostother component TV tuners, the SD -X5is not "cable ready." Out of the box,it is set to receive VHF Channels 2through 13, but you can use the front -panel pushbuttons to reprogram thememory for your choice of 12 UHFand VHF channels. The remote has up/down buttons that enable you to scanthrough the programmed stationssequentially in either direction, or youcan simply punch up the one you wantdirectly on a keypad. The buttons arelabelled A through L, but Pioneerprovides a set of tiny stick -on numeralsthat you can affix to aid your memory.Whenever you change stations, the newchannel number appears on the screenmomentarily.

You can choose your viewingsource via a front -panel button thatsteps through the TV, Videodisc,Video I, and Video 2 inputs, or viafour discrete pushbuttons on theremote. The name of the source you'veselected appears on the screen, alongwith the channel number if you'vechosen TV. Volume can also be locallyor remotely adjusted via up/downbuttons. In either case, the legend VOLappears on the screen along with a bar -

NOVEMBER 1984

graph display that suggests relativelevel. Pressing the remote's MUTEchanges the color of the volumedisplay from blue to red and kills thesound. Another press restores the audioand cancels the display.

Sharpness, color saturation, hue,contrast, and brightness all areremotely adjustable via a PICTUREbutton and an up/down bar. Each presson PICTURE advances one step throughthe function sequence. You know whatyou're adjusting by the legends and bargraphs that appear on the screen. Theseare accompanied by nomenclature thatsuggests which side of the bar to pressfor a desired effect. For example, inthe tint mode, "down" makes thepicture more purple, "up" more green.You can always return to the factorysettings by selecting the appropriatefunctions and pressing the remote'sSTD button.

The first press on the remote'ssleep -timer button establishes a 60 -minute countdown to automatic turnoff.Pressing SLEEP twice in succession setsup a 30 -minute countdown, and a thirdpress cancels the sleep timer. At anytime, you can check the current input,channel, and time remaining on thesleep timer by pressing the remote'sdisplay button.

VHF and UHF inputs are via 75 -ohm coaxial F connectors on the sideof the SD -25, beneath a small plasticcover. Direct audio and videoconnections are via standard pin jackson the back panel, with the Video I setduplicated on the front forconvenience. The front -panel jackshave priority over the rear ones, so youcan leave whatever you have hookedup in back and temporarily connect asecond VCR to the front. Similarly,inserting a plug in the front -panelheadphone jack switches the soundfrom the speakers to the headset. A setof back -panel tape output jacks (videoand stereo audio) permit recordingfrom any source except Video 2.

In addition to the tape jacks and apair of fixed -level audio outputs, thereare four surround -sound outputs (frontand back pairs) and a mono output.The SD -25's VOLUME does control thelevels at the surround outputs, so ifyou wish, you can use its internalspeakers (or amplifier terminals) for thefront pair of a four -channel system andyour regular stereo amplifier andspeakers for the back.

The internal speakers are at the

SD -25 VIDEO MONITORAll measurements made through the direct video inputs.

HORIZONTAL RESOLUTION

INTERLACE

OVERSCAN

>300 lines

perfect

-8%

CENTERING

horizontalvertical

BLOOMING

left -2%down --OVA

negligible

THE SD -25's wireless remote control

47

NEW TECHNOLOGIESSD -X5 TV TUNER MODULEAll dleasurenlunl,, were lake, at ne dar,I audai and videooutputs The tuner blanked on sustained test signals at 100percent modulation, so 50 percent modulation was usedinstead Results may therefore not be directly comparable withthose reported for other tuners

AUDIO FREQUENCY RESPONSE

090

HZ 20 50 200 500 1K 21( 5K 10K 20K

+3/4 -3 dB, 30 Hz to 13 kHz

AUDIO S/N RATIO (A -weighted)

100

best case (no video Biondi 57 dB

wont case (multiburst 421/4 dB

RESIDUAL HORIZONTAL SCAN COMPONENT (15.7 kHz).43 dB

MAXIMUM AUDIO OUTPUT 0 405 volt

AUDIO OUTPUT IMPEDANCE 4,670 ohms

VIDEO FREQUENCY RESPONSE

at 500 kHz

et 13 MHzet 2.0 MHzit 3.0 MHzat 3.50 MHzet 42 MHz

48

+ Vz dB

+Vo d8

flat

-Vo dB

-No dB-17 d8

sides of the cabinet, near the neck ofthe CRT, and fire to the left and right.You can pivot them to direct the soundsomewhat more towards the frontwithout increasing the monitor's overallwidth. Although they sound better thanaverage for built-ins, they're no matchfor a good pair of separate high fidelityloudspeakers. A back -panel slideswitch disconnects them and directs theoutput from the internal amplifier to a

"standard" SHARPNESS setting. Thecontrol's effect is greatest at the highvideo frequencies (3 to 3.58 MHz), butsome influence is apparent as far downas 2 MHz. It has enough range tosoften the snow in a noisy picture or toincrease the detail of a quiet one.

Gray -scale linearity is excellentwith the factory settings, but blackretention is less than admirable.Cutting back a notch or two on the

CONTROLS, an extra set of audio -video inputs, a headphone jack, and two slots forspecial input modules are behind a f ip-down door just below the SD -25's screen.The right-hand slot is shown here with the SD -X5 TV tuner in place.

set of external speaker terminals. Or,for best performance, you can use oneof the sets of front -channel line outputsto drive an external amplifier.

As a monitor, the SD -25performed very well in DiversifiedScience Laboratories' standard tests-especially considering its large screenarea. Overscan is minimal on bothaxes, and the picture is well centered,especially horizontally. Geometriclinearity-often a sore point on a 25 -inch CRT-is exceptionally good, andconvergence also is better than averagefor such a large screen. There is aslight error across the top and left ofthe screen (and very slightmisconvergence over portions of thelower right quadrant), but it isunnoticeable at normal viewingdistance.

Transient response, verticalinterlace, and raster purity are allexcellent, and "blooming" isnegligible over the full contrast andbrightness range. Horizontal resolutionis better than 300 lines at the

BRIGHTNESS improves it to excellent,but at the expense of compressing darkareas to an almost uniform black. Atstandard brightness, chroma differentialgain is very low, so color saturationremains solid even in the brightestscenes. There is, however, somechroma phase shift in dark scenes,which causes a slight color shift. Wefind the factory COLOR setting a bit toointense for our taste and the TINTsetting a little too far to the orange, butthese are readily adjustable via thecontrols on the remote.

The SD -X5 tuner modulepresented some problems on the testbench. Both of the samples we checkedrefused to accept a fully modulatedmultiburst signal for long enough topermit accurate measurements. After asecond or so, the screen would goblack and the TV Channel Numberlegend would appear. The problemdisappeared at 50 -percent modulation,so DSL made its video frequencyresponse measurements at that level.Consequently, the results may not be

HIGH F I DE L I T Y

MOST PEOPLE WOULD CALL IT OVERKILL.

The new ULTRX- R100 receiverisn't for everybody.

You don't really need 100 wattsper channel* of virtually disbrtion-less power. Unless you like listen-ing to today's ultra -high qualityrecordings at "live concert" soundlevels.

And a remote -controlled digitaltuner with 20 -station memory isprobably more than enough-un-less you're a dedicated FM listenerwith wide-ranging tastes.

Likewise, most people could getalong without the built-in dbx andDNR noise reduction systerrs.Except those few who've becomespoiled by the almost eerie absence

,LILTRX AM, NI DIGITAL SVNIMS420.1 STEREO RECt.,),

of noise in CD digital recordings.With the dbx, any cassette ceckcan make virtually noise -free re-cordings, while the DNR "deansup" existing noisy signals.

Unless you're a nut about videosound quality, it3o, you won't havemuch use for tree TV/VCR inputsand stereo syntiesizer circuit.

The 8100 is packed with featuresthat are best appreciated by anaudio perfectionist. It may be thebest -equipped receiver ever built.

Get an ULTRX dealer to put anR100 (or one o'f our other new re-ceivers) through its paces for you.

Some people might call it over-kill. But you'll :311 it overwhelming.

Beyond the Ordinary.

'Minimum Continuous Average Power per channel, both channelsdriven into 8 ohms,from 20-20,000Hz, with ro more than 3.009% Total Harmonic Distortion. cbx is trademark of dbx, Inc.

© :984 ULTRX 1200 W. Artesia Blvd., Compton, CA 30220

NE W TECHNOLOGIESLUMINANCE LEVEL 11% high

GUY -SCALE NONLINEARITY (worst case) =II%

CHROMA DIFFERENTIAL GAIN -28%

CHROMA DIFFERENTIAL PHASE =±5°

CHROMA ERROR

levelred V.1 dB

magenta -1h dBblue -1/2 dB

cyan -34 dBgreen -14 dByellow -3/4 dB

pkoso+r -+5°+2.+r+5°+7°

median error -46 dB

uncorrectable error ..-1,11 dB

+4W

ROOM RESPONSE CHARACTERISTICS

1

HZ 20 SO 100 200 `,00 1K 2K

boundary -dependent region

on -axis response

off -axis (30°1 response

SENSITIVITY lit I meter; 2.0 -volt pink noise, 250 Hz tokNz)

911/2 dB SPL

directly comparable to those inprevious reviews.

With that'reservation, we canreport that video frequency response isexcellent-almost flat to the color -burst frequency (3.58 MHz), implyinga horizontal resolution of more than285 lines. Luminance level is a triflehigh, chroma level a tad low, but bothare well within reasonable bounds andcan easily be corrected. Gray -scalelinearity and chroma differential phaseare quite low, and the 28 percentchroma differential gain occurs largelyat the brightest scene level, where it isleast important. Hue (chroma phase) isoff the mark by a bit more than normalbut can be corrected quite well by

'touching up the SD -25's tint control.Audio response droops at both

frequency extremes but is otherwisequite good. Noise is low, and thehorizontal scan whistle is wellsuppressed, especially for a tuner thatdoes not use a trap to remove it. Audiooutput level is adequate, but the outputimpedance is a bit high.

One surprise is the frequencyresponse of the SD -25's built-in audioamplifier, which is far from flat at thetone controls' center settings: +41/4, -3dB from 22 Hz to 20 kHz, with the

maximum boost centered atapproximately 100 Hz. Perhaps thisanomaly is a purposeful effort toimprove the bass response of the SD -25's internal speakers, but you shouldbe aware of it if you intend to use theinternal power amp to drive otherspeakers. The BASS provides as muchas 6 dB of boost and 9 dB of cut at 50Hz relative to the "flat" setting, theTREBLE, an 8 dB boost or 101/2 dB cutat 10 kHz. A peculiar characteristic ofthese controls is that adjusting eitherone also changes the overall outputlevel.

In about ten hours of receivingreal broadcasts (rather than testsignals), the SD -X5 never "squelched"as it did on the bench. Reception was,in fact, quite good and the colorspleasing after we turned the COLOR

down a notch or two and adjusted theTINT for a somewhat cooler picturethan the factory settings provide. In ourfringe area-not served by cable-wewere not hampered by the limitednumber of channels that the set canreceive. If you're in a similar boat andlike the flexibility that the SD -25'smodular approach dowell to give this system seriousconsideration. HF

I POLK VS -19 VIDEOSOUNDSHIELDED LOUDSPEAKER

Type: compact, magnetically shielded bass -reflex speaker system, in particleboardenclosure with black or silver finish. Dimensions: 8'/2 by 17 inches (front), 11 inchesdeep. Price: $150 each. Warranty: "limited," five years parts and labor.Manufacturer: Polk Audio, Inc., 1915 Annapolis Rd., Baltimore, Md. 21230.

SK OK 20K

AVERAGE IMPEDANCE (250 Hz to 0 kHz) 9.1 ohms

52

IN THE PAST several years,television sound has improvedmarkedly, and with the advent of

stereo broadcasting, we can expecteven more enjoyment. Right now,Laserdisc players and Beta and VHSHi-Fi VCRs are capable of sonicperformance rivaling that of first-classaudio -only equipment. If you're stilllistening on the 3 -inch toy speaker inyour TV set, you're missing a lot. (See"The Link," page 37.)

Designing a good speaker for TVuse isnot as straightforward as itseems. High -quality drivers have

powerful magnets whose stray fieldscan cause color fringes or evengeometric distortion if the speakers areplaced too near the picture tube. Andthat may be exactly where you want toput them, because if they're too farfrom the screen, the audio and videoimages may conflict. There's nothingquite so annoying as watching a mouthmove and hearing the sound come fromfive feet away.

Polk's Videosound series-designed to match 12-, 19-, and 25 -inch monitors and receivers-seeks toovercome this problem. The middle

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Radio Shack's Advanced Technology Video Sound ProcessorDoes It for Only $79.95

If you're still listening to TV the old way, throughyour set's built-in speaker, you're missing a lot ofgreat audio from videos, movies and specials.And even if you've connected your TV or VCR toa stereo system, you're still getting monophonicsound that's probably very high in noise. But nowyou can get soundtrack -quality audio, along withnoise reduction and image expansion, from mostvideo equipment. With our Video Sound Proces-sor your room will come alive with full -rangeaudio excitement from video tapes, video discs,cable and over -the -air TV.

The processor takes any monophonic signal andcreates a 2 -channel simulated stereo output foryour stereo system. Plus, the VSP has a built-inDNR* Dynamic Noise Reduction system, with a"stereo expander" control that lets you adjust theapparent locations of sounds. Tape -in and tape -

out jacks also let you use -he VSP with your audiocomponents.

The Video Sound Processor. It's not just a tech-nology breakthrough, it's an incredible pricebreak through too! Come in and hear the differ-ence. Sold only at Radic. Shack. #15-1277.

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NEW TECHNOLOGIES

Laboratory data for HIGH FIDELITY's video equip-ment reports are supplied by Diversified ScienceLaboratories. Preparation is supervised by Mi-chael Riggs, Peter Dobbin, and Edward J. Foster.All reports should be construed as applying tothe specific samples tested. HIGH FIDELITY andDiversified Science Laboratories assume noresponsibility for product performance or quality

54

child in the family is a ported two-waysystem with drivers similar to thoseemployed in the company's regularline. The main difference is that theVS -19's drivers have dual magnets-one that works with the voice coil asthe diaphragm motor and a second thatis arranged to cancel as much of thefirst's external field as possible. Thewhole structure is then enclosed in ashield to further reduce flux leakage.(Without a "bucking" magnet, themain magnet might saturate the shieldand destroy its usefulness.)

We checked the effectiveness ofthe Polk approach by placing the VS -19 directly against the side of our 19 -inch monitor and flush with the front,as it most likely will be used. Therewas no picture distortion, and the slightmisconvergence that we could find(with a test pattern) affected only theouter half -inch of screen nearest thewoofer. Frankly, it was so slight thatwe doubt you could see it in a normalpicture, and when we pulled thespeakers an inch away from the CRT itdisappeared entirely.

For its standard tests, DiversifiedScience Laboratories placed the VS -I9on a 25 -inch stand to simulate theheight at which they will most often beused. Measurements were made withthe speaker's back panel flush against awall and with it pulled forward nineinches to bring its baffle flush with thefront of a I9 -inch monitor. The room -corrected third -octave response issomewhat smoother with the wallplacement (shown in our data column),but the differences are minor andunlikely to be audible.

On -axis response is within ±-41/4dB from the 50 -Hz band to beyond 20kHz, which is remarkably good for asmall system. And the output is evensmoother off axis-within ±4 dB from50 Hz to almost 16 kHz, the rangeyou're likely to realize from anexcellent broadcast. The dip in thelower midrange and the small peak thatfollows it probably were caused byinterference between the direct soundand energy reflected off the floor.Thus, their frequencies and amplitudeswill depend on where the speaker ispositioned and where you sit in relationto it.

The Polk's noteworthy far -fieldresponse can be attributed to excellentdrivers and an intelligently designedcrossover. Near -field response of thewoofer is quite smooth and extended,

remaining within ±2 dB from about 70Hz to 2 kHz. The vent's maximumoutput is from 40 to 80 Hz, but thehole is too small to provide reallyuseful radiation. Its purpose is more totune the system and load the wooferthan to extend response to the netherreaches. Above 2 kHz, the woofer cutsoff rapidly and the tweeter takes over.Its response is equally smooth and freeof resonance-within -±-11/2 dB from2.5 kHz to about 13 kHz.

Although it's not the bestapproach, you can drive the VS -19with a low -power amplifier, like thosebuilt into most monitors. The speakeris sensitive enough to deliver adequate,if not generous, output for TV viewingwith even a little 5 -watt -per -channelamp. Although the system's impedancedrops as low as 5 ohms and is less than8 ohms from 100 Hz to 900 Hz, itaverages a healthy 9 ohms over ourstandard test band, which suggests thata pair of VS -19s should be an easyload for an amplifier to drive.

At a moderate listening level (85dB sound pressure level), totalharmonic distortion (THD) is 1 percentor less-often much less-from 200Hz to 10 kHz and less than 2 percentto below 100 Hz. It essentially doublesfor every 5 -dB increase in loudness.Although the VS -I9 will not produceear -shattering levels with unmeasurablylow distortion, it acquits itself verywell for a speaker in its class, and thedistortion it does generate consistslargely of the relatively benign secondharmonic. When driven with 300 -Hzpulses, it accepted the full peak outputof DSL's test amp (equivalent to 261/2dBW, or 435 watts, into 8 ohms) for acalculated peak sound pressure level of118 dB.

Although we started off listeningto the VS -19s in our video system, wequickly moved them to our usuallistening room for a more taxingaudition. For their size and price, theycould be highly recommended asconventional stereo speakers. Bass isnot as extended or clean as in somelarger systems, and there's a slighttubbiness in the low registers of pianorecordings (although it's by no meansas severe as with many other ventedsystems we've auditioned). But theyimage well, their response is smoothand extended, and the upper midrangeand highs are admirably clean. To saythat we're impressed would' be to put itmildly. HF

HIGH I- I D E L I T Y

Kenwood Basic components.They give you all the audio

technology you need. Whetheryou're looking for full-size com-ponents, or record -jacket sizecomponents like our HD (HighDensity) series.

Both offer you pure sound andhigh power at easy -to -handle prices.

Both provide perfectlymatched components that providethe ultimate in individual perfor-mance, too.

And both give you patentedfeatures that are uniquely Kenwood.

For example, Sigma Drive, theingenious amp -to -speaker negativefeedback device that insures sonicclarity.

Or, Dynamic Linear Drive(DLD): super -efficient, dual -outputamplifier technology that producespower, purity and a dynamic rangewide enough for Kenwood's amaz-ing full and jacket -size CD players.

Look into the remarkable,digital -ready Basic components.

Whatever size you choose,you'll find everything you need forthe best possible sound.

KENWOODShaping the future of sound.

Pop and classical

music releases

on videodisc,

videocassette,

and digital

Compact Disc

POPULARCOMPACT DISC

EAGLES:

Hotel California.Bill Szymiczyk, producer. ASYLUM 103-2 (digitally mixed analog record-ing, digital Compact Disc). LP 103-Y

The Eagles' penultimate, 1977 studioalbum surprised even their detractors

with its unsparing, seldom sympatheticdepiction of the Californian "good life."Less obviously, it also summarized theachievements of West Coast pop/rock tothat date. In fact, its fans called the albuman apotheosis of the genre, an opinionclarified most pointedly in this successfulCD version.

The centerpiece, of course, is theextended title and leadoff song. BillSzymczyk's burnished production, with itscareful stereo placement and measureddynamic shifts, emerges with an evencleaner sheen here; its acoustic and electricguitars, layered vocals, and shimmeringdrums and cymbals are a testament to theclose-miked techniques of the day. Thetransfer to a digital medium has dried upthe recording's already somewhat clinicalambience, but that is a minor complaint.

The gain in stereo separation, alreadypronounced in the original analog LP andbettered by Mobile Fidelity's half -speedversion, is dramatized by the set's frequentdisplays of double lead guitar. On the moredriving tracks, enhanced stereo imagingcombined with the expected reduction insurface noise provides considerable punch.

One objection to "Hotel California"may be the meticulous attention paid to thefinished sound of it. But this subjectiveissue has to do with the original master, notsubsequent CD premastering. Because thealbum emphasized multitrack techniques(and their insistence on isolation betweenindividual tracks to permit flexibility duringmixing), the CD version sounds the least"live" of all. Fans of studio precision willhardly mind, however. -SAM SUTHERLAND

For additional reviews of Pop and Jazz recordings,see BACKBEAT.

CHARLIE HADEN: This bassist arranger is a committed player and listener.

CHARUE HADEN:The Ballad of the Fallen.

Manfred Eicher, producer. ECM 23794-2 (fully digital Compact Disc).LP: 23794-1. reviewed 2/84.

TheBallad of the Fallen"-the title

comes from a poem found on the bodyof an El Salvadoran student killed in ademonstration-is bassist Charlie Haden'ssecond record of songs connected with theSpanish Civil War and the politicalstruggles of El Salvador, Chile, andPortugal. The first, "The Liberation MusicOrchestra" (on Impulse and out of print), isan acknowledged classic of the new jazz.Orchestrated by Carla Bley for a rich -sounding big band-French horn and tubaincluded-"The Ballad of the Fallen"presents strong Spanish melodies whosebasic harmonies are relieved by passages offreeblowing solos by Haden, Don Cherry,trombonist Gary Valente, and others.

Haden has a deep, naturally lugubrioustone. He is a careful player and acommitted listener who seems to prepareeach note; it's not surprising that his onlycomposition here is Silence. This statelyversion is introduced by the trumpet ofMike Mantler over a poised brass choir that

seems to be playing on tiptoes. Elsewhere,the orchestra can have a cocky, offbeat,German beer -band sound, but mostly thesongs and arrangements are appropriately,and beautifully, mournful. (The Spanishmanage to sound resigned even in protest.)Cherry's shattering pocket trumpet solofollowing If You Want to Write Me containsthe only hint of anger on the record, but itis not monochromatic. Mick Goodrick'sacoustic guitar introduces La Pasionaria,which bursts into a quick, dancelike 6/8; LaSanta Espina has a sprightly VirgilThomson feel (compare it to the beginningof "The Mother of Us All"). The CompactDisc sounds only marginally fresher thanthe excellently recorded digital LP, but itdoes give the orchestra somewhat morepresence, and it more cleanly defines thenotes of Haden's bass. -MICHAEL ULLMAN

BRUCE SPRINGSTEEN:Born in the U.SA.

Bruce Springsteen, Jon landau, Chuck Plotkin. end Steve VanZandt, producers. COUNIKA CK 38653 (digitally mixed analog recording,digital Compact Disc). LP. CC 38653, reviewed 9/84

0 imultaneous release in all three formats11,7 must be imminent for major albums:

56 HIGH FIDELITY

I I

Luxman brings music home to Burt Bac"arach and Carole Bayer Sager

For those whose lives are musc, the -e is LuxmanUncompromising Luxman. Precise, elegant

Luxman. The Luxman of le gendar inno'ictionkand handcrafted qualty; of scund

pure, rich and real. If you value suchmusic, Luxman belongs in your I fe.

For the dealer nearest you,call 1-800-257-4631.

I

0" 0

HIGH FIDELITY SYSTEMSI.uxman/Division of7Npine Electronic; of America, 19145G, mercy PI Torrance. CA 90501

NE W TECHNOLOGIESThe Compact Disc version of BruceSpringsteen's new album appeared just amonth or so after the LP and cassette. Yetthe recording itself inherently minimizesany vivid sonic differences among the threeconfigurations.

Springsteen and his production allies,Jon Landau and Chuck Plotkin, haverefined a style that depends on deep-dishecho, splashy percussion, and impassionedvocal textures. Sonically speaking, theirperspective is the audio equivalent of a longshot, emphasizing the sweep of the E StreetBand's thundering guitar/keyboard/saxequation. Even ballads are thick withatmosphere. "Born in the U.S.A."continues this tradition with some revisions.Roy Bittan and Danny Federici have addedsynthesizers to their piano and organbackdrops, providing an orchestralcomplexity once achieved with occasionalstring arrangements.

But this album risks its formalaesthetic by varying the mixes from track totrack. There are shifts in the balancebetween vocal and band, and betweendistant echo and drier "close-ups" ofSpringsteen's voice and guitar. Clear thoughtheir vision may be, the producers of "Bornin the U.S.A." have created an odd,

chameleonlike effect.The band's Sturm and Drang, which

tends to make any added headroom to thedynamics a moot point, translates onlyslightly more vividly to CD than it did toColumbia's analog LP. Ticks and pops are,of course, absent, and there's the expectedimprovement in deep bass and imaging. Ifno unpleasant anomalies are incurred in thedigital transfer, neither are there anywelcome revelations about the music. -s.s.

ANDREAS VOLLENWEIDER:Caverna Magica

(... Under the Tree-In the Cave...).Andreas Vollenweider. producer. CBS MK 37827 (digitally mixedanalog iccoiding. aigital Compact Disci. LP FM 37827.

U ere's one release where you can judge1 the CD by its cover, which pictures anupscale version of Yoda's pad-split-level,no less. It's an appropriate setting forpixieish Swiss composer and pedal harpplayer Andreas Vollenweider's charminginstrumentals, a lacy amalgam of melodicpop and chamber music.

In its analog LP release on CBS'sgreen label, "Caverna Magica" benefittedfrom heavier pressings and the quality

control associated with the Masterworksclassical division and Mastersoundaudiophile lines. That treatment wasjustified: These gently rhythmic, sparearrangements are designed to showcase theshimmering timbres of the leader's"electracoustic modified pedal harp," alongwith various plucked guitars, synthesizedflutes, and otherworldly steel drums. Thedynamics of the music insist on nuance;they seldom rise above piano.

Though it sounds almost insufferablysaccharine on paper, "Cavema Magica" isvery nearly irresistible. It's also a terrificCompact Disc, dotted with dreamy stereopanning effects, surreal murmurs both vocaland instrumental, and, of course, the richtonal colors of the various instruments,playfully camouflaged. Because of itsreliance on low-level, ambient sounds. thesuccess of this digital transfer was by nomeans a shoo-in; yet the CD preserves theanalog version's detail and grace, exploitingthe utter absence of surface noise and tapehiss in the bargain. For listeners attracted toa singular instrumental vision, and for thosewho are partial to a little magic, thisrecording can be recommended on bothtechnical and musical merits.(Continued on page 61)

TEAC'S GOT THE GOLD

AND THE SILVER, AND THE BLACK.THE PINKS, THE GREENS, AND THE BLUES.

Now Teac's got tape to match your mood, or the mood of your music. Record Punk on Pink,Jazz on Blue, Classics on Black, Soul on Silver, Oldies on Gold, and Country on

Cow Pasture Green. Teac Sound 52. Quality, high -precision metal mini -reel cassettes.

TEAC. MADE IN JAPAN BY FANATICS.COPYRIGHT 1984. TEAC CORPORATION OF AMERICA. 7733 TELEGRAPH ROAD, MONTEBELLO, CA 90640

CHECKOUR REFERENCES.

First trust your ears. Then trust the experts. That's areliable way to judge speaker systems. Especially referencemonitors.

We make this point because of the response our studiomonitor speakers have received from recording engineers

at top studios like A&M, A&R,Hummingbird, Universal andWestlake. As well as Yamaha'sown music research and devel-opment facility and professionalstudio in Glendale, California.

And that response hasbeen extraordinary. Here's why:accurate reproduction.

Which brings us to thenew NS -200M and NS -500M.

The NS -200M is compact without compromise. Itcan easily handle the wider dynamic range and frequencyresponse of today's sources. Its 10" pure spruce woofer cone

Suggested U.S.A.retail prices-NS-500M. $385 each. NS -200M. $285 each.

Known for its exceptional accuracyand consistent response over a widerange of frequency. beryllium is thematerial 4 choice for our NS -.500Mtweeter dome.

is made of the same material that goes into the soundboardsof our fine pianos. Its titanium carbide dome midrange andtweeter produce crisp, clear highs. Andits low -loss cross over makes sure signalsget to the drivers unscathed.

The larger NS-500M's 12" wooferis made from our exclusive carbon fibertechnology. The result is a near -perfectbalance between damping, rigidity andstrength -to -weight. Which translates toremarkably natural bass response.

Our titanium carbide midrangeapproaches perfection in transient and frequency response,without break-up. And our beryllium dome tweeter repro-duces extremely high frequencies with ease, accuracy andnatural realism.

So check our references. Both the speakers andthe experts. You'll like whatyou hear. 0 YAMAHA

AM

4 11111

u_1, Nan

21711""1.1111'dmIMOOur monitor speakers cangive you the level of accu-two and retliBM tiros havecome to expect.

Yamaha Electronics Corporation, USA, PO. Box 6660, Buena Park, CA 90622

YAMAHA

Be part of it.)

e010

Make your voice heardon November 6th whenwe choose America's leaders.

The health of ourdemocracy depends on theparticipation of every manand woman. Yet voting levelshave been dropping ever since1960.

In recognition of thisproblem and the threat itposes, the American Broad-casting Companies andHarvard University sponsoreda symposium entitled "Votingfor Democracy." There, formerPresidents Jimmy Carterand Gerald Ford met with

leaders frommany fields toaddress severalquestions:

Why do somany Americans choose notto vote? Can we reverse thetrend? How do we begin?

In answer, ABC and itsaffiliated stations have work-ed throughout this electionyear to encourage greatervoter participation.ABC Television, ABC

Radio and ABC Pub-lishing have enlistedthe support of promi-nent politicians,enter-tainers and athletesto join them in thiseffort.

Betty Ford, ReggieJackson, Barry Goldwater,David Hartman, Coretta ScottKing, Henry Kissinger, DinahShore, Harry Belafonte,Edward Kennedy, Joan Lunden,Rafer Johnson, Donnade Varona, Dom DeLuise, GeorgeMcGovern and many othersgave their time and thoughtto TV, radio and print messagesurging all Americans to registerand vote.

Now, it depends,as it always did,on you. As wemove closer toElection Day, let'sall remember:one vote doesmake a difference.

Leonard H. GoldensonChairman of the Board

AMERICAN BROADCASTING COMPANIES, INC.

11111111111111111111111111111111111111111111111111111111111111111111111111111111111111111I

N E W TECHNOLOGIES(Continued from page )

CLASSICALCOMPACT DISC

BEETHOVEN:

Sonata for Piano, No. 32,in C minor, Op. 111.

SCHUMANN:Symphonic Etudes, Op. 13;

Toccata in C, Op. 7.Ivo Pogorelich, piano. IHanno Rinke. prod ) DEU1S0* GRAPARIONON410 5202 (fully digital Compact Discl. LP 2532 036

BEETHOVEN:

Sonatas for Piano: No. 32,in C minor, Op. 111;

No. 23, in F minor, Op. 57("Appassionata").

Carol Rosenberger, piano. (Amelia Haygood. prod" Chios D/CD 3009(fully digital Compact Dist) LP DMS 3009

BEETHOVEN:

Sonatas for Piano: No. 23,in F minor, Op. 57 I-Appassionata");

No. 3, in C, Op. 2, No. 3.Andni-klichol Schub, piano. (Max Wilcox, prod ] Vox CUM LoomMCD 10009 (fully digital Compact Disc) LP D-VCL 9062

The odd subtitle Delos attaches to CarolRosenberger's disc of Opus 111.

"Beethoven's last great sonata"-as if thecomposer went on to write other, moredoddering works in the form-is surely

transposed. A great last sonata it is:energetic valedictory to the genre Beethovenhad ennobled 31 times, and a work of thevery widest scope and severest importwhose forbidding topography has scared offall but the most hardy. Its hawk -like range,from hazy glimpses of the empyrean to adarkling brooding over the vast abrupt,would seem to make it a natural forCompact Disc; the medium has in any caseresponded gratefully to the solo piano.where CD's deep dynamics and rock -likesteadiness come without the price the trickydigits exact elsewhere.

These first two CDs offer only aglimpse into the run of Opus Ills availableon record. The ideal performance mightinclude nods to Lateiner (the most ethereal),Ashkenazy (the most gracefully sculpted,with a convincing shaping curve that lingerslong in memory), and, of course, Schnabel.In the second movement in particular, it isSchnabel-with half the technique of theothers-who makes the second variation(6/16) really swing, who conveys (byvaried weighting and discrete overdotting)the brio of the third (12/32). and whosesupple flexibility within a phrase remainsmost subservient to the larger contour helimns with matchless clarity.Temperamentally, this is the playing of a

gentleman: assured, punctilious, neverraising the voice unless strictly necessary,and, in Oscar Wilde's phrase, never rude(loud, insistent, demanding) except byintention.

Of the CDs at hand, CarolRosenberger's is a considered traversalwithout a particularly sharp interpretiveprofile. Yet if her second movement lacksthat degree of lnnigkeit found by the work'sprincipal champions, her first is admirablyweighty. and she remains faithful to themost obvious features of the work'sargument. I arm less convinced by the eagerspotlight Delos throws on her Bosendorfer.The mike is thrust right in the bowels of thebeast, but the gain in authority is costly. Atthat distance, even the quieter and morelegato sections sound oddly percussive.each note distinct, punched out as if from ateletype. From that melodramatizingperspective, the BOsendorfer simply doesnot seem to have as part of its register thetrue "malt° semplice" demanded by theArietta.

Ivo Pogorelich is another kettle of fishentirely, and this disc by the celebratedloser of the 1980 Warsaw competition is abouillabaisse of pianistic vices and virtuesthat helps explain not only the Warsawjudges' scowling, but also Martha

Sound Perfection.You can'tget any closer than this.

....""os0.6.."

-411111-1,-/-

Power. Purity. Startling realismand depth.

This is the sound you demand. Andno one delivers it quite like Kenwood.

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NEW TECHNOLOGIESArgerich's resignation in protest at hisfailure to make the finals. I'm with her.Yes, there is occasional exaggeration here,distension of the line, taffy -pulling oftempos, and one interpretive gaffe: after thetriple -trill section of the second movement,a ruthlessly "meditative'. treatment thatmakes nonsense of Beethoven's dynamics.(A similar cauterizing touch, in aperformance overall more Eusebius thanFlorestan, probes more deeply thannecessary into the theme of the Symphonic

Etudes Surely it is in the variationsthemselves that the deeper implications ofthe subject are to be found, and not in itsinitial uttering.)

But these are the faults of youth. Thereservations I have apply most often to theexaggeration of effects, not to the musicalintent itself. (For one thing, Pogorelichavoids all the first movement's temptationsto youthful melodrama.) The extravagancewill pass as the pianist comes to trust hisobvious ability to suggest an effect, to flash

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a card rather than play it. There aremoments very close to genius here, sectionshe plays with more technical finesse, and amore searching temperament, than anyoneat all in my experience of this work.

To begin with, the skill in thosefingers is really prodigious. The frequentfugal writing of the first movement canhardly have been more cleanly articulated,or more subtly weighted. Pogorelich has aGould -like ability to bring out individuallines, to shape by pace and accent thevarious competing voices. At first hearing,in fact, one seems to detect a Gouldianaffinity for a rather serer), detached style ofplaying, underpedaled at times even againstthe composer's instruction. Closer attentionreveals such distortion to be onlymomentary. Indeed, the great fourthvariation of the second movement has rarelysounded more probingly ruminative, fromearly contemplative chords through the latercelestial filigree.

If Pogorelich's talent glints mostobviously in the brightwork, hisilluminating invention searches more deeplyelsewhere. An instance: his fabulouslyinteresting weighting of the descendingmodulations in bars 5-10 of the firstmovement, the climb down uneasily testingeach harmony in quest of a secure tonalfooting. Note, too, the way he maintains-as subtly troubling-that movement'sunearthly end, showing the C majorresolution as only one of those late -Beethoven early -movement false dawns:The struggle, the pianist seems to cautionus, isn't over yet. This is pianism of highimaginative scruple.

The oft -recorded Appassionata offers adifferent challenge: The work's very

clarity of shape presents, while hindering,the demand to "make it new." But here thechoice on record is wider. For sheer terror,we have the hair-raising Richter. No oneelse convinces me that he has stared sodeeply into the whirlwind, discovering acrushing necessity all the more remorselessfor being so absolutely without malice.Richter's brazen, percussive power comesnot merely from his massy weighting of thework's cascading fortes-that terrifyingPresto coda!-but from his ability to pointand shape even those ride -the -windmoments. There is daring elsewhere, too, asin his nervous Macke way with repeatednotes, shooting them out with a rigorousevenness that is finally chilling.

For a tender, luxuriantly phrasedAndante sandwiched between two gravenimages of the utmost quiet power, there isMoravec. No pianist finds more subtle waysof shaping the first movement's mottophrase-as a slight crescendo, or with asuggestion of a diminuendo; with a differentshape for the phrase rising than falling; herea slight breath on the first note, there a bitof a rush through the second; and so on. No

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N E W TECHNOLOGIESpianist finds more ominous hints-theslightest hesitation-on the first tolling ofthe four -note knocking motif. None has sopoetically charged an Andante, its ending(slowed to the speed of the opening themeit echoes) evoking a circling of the wagonsbefore the attack of the finale.

On first hearing (right after Richter'sCossack charge), Andrd-Michel Schub'spoetic rendering-pointing phrases,lingering lusciously over details as ifsucking on a chocolate truffle-seemsaimed more at Warsaw than Vienna (or atthe earlier Vienna of his poised version ofBeethoven's Opus 2, No. 3). But theperformance finally convinces. It remainstrue that what stay in the mind are themoments of particular delicacy, the fragiletrills. the tapering out of a rising phrase, therecoil from rather than the windup to action.

Schub takes the third movement(Allegro) slower than we're used to-attending seriously to the "ma non roppo"qualification-but his playing is not withoutsinew. Indeed, it is here that Schub'spianistic intelligence is perhaps mostcrucial, for he finds subtle means ofmaintaining pulse and pressure even at thisspeed. Despite early softenings andhesitations, the line refuses to sag, as aremarkable urgency of articulation keeps thetension increasing. The final Presto'sopening chords are more mysterious thanthe usual jackhammers; here. Schub offersskeletons dancing.

Throughout. he demonstratesintelligent control of a great range of touchand of pedaling effects. What's missing inthe moments of fury is not so muchRichter's thunder as his silhouette -likeclarity of articulation. Elsewhere, Schublacks only Moravec's subtlety of rubato, theCzech pianist's ability to convey a ritard byholding just a hair on one note of a phrase.without upsetting the broader shaping pulse.

Rosenberger's respectful performanceis simply not in this league, hindered by areticence of individual personalityamounting to a refusal to stake out the highground. Great Beethoven performances. atleast of works from the Eroica on, wouldseem to demand an authority, a willfulnessin league with the composer's own. That iswhat we get from a Furtwangler, aToscanini; we meet it even under the velvetglove of a Schnabel. Schub and especiallyPogorelich are taking confident steps towardthat rocky grove. -THOMAS W. RUSSELL III

BRAHMS:

SymphonyLandon Philharmonic\Wan, prod .I ANGEL EMIDS 38091

Vienes/MehtaLA./SWAMBerlin/Fultweepler

No. 1, in C minor, Op. 68.Orchestra, Klaus Tennstedt, cond. !JohnCDC 7-47029.2 (fully digital Compact Disc) LP.

LP COPAPAIUSONS:

London CS 7017Deutsche Grammophon 410 023-2Deutsche Grammophon 2530 744

Aperplexing conductor, Klaus Tennstedt,with hints of greatness seen in collage

against dramatic inconsistencies. Oneevening's dazzling Beethoven Ninthchallenges puzzled reports of an enervatedbroadcast the previous day. In London,colleagues routinely lament the failure ofTennstedt's recordings to capture whatthey've heard in the concert hall just daysearlier.

This Brahms First will do little tosettle the issue. For me, initial uncertaintyled finally to grudging admiration. Yetsince Angel's production team here servesup an ugly, clotted sound. the pros andcons are hard to disentangle. andconclusions must be cautious. Areconductor and orchestra responsible for the

Music for 18's composer Reich

shaggy string tone? Maybe, but Angeloffers no sure confidence that they'veproduced more than a police sketch of thereal thing. (Symptomatic: The maindifference between LP and CD is that thelatter truncates from the front the openingchord. We hear no attack of bows onstrings, only a full-blown, mid -stroke noise.That kind of edit, not the first from thislabel, is a minor scandal.)

There are, to be sure, some easypleasures. Tennstedt's view of the secondmovement, with a particularly warm soloviolin, is lighter, less troubled than somehave found it (Giulini in particular.wonderfully so). while his treatment of thethird is relaxed, swinging, affectionate.

Still, it is in the first and lastmovements that a conductor must do finalbattle with Brahms-and in the first thatTennstedt's approach is most perplexing. Aponderous opening (he's hardly alone inthat) leads to an Allegro that is constipatedwithout being really weighty. Does theconductor subscribe to the older view of

Brahms's scoring as thick and stodgy? Tobe sure, some of the details enlighten: thewonderfully depressed quality Tennstedtgives the descending figures around bar282, the sense of disintegration conveyedby the fragmented phrasing around bar 458.Even without a first movement repeat. thepicture is one of constant struggle. InBrahms's already highly pointed lines.Tennstedt inflates the frequent rapidcrescendos and diminuendos, emphasizes(by weight and slight overdotting) thevaried accent marks, and holds ontodissonant climaxes-all to the point thatphrases break off from each other, andforward motion seems almost to stop.Instead of the teleology of Mehta's majesticconfidence. Tennstedt offers stasis in itsdeepest Greek meaning of something likecivil war. In a line so fragmented. there canbe no anticipation of a goal. The C majorclose comes only as welcome haven.unearned respite.

The sense of struggle returnsthroughout the last movement, where itproduces its major interpretive payoff. Theemphasis is on the competition rather thanthe victory-on the effort required to beatback the intrusive energies of C minor, to.contest the jagged rhythmic and harmonicechoes straggling in from the firstmovement. Never is there a sense ofenergies winning out so as to vanquishconflict itself, nor any hope that death shallhave no dominion. Tennstedt's accountexudes none of the deep joy someconductors find in the return of the massivebrass chorale at letter N. that deep -breathedconfidence that success has finally beenwon; for him, there is only an exhaustedpause before the battle begins again. WhereFurtwangler's energies after that momentare like epic funeral games, mere ritualechoes of what went before, for Tennstedtthe fight isn't over yet. -T.W.R. ttt

REICH

Music for 18 Musicians.Rudolph Werner, producer. ECM 1129-2 (analog recording, digitalCompact Discl LP ECM 1129-1

C teve Reich's Music for 18 Musicians is10 a natural for Compact Disc. Its 56minutes fit neatly, and the work-scoredfor two strings, two clarinets, four voices,occasional maracas, and a variety ofkeyboard instruments-gains by the CD'sslightly improved imaging. Although Reichtells us that the piece is in I I parts, plus thebeginning and ending that he calls the"Pulse," it is continuous and wavelike,presenting sometimes barely perceptibleshifts in tone, texture, and rhythm. Itsounds best without the annoyinginterruption necessary to turn over an LP,and certainly without the "ghosts" I heardwhen listening in the traditional format.

Music for 18 Musicians remainsReich's most popular piece. It is built -on I I

chords and proceeds over a steady but

64 HIGH FIDELITY

III

varying beat created by the pianos andmallet instruments-xylophones, marimba,and what is called a "metallophone," avibraphone with the motor taken out. In hisnotes, Reich almost boastfully reports thatthere is more harmonic movement in thefirst five minutes than in any other completework of his, an assertion hardly likely toplacate the naysayers of minimalism.Indeed, this movement is relativelyundramatic, and not as striking as theintroduction of new instrumentation: Theentrance of the maracas seems a majorevent, while the opening chord inversionsdo not.

For all the intricacy of its planning,and the ponderousness of its theoreticalexplanation, the piece seems charming andlightweight. It's a pretty exercise in elusivetextures and changing rhythms with limitedexpressive value. -MICHAEL ULLMAN

STRAUSS, R.:Concerto for Oboe

and Small Orchestra.

LUTOSLAWSKI:

Double Concerto for Oboe,Harp, and Chamber Orchestra.

Heinz Holliger, oboe; Ursula Holliger. harp: Cincinnati Sympho-ny Orchestra, Michael Gielen. cond. Marc Aubort and Joanna Nick.tent, ernes let ,t Co LAJPI MCD 10(06 fully digital Compact Disc) LP.D-VCL 9064 Cassette D.VCS 9064

The meticulous, needlecrafted characterof Lutoslawski's scoring in this

arresting double concerto, in which oboeand harp interlock with delicacy, requiresthe utmost clarity in recorded sound, and itsays much for Vox Cum Laude's splendiddigital recording that it works just about aswell on LP as on CD. (For a review of theformer, see July MUSICAL AMERICAedition.) With surfaces so clean, and thesharp impact of Lutoslawski's vast array ofpercussion instruments captured so clearly,LP owners can rest content. In both formatsall the wonderful and startling sounds ofxylophone, vibraphone, marimba, bells,woodblocks, tom-toms, and the like arelaser sharp and right there in your livingroom, not overdone but nevertheless asdistinct and bright as they must have beenin the Cincinnati Symphony's liveperformances.

This is a riveting work and a rivetingperformance by Heinz and Ursula Holliger,for whom the piece was written. Since itspremiere in 1980 it seems to be working itsway into the repertory despite the bogglingdifficulties of the oboe part: It turned up atTanglewood in 1984, successfullynegotiated by another pair of soloists.

Strauss's leisurely, loose-limbedconcerto, one of his last works, requires anabrupt shift of gears for the listener, but itrewards the effort with an outpouring ofmelody, which Heinz Holliger delivers toperfection. -SHIRLEY FLEMING

For additional reviews of classical recordings, seeClassical Reviews. CDC -47029

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MUSIC REVIEWS

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Serenade No 10 in B flat for 13Wind Instr , K. 361

hat Vienna Mozart Windsahrniten 842981

Symphony No. 25 in g, K. 183;Symphony No. 40 in g, K. 550

iihoncourt. Concertgebouw OrchTeretunken 842935

PROKOFIEVOwen and Juliet (excerpts)

Levi. Cleveland OrchTelarc CD -80089

Piano Somata No. I is A. Op. UPogorelich 1Ravel Gaspard de la nuitDeutsche Grammophon 413363-2 OH

RACHMANINOFFSymphony No. 1 in d, Op. 13

-zgebouw Orch

SCHUMANNArabeske for Piano. Op. ItSymphonic Etudes. Op 13

Pullin,

Deutsche Grammophon 410916-2

GH

SIBEUUSSymphony No. 1 in a, Op. 39

Levi, Cleveland Orch

Telarc CD -80095

STRAUSS, JOHANNWaltzes

Kunzel. Cincinnati Pops. Tales fromthe Vienna Woods. Blue Danube.others

Telarc CD -80098

VNALDIFour Seasons, Op. 8, Nos. 1-4

Hogwood, Acad Ancient MusicI Oiseau-Lyre 410126-2 OH

69

II

Seventeenth AnnualHigh Fidelity/InternationalRecord Critics Awardsby Theodore W. Libbey, Jr.

Montreal Symphony Manager Zarin Mehta (third from 1.) accepts for his orchestra. Flanking him (I. to r.) are Halbreich, Michot, Maribelf (Falla's niece), Martin, Perez de Arteaga, Isabel Garcia Lorca, Libbey, and Greenfield.

SPAIN, ESPECIALLY ANDALUSIA, has in-spired its share of the world's music-

and often from a distance, for many of theworks that bear the region's stamp tookshape in the imaginings of fascinated non -Spaniards. Seville, Andalusia's largestcity. holds the distinction of being thefavorite setting in all of opera: Where elsecan one meet Carmen, Figaro, Don Gio-vanni, Almaviva, and Florestan in thecourse of a week's visit? (And not find asingle character in any of their operas whospeaks Spanish!) But it is a smaller city tothe east that has probably had the mostmusic written about it (with the possibleexception of Bethlehem). That city is Gra-nada.

Its Moorish architecture and scenicbeauty are captivating and no doubt why theplace has been celebrated so often in themusic of foreigners. Yet Granada is the citymost beloved of Spanish composers aswell. There is something mysterious there.something in the atmosphere to be savoredand recalled, something almost secret. Theevocations-which include Isaac Albeniz'sbewitchingly beautiful serenata from theSuite espatiola and Manuel de Falla'simpassioned remembrance of a night in theGeneralife-are among the most compel-ling and personal in music.

With all that in mind, and possessedwith the reverent purposefulness of one

going on a pilgrimage, I went to Granada atthe end of June for the judging of the 1984International Record Critics Awards, whichhad been planned to coincide with the open-ing of the city's 33rd Annual Festival ofMusic and Dance. Thanks to the generosityof Spain's Ministry of Culture-and theextraordinary efforts of our Spanish judge.Jose Luis Perez de Arteaga, and his col-

league from the Ministry of TerritorialAdministration (and fellow music journal-ist), Santiago Martin-the meeting and themany extracurricular activities on ourschedule went without a hitch. Indeed,those who had served on past juries (thiswas my first year) said that they had neverbefore been made to feel so welcome by ahost city and its festival.

Serge and Olga KoussevitzkyInternational Record Awards

BOULEZ: Rituel; Eclat/Multiples. En-semble InterContemporain, BBC Sym-phony Orchestra, Boulez. CBS M 37850.

LOEVENDIE: Flexio. Residentie Or-chestra, Eiitvos. DONEMUS COMPOSERS'VOICE 8301.

70 HIGH FIDELITY

We were treated like gentlemen-quite literally, in fact. The splendid Palaciode la Madrassa was made available to us forthe duration, and our sessions took place ina spacious oak -paneled chamber called theSala de los Caballeros. Tribunal -like, wesat at a massive table on a dais at the front ofthe room, under a striking portrait of theVirgin and Child that had been emblazonedin gilt with the crests of Ferdinand and Isa-bella (the monarchs who in 1492 expelledthe Moors from Granada). Amid such sur-roundings, even an earthquake-which setthe place rattling for a few seconds oneafternoon-failed to shake our minds fromthe work at hand.

What did divert us from time to timewere the festival events and the prodigaldisplays of hospitality on the part of ourSpanish hosts. There were lunches-impressive three- and four-hour affairs inextraordinary settings, one offered by theMayor of Granada at the Palacio de los Cor-dobas, another by the Ministry of Culture.Department of Music, on the terrace at theParador de San Francisco. A third was giv-en in our honor by the Regional Govern-ment of Andalusia at a splendid country res-taurant named El Molino, which hadopened on the site of an old mill in the foot-hills of the Sierra Nevada. This was no mid-day meal, but a seven -course curriculum ofa lunch, upon the completion of which wewere awarded individual diplomas.

The nights were devoted to concerts:The fare included everything from a Lieder-abend in a courtyard of the Alhambra to achoral -orchestral gala featuring MontserratCaballe in Falla's La vida breve at the Pa-lacio de Carlos V. Bernard Haitink and theConcertgcbouw Orchestra played a pro-gram of Mozart and Mahler the night I

arrived, and there were several evenings ofballet danced by a company from Basel.But the finest concert of the festival wasgiven in the Centro Manuel de Falla imme-diately following our awards ceremony:Jesus Lopez Cobos conducted Nights in theGardens of Spain and several unpublishedworks of Falla-including El eorregidor yla molinera, the score which, in its revisedform, became The Three -Cornered Hat.

IT WAS A BANNER YEAR for IRCA in termsa the sheer number of records dis-

cussed. Following a procedure that hadworked well in the past, we began with around -table discussion of each nominatedrecording. This immediately winnowed outhalf the field-and provided our sharper -tongued judges with ample opportunity toexercise their wit. Two entries from Deut-sche Grammophon, Von Karajan & Co. (inboth cases, the Berlin Philharmonic) werequickly dismissed: Ingo Harden, the Ger-man judge, found the accounts of Tod andVerklarung and Metamorphose,: "highlypolished" on the surface but "irritating" intheir lack of depth, and said that Karajan'sconducting in Carmen sounded "like a

Award -Winning Recordings

FALLA: The Three -Cornered Hat; ElAmor brujo. Tourangeau, Hoenich;Montreal Symphony Orchestra, Dutoit.LONDON LDR 71060.

N,Vilhelm Stenhammar

STENHAMMAR: String QuartetsNos. 1-6. Fresk Quartet, Gotland Quar-tet, Copenhagen String Quartet. CAPRICECAP 1201-03.

Alherk. \I.qSNAIPHONIE

CHANTIIAERRE

NIArod

MAGNARD: Symphony No. 4, Op.21; Chant funebre, Op. 9. Orchestre duCapitole de Toulouse, Plasson. PAmEMARCONI 1731841.

Licia NorGoldberg

Iriknkeltiter Schiewer

Kam ,Moll

te. ()chumdie

1.nAn RAI

Benordf la onk

STRAUSS: Daphne. Popp, Goldberg,Wenkel, Schreier, Moll; Chorus andOrchestra of the Bavarian Radio, Hai-tink. ANGEL EMI DSBX 3941 (2).

Bavarian Biergarten." Alain Fantapie, theFrench judge. and Pierre Michot, theSwiss, further blasted Carmen-Fantapiedescribing it as "un disque iii fig, ni rai-sin." and Michot extending the food -and -drink metaphor by crediting mezzo-sopranoAgnes Baltsa with making "a cheese of theFrench." Bernard Haitink's traversal of theShostakovich Eighth with the Concertge-bouw, one of my personal favorites, wascriticized as being "a little too civilized"by Harden and "too Dutch" by the Bel-gian, Harry Halbreich. All agreed that thesound on Decca's recording is superb.

Marilyn Horne's singing of Handelarias on Erato put Michot in mind of "acamion on the main road," while PeterHoffman's contribution to the BernsteinTristan on Philips elicited an "unaccept-able" from Harden. The records that creat-ed the most controversy were the Pogore-lich and Sinopoli, each coming under dis-cussion for nearly an hour. The iconoclasticpersonalities of both performers, and theindividuality of their interpretations, struckus in different ways. I thought the Pogore-lich was marvelous (I nominated it), buthad my doubts about the Sinopoli. Hal-

breich raved over Sinopoli (citing his suc-cess in capturing Schumann's "fever"),but said that with Pogorelich "we are in therealm of cheap theatrics." The Pogorelichwas ultimately scrapped; the Sinopoliremained in the running but failed to winmany votes.

After taking a straw poll. we came upwith a short list of eight top contenders, inaddition to the Sinopoli: Strauss's FourLast Songs on Philips ("an excellentrecording" -Bengt Pleijel); Boulez'sEclats-Multiples on CBS ("in 20 years, thiswill stand out as one of the recordings weremember"-Fantapie); Pathe Marconi'sMagnard disc ("very worthy"-Ted

JudgesAlain Fantapie. FranceEdward Greenfield, Great BritainHarry Halbreich, BelgiumIngo Harden, GermanyTheodore W. Libbey, Jr., United StatesPierre Michot, SwitzerlandJose Luis Perez de Arteaga, SpainBengt Pleijel, Sweden

NOVEMBER 1984 71

Greenfield); the quartets of Stenhammar onCaprice C 'extraordinary to discover"-Michot); Dukas's Ariane et Barbe-bleue onErato ("Erato does it again!"-Green-field); Teldec's Bruckner symphonies C 'asperformances these are superb. and beauti-fully recorded"-Halbreich); Strauss'sDaphne on EMI ("an interpretation of greatbeauty and coherence" -Libbcy); and Fal-la's Three -Cornered Hat and El Amor brujoon Decca ("the best thing I have heard fromDutoit"-Perez de Arteaga).

To the surprise of the veterans on thepanel, the final judging went more smooth-ly this year, with fewer disruptions and dis-agreements, than in any past session. Per-sonalities appeared to have mellowed, andthe passions of yesteryear were replaced byan eagerness to find common ground. Aconsensus quickly emerged.

The strongest agreement came on theone opera recording to receive our endorse-ment, EMI's beautiful two -disc set of Rich-ard Strauss's Daphne, coproduced with theBavarian Radio and conducted by BernardHaitink. One reason it appealed to us wasthat it is the first complete recording of thismarvelous opera-the long -standard ac-count with Hilde Gucden and Karl Bohmhaving left some pages out. The new ver-sion has a cast to rival, if not surpass, thatearlier effort, with a lovely -voiced LuciaPopp in the title role, Peter Schreier as avery fine Leukippos. and Rainer Goldberg.in unusually good form, as Apollo. This is

the first occasion Haitink has shown hishand in this repertoire. and what a hand!The Bavarian Radio Symphony plays todazzling effect under his direction. All of ushope there will be more from him in thisline-the late Strauss operas arc worth it.

The sleeper of the session was themagnificent boxed set from the Swedishlabel Caprice offering the six quartets ofWilhelm Stenhammar, recorded two apieceby three very fine Scandinavian ensembles.The music was new to me. as I suspect itwas to most of the judges, yet it spokeimmediately. While the language is scarce-ly innovative-neither particularly daringin its harmonic excursions nor especiallycoloristic-it is fresh, and not in the leastderivative or excessively imitative. Someof the strategies clearly come out of Bee-thoven, but the individuality of the expres-sion, the liveliness and impulse in everypage, is invigorating. I was happy to cast avote for the set, and grateful to Pleijel, theSwedish judge and founder -editor of Musi-krevy, for having slipped it over on us as apersonal choice.

What is one to make of a French com-poser with the curiously Wagnerian firstname of Albcric, who was burned to death(along with several of his manuscripts) by acompany of German cavalry that caughthim defending his home in the first days ofWorld War I? Alberic Magnard was anadmirer of Wagner's music, a student ofd'Indy, and-if his Symphony No. 4 is any

Nominating CommitteeAUSTRALIAIan Woodward. Spins 'n' Needles

BELGIUMHarry Halbreich, Harmonie. La Croix. Belgian

Radio

BULGARIADimiter Zenginov, Bulgarska Muzika

CANADABarry Edwards. MusicRick MacMillan, Music. The Music Scene

FRANCEAlain Fantapie, Diapason Opera International,

Medias et Langage

GERMANYIngo Harden. Preis der deutschen Schallplatten-

kritikWolfgang Seifert. Musikmarkt, Die Musikfor-

schung, West German RadioGerhard Wienke, Fono Forum. South German

Radio

GREAT BRITAINEdward Greenfield. The Guardian. Gramo-

phone

ITALYI .uigi Bellingardi, Nuova Rivista Musicale. Ital-

iana, Stereoplay, Il Mondo della Musica

Mario de Luigi, Musica e Dischi

JAPANToshio Oka, Stereo SoundKenji Tsumori, Asahi Shimbun

THE NETHERLANDSJan de Kruijff. Elseviers. HiFi Video Test

ROMANIAAlfred Hoffman, Muzika, Romania Literary)

SPAINJose Luis Perez de Arteaga. Resent', El Pais,

Spanish Radio

SWEDENCamilla Lundberg. Expresser'Bengt Pleijel, Musikrev'

SWITZERLANDPierre Michot. Journal de Geneve, Gazette de

Lausanne

UNITED STATESJohn Ardoin. Dallas Morning NewsHarry Haskell, Kansas City StarPaul Hertelendy, San Jose Mercury NewsTheodore W. Libbey, Jr., High FidelityGeorge Movshon, High FidelityDavid Patrick Steams, USA TodayJames Wierzbicki, St. Louis Post -DispatchBill Zakariasen, New York Daily News

KIRA co -winner Theo Loevendie

indication-a composer of considerableindividuality, in spite of both influences. Anew Pattie Marconi recording of the sym-phony, by Michel Plasson and L'Orchestredu Capitole de Toulouse (offering the earli-er Chant funebre as filler), emerged as oneof our choices after being brought to ourattention by Halbreich. It was not a case oflove at first hearing, as the Stenhammar hadbeen, for this is a work that initially leavesone somewhat confused-struck by its

unusual and distinctive gestures, but awareof frequent padding and puzzled by a feel-ing of aimlessness. Yet the piece gained inesteem with successive hearings, as Michotpointed out. British judge Greenfield calledit "one of the great discoveries of theyear." My own impressions were that thescore has merit but needs stronger advocacythan Plasson and company manage on thisrecording. Admittedly, the Toulouse or-chestra sounds better here than it has on anumber of previous outings, but it is still aprovincial ensemble.

By this time we were all becomingaware of a peculiarity in our choices. Eachof the recordings we had selected so far wasof music written by a composer born in the1860s or 1870s. As it turned out, that con-nection carried through in our awarding thefinal prize to the Decca/London disc of Fal-la's Three -Cornered Hat and El Amor bru-jo, by the Montreal Symphony Orchestraunder the direction of Charles Dutoit.Greenfield had championed the accountfrom the start, rightly pointing to the out-standing quality of Decca's recording asone of the issue's chief merits. He receivedstrong support from panel president Perezde Arteaga, who, without putting too fine a

72 HIGH FIDELITY

point on it. called it (were our arms beingtwisted?) "by far the hest Three -CorneredHat I have heard in my life." Others werewarm in their endorsements, as was I.though I did not find the interpretation quiteas exciting as some of the other thingsDutoit has done recently.

So there we were: 'bur awards torecordings of music by composers hornbetween 1864 (Strauss) and 1876 (Fa11a).Nevertheless, we felt the choices had merit.In awarding the laurel (so to speak) toStrauss's Daphne. we had recognized anunderappreciated work by a well-knowncomposer. In selecting the Stenhammar andMagnard offerings, we had responded tomusic of outstanding merit by two lessfamiliar masters. Finally, with the Montre-alers' recording of FaIla, we had found awinning treatment of music that has great

popular appeal.In what was surely a fitting conclusion

to the judging process, the awards were pre-sented at a ceremony in the Centro Manuelde Falla. a beautiful facility halfway up theAlhambra and just a few feet from the housein which Falla lived for many years. Wewere pleased to have the assistance ofMaribel Falla, the composer's niece, andIsabel Garcia Lorca. the poet's sister, in theconferring of awards, and no less pleased atthe attendance of recipients Zarin Mehla,managing director of the Montreal Sym-phony, and Claire Vlach, a niece ofMagnard.

FROM THE BEGINNING, the IRCA panelhas been charged with an additional and

very important task: conferring the annualSerge and Olga Koussevitzky International

Other NomineesIRCABIZET: Carmen. Baltsa, Carreras, Van Dam.Ricciarelli; Paris Opera Chorus. Berlin Philhar-monic, Karajan. DEUTSCHE GRAMMOPHON 2741025 (3).BLOCH: Works for String Quartet. Pro ArteQuartet. LAUREL. 126.BOULEZ: Rituel; Eclat/Multiples. EnsembleInterContemporain. BBC Symphony Orchestra.Boulez. CBS M 37850.BRAHMS: Symphonies Opp. 68, 73, 90, 98.Vienna Philharmonic Orchestra, Bernstein.DEUTSCHE GRAMMOPHON 2741 023 (4).BRITTEN: War Requiem. SoderstrOm, Tear.Allen; CBSO Chorus. Boys of Christ ChurchCathedral. Oxford, City of Birmingham Sym-phony Orchestra, Rattle. ANGEL EMI DSB3949.BRUCKNER: Symphonies Nos. 3, 4, 8 (firstversions). Frankfurt Radio Symphony Orches-tra, Inbal. TELDEC 6. 35642.DESPREZ: Motets and Chansons. The Hil-liard Ensemble. ANGEL EMI S 38040.DUKAS: Ariane et Barbe-bleue. Ciesinski,Paunova, Bacquier; Chorus and New Philhar-monic Orchestra of Radio France, Jordan. EakroNUM 75069.FERNEYHOUGH: Cassandra's Dream Song;Unity Capsule. Artaud. STIL 3108 S83.HANDEL: Hercules. Tomlinson, Rolfe -John-son, Walker. Smith, Denley. Savidge; Monte-verdi Choir, English Baroque Soloists, Gardiner.ARativ 2742 004 (3).HANDEL: Messiah. Marshall. Robbin, Brett,Rolfe -Johnson, Hale, Quince; Monteverdi Choir.English Baroque Soloists. Gardiner. PHILIPS

6769 107 (3).HANDEL: Opera Arias. Home; 1 Solisti Ven-eti, Scimone. ERATO NUM 75047.HAYDN: Symphonies Nos. 21, 37, 41; 19, 23.Bournemouth Sinfonieua, Farberman. TURN-ABOUT D -TV 34 902/3 (2).JANAtEK: Jentifa. Soderstrdm, Randova,Popp. Ochman, Dvorsky; Vienna PhilharmonicOrchestra. Mackerras. LONDON LDR 73009(3).MAHLER: Songs. Baker, Parsons. HYPERION A66100.MOZART: Symphonies Nos. 31, 35, 38, 39,

40, 41. Schroder; Academy of Ancient Music,Hogwood. DECCA D I72D4.RAVEL: Gaspard de la nuit. PROKOFIEV:Piano Sonata No. 6, Op. 82. Pogorelich. DEUT-SCHE GRAMMOPHON 2532 093.ROSSINI: The Barber of Seville. Allen, Balt-sa, Araiza. Lloyd. Trimarchi. Burgess; Ambro-sian Opera Chorus, Academy of St. Martin -in -the -Fields. Marriner. PHILIPS 6769 100 (3).SANZ: Works for Guitar. Bitetti. HISPAVOX(90) 197 302.SCELSI: Quartets; Duos. Arditti Quartet. FORE80 /13-14.SCHUMANN: Symphonic No. 2; ManfredOverture, Op. 115. Vienna Philharmonic Or-chestra, Sinopoli. DEUTSCHE GRAMMOPHON 410863- I .SHOSTAKOVICH: Symphony No. 8. Con-certgebouw Orchestra. Haitink. LONDON LDR71121.STRAUSS: Four Last Songs. Norman; Ge-wandhaus Orchestra, Leipzig. Mason PHILIPS6514 322.STRAUSS: Metamorphosen; Death andTransfiguration. Berlin Philharmonic Orches-tra. Karajan. DEUTSCHE GRAMMOPHON 2532074.WAGNER: Tristan and Isolde. Hofmann.Behrens, Minton, Weikl, Sotin; Bavarian RadioSymphony Orchestra. Bernstein. PHILIPS 6769091.

KIRACHAYNES: Erzsebet. HARMONIA MUNDI.DJOUROV: Symphony No. 1. BALKANTON.GAUSSIN: Eclipse. CALLIOPE.GORECKI: Symphony No. 3. SCHWANN.

IBARRONDO: Seno. HARMONIA MUNDI.JOSEPHS: Symphony No. 5. UNICORN.

LENOT: Pour memoire 2. HARMONIA MUNDI.LUTOSLAWSKI: Double Concerto. VoxCUM LAUDE.MARBE: Serenata. ELECTRECORD.

OLIVES: Variations on a Theme by Berg.ENSAYO.

PENDERECKI: Te Deum. ANGEL EMI.YUN: Clarinet Concerto. CAW -RATA

Record Award upon a living composer for afirst recording of a work written for orches-tra or large ensemble (16 or more players).The funding for the $2,000 prize is provid-ed by the Musicians Club of New York -ofwhich Olga Koussevitzky was president forthe last 15 years of her life -and HIGHFIDELITY. This year there were about 15works to consider, about half of which hadbeen nominated by members of the panel.

Here we ran into the most serious splitof the session: A majority of judges. myselfincluded. felt that the Koussevitzky awardought to go to Pierre Boulez for Eclat -Mul-tiples, as recorded under his direction bythe Ensemble Intercontemporain for CBS.It was simply the most striking work of thelot, we felt. Challenging this view was acontingent led by Halbreich. who over theyears has been the IRCA panel's chiefadvocate of, and often its conscience for.contemporary music. These judges felt itwas pointless to give the award to a com-poser as established (and as little in need ofour recognition) as Boulez. They ralliedbehind what was clearly the best of theworks by an other -than -famous compos-er -a piece for large orchestra entitledlitho by the Dutchman Theo Loevendie.

Without bringing the issue to a vote.the panel managed to satisfy both fac-tions -thanks to a stratagem worked out, intypically Gallic fashion, by Fantapie andimplemented in his absence (he had to leaveGranada the night before the balloting inorder to attend a government function inParis). Alain left an absentee ballot, markedfor Boulez. with instructions that if the pan-el felt two awards should be made, hischoice for the other was Loevendie. Howneat that idea proved to be. With Fantapiessuggestion hovering over us, we votedequal $1.((X) awards to Boulez and Loe-%endie, thus doing honor to a composer ofindisputable stature while recognizing a rel-atively new figure and, we hope. directingsome attention his way. Loevendie camefrom Amsterdam to accept his award, andproved to be no less appealing in personthan in his music. HF

Musicians Clubof New YorkI he Musicians Club of New York, whichadministers the Koussevitzky Award of theAmerican International Music Fund and pro-vides the cash prize jointly with HIGH FIDEL-ITY. was founded in 1911 "to bring about abetter understanding and closer fellowshipamong musicians and lovers of fine music."Comprised of professional musicians andamateurs. its goals remain: to cultivate amore .ively interest in music; to aid youngmusicians through sponsorship of concertsand competitions; and to focus attention onthe American composer and performer. Itspresident is Bruce L. Kubert; past presidentshave included Walter Damrosch. NormanDello Joio. and -from 1961 to 1975 -OlgaKoussevitzky.

NOVEMBER 1984 73

Preview of the ForthcomingYear's Recordings, Part 3: LPsThis is the third and final installment in HIGHFIDELITY'S annual preview of forthcomingrecordings. Because of the enormous number ofCompact Disc titles planned for release duringthe coming months, we devoted our entire Octo-ber preview section to CDs. The September issuecarried the first half of our LP listings.

Please note the following use of abbrevia-tions, alone or in combination. For performingforces: P (Philharmonic), R (Radio), S (Sympho-ny), 0 (Orchestra), C (Chamber), Ch (Chorus,Choir), St (State). Op (Opera). Ac (Academy', E(Ensemble), Qr (Quartet). Qn (Quintet), Fest(Festival), or their foreign -language equivalents.

For production and packaging: Where known,number of records in multidisc sets is given inparentheses at end of listing; other parentheticalsymbols include s (single disc rather than set). r(domestic reissue). h (historical), d (digitalrecording). m (mono), I (live recording). Initialsand first names appear only as needed.

ANION(distributed by Qualiton Imports)

Beethoven: Songs. Partridge. Burnett (dl.Beethoven: Violin Sonatas Op. 47; Op. 30. No. 3.

Holmes, Burnett (dl.Mozart: Clarinet Quintets K. 581. 580b. and 516c.

Hacker, Salomon Qr (d).Guitar Collection. North (d).

ARABESQUE

Balaklrev. Piano Works. Smith.Kreisler; Strauss: String Quartets. Portland Qr (d).Mozart: Piano Concerto No. 20; Variations in C

minor. Lubin: Mozartean Players (d).Gilbert & Sullivan: Princess Ida. D'Oyly Carte Op

Company (h).A Victor Herbert Souvenir. Dryden 0 of the East-

man School of Music. Hunsberger KO.A Vicorian Christmas. Robert De Cormier

& 0 (d).Country Capers: Music of John Playford. New

York Renaissance Band (d).

Arabesque Recordings. 1995 Broadway. NewYork, N.Y. 10023.

BIS (Sweden)(distributed by Qualiton Imports)

Bach: 18 Chorales. Fagius (d).Beethoven: Piano Works. Nagai (d).Bends; Stamitz: Flute Concertos. Helasvuo: Hel-

sinki CO. Saraste (d).Crumb: Four Madrigal Books: Fire Piano Pieces;

Makrokosmos III. Male, Lindgren. (2. dl.Englund: The Complete Piano Music. Heinonen

Id).Mozart: Symphony No. 39; Eine Kleine Nachtmu-

sik: Divertimento No. 2. Stockholm New CO.Berglund (d).

Mozart: Piano Concertos. Westenholz; CollegiumMusicum Copenhagen. Schonwandt (d).

Nummi: Songs. Hynninen, Piipponen. Haverinen.Gothbni (2. d).

Ponce: Guitar Works. Savijoki.Ravel: Piano Works. Nagai (d).Roman: Violin Concertos, Symphonies. Sparf: Or-

feus CO (d).Schubert: Winterreise. Talvela. Gothoni (2. cll.Sibelius: Complete Orchestral Works, Vols. 4, 7, 8.

Gothenburg SO. Jarvi (d).Sibelius: Complete Orchestral Songs. Hynninen.

Haggander; Gothenburg SO, Panula (d).Sibelius: Piano Works, Vols. 5, 6. Tawaststjerna.Stravinsky: The Firebird (arr. piano). Tchaikovsky:

The Nutcracker (arr. piano). AchatzTelemann; Vivaldi: Double Concertos; Concertos

for Baroque Bassoon and Recorder. McCraw.Pehrsson; Drottningholm CE (d).

Telemann: Double Concerto for Recorder and Ba-roque Flute. Babell: Recorder Concerto. Bach:Suite in B minor. Pehrsson. Evison: Drottningh-

olm CE (d).Tubin: Symphony No. 9; Estonian Folk Dances:

Toccata. Gothenburg SO. larvi.Tubin: Violin Sonata: Saxophone Sonata; Ballade

for Piano. Sparf, Savijoki. POntinen.Vivaldi: The Four Seasons. Sparf: Drottningholm

CE (d).Brass Music. Stockholm P Qn. Oslo Brass Qn id).Children's record with works by Dukas. Johanson

in Swedish.Elizabethan Songs. Hogman. Lindberg (d)."4 -Feet Organ." Fagius, Sanger Id).French Lute Music. Lindberg.German Lute Music. Lindberg.Kroumata Hits Again -Works for Flute and Per-

cussion. Wiesler; Kroumata Percussion E (dl.Lute Duets. Lindberg. Odette.Recorder and Lute -English and Italian music.

Pehrsson, Lindberg.Roland POntinen Plays Russian Piano Music td).The 1786 Olof Schwan Organ. Fagius.The Virtuoso Trombone. Lindberg. POntinen (d1.

BOURG RECORDS(distributed by Qualiton Imports)

Bizet: Carmen. Merentie. Affre. Albers: Ruhlmann(3. h).

Gounod: Romeo et Juliette. Gall. Affre: Ruhlmann(4. h).

Massenet: Manon. Heldy. Ponzio, Marny: Russel -(3. h).

Offenbach: La Creole. Boulangeot, Dachary, Len-oty. Hamel. Doniat: French R&TO (21.

Offenbach: Vile de Tulipatan. Granger. SaintClair: Koch (2).

Suppe: Galathee. Gresse. Morlet: Archainbaud (2.hl.

Coloratura -celebrated arias sung by Renee Doria(31.

BRIIR.1 RECORDS

Wuorinen: New York Notes. Maxwell Davies: AveMaris Stella. New York New Music E. Black.

New Music with Guitar, Vol. 2. (Works by Carter.Del Tredici. Kolb. Lennon. Takemitsu.) Staro-bin. Palma, Rees.

New Music with Guitar, Vol. 3. (Works by Martin.Lennon.) Starobin, Felty, Mason.

Speculum Musicae: 15th Anniversary Album.(Works by Wuorinen, Shifrin, Lieberson.) Spec-ulum Musicae.

Bridge Records, GPO Box 1864. New York, N.Y.10116.

CAPRICE(distributed by International Book and Record)

Blomdahl: A niara (complete). Swedish RSO&Ch.Westerberg (2. h).

Blomdahl: 'Re.san 1 Denna Nati' for Soprano andOrchestra. Rosenberg: Concerto No. 2, for Vio-lin and Orchestra. Saderstriim; Stockholm PO.

Ahronovitch.Carlid: Mass for Strings. Nystroem: Sinfonia Con-

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Rossini: Seven Great Overtures. Vienna StateOpO. Rossi.

Sibelius: Symphony No. 1. Op. 39. Utah SO.Abravanel.

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CLASSICAL

Reviews

Producer Thomas Z. Shepard (left) and composer Stephen Sondheim during the sessions

SUNDAY IN THE PARK WITHGEORGE: Original Broadway cast re-cording.

Music and lyrics by Stephen Sondheim.Paul Gemignani, cond. [Thomas Z. Shepard,prod.] RCA HBC 1-5042 (digital recording).Cassette: HBE 1-5042. CD: RCD 1-5042.

Sunday in the Park with George is a state-of-the-art musical, and here is a state-of-the-art recording of it. Don't be put off bythe word "musical": This is not a collec-tion of vapid Jerry Herman show tunes,brassily performed and harshly recorded.Rather, Sunday in the Park with George ismusical theater at its finest, a sensitive, wit-ty play by James Lapine that is deepenedand expanded by the words and music ofStephen Sondheim.

The play concerns Georges Seurat, theFrench impressionist who, roughly 100years ago, invented what could be calleddigital painting. He discovered that dots ofprimary colors placed next to each otherwould, at a certain distance, be fused by theeye and become secondary colors. Andthose secondary colors emerged with a bril-liance-a shimmering-unobtainable bymixing pigments on the palette. In this way,Seurat strove to "paint with light."

Seurat spent two years on a work thatwould introduce his method of digital paint-ing, or pointillism. The result of that artis-tic/scientific project was A Sunday After-noon on the Island of La Grande Jatte, alarge canvas depicting two dozen middle-class Parisians enjoying an island park on asummer's day.

The first act of Sunday in the Park withGeorge follows painter and subjectsthrough the last year of the work, focusingon George's relationship with Dot, his mis-

tress, and on his relationship with his art.Act II picks up the themes of Act I with hisgreat-grandson, also named George-alsoan artist, also troubled. The two charactersshare a mirror image of the same problem:George knows exactly what he wants butcan't always get it because he is not goodwith people; his great-grandson knows howto get just about anything but doesn't knowquite what he's after.

Fortunately, seeing the play is not aprerequisite to enjoying this album. The lin-er notes will tell you as much as you need toknow-but you should also know that theliner notes are not very good. Couldn'tRCA have commissioned Lapine to write asynopsis of his own play? Instead, we havea C -minus junior -high-school composition,"My Trip to the City to See a Play." One ofthe better sentences reads, "George goesoff and returns with Dot, his mistress andmodel, who wears a traditional 19th -centu-ry outfit, heavy and with a large bustle." IsDot heavy, or the "outfit"? God knows;the prose is as heavy as it comes.

All other aspects of this recording areexcellent. The score is the best Sondheimhas ever written, a perfect balance of wordsand music, thoughts and feelings, fun andprofundity. Comparing Sunday in the Parkto anything that has come before is diffi-cult. Not as weighty as opera, as frivolousas operetta, as dense as Lied, or as predict-able as pop, it is an original-as fresh andastounding as Seurat's canvas.

Looking over Seurat's career, one seesLa Grande Jatte as an obvious extension ofall his earlier works: Over the years hisbrushstroke became smaller and more pre-cise until pointillism was the next step. Andalthough La Grande Jatte was a logical pro-gression for Seurat, it was nonetheless a

Sondheim'sSunday:A DigitalWork of Art

Reviewed byPeter McWilliams

great leap forward.The same is true for Sondheim. Listen-

ing to his dozen or so previous shows, onefinds the elements so admired in Sunday inthe Park: the sensitivity, wit, intelligence,the sheer beauty of it all. This new score isthe masterwork of a man who has spent thelast 30 years writing for the American musi-cal theater. Just as La Grande Jatte did forSeurat, Sunday in the Park represents forSondheim a bold and creative statement,one that embraces and yet goes dramaticallybeyond his earlier achievements.

Sondheim could not have chosen a bet-ter collaborator than Lapine. A brilliantplaywright and a sensitive director, he has asteady grasp of character, color, and shad-ing. It is fitting that this musical play abouttwo artists be written and directed by a manwith his sensibilities. On the recording,Lapine's presence shines in the dialoguethat knits the songs together, in his con-cepts, and, significantly, in his choice ofcast.

Lapine selected a company of singingactors and actresses who are individuallyand collectively superb. Heading the castare Mandy Patinkin, as the two Georges,and Bernadette Peters, in the roles of Dotand the modern-day George's ninety -eight -year -old grandmother, Marie. Patinkin is,as The New Yorker pointed out, "Seurat tothe life." Using his remarkable voice in away that is both musical and expressive, hecan switch seamlessly between singing andspeaking several times within a single line.He also has the gift of the purest male sopra-no this side of the Vienna Choir Boys; it isused sparingly on the album, and to greateffect. Patinkin does justice to both Seuratand Sondheim.

If your memories of Bernadette Peters

80 HIGH FIDELITY

are of the second -banana Kewpie doll inany number of movies and TV shows,there's a pleasant surprise in store for you:On this album she reveals herself as a singerand an actress of remarkable depth and abil-ity. Although Peters was slightly hoarse onone of the recording days, she-as they sayin the theater-"used" her hoarseness tofurther deepen the character. It adds vulner-ability and charm, especially when she isplaying Marie. The rest of the cast is excel-lent, too, and Barbara Bryne, Dana Ivey,Judith Moore, and Robert Westenberg mustbe individually praised for their contribu-tions.

Now the really good news for audio-philes: All of this wonderful musical theaterhas been digitally recorded for RCA byThomas Z. Shepard and is also available onCompact Disc. Shepard is without doubtthe master of recording musicals, a mantlehe inherited from his mentor, Goddard Lie-berson. The combination of Sondheim'sfinest score, Lapine's sensitive direction,the cast's brilliant performance, Shepard'sexpert guidance, and the clarity of digitaltechnique yields a recording nothing shortof spectacular.

One of the revelations here is how wellthe spoken word comes across. With theadded crispness of digital sound, singlewords speak volumes. Listen to what Petersdoes with the word "harmony," or Patin -kin with "possibilities." The difference

between analog and digital for the spokenword is the difference between acting onfilm and acting on stage.

If you're a Sondheim fan or a followerof musical theater, this album is a must. Ifyou're curious about the state of the art inthe American musical, and the recording ofit, this is the album (preferably in CD) toinvestigate: It's the most exciting thing tohappen since stereo met My Fair Lady. Thedigital bits, one by one, create something asshimmering and alive as Seurat did when hepainted an enormous canvas, one dot at atime, of Parisians strolling through a parkone Sunday afternoon.

BACH (arr. Waltraut and GerhardKirchner after Organ Sonatas B.W.V.525-530): Sonatas for Flute and Key-board (Nos. 1-6).

Anthony Newman, harpsichord and organ:Eugenia Zukerrnan, flute. [Thomas Frost, prod.]Vox CUM LAUDE VCL 9070. Cassette: VCS9070.

Anthony Newman's reasons for wanting tocommit to disc these utilitarian transcrip-tions of Bach's Organ Sonatas are presentedin the apologia section of his liner -noteessay: not simply because they're there, asHillary might have said had he been a pro-lific recording artist in search of new/oldrepertoire, but because Newman believesthey allow for greater independence of thetwo upper lines and offer more opportunity

for melodic embellishment and full realiza-tion of harmonies only implied in the orig-inal versions. The performances, however,do not support that argument.

A nice balance between flute and mut-ed harpsichord is achieved in the slowmovement of the Fourth Sonata, but usuallythe sound of the plucked strings is overlycopious and not a little clangy, and only inthe most thinly scored sections is there aclear delineation of the imitative melodicstrands. The Sonatas Nos. 3 and 5 are per-formed with organ; surprisingly, Newmanmore ()hen than not opts to use flute stops,and-except in those passages cast in dia-logue form-the organ's persistent high -register chirping fairly absorbs whateversubtleties may be contained in Eugenia Zuk-erman's playing.

The recording sessions took place inthe recital hall of the State University ofNew York at Purchase. Apparently, that's avery resonant room, and the vapory rever-beration is consistent with the quasi -Romantic flavor of the interpretations.

JAMES WIERZBICKI

BARTOK: Divertimento; Music forStrings, Percussion, and Celesta.

Franz Liszt Chamber Orchestra (Buda-pest), Janos Rolla, cond. [Tibor Erkel, prod.]HUNGAROTON SLPD 12531. CD: HCD 12531-2.(Distributed by Qualiton Imports, 39-28 Cres-cent St.. Long Island City, N.Y. 11101.)

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CLASSICAL Reviews

The late Swiss conductor Paul Sacher hadhis musical limitations, but he also hadtaste, intelligence, and an extremely richwife. Those last three factors enabled himto found and maintain the Basel ChamberOrchestra and, on its behalf, to hand outcommissions to some of this century'sgreatest composers. As a result, we owe tohim the existence of some of their finestworks, including both these masterpiecesby Bartok.

The work for strings and percussiondates from 1936; at its premiere it was sucha hit that Sacher had to repeat the fourthmovement. Another Sacher commissionresulted in BartOk's Sonata for two pianosand percussion the following year. BartOk'smusic then became more melodious, easierto assimilate. He composed the joyousDivertimento for strings, rich with Hungar-ian folk influence, at the Sachers' Swissestate in only two weeks in 1939. Two shortweeks after that, the happy part of Bartok'slife abruptly ended: World War II brokeout, and there followed emigration to NewYork, his wife's madness, their poverty,and his own early death, with onlyASCAP's emergency fund to take surrepti-tious care of his medical bills.

For obvious reasons, one can regardthese clean, vigorous performances as eth-nically authentic, and Janos Rolla, the con-ductor, infuses them with energy, wit, andlife. Hungaroton's digital recording canhold its own with Western European andAmerican competitors. The small numberof string players -22 in the Music, 16 inthe Divertimento, with Rolla his own con-certmaster in the latter-keeps the texturelean and clear. The jacket and label call theperforming band the Liszt Ferenc ChamberOrchestra, but don't let that confuse you.Hungarians put their surnames first, buttheir almost deified Liszt Ferenc (afterwhom they have also named their nationalAcademy of Music in Budapest), wheneverhe left his homeland, used the name all therest of the world came to know: FranzLiszt. PAUL MOOR

BEETHOVEN: Quartets: No. 5, in A,Op. 18, No. 5; No. 6, in B flat, Op. 18,No. 6.

Gabrieli Quartet. [Paul Myers, prod.] LON-

DON 411 855-1 (digital recording). Cassette: 411855-4.

These are two of Beethoven's more jollyquartets, penned in the halcyon days whenhis hearing was good and his temperamenteven enough to seek self-expression mostlyin nice, bright major keys and comfortablysteady rhythms. (In light of his laterplunges into dark emotional states, Beetho-ven's subtitle for the Adagio introduction tothe finale of the B flat Quartet-"La Mal-inconia"-seems like hyperbole, in-deed.)

Although their photograph portraysthem as awfully grim fellows, the membersof the Gabrieli Quartet have the right idea

c 1984 by B.E.S.. 345 Fischer Street, Costa Mesa. Ca. 92626 (714) 549-3833 82 HIGH FIDELITY

about the spirit of this music. In those rel-atively few instances where intensity iswarranted, it's provided in full measure.but what is most memorable about theseinterpretations is the ensemble's zesty,playful sense of rhythm. Vigor never givesway to roughness of sound or phrasing, andthe feeling of buoyancy is present as muchin the accompanimental figures as in theleading lines. First violinist Kenneth Sillitosometimes plays his upper -register notes abit on the high side; otherwise, the perfor-mances are quite flawless, and very cleanlyrecorded in London's lushly resonantKingsway Hall. JAMES WIERZBICKI

DEBUSSY: Rends dans ['eau. RAVEL:Sonatine. SCHOENBERG: Six LittlePiano Pieces, Op. 19. STRAVINSKY:Sonata (1924).

James Boyk, piano. [James Boyk, prod.]PERFORMANCE RECORDINGS PR 4 (distributed byHarmonia Mundi U.S.A., 2351 WestwoodBlvd.. Los Angeles. Calif. 90064).

This disc was on the turntable when thephone rang; the caller happened to be some-one connected with one of the major labels,and the first words out of his mouth were."My God! Is that a real piano?" The soundof James Boyk's Steinway is indeed cap-tured with almost incredible fidelity on thisimmaculately pressed "All -Tube" analogrecording. For this listener, though, what isfar more impressive is the integrity of theperformance. Boyk makes no attempt toconceal his virtuoso abilities here, yet thepoint of his playing seems to have less to dowith pyrotechnics than with moods, tex-tures, and personal visions of the compos-er's messages.

The rhythms in the Debussy and Ravelpieces are generally straightforward, butthe nuances are the epitome of subtlety. Themovements of the Stravinsky Sonata, for alltheir formality, just glisten with insouci-ance, and Schoenberg's delicate miniaturesare made to radiate a near -hypnotic magnet-ic energy. This recording was done before alive audience at the California Institute ofTechnology; the auditors are cooperativelysilent, and they withhold their applauseuntil the very end. JAMES WIERZBICKI

KODALY: Nary Janos Suite; Szinhazinyihiny ("Theater Overture"); BalletMusic.

Budapest Philharmonic Orchestra. ArpadJob, cond. SEFEL SEFD 5015.

This is one of a series of fine Kodaly record-ings recently issued by Sefel, all led by theyoung Hungarian conductor Arpad Job(pronounced Are -pod Yoe). His readings ofhis countryman's music are imaginative,and while the Budapest Philharmonic doesnot have the rich sonorities of some of themajor orchestras, they play very wellindeed. A definite plus is the sonic qualityof this digital recording: It offers totally nat-ural perspectives, space. wide dynamicrange. and tonal beauty. Highly recom-

Critics' ChoiceThe most noteworthy releases reviewed recently

BACH: The French Suites (6), B.W.V. 812-817. Koopman. CALIG VERLAG CAL 30 442/43.Sept.BLOCH: String Quartet No. 1*. String Quar-tet No. 2; Prelude; Night; Two Pieces forString Quartett. Pro Arte Quartet. LAUREL LR120*. LR 126f. Aug.BRAHMS: Liebeslieder Waltzes (18), Op. 52;Neue I.iebeslieder Waltzes (15), Op. 65; ThreeQuartets, Op. 64*. Sixteen Waltzes, Op. 39;variations on a Theme by Schumann in E flat,Op. 23; Souvenir de Russiet. Mathis, Fass-baender, Schreier. Fischer-Dieskau, Engel. Sa-wallisch*. Alfons Kontarsky, Aloys Kontar-skyt. DG 2532 094*, 410 714- I t, Aug.DOWLAND: Lute Music. O'Dette. AsTREE AS90, Oct.QUNSTABLE: Motets. Hilliard Ensemble,Hillier. ANGEL S 38082, Aug.HAYDN: Symphonies: No. 91, in E flat, Hob.1:91; No. 92, in G, Hob, 1:92. ConcertgebouwOrchestra. Davis. PHILIPS 410 390-1. July.MOZART: Divertimento in D, K. 334; Marchin D, K. 445. Academy of St. Martin -in -the -

Fields Chamber Ens. PHILIPS 411 102-I, Sept.SATIE: Apercus desagreables; La belle Ex-centrique; En Habit de cheval; Parade; TroisMorceaux en forme de poire; Trois petitesPieces montees. Jordans, Doeselaar. ETCETERAETC 1015, Oct.SCHUMANN: Conzertstuck in F, Op. 86;MENDELSSOHN: Concerto for Piano andOrchestra, No. 2, in D minor, Op. 40. Frank!:Cincinnati Symphony Orchestra, Nelson. VoxCUM LAUDE VCL 9071. Oct.RAMEAU: Orchestral Suite from "Les Indesgalantes." Orchestre de la Chapelle Royale.Herreweghe. HARMONIA MUNDI HM 1130, Oct.STRAUSS, R.: Orchestral Songs (12). Jerusa-lem; Leipzig Gewandhaus Orchestra. Masur.PHILIPS 6514 321, Sept.THE EARLY VIENNESE SCHOOL. Hollig-er, Furi, Demenga; Camerata Bern. Fiiri. ARCIIIV410 599-1, Oct.BENNETT LERNER: American Piano Mu-sic. ETCETERA ETC 1019. Sept.RENAISSANCE MUSIC IN NAPLES. Hcs-perion XX, Savall. ANGEL S 38083, Aug.

mended, as are the other LPs in theseries. ROBERT E. BENSON

PROKOFIEV: Alexander Nevsky, Op.78

Irina Arkhipova, mezzo-soprano; Cleve-land Orchestra and Chorus, Riccardo Chailly,cond. [Paul Myers, prod.] LONDON 410 164-I(digital recording). Cassette: 410 164-4. CD: 410164-2.

Sergei Eisenstein's descriptive film of thelife of Alexander Nevsky gave Prokofievample opportunity for imaginative scoring.The section entitled "The Battle on theIce," with its massed choral and orchestraltextures, has always been a sonic show-piece. London's new recording is of highquality interpretively, but the engineershave opted for a close-up, very dry auralpicture with a wide dynamic range, anapproach that is particularly detrimental tothe sound of the excellent chorus. And aftermore than three decades on the concertstage, Irina Arkhipova offers little morethan routine authority in her brief solo.Claudio Abbado's London Symphony ver-sion on Deutsche Grammophon (2.531 202)is preferable, as is Fritz Reiner's spectacu-lar Chicago Symphony account (sung inEnglish), which until recently was availableon RCA Gold Seal (AGL 1-1966).

ROBERT E BENSON

VIVALI)I: l he Four Seasons, Op. 8,Nos. 1-4.

Orchestre National de France, Lorin Maa-zel, cond. [Georges Kadar, prod.] CBS MASTER.WORKS IM 39008 (digital recording). Cassette:IMT 39008. CD: MK 39008.

From the very beginning of this recording,the extreme brilliance of both the perfor-

mance and the sound pins your ears back. (Igot the impression that Lorin Maazel musthave asked himself how Arturo Toscaninimight have performed this music had hehad his NBC Symphony's virtuosic stringsavailable, plus Nicola Paganini, redivivus,to play the solo part.) Maazel doesn't somuch wield a baton here as crack a whip.Except in the slow movements sandwichedinto each of these four short concertos, heinclines toward positively febrile tempos. Italso sounds as if he has used the full com-plement of this orchestra's fine string play-ers. instead of keeping his forces down tosomething near the number customary inVivaldi's day.

For some reason, Maazel has also cho-sen to divide the solo violin part, movementby movement, between Patrice Fontanaro-sa, Regis Pasquier, and himself, in no par-ticular order. Maazel more than proves hisability to hold his own as a violinist, partic-ularly in the allegro movement that closesthe entire work. A sharp ear, though, canperceive stylistic differences between thethree violinists; using only one-and I havenever before even heard of anyone usingmore than one-would have made moresense, at least from the standpoint of aes-thetic consistency.

As an ensemble, the orchestra (espe-cially its violin section in the upper register)has a pronounced wiry, bright sound here,leaving the listener with the impression thatMaazel consciously decided to eschew gutstrings-and period authenticity-in favorof dazzling, up-to-date, high-tech razzma-tazz. This country has produced very fewartists as prodigiously gifted as Maazel, andon that basis alone he deserves our respect-ful consideration of anything he does, for

NOVEMBER 1984 83

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CLASSICAL Reviewshe does not have a reputation for flash andsensationalism. If you like your ItalianBaroque to stab you like a laser beam, by allmeans have a go at this. If you don't, caveatemptor! PAUL MOOR

Recitals andMiscellanyTHE CAMBRIDGE BUSKERS: MusicAppreciation 101.

The Cambridge Buskers. [Dr. Steven Paul,prod.] DEUTSCHE GRAMMOPHON 413 339-1 (digi-tal recording). Cassette: 413 339-4.

There is more than a touch of whimsy to thisrecording, which offers unique capsulizedversions of no less than 20 classical favor-ites -all given in the distinctive style ofMichael Copley, playing flutes and record-ers, and Dag Ingram, accordionist. The bestis a Kurt Weill treatment of Mahler's Sym-phony No. 4, lasting only 31 seconds.Some of the others are rather quaint andcatchy, some pretentious and unworkable.There is music of Tchaikovsky, Prokofiev,Rossini, Sibelius, Schubert, Mozart, Dvof-ak, Suppe, Stravinsky, Mendelssohn, Bee-thoven (Symphonies 1-9 in slightly morethan three minutes!), Ravel, RichardStrauss, Elgar, Grieg, Haydn, and Brahms.Excellent sonics. ROBERT E. BENSON

KIRI TE KANAWA: Arias and Songs.Kiri Te Kanawa, soprano; London Philhar-

monic Orchestra, John Pritchard, cond.*; Co-logne Giirzenich Symphony Orchestra, John Prit-chard, cond.t; Paris Opera Orchestra, LorinMaazel, cond.°; London Symphony Orchestra,Andrew Davis, cond.**; Richard Amner, pia-nott. CBS MASTERWORKS M 39208. Cassette:MT 39208.

FAURE: Apres un reve, Op. 7, No. 1, in Cminortt. HUMPERDINCK: Hansel and Gretel:Der kleine Sandmann bin icht. MOZART: DonGiovanni: Ah! fuggi it traditor°; Mi tradi°. PUC-CINI: Tosca: Vissi d'arte*; Gianni Schicchi: 0mio bambino caro*. SCHUBERT: Gretchen amSpinnradett. SCHUMANN: Myrthen, Op. 25,No. 24 ("Du bist wie eine Blume")tt.STRAUSS, R.: Morgen!**; Ruhe, meineSeele**. VERDI: La Traviata: E strano . . . Ah!fors' e lui*. WALTON: Old Sir Faulk"; Daph-ne"; Through Gilded Trellisestt.

Throughout the considerable gamut of thisselection of arias and songs (taken from fiveprevious releases), the listener can revel inthe sheer sensuous beauty of one of the love-liest voices around today. Hearing Kiri TeKanawa's accounts of the six operatic arias,I get the feeling that Lorin Maazel made thehighest demands upon her, and that she rosebrilliantly to the occasion. The first Mozartaria shows off her voice not only as liquidand pure in tone color, but also as incisiveand dramatically intense.

Strauss's "Morgen!" benefits bothfrom Te Kanawa's outstanding perfor-

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mance and from a fine solo by the LondonSymphony Orchestra's (unnamed) concert-master; the orchestra does much to enrichthe second Strauss song as well. AndrewDavis conducts sensitive accompanimentsin both, but Te Kanawa mars the second bybreathing, unaccountably, before the lastword in the phrase "Deine Stiirme gingenwild" -a niggling point, I grant, but onethat Paul Myers, the responsible producer,ought to have rectified.

I have a definite personal weakness forWilliam Walton's music, but I also havemisgivings about the wisdom of includingthese pieces here. The first and last he hasarranged, with a sung vocal line, from theoriginal versions (included in Facade) forreciter and chamber orchestra; in view of theaesthetic of Edith Sitwell's xylophonicpoems, I find the originals more successfuland enjoyable. "Daphne," a true song (alsoto a Sitwell poem), stands up better, but thechoice of all three items still perplexesme.

CBS has printed all the texts and trans-lations on one side of the page in a typefacecalculated to put your eyes out -and left theother side completely blank. Typographicalerrors (e.g., "So,pre" for "Sempre") pol-lute the English as well as the Italian, Ger-man, and French. CBS obviously needs asharp-eyed editor, whom it certainly did nothave as of the publication of this disc.

PAUL MOOR

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CLASSICAL

The Tape DeckCritiques of new cassette and open -reel releases by R. D. Darrell

Singularities"REVOLUTIONARY MASTERPIECES" IS

scarcely a term we ordinarily apply to Schu-mann's piano works, but Charles Rosen-in words and performances-justifies thisarresting rubric for his set of six early exam-ples, four in their rarely heard (or recorded)original versions (Nonesuch digital/ferric79062-4). Even in standard editions, hemakes the familiar Carnaval, no less thanthe experimental First Sonata, Op. 11,seem glowingly fresh, and he proves thatthere were distinctive details suppressed inthe later revisions of the Opus 5 Impromp-tus, Davidsbundlerginze, Kreisleriana, andthe great Opus 17 Fantasia-now heard inits initial conception as Poems for the Pia-no: Ruins, Triumphal Arch, and Constella-tion, with a last -page return to the end of thefirst movement.

Other variances may not be as evidentor significant to casual listeners, and cer-tainly there have been grander, more virtu-osic recordings of Carnaval andKreisleria-na. But the restoration of Schumann's mostdaring quirks, the empathy with which theintroverted (Eusebius) and extraverted(Florestan) alter egos are both differentiatedand melded-above all, Rosen's impas-sioned personal involvement-make thisthe most inspired major contribution to thewhole Schumann discography. It also is oneof the most effectively executed: Exceptwhen Rosen's impetuosity tempts him intoovervehemence (with consequent tone -hardening), his playing is captured as viv-idly and persuasively as if he were presentin one's living room. And unlike his Bee-thoven middle -period Sonatas of 1982, thisthree -cassette set does not deny tape collec-tors the illuminations of polymath Rosen'sdetailed annotations. But such a milestonerelease warrants prestige -box packaging!

Just how singular early Schumannianais-in the dictionary sense of "distinctive,exceptional, or unusual, in contrast to whatis common or general"-may be betterrealized in historical perspective. Compare,for example, Mendelssohn's series of 48Songs Without Words, long as popular (ormore so) among home pianists. EdmundBattersby's straightforward performance-the only complete set available on tapetoday-shows how charming most of theseunjustly belittled miniatures actually are(Musical Heritage/Barclay-Crocker MHS4528, double -play open reel, from Barclay -

Crocker, 313 Mill St., Poughkeepsie, N.Y.12601). What's lacking in both music andplaying is the electrifying sense of revela-tion-the sky watcher's thrill "when a newplanet swims into his ken."

Mendelssohn's considerable gifts, es-pecially in his vivacious scherzo vein, aredemonstrated by veteran virtuoso ShuraCherkassky in dazzling, if sonically light-weight, versions of the fine Opus 28 Fanta-sia, familiar Rondo capriccioso, and unfa-miliar Rondo d capriccioso, coupled withLiszt showpieces: Tarantella, LiebestraumNo. 3, and melodramatic Hungarian Rhap-sody No. 12 (Vox Cum Laude digital/chrome D -VCS 9048). But it's a youngersupervirtuoso, Jorge Bolet, and more ring-ingly solid sonics that reveal the "greater"Liszt of the mighty B minor Sonata, as wellas the lesser but notably versatile composerof a Valse impromptu, all three Liebes-treiume (for once without schmaltz), and theamusingly silly Valse chromatique (Lon-don digital/chrome 410 115-5-Vol. 3 of aseries in progress). Then there's virtuosityto spare, but scant real character, in OxanaYablonskaya's Chopin recital: the B flatminor Sonata, Second Scherzo, etc. (InSync chrome C 4139). Here, as in Yablon-skaya's recent early Beethoven Sonatas (C4127), the singularity is the awesome real-ism of the recorded sound.

For something more nearly revolution-ary in music, one must go back to marvel athow Haydn in his later years struck out forhimself in his works for the keyboard.Alfred Brendel's magisterially virile andprobing readings of Sonatas L. 58, 60, and61 (Philips digital/chrome 7337 317), cap-tured in vivid sound, command so mucheloquence (and humor, too) that for once Ican't regret the choice of a modern ratherthan period instrument. Leonard Bernstein,however, is oddly non -ebullient in hismostly miniature piano works. So evenJames Tocco's delectably played andrecorded complete set (Pro Arte digital/chrome PCD 109) is likely to appeal only tofans of the tone -portrait subjects and ofLenny himself.

Dualities. When two players of disparateinstruments join forces, the contrast ofsound and personality may be more evidentthan true fusion. The violin/piano combina-tion is tricky even when one partner doesn'ttend to overpower the other-as in the IvesViolin Sonatas, where pianist and Ivesauthority John Kirkpatrick generally domi-nates his lighter -toned, less projective vio-

linist, Daniel Stepner. However, they knowthe music so well that they make thoseingenious divertissements on camp -meet-ing Woes irresistibly engaging. And theyaugment the usual four sonatas with a fifth,reconstructed from the original violin/pianosketches for the Holidays Symphony (Mu-sical Heritage/Barclay-Crocker MHS 4501,double -play open reel).

The 18th -century fiddle/harpsichordduo is more tonally homogeneous: Witnessthe pairing of Sergio Luca's 1733 SanctusSeraphin and Malcolm Bilson's Belt replicaof Mozart's own Walter fortepiano in thefirst digitally recorded period -instrumentset of Mozart's Mannheim/Paris Sonatas,K. 301-6 (Nonesuch 79070-4, two ferriccassettes). Unlike the earlier keyboardsolos with violin obbligatos, these transi-tional works give the fiddler a more nearlyequal role and, in the present near -idealrealizations, are sheer joy.

E pluribus unum. A foursome of instru-ments from the same family is probably thesmallest group fusible into a single entity.Certainly the best string quartets possessindividual "personalities." That of theJuilliard Quartet has changed considerably,along with the personnel, between theensemble's acclaimed Beethoven series ofthe '60s and '70s and its new Library ofCongress series, also for CBS Master-works. 1 haven't yet heard the "Early" and"Middle" sets, but the "Late" ones (pres-tige -box, digital/chrome I4T 37873) arefervently eloquent, matured readings inimpressively rich and warm sonics. Still,they exhibit the disadvantages (brief ap-plause at each work's end) as well as thecommunicative benefits of "live" record-ings. And, however profound this musicmay be, does it have to be so portentouslyserious, vehement, and grimly humor-less?

For the relish the Juilliards once had,and for more vital playing and acoustics,one must turn to the youthful Alban Bergfoursome in Young -Lion Beethoven's earlyOpus 18 Quartets. These six, usually over-shadowed by the superb middle -period andtranscendental late -period works, actuallyare extraordinarily innovative-nevermore so than in the present galvanicallyexhilarating readings and gleaming, soni-cally lightweight analog recordings (Sera-phim boxed 4X3G 6121).

For myself, I'll never attempt to denymy preference for being electrified ratherthan benumbed! NF

NOVEMBER 1984 85

The Concert -Video Shell GameIs this the visual memento you always wanted of your favorite star?

Choose your tapes carefully, and rent before you buy.Reviewed by Joyce Millman

BEFORE RECORD COMPANIES discovered thepromotional value of music video, a rockperformer's best chance to achieve filmimmortality was as the subject of a rocku-mentary. In fact, from the late Sixties to the

Joyce Millman, who lives in Boston, writesregularly for the Boston Phoenix.

mid -Seventies, it seemed as if no show wascomplete without a camera crew scamper-ing back and forth across the stage, immor-talizing every puff of dry ice and ten-minutedrum solo. Of the resulting feature films, ahandful, such as Woodstock and The LastWaltz, won critical and popular acclaim.Most of the others, such as Celebration at

Big Sur and Ladies and Gentlemen, TheRolling Stones, were slapdash jobs thatexploited an audience of rock video inno-cents and then vanished from theaters aftertwo-week runs. As mere filmed concerts,these movies just couldn't compete on fea-ture film standards, and they could only becounted on to appeal to a small segment of

86 HIGH FIDELITY

moviegoers. But concert videos have final-ly found a niche in the home market.

In its purest form, the concert -lengthvideo is exactly that-a concert, to beenjoyed in the comfort of one's home,where the viewer always has a better -than -

front -row seat. These programs usually runupwards of 60 minutes and range in pricefrom $29.95 to $39.95. Since their artisticand technical qualities vary greatly, thesmart shopper will rent a tape first; you'd besurprised how many of them, even those byperformers you admire, don't hold theircharm. Concert videos must be judged forwatchability (as any film would be) and forthe quality of the music (as any albumwould be). The best enhance a performancewith sharp direction and editing; make youthink about the artist in a new way; offermore than just note -for -note duplications ofstudio tracks-although there aren't manythat manage to pull it all together. For fond-ness of alliteration and consumer conve-nience, I've divided concert videos intothree types: the souvenir, the straight shoot.and the statement. Two words of advice: Bepicky.

THE SOUVENIR

This release, always by an enormouslypopular artist, is a sort of visual keepsakefor fans. It usually commemorates a tourand often contains interviews, hit conceptu-al song videos, or other goodies. One of thebest souvenirs is "David Bowie: SeriousMoonlight," a 90 -minute tape of a Vancou-ver concert from the singer's 1983 tour(originally aired as a Home Box Office spe-cial). Perhaps the main reason for its suc-cess is that director David Mallet was work-ing from Bowie's concept-and Bowie hadas strict a hand in the look of his video as hehad in the design of his stage set. Four giantRoman columns filled with white light andwatched over by a sparkly crescent moongive the impression of an ancient amphithe-ater, of classicism and endurance. Thisstunning set played to the last rows of are-nas, and it plays even better on TV.

The camera also does justice to thesubtle pantomimes with which Bowie andhis backing singers interpret songs. (Suchskits were lost in huge arenas like the one Iwent to, which didn't offer a wide-screensimulcast.) For instance, during ChinaGirl, the singers and horn players sit oncrates, smoking cigarettes. playing cards,and miming eating and arguing, to suggestthe raucous atmosphere of noontime China-town. Mallet captures all the stage action.but the frame never seems overcrowded. Herefrains from trite shots of fist -waving fansor grimacing guitarists, and he uses specialeffects wisely and sparingly-freeze framefor the serrated Rebel Rebel, slow motionfor the dreamy Let's Dance. Through briskediting and superb, clean sound (remixedby Bob Clearmountain), this arena specta-cle becomes an intense and intimate encap-

sulation of Bowie's career. And Bowie,with his alabaster skin, cold eyes, and vul-pine smile, is an ice -blue icon, a rivetingvisual presence. There are no dead spots ofapplause; instead, the next song's title andrelease date flash on the screen under aBowie photo from that year. the SeriousMoonlight Tour being Bowie's summationof his story till now. The video is a smartpurchase for the historically -minded fansetting up a concert library. Heck, I spentmore than $39.95 for tickets and gaso-line.

"The Who Rocks America: 1982American Tour." on the other hand, is a

Selected VideosDavid Bowie: Serious Moonlight. Concert

Productions International, producer. Mu-sic Media M 441 (VHS & Beta),$39.95.

Culture Club: A Kiss Across the Ocean.Hugh Symonds. producer. CBS/Fox 6659-34 (VHS), $29.98; 6659-24 (Beta),$29.98.

Dexys Midnight Runners: The Bridge.Siobhan Barron, producer. RCA/Colum-bia VH 91055 (VHS). $29.95; BE 91055(Beta), $29.95.

Hall and Oates: Rock and Soul Live. Dan-ny O'Donovan, producer. RCA/ColumbiaVH 91065 (VHS), $29.95: BE 91065(Beta). $29.95.

Herbie Hancock: Herbie Hancock and theRockit Band. Lexy Godfrey. producer.CBS/Fox 6619-34 (VHS), $29.98; 6619-24 (Beta), $29.98.

Joni Mitchell: Shadows and Light. L. A.Johnson, producer. Warner Home Video34057 (VHS & Beta). $29.98.

The Who Rocks America: 1982 AmericanTour. Jack Calmes. producer. CBS/Fox6234-30 (VHS), $39.98; 6234-20 (Beta),$39.98.

souvenir. The Toronto performancewas erratic, and postproduction directorPhil Tweedy didn't exert himself seekingways to punch up the tedious spots. In con-cert. the Who may unleash an earthquake ofsound (presented in all its glory, in Dolby,by Glyn Johns), but the band isn't much tolook at. Repeated shots of Roger Daltreymarching in place, Pete Townshcnd wind -milling at his guitar, and John Entwistleimpersonating a sleeping bass player arevisually D -U -L -L. The video's only cleveruse of special effects-and its only attemptto reflect the spirit and meaning of this fare-well tour-comes during Won't Get FooledAgain, when an animated pinball machinespews a montage of pictures spanning thegroup's career. "The Who Rocks Ameri-ca" is just your basic gargantuan rock showby a warhorse band, not a visual memory ofthe Who I'd want to keep forever. Rent thisone; buy Jeff Stein's celebratory 1979 doc-umentary, "The Kids Arc Alright."

drab

THE STRAIGHT SHOOT

Ostensibly, this is the simplest type ofconcert video, but judging from the gener-ally disappointing quality of most of theseplain old taped concerts, it must be thetrickiest. The performance is key, so it'stime that record and video companies real-ize that neither stage gimmickry nor plati-num album sales guarantees a scintillatinglive show. For instance, on "Herbie Han-cock and the Rockit Band," Hancock loadsthe stage with the hydraulic -powered robotsfrom his Rockit song video, but the gizmoscan't enliven this competent yet uninvolv-ing performance. "Hall and Oates: Rockand Soul Live," a run-through of fifteen ofthe duo's engaging pop hits (beautifullyrecorded by Hugh Padgham), can't besaved by Hall or Oates, neither of whom isan even remotely exciting performer. Theyreceive no cosmetic help from director Mar-ty Callner, whose edit is slowed even fur-ther by endless boring shots of the audienceapplauding; we even have to wait with themfor the encore.

There are many dynamic live perform-ers who would be perfect for this format:Bruce Springsteen, Van Morrison, theClash, Talking Heads, R.E.M., Prince. Fornow, though. Culture Club's new concertvideo. "A Kiss Across the Ocean," joins"A Night with Lou Reed" and "RoxyMusic: The High Road" as the best of thestraight shoots. "A Kiss Across theOcean" catches the band in a sparkling per-formance at London's HammersmithOdeon. Augmented by two horn players, akeyboardist, and backup singer Helen Ter-ry, Culture Club plays with confidence andzest, adding new twists to old hits, throw-ing in their unrecorded racial unity anthem,Melting Pot, and-in the cases of BlackMoney and Church of the Poison Mind-offering live versions that surpass their stu-dio takes by a mile. Boy George is in fine,supple voice, and he shows off his unerringsense of soul phrasing and his rare ability toemote without seeming corny. There'splenty of visual stimulation, too. The stagebackdrop changes every few songs, as doesBoy George's costume. It's snowingindoors for Victims; some audience mem-bers dressed in Boy George -drag jumponstage during one song and dance in a cir-cle around their ecstatic idol.

Throughout, director Keef alternatesshots of Boy George and his hysterical fans(many of them weeping teenage girls), viv-idly portraying the rapport between per-former and audience. Keef also knows anevocative moment when he sees one. Dur-ing Church of the Poison Mind, he fixes onBoy George and Terry singing to and danc-ing with each other in the spotlight, captur-ing in an image what Culture Club is allabout: a boy in makeup and a dress, a heftygirl in white sequins, claiming the pursuitof stardom, glamour, and romance as an(Continued on page 96)

NOVEMBER 1984 87

BACKBEAT

Reviews

ThisIs

ProgressPublic Image Ltd.:This Is What You Want This Is WhatYou GetJohn Lydon & Martin Atkins, producersElektra 60365Public Image Ltd.: Commercial ZoneKeith Levene, producerPIL Records XYZ 077

Originally a nucleus of John Lydon (a.k.a.Johnny Rotten), Keith Levene, and JahWobble, Public Image Ltd. simplified andenergized a bunch of ideas that had beenfloating around in underground rock and theavant-garde, alluding to everyone from theVelvets to Can to Big Youth to Hawkwind.Difficult to classify, they remained devi-ously obvious and as concerned with soundas they were with power. In public they imi-tated subversion and constantly mocked therock industry.

But PIL was made up of individual tal-ents as much as it was made up of a unifyingidea, and personal laziness dogged themthroughout. After two studio albums,1978's "First Issue" and 1980's "MetalBox" (released in the U.S. as. "SecondEdition"), and one live set. "Paris AuPrintemps," bassist Wobble left. Follow-ing 198I's "Flowers of Romance," the"band" moved to New York City. wherethey drank a lot, mouthed off, and eventu-ally recorded This Is Not a Love Song.which was a No. I hit in Britain.

Then drummer Martin Atkins andLydon picked up some studio hacks,toured, put out a duff live album, and wentinto the studio for a major label to make"This Is What You Want This Is What YouGet." Levene-who departed after LoveSong and still owns half the PIL name-simultaneously released, in a white -sleevebootleg format, the (mostly finished) albumthat he, bassist Pete Jones, Lydon, andAtkins were working on when he left theband. His record, of dubious legality, is

"Commercial Zone.""This Is What You Want" is Atkins

For additional reviews of Pop and Jazzmusic on videodisc and Compact Disc,see NEW TECHNOLOGIES.

John Lydon of Public Image Ltd.: rilv! fool

and Lydon's solid, hard mixture of naivetéand enthusiasm. "Real" musicianswouldn't be caught dead putting most ofthis stuff on vinyl: completely amateurish(and completely appropriate) bleats andscratches of saxophone. violin, piano.synths, etc. Yet it's a more coherent, betterproduced. and more inspired effort thanPIL's last studio record; for them, it'sprogress. There's plenty of aggressive rep-etition here, and what I'd call minimalismby default: dense patterns of sound builtwith just a few instruments. And vocals, alot of 'cm, used for rhythm, melody. or tex-ture; percussion. along with the vocals. isway up in the mix. The rest of the instru-mentation forms a tight, gray web droningin the same simple patterns. Atkins andLydon never imitate funk; they absorb itand make it their own. This is dance musicthat's forceful, redundant, and rhythmic,the same qualities that have been a constantin all of their work, especially the master-piece. "Metal Box." Only the new versionof This Is Not a Love Song is less thanexemplary; the skeletal playing of Leveneand Jones on the original has been replacedby slick horn parts and unnecessary over-production. Unfortunately, this single lapseis a pretty visible one.

As for the feature object itself, theLydon voice, it remains one of the mostdistinct, powerful, and creatively usedinstruments this critic has ever heard. Fromshrill whine to basso swoon to blubberyconversational rap. it mocks, accuses.

chronic laziness

begs, and seduces."First Issue" and "Metal Box" arc

better records, and "Paris Au Printemps"is probably as good; inspiration, in its puresudden -light -bulb -over -head form, may belacking. but this is still a great album.

"Commercial Zone" is not muchmore than a curious companion piece. Ifyou believe that Keith Levene's work onthe first two PIL albums made him a musi-cian to watch, this is going to be a letdown.His guitar and synthwork is very ordinary.simultaneously too arty and quite common.Bad Night, the sole Lydon vocal thatappears exclusively, is the most normalthing Lydon has done since the Sex Pistolscovered Johnny B. Goode, and at least theytrashed that. Only on Lou Reed Pt. 1-adrony, western -flavored acoustic and elec-tric instrumental with an infectious Wob-blesque bass run-and Lou Reed Pt. 2(called Where Are You on "This Is WhatYou Want"), does Levene unveil his re-knowned scratchy. harmonic, heavystyle.

If the Elektra record didn't exist, I

might speak more highly of "CommercialZone"; it would have been an adequate ifanticlimactic offering from some very tal-ented people. But as it is, this release sup-plies substantial evidence of Levene'smediocrity (at least within the context-confines?-of P1L), leading us to the con-clusion (unthinkable prior to these two LPs)that PIL is better off without him, at least inthe short run. TIM SOMMER

88 HIGH FIDELITY

The Bangles: All Over the PlaceDavid Kahne, producerColumbia PFC 39220

With their stunning major -label debut, "AllOver the Place," the Bangles fulfill thepromise they showed on 1982's indepen-dent EP, "The Bangles" (which sold35,000 copies). and as the backup act forthe English Beat's last American tour. Hey,you don't get this good overnight! All fourwomen, now in their mid -twenties, came ofage in the Los Angeles area, where they dugthe Beatles. the Stones, the Everly Broth-ers, the Seeds, and the Mamas and thePapas. Peterson sisters Vicki. on guitar andvocals, and Debbi. on drums, began play-ing together in the mid -Seventies and metguitarist -vocalist Susanna Hoffs in 1981

through a "musicians wanted" ad in anL.A. paper. A year later, bassist MichaelSteele. a woman who had previouslyworked in the studio with Slow Children.replaced the Bangles' original bassist.Annette Zilinskas (now singing with Bloodon the Saddle).

Musically, the Hoffs-Peterson song -writing team comes up with a sweet pas-tiche that pays homage to the guitar -and -vocal -oriented pop of the mid -Sixties: buttheir lyrics, sung in soft. full-throated har-mony. arc decidedly the result of postpunkfemale bonding. There's no place for overtflag-waving amidst the pleasantries of the

fab four format the Bangles have chosen toexplore, but on Dover Beach, when Hoffssings, "If I had the time, I would run awaywith you," she makes it clear that for work-ing women in 1984, professional ambitioncan overshadow emotional pleasures andobligations. On Restless, Vicki's mellowalto rises up to challenge the double stan-dard, and on James, Hoffs expresses disap-pointment, and anger. at having let a mas-ochistic relationship go on too long.

It's points of view like these that makethe Bangles more than a girl group with gui-tars. As Vicki pointed out recently, '60s"girl groups." more often than not, simplyreiterated the male perspective on femaleroles in relationships. So while the Bangles'accessibly poppy sound (softer than, say.the Go-Go's' "Talk Show") seems des-tined to break the Top 40, it remains to beseen whether there is a mass audience forattractive, competent. pop craftswomenwho, in their words. "won't feel bad at allwhen the hero takes a fall." Let's hopeso. ROSEMARY PASSANTINO

John McCormack: The Irish MinstrelJohn Pfeiffer, reissue producerRCA ARM 1-4997

John McCormack was Ireland's answer toEnrico Caruso -a near -legendary tenorwho wowed music lovers the world overwith his robust, emotive style. Like Caruso,

with whom he was good friends, McCor-mack's repertoire was rooted in classicaltradition: he was a master of Handel andMozart librettos, a scholar of Schumann,Donizetti and Bizet.

He was also a superstar. Immenselypopular in America, McCormack was oneof the recording industry's first million -

selling artists, and his tours -which fea-tured a mix of classical songs with pop bal-lads and Irish traditional tunes -werestanding -room -only affairs.

The 21 selections on "The Irish Min-strel," released as a "centennial tribute"(McCormack 's dates: 1884-1945), arcmainly popular pieces: lilting Irish airs,melancholy ballads, hearty upbeat an-thems. Their audio quality is not good;although they've been remastered and elec-tronically enhanced, they still sound likescratchy old records from more than a half -century ago. which is exactly what theyare.

In a way, though. the steady rustlingsurface noise is half the LP's considerablecharm. Listening to the sweet melody ofDown in the Forest -while a tinny orches-tra ushers up gusts of rhythm and sweepingembellishments and McCormack warbles atfull throttle -is the musical equivalent ofsitting in a house filled with exquisiteantiques. The mood established is both lux-uriously beautiful and completely of anoth-er time.

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1rt, Cyril, CharleA, laron Neville: four brothers in New Orleans's musical family

McCormack himself is remarkable-pure, ringing, and controlled. On the finalrefrain of Love's Garden of Roses, the tenorhangs on to a note seemingly forever; onSomewhere a Voice Is Calling he hits ahigh, sweet chord and lets it linger. Accom-panied solely by Edwin Schneider's dili-gent piano. McCormack infuses the music -hall tune By the Short Cut to the Rosses witha sense of slightly reckless reverie.

Today no one could get away with thecornball patriotism of Ireland. My Sirelandand Ireland, Mother Ireland. the sappy lyr-icism of Love's Secret, the lush poesy ofTennyson's Now Sleeps the Crimson Petal.But then, no one is trying to. Yet there'ssomething good and fine about the fact thatthese songs were once rendered with suchgusto and charm by a voice both melliflu-ous and keen. And that they have been pre-served.

RCA's Red Seal division has issuedseveral other McCormack collections. Thebest of these is "John McCormack: A Leg-endary Performer" (CRM 1-2472). whichwas digitally restored. It retains some of thetinny audio quality while brightening theperformances with a more resonant soundtexture. You may prefer it; I don't.

STEVEN X. REA

The Neville Brothers: Neville-izationHammond Scott, Art Neville, &W. Barry Wilson, producersBlack Top 1031 (distributed by Rounder)

"Neville-ization" is a winding, scenic tourthrough the blue highways of soulful funk.New Orleans's Neville Brothers have beenmaking sweet, strutting music for threedecades, and this album-recorded live in

September 1982-puts the listener in thecrowd at Tipitina's, a club immortalized byProfessor Longhair. who is something of anicon himself. The Nevilles had releasedtheir superb "Fiyo on the Bayou" the yearbefore, and the set was full of familiar andpersonal references to Longhair. Little Wil-lie John, Duke Ellington, and BobbyWomack. Along with a nonpareil readingof Aaron Neville's 1966 hit Tell It Like It Is.these references are illustrative of theband's rich heritage.

The Nevilles push percussion to theforeground. mess around with the beat, andhang back with the clatter, to create a soundthat's loose, but not too loose. Their konk-ka-klonk precision on Mojo Hannah is likethe Coasters gone south; Womack's Wom-an's Gotta Have It keeps things lively; andFear, Hate, Envy, Jealousy makes nuclearproliferation sound like a way to ruin a per-fectly good party. On Aaron's ballads.they're able to connect '50s doo-wop. '60ssoul, and '70s Afro -funk without comingacross as forced or self-consciously eclec-tic.

In New Orleans r & b, the Nevilles arcthe First Family (literally-the groupincludes brothers Art, Aaron, Charles, andCyril, plus Aaron's son Ivan), and withroots in the Hawkettes. the Meters, and oth-er famed N.O. bands, they have come torepresent tradition in a city where thatcounts for a lot. On this LP. they pay tributeto the past without being trapped by it.

Down at K -Paul's in New Orleans,you can enjoy a Cajun martini, which ismade by marinating jalapeno peppers in ginovernight. "Neville-ization" has a similarkind of hot/cool kick; this music travelsvery well. MITCHELL COHEN

jazzGene Bertoncini and Michael Moore:Close TiesGene Bertoncini, producerOmniSound, GJB 334 (P.O. Box 128.Delaware Water Gap, Pa. 18327)

The guitar -bass team of Gene Bertonciniand Michael Moore isn't going to beat youover the head to get your attention. Theyhave a quiet, penetrating sound, with asophisticated repertoire to match. Compo-sitions by Ellington and Strayhorn arcmixed with reworkings of Bach. Ravel.

90

Rachmaninoff, and Gershwin. So far thiseclecticism may sound like one of thosemusical shotgun weddings proposed byClaude Boiling, but "Close Ties" has lesspretentious and more practical aims. Ar-ranger Bertoncini isn't out to "jazz the clas-sics," or find the missing links between thehigh and popular arts. He and Moore don'ttreat the classics with kid gloves; theyapproach them as beautiful melodies to beplayed and improvised on.

"Close Tics" may be mellow in tone,but it isn't ruminative; there is plenty of

HIGH FIDELITY

solid and involving playing. There are no"big" moments, but attentive listeningalways reveals flashes of remarkable instru-mental prowess. Although he uses the clas-sical guitar almost exclusively, Bertoncinistudiously avoids the acoustic camps ofboth the old guard (Charlie Byrd) and theyoung lions (Ralph Towner. JohnMcLaughlin). His playing will not satisfyanyone looking for frenetic fretwork; his isa rush not of technique, but of feeling.grace, and intelligence.

Moore is his low -register counterpart.He gets a tawny. sensual tone from hisinstrument unlike that of any other bassist.His bowed solo on the "funk" section ofGershwin's Piano Concerto No. 2 is a greatexample of his art: The phrasing is low-down and dirty. but each note retains itsclarity and richness of sound.

In its audacity, piquant romanticism.and sense of intimacy between the twoplayers. "Close Ties" can be compared tothe legendary Bill Evans -Jim Hall duets.Bertoncini and Moore are too good toremain the best -kept secret in jazz.

STEVE FUTTERMAN

Andrew Cyrille, Kenny Clarke,Famoudou Don Moye, &Milford Graves: Pieces of TimeGiovanni Bonandrini. producerSoul Note/PSI SN 1078

Contemporary musicians who explore thepotential of the drum ensemble quicklyrealize that a gaggle of thumpers, whack-ers, rollers, and clunkers can neither repro-duce the rhythmic complexity and unity ofthe African drum choir nor approach thesheer virtuosic presence of the other instru-ments without some serious work. Drum-mer Andrew Cyrille, the nominal conceptu-alizer of "Pieces of Time," has devotedmuch of his career to developing an orches-tral and conversational approach to hisinstrument.

Like Max Roach's structured, songfulpercussion ensemble M'Boom and JeromeCooper's one -man -band, blues -bush con-coctions, Cyrille and associates-bebopperKenny Clarke. the bewitched MilfordGraves, and Art Ensemble percussionistFamoudou Don Moye-have wedded ele-ments of jazz improvisation, African com-munalism, and blues immediacy with com-position. And though the quartet is com-posed of individual dialects, it has only onecollective voice.

The title tune, a series of two -minutesolos, clearly presents the nuances of thefour players. Cyrille, the most physical ofthe four, incorporates marching band andfunky chicken licks into sequential themesin a stutter -step rhythm. Moye builds hissolos fastidiously from the ground up, start-ing with bells and ending with a full trapset. Like a preacher who needs his congre-gation. Graves is a trance player dependent

upon the momentum of bass drum and cym-bal riffs for his guttural chants. Clarke, theman who helped to invent bop drummingby liberating the instrument from the stric-tures of swing. is a lyrical finesse player.He develops a theme, repeats it. shrewdlydisassembles it. and hits his bass drum atfrequent but irregular intervals withoutdropping a beat.

Each player also brings a compositionto the session. Clarke's fast -paced bebopmarch, Laurent. is based around four -barexchanges between soloists and ensemble.The unifying theme is Clarke's patented"Klook-a-mop" figure and chorus -endingcymbal flurries. Moye's atmospheric Ni-

baldi Isle is a compositional extension ofhis ironic garage -sale percussion style.Cyrille's two compositions, No. II andDrum Song for Leadbelly, are both remark-able for their animated tap-dance rhythms.Moye's pan bass drums, Graves's bongopatter, and Clarke's steady, insistent cym-bal are an earthy support for Cyrille's hes-itatin'-funk-meets-African-ring-game soloon No. 11. The rimshot vamp, guitar ragrhythms, and hollow cardboard box tone ofLeadbelly successfully evoke the writer andhis songs. Graves's Energy Cycles harkensback to the days of the furious avant-garde.But Graves is able to create clarity and sus-tain a focus while mixing an assortment of

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NOVEMBER 1984 91

I, James BrownJames Brown and the Famous Flames:The Federal Years . . . Parts 1 and 2Rico Tee & Marty Arbunich, compilersSolid Smoke SS 8023 and SS 8024The James Brown Story:Ain't That a Groove, 1966-69Cliff White & Cheesesteaks Unitd.,reissue producers. Polydor 821 231-1The James Brown Story:Doing It to Death, 1970-73Cliff White & Cheesesteaks Unitd.,reissue producers. Polydor 821 232-1

EVEN ON HIS earliest songs, the momentwas sometimes there. Those were conven-tional rhythm-and-blues records, with littleimprovisation, and James Brown sang thelyrics straight. But once in a while, hewould break suddenly from the arrange-ment and begin sputtering, "I . . I . . . I

I, James Brown. Has anyone else inpopular music poured out more of his selfwhile still clinging to it so tenaciously?

These four reissues document most ofthe important stages of Brown's career. Thefirst two albums gather 30 of the 36 sides hecut for Federal, the King subsidiary,between 1956 and 1960, before he movedup to the parent label. The third picks upright after his polyrhythmic "brand newbag" breakthrough and spans 1966-69.And the fourth covers the urban Americanvoodoo incantations of 1970-73.

Brown first hit in 1956 with Please,Please, Please (not included here), butdidn't score again until two years later withTry Me. His earliest influences ranged fromcontemporaries such as the "5" Royales,Little Willie John, and Hank Ballard andthe Midnighters to jump blues godfathersWynonie Harris and Roy Brown and cock-tail bluesman Charles Brown. Thus, No,No, No and / Feel That Old Feeling Comin'On from the Federal reissues offer onlyminor, if dynamic, variations on the jumpblues format, while That Dood !t followsthe novelty blues vamp of something likeJohnny "Guitar" Watson's Gangster ofLove. In his quest for follow-ups, Brownwas not above cannibalizing his own oranyone else's prior successes; I've Got toChange, I Won't Plead No More, and ItWas You crib freely from Please, Please,Please or Try Me, just as Let's Make Itquotes the horn riff from the perennial r&bwarmup/ workout, Bill Doggett's HonkyTonk.

Though there are obligatory horn solosand an occasional solo bridge provided byguitar, these Federal sides are marked by

Reviewed byJohn Morthland

tight ensemble playing. The FamousFlames are subservient but always rightthere as backup singers. The themes usuallycome from blues, but even at this stage,Brown is not singing blues so much as he isnascent soul. His vocals, derived fromthose of the Rev. Julius Cheeks of the Sen-sational Nightingales, are direct and unvar-nished, blatantly sexual. From the baleful-ness of Wonder When You're ComingHome to the deep (and deep -voiced) hurtsof Why Do You Do Me to the confused ulti-matums of I'll Go Crazy, he is edging intovocal and/or thematic territory new to popmusic. And on Good Good Lovin' he laysthe groundwork for his future style: Thehorns are percussive, the guitar is percus-sive, the Flames are percussive, and thedrum fills keep kicking the song up anothernotch. Even the squawky sax solo is unusu-ally rhythmic.

He cashes in on that formula withBring It Up (1966) from "Ain't That aGroove." There is no blues left in theserhythm and blues; it is all rhythm andexhortation. The trademark screams, for-merly thrown in at random, are now whatthe song is built around; often, they are thesong. The Flames are gone, and Brown isdelivering his cocksure message-whetherliterally on Don't Be a Dropout or figura-tively on Licking Stick-alone.

Along with its assertiveness, the em-phasis of his voice now focuses on percus-

9

0

sive tone and timbre. Brown delves intoLatin cross -rhythms to fill out his back -to -Africa new -beat. The interplay betweenhorns, guitar, drums, and voice on LetYourself Go, the tug between bass drum andvoice on Money Won't Change You, thebooming downbeat of/Don't Want Nobodyto Give Me Nothing (Open the Door, I'llGet It Myself), the rumbling piano anddrums set against the chinking guitar onAin't That a Groove-all drive the pointhome. That scratchy guitar is the glue hold-ing these rhythms together, providing coun-terpoints to the drums and fractured bassline of Get It Together, providing the hookfor the demonic / Can't Stand Myself WhenYou Touch Me. By Give It Up or Turn ItLoose, it's also apparent that Brown isimprovising his material in the studio,searching for that endless groove.

Which he finds on most of "Doing Itto Death," an unabashed celebration of hisown vainglorious self. He and his band, theJBs, are down to one chord now, and thedrums are there not just to carry it, but togive it resonance and coloration: rhythm forits own sake. Lyrics, if any, are an after-thought. When a soloist is spotlighted, asorganist Bobby Byrd is on Make It Funky,Part 2, he plays his own hypnotic rhythmtrack on top of the band's. But most of thetime, as on Brother Rapp, the JBs throbalong as a single instrument, rushing to thebridge, itself only a slight variation on themain theme.

The albums that yielded the sideson"Death," as well as the sets that followedthroughout the Seventies, had a lot of filler;Brown lost his own edge just as his tremen-dous influence was becoming evident indisco and in the music of Parliament-Funk-adelic and other street funk bands. His mostrecent in a series of "comeback" singles,Unity, with hip -hop figurehead AfrikaBambaataa (Tommy Boy TB 847), findsthe common ground between the two gen-erations by uniting his crisscross rhythms,riffing horns, and scratching guitar with theechoing, machine-gun beat and slicingsynths of 1984. Brown and Bambaataadeliver vocals halfway between singing andrapping. Their impact is frittered away byBambaataa's possessive attempts to dupli-cate Brown vocally, by their decision toinclude six barely different variations onone 12 -inch record, and by some between -songs mutual backslapping obsequiousenough to make Sammy Davis, Jr., cringe.But it remains a thrill to have the 50 sides ofbedrock American music on these four reis-sues finally back in print. NF

92 HIGH FIDELITY

rhythms from distinctly African to free inthis dense, thunderous dialogue.

DON PALMER

The Heath Brothers:Brothers and OthersOrrin Keepnews & the Brothers,producers. Antilles AN 1016

The Heath Brothers are back to their basicgroup: Jimmy on tenor and soprano saxo-phones, Percy on bass and baby bass, andTootie on drums, along with their spiritualbrother, Stanley Cowell, on piano. SlideHampton on trombone and Joe Kennedy,Jr., on violin give arranger Jimmy theopportunity to work with fresh voicings,although his Keep Love Alive is the onlysong both visitors play on. The fascinatingblend of soprano saxophone, violin, andtrombone, and the persuasively propulsivebass figure of the tune, makes one wish thatmore had been done with this full ensem-ble. Kennedy colors Prelude to a Kiss witha warm and singing solo, and Hamptonoffers a gruff and slippery workout on theotherwise unexceptional Nice People. Exitguest soloists.

But left to their own devices, theHeath Brothers can conjure up more varietythan you might expect. Percy plucks thebaby bass on his own lslandized, a calypsothat is both melodic and gently jumping,thanks to his stimulus and Cowell's kalim-ba. Playing it straight, the Brothers showtheir individual beston Randy Weston's Hi -Fly, because it sup-ports their swinging instincts. Yet thisalbum suggests that additional instrumentslift the group to another level.

JOHN S. WILSON

Max Roach and Cecil Taylor:Historic ConcertsMax Roach, producerSoul Note SN 1100/1 (two discs)

"Historic Concerts," 80 minutes of unin-terrupted improvisation by pianist CecilTaylor and drummer Max Roach recordedat Columbia University in 1979, isn't thecross -generational dialogue it purports tobe. Although he has incorporated postbopelements into his style, Roach still definesthe crisp momentum and off -center synco-pations of bebop drumming. Only eightyears his junior, Taylor is nonetheless afather figure of the free jazz era and its fol-lowers, who rebelled against the formalconstraints of bop. In theory, an encounterbetween the two should have found com-mon ground somewhere in the middle: Tay-lor might delve into structured time and har-mony for a change, Roach could loosen hisstrict rhythms and play with unmeteredfreedom.

But "Historic Concerts" is a meetingon Taylor's terms. He might be an icono-clast, but that's what's limiting about him:you can't share being unique. Forced tostep beyond self-imposed boundaries,

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Roach is brilliant. Not only has he livedthrough some of the greatest changes in jazzhistory, he has absorbed them all. To him,Taylor is a challenge, not a threat. At theage of fifty-four, Roach re -invents himselfas a free -style drummer.

Side -length extravaganzas of unbri-dled energy and free association have beenmainstays since the Sixties for Taylor.Making sure every note of his torrentialkeyboard runs can be heard, he constructsskitterish lines and phrases that assemble,self-destruct, and then regroup in differentform with inimitably skewed logic. This

Cecil Taylor meets Max Roach, sort of

inward approach makes Roach's instinctiveresponse that much more thrilling. Tomatch Taylor's richness and variety, heemphasizes the distinct parts and sounds ofhis drum kit. You become aware and listenfor his choices.

Part One (each part encompassing aside) is an all-out energy warmup that.while energizing, is the least involvingsection for me. The fun really begins onPart Two, when the duo quiets down a littleand starts experimenting with rhythms.Roach accompanies and reacts to Taylor'smultidirectional jabbing by setting up mut-ed African cross -patterns. Then he variesthe mood by turning to his high -hat, offset-ting the pianist's rumbling twists andturns.

Off -kilter lyricism marks Part Three.as Roach abandons his kit for hand percus-sion. With Taylor caressing pointillistic fig-ures, Roach rattles, twirls, and shakes. Thetempo then quickens as waves of tom-tomswash over more quicksilver piano.

The only solos are on Part Four. Tay-lor begins by treating us to an unexpectedlytonal ballad. Roach's equally beautiful fea-ture is memorable for its pacing and care-fully sculptured use of space. Cueing intoeach other again, the two build to a dynamic

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and triumphant climax.Not every moment of "Historic Con-

certs" is riveting; almost an hour and a halfof intense, unstructured playing can weardown both player and listener. It might notbe the encapsulated history of postwar jazzthat some expected; still, it forces us to con-sider musical boundaries, and how easilythey sometimes can be broken.

STEVE FUTTERMAN

Artie Shaw: A LegacyBook -of -the -Month -Club Records 71-775(four discs or two cassettes)(available by mail only; see text)

This Artie Shaw "legacy" is not concernedwith his big bands or the small group, theGramercy Five, that came out of them. Ithas nothing to do with the big band he'scurrently sponsoring. Instead, "A Legacy"documents the beginning and the end ofArtie Shaw's career as a leader (he quit themusic business 30 years ago), and showshim in unusual settings.

These are revealing performances. Wehear the way he started, by leading a stringquartet and a rhythm section in a perfor-mance of Interlude in Bflat at a jazz concertin New York in 1936. The sensitivity of hisshading with the strings, his clean, silverytone, and the tumbling loops of his phrasingare all there. And we hear how he finished;three quarters of "A Legacy" is devoted tohis 1954 sextet. Unlike his fellow Swing

Ere. bandleaders, Shaw became interestedin and stimulated by the beboppers whoevolved out of 1940s jazz. At times hesounds like Buddy DeFranco, the firstbebop clarinetist, although the distinctiveoutlines of his playing are unmistakable.

The 1954 group included Hank Jones,Tal Farlow, and Joe Roland and primarilyplayed enlarged versions of older pieces.Tape allowed the soloists to develop theirthoughts more fully than the original three -minute 78 -rpm records did, as Gene Leespoints out in his insightful notes. Shaw'splaying on Dancing in the Dark, for exam-ple, is richer, warmer, and more probing.But sometimes his head seems to becrammed with songs of the '20s and '30s,from which he keeps quoting pointlessly.Jones and Farlow, at early stages in theircareers, are consistently lean and thought-ful. The best piece is the sextet's sole ad-venture, Shaw's then -new Sunny Side Up.

Hearing him apply tone and technique toMozart and ride herd on the elephantineWhiteman orchestra are added treats. "ALegacy," both a curiosity and a revelation,shows what Shaw was getting into when hewalked away from his career.

["A Legacy" is available by mailorder only from Book -of -the -Month -ClubRecords, Camp Hill, Pa. 17012; $27.95(same price for discs or cassettes) plus$1.75 shipping and handling; New Yorkand Pennsylvania residents add sales tax.]

JOHN S. WILSON

CONCERT VIDEOS(Continued from page 87)inalienable right. "A Kiss Across theOcean" is a delight to watch over and over;it may turn out to be as essential a rockartifact as The TAMI Show in expressing theflavor of its time.

THE STATEMENT

So far, only a few pop artists haveregarded the concert video like an album: achance to make a statement. Joni Mitchell's"Shadows and Light," which the singerdirected and co -edited, is more than just thevisual sequel to the live concert album ofthe same name. Mitchell enriches an excel-lent date from her "Mingus" tour withpithy, well -placed snatches of video; theeffect is comparable to seeing a performerin concert and suddenly understanding howall the pieces of her career fit together.

This particular show was held out-doors at dusk in the Santa Barbara CountyBowl, and the calm natural lighting is wellsuited to the tranquil earthiness of PatMetheny's guitar and Jaco Pastorius's bass(the sound is lovingly mixed by AndyJohns). Opening with a scene from RebelWithout a Cause-James Dean stalking infront of a flickering TV set-the video cutsto a clip of Frankie Lyman and the Teenag-ers singing I'm Not a Juvenile Delinquent,then jumps to Mitchell launching the con-

cert with In France They Kiss on MainStreet ("In the war of independence, rockand roll rang sweet as victory"); this is asuccinct equation of a teenager's identitystruggles and those of a strong-minded,hopelessly romantic artist. It's a shame thatMitchell's intelligent and ambitious videostatement is virtually one of a kind.

Another largely untapped potential ofconcert -length videos is their usefulness inintroducing relatively unknown perform-ers. Dexys Midnight Runners is probablythe least -known group to release a concertvideo ("The Bridge"). The band is flawedbut enjoyable on record. In this show, how-ever, leader Kevin Rowland is so pompous(not to mention off-key) that the video isoften annoying. Record and video compa-nies ought to choose powerful performerswho can win instant converts, such as JoeEly, T -Bone Burnett, and Los Lobos.

But the most tantalizing potential ofconcert videos is the opportunity theyafford to bring home a truly special perfor-mance, not only to those of us who missedout, but to those of us who want to cherish itand puzzle over it. How nice it would be ifthis medium could be responsive to thegreat expectations of consumer -fans and totheir small prayers as well. Of course I'd behappy with a video of the Jacksons' "Vic-tory" tour, but I'd be even happier if ElvisCostello's recent solo acoustic dates hadbeen preserved for posterity, too. HF

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Hawkeye ElectronKs Stereo Bud

Pa nwa ectoncs VdeoW sO porSound World RadioStereo Sound Sludros

BrOadCaSI internatana,Electromc Fowl, Thad PrOduCbons Inc

World gadoKANSAS

Accent SoundAudio E lrAudio JunctionAudio Systems

The Sound FactorySounds GreatSound ShackSouthern AudioStereo WordTeam ElectronicsTM Sound & Light.noVern s Stereo & ElectWood W. Stereo21st Century Sound

oreF.cluswe DecHams AudioHouse of OS F.Joyful Nose SedKubanLake AudioM ENew Hayes Sound

KC MUSIC Pro SoundElRyramo

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KCKaf s GramophoneWood Rada"

KENTUCKYBowling Grn AudioFM H, F.detityOvabon AudioRisley Dec

LOUISIANASedansSound AdviceSound Trek AndsUmnkled Sounds

GEORGIA MAINEGeorgia MusicH. L. Buys

HAWAIIMid Pacific Stereo Inc

IDAHOSound CoStereo Shop

ILLINOISAettree Stereo

Gfyroisuystecnse

H. F. HutchMr 05MusrcraftStereo Des.gnsUnded Audio

INDIANAAmerican AudoAudo ConnectionAudio Moot.,Audio SpecoakstsLehman ElectPro &dmFIrsby ElectSound Prod

MARYLANDAudio AssocMyer Ern.Samdsc apeSound Stud. NEW MEXICOSpaceways Sound Candyrnan

SOund IdeasMASSACHUSETTS Sound Room

West Coast Sound

NEW YORKAdJondak PAUSscAudo EschngeAud.o [sportsMM. Genes.5DesignatronEardrumGordon EonGrand Central RadioHarvey Soundinnovative AudioJericho AuctmJSG AudioLeonard Radio

RHODE ISL ANDTweeter

SOUTH CAROLINAJohn B Lee For MuskRead Brothers Stereo

SOUTH DAKOTAPro AudioStereo TownTeam Elect

TENNESSEEColiege H, FLindsay WardSound Concept

XASAudio CenTEterAudio Video

Sound Chamber Austin Audio One. IncSound Odyssey Beaumont SoundSound Stage Audi

BrAudio B M ElectronicsSquare DealBranch Patton

Stereo Lab Conlon, SoundStereo Plus Electric EarThaka it, FI El Centro SoundTranscendental Audio Herod s Ektrctromcs

MONTANA Une<orn Audio Marvin ElectRocky Mnt Ho F, Melody ShopsSound West NORTH CAROLINA Mete.Stereo Shop RarnbOr Audio San Antonio Audio

Sound One Sheeield AudioStereo SoundStereo StationStereo Vale.TansTri Cay Etectrontes

NEBRASKAGood Mu SACStereo Stud.Wald Radio

Natural SoundSOond DynamicsSound Mus.cSound Track AudioTweeter

MICHIGANGramophoneHr F, BuysKurt, MUSIC Cr,Lostervng RoomPane ElectSter Stereoca.Theenter

MINNESOTAAudo KINMe, 5 TV AudioSound Elect

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NEVADASound EnipOnum

NEW HAMPSHIRECuomo 9Hanover Auld.Tweeter

NEWBryn Mawr Stereo

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Fi HavenLeonard RadioRand s Camera H. F.GO! SoundSound Environmentsinc

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Tape Town Audio VideoWestern Audio

NORTH DAKOTA UTAHMidwest Audio Aliens Sound

Audio WortsOHIO Crisman Auctm

Audio Corner the H. Fr Slop&dm Craft Lynn s AudoAudio ForceCarlin AudioCAgrtal 0911155 SoundDectromes ltdGolden GramophoneGrassos Audio. McHart S ALKIKILahmers Nature, H. F.Palmer DecPun Reddrsn StereoSwallen sThreshold Audio

OKLAHOMACope,andRave Dectonics Sound

SystemsWord Wide Stereo

OREGONAudio Video LabsChelsea AudioGood Guys StereoLaGrande StereoLarson sPennrngton Audio

ecShkell sStereoSound chamber

PENNSYLVANIAAudio KernerBryn Mawr StereoO S Audio IncHse or Recordsl.stouen.ng PostMack Audro DecM M StereoPats StereoPro AudioSnenadl StereoStereo -landStereo Outlet

VERMONTAuda Den

VIRGINIAAuditory ImageAudio AssocAudio ConnectionDigital Sound

MaycgSound Machrne

WASHINGTONAudo Noah.**Bremerton StereoINifiniture AudoHoltman Mus.cHupprns H, FMagnolm H. F,POISCS,OC StereoStereocrah

WEST VIRGINIAMack B Dave 5Sound Investments

WISCONSINAmer T,

nande, MusxHi F. Heave,.Mountain F.,Pon of SoundRay s Word of E.eclSalonSound SoiferSound Investments

WYOMINGCrisman Audio

A relatively, but not completely, accurate listing of AUTHORIZED CARVER DEALERS.

SHOW ALBUMS-Rare. out -of -print Ips, 64 -page list$1.00. Broadway -Hollywood Recordings, Georgetown,CT. 06829.

OPEN REEL TAPES from Studio masters. Catalogue$1.00. Barclay -Crocker, 313-H Mill Street, Poughkeepsie.NY 12601.

RARE CLASSICAL AND JAZZ 150,000 LP's. TheRecord Collector, 1158 N. Highland, Los Angeles, CA90038 (213) 467-2875.

TOSCANINI, great conductors, instrumentalists. LIVECONCERTS. Reels, cassettes. Free lists, request artists.CRAA. BOX 1112HF, El Cerrito. CA. 94530.

1.000,000 SOUNDTRACKS BROADWAY VIDEOTAPES!Catalogue-$1.00. RTSHG, Box 1829, Novato, California94948. Soundtrack Valueguide: $5.50.

DISCONTINUED RECORDS, CLASSICAL, POPULAR,All Speeds, Free Lists. Fred Steinmetz, One SeaviewAvenue. Massapequa. NY 11758.

RECORDED ONE HOUR GREAT RADIO SHOWSCassette Sampler. Fascinating Listening! $1.25!AM Treasures. Box 192HF. Babylon, NY 11702

RECORDS BY GASPARO. Chamber music, solo,baroque-We have something for you! Write for freecatalog. P.O. Box 120069, Nashville. TN 37212.

RARE JAZZ VOCAL LP'S SOLD BY AUCTION.Free Lists. Leon Leavitt, P.O. Box 38395, Los Angeles.CA 90038

HI Fl SYSTEM TEST RECORD. System frequencyresponse, separation, cartridge separation, rumble, whitenoise and more. Professional quality, mastered at 1/2

speed. $9.95 each. Check. m.o. or C.O.D. 10P. Suite #43,2395 Oakland Road. San Jose, CA 95131

JAZZ BLUES, BUDGET ROCK. BELOW LIST. Free Cat-alog. Rutabaga Records, 437 N. 5th Street. Stroudsburg,PA 18360

OPERAS & CONCERTS LIVE ON TAPE.Cassette Video Reel -Reel. Visa-M.C.-Amx. Free Catalog:Tardoin, P.O. Box 210255, San Francisco, CA 94121-0255.

AMPEX PROFESSIONAL SERIES AUDIO TAPE SALE.High Quality Open Reel 1800' or 2400' on 7" Reels, UsedOnce. Case of 40, $45.00. 101/2 x 3600' and Cassettes.MC; Visa. Valtech Electronics, Box 6-H, Richboro, PA18954. (215) 322-4866.

RAVI SHANKAR MUSIC CIRCLE.Indian Classical Music Cassette Tapes, Records. FreeCatalog. 7911 Willoughby Avenue, Los Angeles, CA90046.

FREE RECORD CATALOG. New releases at discountprices and huge selection of classical, soundtrack, popu-lar and jazz special values; complete line of CompactDiscs, Rose Records. Dept. H. 214 S. Wabash, Chicago.IL 60604

WE BUY AND SELL LIKE NEW LP's.PreRecorded Reel Tapes, Cassettes. Catalog $2.50. Pro-tect Your LP's. Poly, Paper, Cardboard Jackets. FreeCatalog. Record Care, Hillburn, NY 10931.

Send For A Free Catalogue Of Many RareMOISEIWITSCH Recordings. Rara Avis. P.O. Box 357,Fairfax, CA 94930.

98 HIGH FIDELITY

Compact Discs

COMPACT DISC CENTER

P 0 Box 616. Clifton Park. NY 12065

(518) 664.2550

Many Discs S13.99

Quantity 10 and over only S12.99

52.00 Cont. U.S. shipping

FREE CATALOGUE

COMPACT DISCS & ACCESSORIES.Call TOLL FREE 1 -800 -ALL -DISC (inConnecticut 1-452-0203) For FREECATALOG M -F, 10-8, Saturday 10-7.Sunday 10-4. All Disc Music Inc.. 133Wheeler Road, Monroe, CT 06468.

COMPACT DISCS AS LOW AS $9.99.Single CD's -Warners $9.99. ECM, Nonesuch $10.99.CBS. RCA, A&M. Verve $11.99. London -DG -Philips$12.99. Every Label Discounted. Order By Artist, Title,Label. Send MC 'Visa (Include Expiration Date), MO.Check. Add $2.25 Shipping 1st Disc, .50c EachAdditional. Or Send $2.00 For Catalogues And $25.00 OfDiscount Coupons. Classic Diversions, Box 1923.Dept. HF, Evanston, IL 60204, (312) 475-4010

JAZZ COMPACT DISCS -Recorded totally digital -Free Catalog-DMP. Box 2317.New York. NY 10185

COMPACT DISCS -Most $11.99-$13.99.1,400 Plus Titles in Stock. Free CatalogPlus Monthly Updates. OZ Records.5246H Memorial Drive, Stone Mountain,GA 30083. (404) 292-5452.

COMPACT DIGITAL DISCS exclusively -in stock -classical.opera, jazz, film -catalog $1.00. refundable with order -Ethel Enterprises, P.O. Box 3301, Dept. HF, FallsChurch. VA 22043

COMPACT DISCS! FREE CATALOG -Over 2,000 Titles Listed. Same DayShipping. Laury's Records, 9800 NorthMilwaukee Avenue, Des Plaines, IL60016. (312) 296-0420.

COMPACT DISCS!! All Imports And Domestic TitlesAvailable. Imports 15% Discount. For Free Catalogue OrTo Place Order, Call (301) 731-0099, or Write To:Washington CD, PO Box 44005. Washington DC 20026MasterCard and Visa Accepted.

COMPACT DIGITAL DISCS & PLAYERS,MITSUBISHI, SAE, HAFLER.NAKAMICHI, KLIPSCH, THORENS,FRIED. ADCOM, MIRAGE, PROTON,More. Immediate, FREE Shipping!READ BROTHERS STEREO, 593-C KingStreet. Charleston. South Carolina29403. (803) 723-7276.

COMPACT DISCS. $9.95. Introductory Offer. Free Lists.No Problems Airmail Service. Europadisc, 91 NorthStreet. Sudbury. Suffolk. UK.

"COMPACT DISCS!!!! Prices from $12.99. Send $1 00For Catalogue (Refundable with Order). DISC HAVEN.Box 16H. Storrs, CT 06268."

VIDEO/FILMSAFFORDABLE PRICES: All Ratings VHS. Beta. Over3500 Titles To Choose From. Send $5.00 For Catalogs!Renault Sound Video, P.O. Box 7098, Dept. H,Minneapolis, MN 55407. (612) 721-7772. We SellAlbums, Too!

Equipment for SaleHIGH PERFORMANCE AUDIO PLUSCAR STEREO AT A LOW. LOW PRICE.Featuring: ADS, Advent. Aiwa,Alphasonik Alpine, Amber, AR. AudioSource, Blaupunkt, Bose. Celestion.Clarion-Audia, Concord, DBX, Denon,Dual, Dynavector, Energy, Grace. Grado,Harman-Kardon, JBL, Kenwood.Kyocera, Mitsubishi, Monster -Alpha,Onkyo, Pioneer, Pyramid. RobertsonAudio, Scott, Sherwood, Signet,Soundcraftsmen, Sound Dynamics,Sony, Systemdek, Tandberg. Thorens,Vampire Wire, Wharfedale Diamond,Walker. others. Providing: professionaladvice, personal service, "no rush"showroom, prompt shipments, freedelivery and set up trade-ins, extendedwarranty. RETAIL -MAIL ORDER -EXPORT. Call 12 Noon to 7PM E.S.T., orwrite today (regarding specific makeand models), HAROLD MINTO,PERFORMANCE AUDIO VIDEO LTD. 365South Bayview Avenue. Dept. HF,Freeport. LI., NY 11520. (516) 378-4389.Financing, MC VISA, AMEX. NO SALESTAX CHARGED TO OUT OF STATERESIDENTS.

DJ S. BANDS. NIGHTCLUBSDisco -Stage Lighting and Effects (Fog, Bubbles, Etc.).Professional Sound Equipment. Send $1.00 For LargeCatalog. R&M Productions Inc., PO Box 20395-H,Bowling Green. Kentucky 42102. (502) 781-2448

InstructionBE A RECORDING ENGINEER! New Classes quarterly.INSTITUTE OF AUDIO.VIDEO ENGINEERING. (213)666-3003 1831 Hyperion Dept. C, Hollywood CA 90027

Business OpportunitiesYOUR OWN RADIO STATION! AM, FM,licensed, unlicensed, low cost transmit-ters! Free information. BROADCASTING,Box 130-D1 I, Paradise. CA 95969.

ELECTRONIC REPRESENTATIVES NEEDED!!Lowest Possible Prices!! Over 100 Brands! Audio -Video -Car Stereo -Computers. Electronic Experts, 1000 OrangeAve., West Haven, CT 06516

TELEPHONES: Earn at least 30%, start your own phoneretail business at home or in your store. Send $3.00 forour wholesale catalogues of all the major brand tele-phones. refundable with first order. A.D.S. Distributing,Dept. HF245, 245 Salem Street. Woburn, MA 01801.

SEEKING A DYNAMIC OPPORTUNITY?Nationwide Company offers secrets to financial success!Details. Newlife Enterprises, 70-34 72nd Street -A,Glendale, NY 11385

Inventions WantedInvention::, ideas, new products wanted for presentationto industry and exhibition at national technology exposi-tion. Call 1-800-528-6050. Arizona 1-800-352-0458. X831

Miscellaneous-ERMPAPER catalog -306 pages -15,278 papersavailable. Rush $1.00. RESEARCH, 11322 Idaho,a206HT, Los Angeles. 90025. (2131 477-8226

National Consumer Music magazine in-terested in obtaining classical andopera photographs. Rush reply to: Pho-to Research Department. High Fidelity,825 Seventh Avenue, New York, N.Y.0019.

CLASSICAL MUSIC LOVERS' EXCHANGE.Nationwide Link Between Unattached Music Lovers. WriteCMLE, Box 31, Pelham, NY 10803.

What a GREAT Idea to Use CLASSIFIEDAdvert sing to INCREASE YOUR SALES!The HIGH FIDELITY Reader is aPURCHASING PACESETTER WhoDepends on HIGH FIDELITY Each Monthfor the Most In -Depth & CompleteCoverage Available in the HomeEntertEinment Industry. YOU CanCapture the Sphere of our Pacesettersfor as ittle as $36.75 each Month (12Time Rate)! For More Information onthis Marketing Opportunity, callCecelia Giunta, 212 887-8451.Classified Deadline: January '85 issuecloses November 1st in New York.

QCan I get "digital" dynamic range from my existing records and tapes?

A. Yes,with any of the dbx dynamic -range expanders. They increase music dynamicsof your present analog records and tapes Dy up to 50%, and also restoresonic impact that's lost in recording. The result is music realism that'smore than just "digital"! Write for details. Better yet, visit your dbx dealer.

d6x... High -Performance Options or Home Stereo Systemsdbx Inc., Dept. HBXK. 71 Chapel St. Newton. Mass. 02195 Tel 617-964-3210

NOVEMBER 1984 99

READER -ACTION PAGE

Many manufacturers who advertise in HIGH FIDELITY offer additional literature on theirproducts free of charge to our readers For more information on specific productsadvertised in this issue, drop a postcard, care of Dept. HF-1184 unless otherwise noted,to the addresses listed below. If an address does not appear, literature is availablethrough the company's dealers only

AIWA America, Inc.,35 Oxford Drive, Moonachie, New Jersey 07074,Att. Dept HF 1184Akai America LTD,800 W. Artesia Blvd., Compton, CA 90020, Att: Dept.HF 1184Allsop Electronics,

LaBelle Camera & Stereo Of Maine,155 Maine St., Biddeford, MA 04005, 800-341-0783,In ME, HI, Alaska 207-281-1401, An. Dept. HF 1184McIntosh Laboratory, Inc.,East Side Station, P.O. Box 96, Binghamton, N.Y.13904, Att: Dept. HF 1184Mitsubishi Electronics Sales,

AdvertisingIndex

P.O. Box 23, Bellingham, WA 98227 Att: Dept. HF 3010 East Victoria St., Compton, CA 90221, An: Page No.1184

Alpine Luxman,19145 Gramercy Pl., Torrance, CA 90509, Att: Dept.

Dept. HF 1184Nakamichi USA Corp.,1101 Colorado Ave., Santa Monica, CA 90401, Att:

27

36

Aiwa America, Inc.Akai America, LTD.

HF 1184 Dept HF 1184 90 Allsop ElectronicsAudiofon,P.O Box 37, Brooklyn, N.Y. 11204, An: Dept. HF 1184

Panasonic,One Panasonic Way, Secaucus, N.J. 07094, An: 57 Alpine Luxman

DALI, Dept. HF 1184 65 Angel RecordsP.O. Box 55386, Valencia, CA 91355, Att: MikeGerutto, Dept. HF 1184 (805) 252-7203BES,

Polk Audio Inc.,1915 Annapolis Rd., Baltimore, MD 21230, 301-837-4300, Att Dept. HF 1184

93

82

AudiofonBES

345 Fisher Ave., Costa Mesa, CA 92626, Att: Dept. Proton Corp., 21 BlaupunktHF 1184 19600 Magillan Dr., Torrance, CA 90502, An: Dept. 43 Bose Corp.Blaupunkt,Sound so alive you can feel it. For information call1-800-228-5333

HF 1184Radio Shacklandy Corp.,300 One Tandy Center, Ft. Worth, TX 76102, An:

79

9

Boston AcousticsCanton North America

Bose Corp.,100 The Mountain Road, Farmingham, MA 01701,Att: Dept HF 1184

Dept. 85A-877Regency Electronics, Inc.,7707 Record St., Indianapolis, IN 46226, Att: Dept.

4

12

Carver Corp.Danish American LTD, Inc.

Boston Acoustics, HF 1184 13171 545-4281 14 D'Ascanio247 Lynnfield, Peabody, Mass. 01960, Att: Dept. HF1184

S&W Electronics,187 Ross Street, Brooklyn, N.Y. 11211, An: Dept. HF Cover III Denon America, Inc.

Canton North America, 1184 Cover IV Discwasher, Inc.254 First Avenue North, Minneapolis, MN 55401,612-333-1150, Dept. HF 1184Carver Corporation,

Sansui Electronics Corp.,Lyndhurst, NJ 07071, 201-460-9710, Carson, CA 213-604-7300, Att: Dept. HF 1184

63

95

Everest Electronics, Inc.Focus Electronics

P.O Box 1237, Lynnwood, WA 98046, An: Dept. HF1184

Sherwood,17107 Kingsview Ave., Carson, CA 90746, An: Dept.

32 Ford Electrical &Electronics Division

D'Ascanio Audio,11450 Overseas Highway, Marathon, FL. 33050, Att.Dept. HF 1184

HF 1184Sony Corp. of AmericaSony Drive, Park Ridge, New Jersey 07656, Att:

91

84

illbruck usaIllinois Audio

Denon America,27 Law Dr, Fairfield, New Jersey 07006, An: Dept.HF 1184

Dept. HF 1184Stereo Corporation of America,1629 Flatbush Ave., Brooklyn, N.Y. 11210, 212-338-

65

96

Infinity Systems, Inc.International HiFi

Discwasher, 8555, MI Dept. HF 1184 Cover II, 1 JVC Co. of America1407 North Providence Rd., P.O. Box 6021, Colum-bia, MO. 65205, 314-449-0941, An: Dept. HF 1184

TDK Electronics Corp.,12 Harbor Park Dr., Port Washington, N.Y. 10050, 89 J&R Music World

Everest Electronics, An: Dept. HF 1184 55,61 Kenwood Electronics5024 Fort Hamilton Parkway, Brooklyn, N.Y. 11219,An: Dept. HF 1184Focus Electronics,

TEAC Corporation of America,7733 Telegraph Rd., Montebello, CA 90640, An:Dept HF 1184

94

18

LaBelle Camera & StereoMaxell Corp.

4523 13th Ave., Brooklyn, N.Y. 11219, An Dept. HF Technics 93 McIntosh Laboratory, Inc.1184

illbruck/usa,3800 Washington Avenue North, Minneapolis, Min-nesota 55412, An: Russ Leighton, An: Dept. HF 1184

One Panasonic Way, Secaucus, NJ 07094, An:Dept. HF 1184Toshiba,82 Totawa Rd., Wayne, N.J. 07470, 201-628-8000,

15

16,17

31

MEMTEK

Mitsubishi Electronic SalesNakamichi U.S.A. Inc.

(612) 521-3555 Att Dept. HF 118413 Panasonic

Illinois Audio,12 East Delaware Place, Chicago, III. 60611, 800-621-8042, An: Dept. HF 1184

Ultrx Sanyo,1200 West Artesia Blvd., Compton, CA. 90220, An:Dept. HF 1184

22

62

Pioneer Electronics U.S.A.Polk Audio

Infinity Systems Inc.,7930 Deering Ave., Canoga Park, CA 91304, Att:

US JVC Corp.,41 Slater Drive, Elmwood Park, N.J. 07407, An: 28 Proton Corp.

Dept. HF 1184 Dept. HF 1184 53 Radio ShackInternational Hi Fi,Moravia Industrial Park, 6330 Frankford Ave., Balti-more, MD 21206 Att: Dept. HF 1184

Wisconsin Discount Stereo,2417 W. Badger Rd., Madison, WI 53713, 800-356-9514, Att Dept. HF 1184

77

82

Regency ElectronicsS&W Electronics

J&R Music World, Yamaha Electronics Corp. USA., 6 Sansui Electronics Corp.23 Park Row, New York, N.Y. 10038,Customer Service Dept. HF 1184Kenwood,

6660 Orangethorp Ave., Buena Park, CA. 90620, Att:Dept. HF 1184

2

10

SherwoodSony Corp. of America

1315 East Watsoncenter Rd., Carson, CA 90745, An: 81 Stereo Corp. of AmericaDept. HF 1184

11 TDK Electronics Corp.Advwtislag Offices 58 Teac Corp. of America

Now York: ABC Leisure Magazines Inc 825 7th Ave 7th floor New York. N Y Lae Angeles: ABC Lenore Magazines. Inc.. 2020 Avenue of the Stars. Suite t45. 5 TechnicsIW19 Tel t2,21565 8360 James A Casella. Advertising Director. Richard J MannaNational Accounts Manager Michael Goldberg. Eastern Advertising Manager James

Century CO Cale 90067 Tel- 12131 557.6482 Rita Wertzen. Western AdvertisingManager 8 Toshiba

R McCallum Record Advertising Manager. Cecelia M Giunta Classified AdvertisingManager Kathleen Davis. Director of Production, Janet Cermak. Advertising Prod. -

National Reps, Kathleen China Kathleen G Chada Associates. 21000 W Four-teen Miie Road. Birmingham. Mich 48010 Tel 13131642-3482 Frank LaVetne. Frank 95 Wisconsin Discount

ban Manager LaVeme Assocrates. 922 Crenshaw BM . Los Angeles. Calif 90019 12131 932-1742 51 Ultrx SanyoMidwest: High fidelity Hitchcock Building Wheaten ill 60187 Tel 13121053

9320 Starr Lane Midwest Advertising ManagerTelles: Japan Advertising Communications. Inc. New Grua Bldg 7.3-13 Give.

Ouro-ku. Tokyo 104. Japan. Tel 1031 571.8748. Shrgeru Kobayashi. President 9 Yamaha

100 H GH F DELITY

1111

DENON RECEIVERS DO NOT COMPROMISE ADELITY FOR CONVENIENCE.

/'

Most receivers are designed as if the person desiring a compact,convenient component obviously cares less about sound quality.The DRA-Series Receivers, like all Denon prodLcts, place sor icsquality above all. Their power sections incorporate Non -SwitchingClass -A circuitry (with no negative feedback on the DRA-750) andheavy duty power supplies, temperature -controlled by liquid -cooled heat sinks.lnfinitely variable loudness control now ensuresfull listening pleasure at all volume levels.

DEMO,

IND DODO

1111111010111 1043

The tuner section stores up to 16 AM a FM station:, or anycombination tiereof (DPA 350; 5 AM/FM preset memory tuning).The DRA-750 incorporaaas Denon's ?.XC Jsive Supe- Seachertuning circuitry which el minates the pri is pie caues of distortionwithout sacrificing stereo separation.

Whether, ycu choose E 70W/CH DRA-750, a 50W/CH )RA -550or a 36W/CH DRA-350, is uncompriomosed perforna-ice willconvince you -hat Denor products share more than neme alone.

T- 1 1 1

C COiDerato

MID MIEN

104.3 - -ION

00111101

=11 =I =IDI mon. W...

MOND-,aSWIM

VIDIOMNID- CI 1-1 3 1-Th I

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0-I_T-71177

or .0 UV

MOON

DESIGN N T E R IT YSide panels included on ORA- 750 only. Dentin America, Inc Lao Drive, Fareeld. NJ 07CD6 (201) t 75-7810

New technologies will provide maadvances in recorded music, bnothing can replace your favoritrecords.

Protect them as people have beendoing for well over a decade. withDiscwasher record care products.

The Discwasher- D4+- Record Care Systemsafely cleans records without reducing theirdynamics and fidelity. The highly active D4+ fluidis able to lift and suspend contaminants on therecord surface to be removed by the directionalfibers of the D4 pad; and the D4+ System cleans

records without leaving behind residues whichcan affect a record's sound.

But total care doesn't stop with aclean record surface. A diamondstylus, contaminated with vinylstabilizers and dirt, can actually

reduce the life of your records bytwo-thirds.

The Discwasher SC -2, Stylus Care System,with its exclusive nylon-fibered brush and

scientifically safe fluid, effectively loosens andwipes away abrasive stylus contamination for

longer record life.

Protect your records with Discwasher' care.1407 NORTH PROVIDENCE ROAD P 0 BOX 6021. DEPT HF COLUMBIA. MO 65215discwasher A DIVISION OF JENSEN an ESMARK Company