HiFi-Stereo-Review-1987-03.pdf - World Radio History

SPECIAL TAPE ISSUE

HOW TO CHOOSE A CASSETTE DECK

TAPE BUYING GUIDE THE NEW DIGITAL

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Stereo ReviewBULLETIN 5EDITORIAL 8LETTERS 10NEW PRODUCTS 15, 122AUDIO Q&A 18VIDEO BASICS 22

EQUIPMENT

TECHNICAL TALK 30POPULAR MUSIC 77CLASSICAL MUSIC 99VIDEO REVIEWS 111THE HIGH END 124CENTER STAGE 96

CAR STEREOThe Pioneer DEX-77 tuner/CD player in the lab and on theroad by Julian Hirsch and Christopher Greenleaf

HIRSCH-HOUCK LABS EQUIPMENT TEST REPORTSKyocera D-811 Cassette Deck, page 33JSE Infinite Slope Model 1 Loudspeaker, page 35Vector Research VCD-770 CD Player, page 40Speakerlab DAS 2 Loudspeaker, page 44Ortofon X3 -MC Phono Cartridge, page 45

TWELVE TIPS ON CHOOSING A TAPE DECKHow to find the cassette deck of your dreams at a price thatwon't give you nightmares by William Burton

DIGITAL AUDIO TAPEIssues and answers by Steve Birchall

BLANK TAPE BUYING GUIDEby William Burton, Wendy Schaub, and John Weinberg

26

33

48

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65PAGE 18

MUSICHANDEL, HAYDN, AND HOGWOODConductor Christopher Hogwood establishes a base in NorthAmerica by William Livingstone

Lisn- Liv Es!A taped musical tribute in modern termsBEST RECORDINGS OF THE MONTHTchaikovsky's Piano Concerto No. 1, Taj Mahal, Stravinsky'sFirebird, Fire TownRECORD MAKERSThe latest from Ringo Starr, Warren Zevon and REM, EarlWild, Jane Wiedlin, and more

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60

71

120

Cover: The Kyocera D -81I cassette deck; see page 33 for the Hirsch -Houck Labstest report. Design by Sue Llewellyn, photo by Yutaka Kawachi.

VOL. 52 NO. 3 MARCH 1987 (ISSN 0039.1220)COPYRIGHT 0 1987 BY CBS MAGAZINES. A DIVISION OF CBS INC. All rights reserved. Stereo Review. March 1987, Volume 52. Number 3. Published monthly byCBS

Magazines at 3807 Wilshire Boulevard, Los Angeles, CA 90010. Editorial and Executive Offices at 1515 Broadway, New York. NY 10036: Telephone (212) 719 6000. Alsopub-lishers of Stereo Buyers' Guide, Car Stereo Buyers' Guide, Compact Disc Buyers' Guide, and Video Buyers' Guide. One-year subscription rate for the United States and its

possessions, $9.98: Canada, $10.98: all other countries. $14.98. cash orders only, payable in U.S. currency. Second-class postage paid at Los Angeles, CA 90052, and at additionalmailing offices. Authorized as second-class mail by the Post Office Department. Ottawa, Canada, and for payment of postage in cash. POSTMASTER 'SUBSCRIPTION SERVICE:Please send change -of -address forms and all subscription correspondence to Stereo Review, P.O. Box 2771, Boulder, CO 80302. Please allow at least eight weeksfor the change ofaddress to become effective. Include both your old and your new address. enclosing, if possible, an address label from a recent issue. If you have a subscription problem. write to theabove address or call (800) 525-0643: in Colorado, call (303) 447.9330. PERMISSIONS: Material in this publication may not be reproduced in any form without permission.Requests for permission should be directed to William S. Bunchuck, Rights and Permissions, CBS Magazines, One Park Avenue, New York, NY 10016.

STEREO REVIEW MARCH 1987 3

In the trendy world ofhigh tech electronics -of -the -month,Peter Perreaux makes each unitas if it were his last...and yours.

Perreaux audiopt- ile components aredistributed exclusirr v in the U.S. bySignet, 4701 Hudson Drive, Stow, Ohiu -1422 1

CIRCLE NO. 60 ON READER SERVICE CARD

BULLETIN

by Christie Barter andWilliam Burton

CD MANUFACTURING UPDATEBertelsmann, the West German

media conglomerate that nowowns RCA Records, has opened aplant capable of producing 25-30million CD's a year. Sonopress(Bertelsmann's manufacturingarm) claims that it is the secondlargest CD facility in the world.PolyGram's in Hanover is big-ger.... Also in West Germany,Warner Communications hasopened a factory that can turn out8 million CD's a year.... At Jack-sonville, Illinois, Capitol Records'plant is producing 7 million CD'sa year.... LaserVideo's newlyopened facility in Huntsville, Ala-bama, is sixteen times the size ofits plant in Anaheim, California,and can press up to 80 millionCD's a year. The first CD's to comefrom the Huntsville plant were-appropriately-"In Touch" by thecountry -rock band Alabama.

AUDIO AT WCESAt the Winter Consumer Elec-

tronics Show in Las Vegas in Jan-uary, digital audio tape and DATdecks were displayed but not soldto dealers. Prototype machineswere demonstrated by JVC, Ken -wood, Luxman, Mitsubishi, Onkyo,Sansui, Sony, Teac, and Technics,with prototype tape from Fuji,Maxell, Sony, TDK, and Triad.Prerecorded DAT was previewedby some of the smaller audiophilelabels such as DMP, GRP, and Ref-erence Recordings. Marketingplans for both hardware and soft-ware are vague.. .. New compact -disc changers were shown byFisher, Sanyo, Sony, and Technics.Only the Technics model uses amagazine. The Sony holds fivediscs on a large carousel, and theFisher and Sanyo hold CD's inthin drawers. Magnavox had a CDplayer with Favorite Track Selec-tion priced at only $260.... Inother components, Dual showedits first integrated amplifiers, tun-ers, cassette decks, and CD play-ers, and NEC had its first receiv-ers.... The new Harman KardonCitation tuner has an "ActiveTracking" system for extended re-

ception.... NAD showed its tweak -lest cassette deck, the three -headModel 6300 (with Dyneq and HXPro headroom extension), pricedat $798. At the other end. Sanyo'sM7022, finished in black, red, orlavender, had a suggested pricerange of $38.95 to $44.95. Aiwaand Teac both showed double au-toreverse cassette decks.... Therewere impressive new speakersfrom Clements Audio, DesignAcoustics, Focus, Infinity, and Ya-maha; a well-balanced three-piecesystem from Conrad -Johnson;Sota's first speakers (with sub -woofer); and powerful subwoofersfrom Martin -Logan (electrostat-ic!), Velodyne, and AmericanAcoustics. A new subwoofer from3D Acoustics has a built-in sur-round -sound decoder. And therewas talk of a new, smaller versionof Carver's Amazing Loud-speaker ...Alpine was showingits card -programmed twelve -discCD changer for the car, and pow-erful car stereo amplifiers wereshown by companies from ADS toZapco.... And for those audio-philes with golden ears, Mobile Fi-delity had pressed a special com-pact disc with the reflective layermade of real gold.

VIDEO AT WCESIn Las Vegas, Toshiba showed a

VCR with digital processor andlight -pen programming ( for thefall). There was a Zenith camcord-er with VHS Hi-Fi sound and a Pi-oneer LaserDisc player with digi-tal sound for only $550. KlossVideo demonstrated its first rear -projection TV. JVC announced an-other improvement in VHS pic-ture quality, code -named Super -VHS, claimed to have over 400lines of resolution. Beta and 8mmkept low profiles, though Aiwaand Canon introduced 8mm cam-corders... . Meridian introducedan elegant preamplifier thatmakes ft the first very -high -endmanufacturer to have a fully re-mote -controlled system with mul-ti -room capability.

MUSICAL NOTESYamaha, a manufacturer of mu-

sical instruments as well as audioequipment, is celebrating its hun-

dredth anniversary.... GuitaristAndres Segovia, ninety-four, is re-ceiving an honorary degree ofDoctor of Musical Arts from theManhattan School of Music....Composer/conductor LeonardBernstein, sixty-nine, will receivethe fifth Albert Schweitzer MusicAward for "a life's work dedicatedto music and devoted to humani-ty." ... An intensive effort at high-school dropout prevention is be-ing made in New York by Lheboard of education, Carnegie Hall,and the New York Philharmonic.Described as the Musical Arts Ex-perience, the project is called THEMAX.

THE BEATLES ON CDCapitol Records has announced

that recordings by the Beatleswill, at long last, be made avail-able on compact disc. They aredue in stores February 26. "PleasePlease Me," "With the Beatles," "AHard Day's Night," and "Beatlesfor Sale" are the first four albumtitles being released on CD, all intheir original format-that is,with the songs as sequenced bythe English company and not asedited for U.S. release by Capitol.Additional Beatles CD's will be is-sued later this year... . Also setfor release on CD are recordingsby other top EMI/Capitol artists,including the Beach Boys, GlenCampbell, Nat King Cole, FatsDomino, Judy Garland, GrandFunk Railroad, the Kingston Trio,and Pink Floyd, as well as origi-nal -soundtrack recordings fromsuch classic musicals as Carousel,Oklahoma!, and The King and I.


Matthew Polk's Magnificent Sounding New SDA 2A

SDA$499.00 a

Matthew Polk stands proudly alongside the latest version of his A udio Video Grand Prix Award Winning SDA 2A

The Magnificent Sound of Matthew Polk'sExtraordinary New SDA 2A

Puts the Competition to Shame!"It has the ability to make your

previous favorite speaker sound almost second rate"

atthew Polk's magnificent sound-ing new 3rd generation SDA 2Aincorporates many new advances

pioneered in his top -of -the -line SignatureEdition SILSs. It achieves stunningly life-like musical reproduction which wouldbe remarkable at any price but is simplyextraordinary at $499. each. Stereo Reviewsaid, "listen at your own risk." Once you hearthem you'll never be satisfied with anythingelse!

Polk's Revolutionary ThueStereo SDA Breakthrough

The magnificent sounding new SDA 2Aincorporates Polk's revolutionary True StereoSDA technology. This patented, critically ac-claimed, Audio Video Grand Prix Award win-ning breakthrough is the most importantfundamental advance in loudspeaker tech-nology since stereo itself In fact, the designprinciples embodied in the SDAs make themthe world's first and only True Stereo speakers.

Why do Polk SDAs always sound better thanconventional speakers? When conventionalloudspeakers are used to reproduce stereoboth speakers are heard by both ears causinga form of acoustic distortion called interauralcrosstalk which cuts down stereo separation,obscures detail and interferes with the properreproduction and perception of imaging, andspaciousness. Polk SDAs are designed to elimi-nate interaural crosstalk so that each speaker isonly heard by the one correct ear (i.e. leftchanneVleft ear, right channel/right ear), likeheadphones. The result is dramatically im-proved stereo separation, detail and three-dimensional imaging. In order to accomplishthis each SDA incorporates a separate set ofdrivers which radiates a special dimensional(difference) signal which cancels the undesir-able interaural crosstalk coming from thewrong speaker to the wrong ear. High Fidelitycalled the results "Mind Boggling".

The Most Extraordinary Valuein High End Audio Today

The new SDA 2As, like all the current SDAs,incorporate the latest 3rd generation SDAtechnology developed for Matthew Polk's Sig-nature Edition SRS and SRS -2 including 1: fullcomplement sub -bass drive for deeper, fuller,tighter and more dynamic bass response; 2:phase coherent time -compensated driveralignment for better focus, lower -colorationsmoother, clearer, more coherent midrangeand improved front -to -back depth and; 3:bandwidth -optimized dimensional signal forsmoother high -end and even better soundstageand image. The new SDA 2A is the finestsounding and most technologically advancedspeaker ever produced at its extraordinarilymodest price. It sounds dramatically better thanspeakers from other manufacturers that cost 4times as much and more and is, at $499 ea.,truly the speaker of your dreams at a price youcan afford.

"Breathtaking...a new worldof hi fi listening." Stereo Buyers Guide

The spectacular sonic benefits of SDAtechnology are dramatic and easily heard byvirtually anyone. Reviewers, critical listenersand novices alike are overwhelmed by themagnitude of the sonic improvement achievedby Polk's SDA technology. Stereo Review said,"These speakers always sounded differentfrom conventional speakers - and, in our view,better - as a result of their SDA design."

All Polk's SDAs, including the new 2Asproduce a huge lifelike three dimensional sonicimage which will amaze you. You will hear forthe first time instruments, ambience and subtlemusical nuances which are present on yourrecordings but masked by the interaural cross-talk distortion produced by conventional speak-ers. Stereo Review said, "Spectacular...literallya new dimension in the sound...the result is

Stereo Rea tear Magazine

always better than would be achieved by con-ventional speakers". High Fidelity said, "MindBoggling...Astounding ... Flabbergasting...wehave yet to hear any stereo program that doesn'tbenefit". With SDAs every instrument, vocalist

"Mindboggling,Astounding,

FlabbergastingIligb Fidelity ,,lagazine

and sound becomes distinct, tangible and alive;allowing you to experience the spine tinglingexcitement, majesty and pleasure of live musicin your own home.

Other Superb Sounding PolksFrom $85. to $1395. each

No matter what your budget is there is asuperb sounding Polk speaker perfect for you.Polk's incredible sounding/affordably pricedMonitor Series loudspeakers utilize the samebasic components as the SDAs and begin aslow as $85. each. The breathtaking sonicbenefits of Matthew Polk's revolutionary TrueStereo SDA technology are available in 5 SDAmodels priced from $395. to $1395 ea.

"You owe it to yourself toaudition them" Ihgb I idelin

The experts agree: Polk speakers soundbetter. Ilse the readerS service card or write

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Where to buy Polk Speakers? For your nearest dealer, see page 114.

SPEAKING MY PIECE

by William Livingstone

Michael Smolen, Senior Editor

WHEN asked for adviceor guidance by youngpeople who aspire tocareers in editorial

work, I generally discourage them. Itell them about the scarcity of goodjobs, the long hours, low pay, anddeadline pressure. Editors complaina lot.

I dwell less on the compensationsfor all that overwork. Dealing withsubject matter you care about isvery pleasant, and the sense thatyou touch readers who share yourinterest is quite satisfying. As I haveadvanced in my journalistic career,one of my greatest pleasures hasbeen supervising talented youngcolleagues and watching them growprofessionally. Editors can have alot of fun.

The present staff of STEREO RE-VIEW includes a number of rapidlyadvancing young professionals-Technical Editors William Burtonand William Wolfe, Assistant ArtDirector Margaret Bruen, and Se-nior Editor Michael Smolen-whoare fun to watch and fun to workwith. Smolen, who is soon to be pro-moted to Executive Editor, says,"Editors can have a lot of fun if theywork in a place like this."

STEREO REVIEW is a logical place

for someone with Smolen's back-ground to be. He came to us fromInternational Musician and Record-ing World, where he supervised theequipment -testing program, and be-fore that he worked for Circus mag-azine. He has operated an audio/video production facility and hasplayed the guitar.

Very few audio editors have Mi-chael's experience in sales. He spenteight years with the Tech HiFi chainas a top salesman and store man-ager. A graduate of Skidmore Col-lege, he has a master's degree fromthe Newhouse School of PublicCommunications.

Michael writes some feature ar-ticles, edits others, and maintainsliaison with several of our regularcontributors. He supervises ourequipment -testing program, work-ing closely with Julian Hirsch. AsExecutive Editor he will increasehis responsibility for liaison withequipment manufacturers and de-crease overtime work by the Editorin Chief.

Dwelling on the compensationsfor editorial stress, he says, "Musicis my sole reason for being. When Irealized that I couldn't support my-self playing the guitar, I had to findother things I could do well thatwould keep me close to music. Sell-ing audio equipment was one. Writ-ing about it is a better one. I have aterrific job!" 0

Stereo ReviewWILLIAM LIVINGSTONE

Editor in ChiefLOUISE GOOCH BOUNDAS

Managing EditorSUE LLEWELLYN

Art DirectorMICHAEL SMOLEN

Senior EditorWILLIAM BURTON, WILLIAM WOLFE

Technical EditorsCHRISTIE BARTER

Music EditorDAVID STEIN

Assistant Managing EditorMARGARET BRUENAssistant Art Director

BARBARA AIKEN, ROCCO MATTERAELIZABETH COSTELLO, WENDY SCHAUB,

JOHN WEINBERGditorial Assistants

HENRY PLEASANTSLondon Editor

BRYAN HARRELLTokyo Correspondent

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

Garland, Christopher Greenleaf, DavidHall, Julian D. Hirsch, Ralph Hodges,Stoddard Lincoln, Ian Masters, LouisMeredith, Alanna Nash, Mark Peel,

Charles Rodrigues, Eric Salzman, SteveSimels, Craig Stark, Joel Vance

Production Director: Gerald PalaciosProduction Manager: Laura LaFontaine

ROMAN BEYERVice President and Publisher

ADVERTISINGAssociate Publisher: Winston A. Johnson

(212) 719-6039National Manager: Richard). Halpern

(212) 719-6037Eastern Manager: Charles L. P. Watson

(212) 719-6038Account Manager: Mary Anne Holley

(212) 719.6008Sales Representative: Anthony F. Catalano

(212) 719-6037Classified Advertising: (212) 503-5999Midwestern Managers: Arnold S. Hoffman

Dirk Barenbrugge(312) 679-1100

Western Director: William J. CurtisMarketing Manager: Jack GoldnerAdvertising Manager: Meg Roberts

(818) 784-0700Tokyo Office, lwai Trading Co., Ltd.603 Ginza Sky Heights Building, 18-13,Ginza 7-Chome, Chuo-Ku, Tokyo, Japan 104Account Manager: J. S. Yagi, (03) 545-3908EDITORIAL CONTRIBLIFIONS must be accompa-nied by return postage and will be handled with reason-able care, but the publisher assumes no responsibilityfor return or safety of art, photos, or manuscripts.

Member Audit Bureau of Circulations

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STEREO REVIEW IS PUBLISHED BYCBS MAGAZINES, A DIVISION OF CBS INC.President: Peter G. DiamandisVice President, Editorial Director: Carey WinfreySenior Vice President, Publishing: Robert F. SpillaneSenior Vice President, Circulation: Robert AlexanderSenior Vice President, Operations & Administration:

Robert J. Granata

Vice President, Finance, Arthur Sukel: Vice President,Subscription Circulation, Bernard B. Lacy: Vice Presi-dent, Manufacturing & Distribution, Murray M. Rom-er: President, CBS Magazine Marketing, Carl Kopf

8 STEREO REVIEW MARCH 1987

. . . the last thing 1 remember is th the toll th,,saying, Turn up the s'ereo."

That's the way it happens. The clean,clear sound of Pyle Driver' car stereo speakerstransforms an everyday drive into a spellbinding experience.

Innovations like the new 200 watt 6x9'' car stereo speaker witha two- inch PolyThermal Kapton voice coil make Pyle the designand development leader in sound iiepnacluction technology. Pyle'suncompromising commitment to qt alit/ means each and everyspeaker is individually inspected and assembled by hand.

That same dedication to quality is ouil: into Pyle's new DigitalDemand amplifiers. Powerful yet distortion free, Pyle Digital Demandamplifiers provide the purest sound possible.

Make your next drive a spellbinding experience with Pyle Driver'car stereo speakers and electronic components.

For the name of the Pyle dealer neE rest you write:Pyle Industries, Inc Huntincton, IN 46750

CIRCLE NO 35 ON READER SERVICE CARD

LETTERS

Ampl Listening TestsRegarding STEREO REVIEW'S excellent

amplifier listening tests (January, "DoAll Amplifiers Sound the Same?"), bothblind and subjective listening tests arescientifically acceptable and validmethodologies. They differ only in theconclusions that each allows.

Blind testing limits the source of per-ceived differences in audio -componentsound to aural stimuli alone, while sub-jective testing includes both aural andnonaural sources (beauty of the compo-nent, the manufacturer's reputation, lis-tener expectations, etc.). If subjectivetesting indicates a perceived differencethat disappears in blind testing, as oftenhappens, it means only that the sourceof the difference is not aural.

Blind testing can never invalidate theresults of a subjective listening test. It isempirically impossible to measure orknow what a person hears. When a per-son states repeatedly that a certain com-ponent sounds better, we must concludethat it does indeed sound better to thatperson.

The contribution of nonaural factorsto audio -system sound perception andpreference is large. The loyal followingfor so many audio products that neverseem able to demonstrate superiority inblind sessions attests to this.

The bottom line is a personal one: Doyou care if the differences you perceiveand your ultimate preference are causedby sound alone? If so, then accept onlyblind test data. If not, then you havelicense to believe both blind and subjec-tive results-and all of what you hear.

RICHARD M. LOCASSOCarbondale, IL

Your blind amp feature will soon takeits place amongst the works of Oppen-heimer, Newton, and Galileo. Congrat-ulations on an issue that could havebeen penned by Hemingway, Melville,or Goethe.

KERRY R. WHITEChino, CA

Although great care was taken indesigning a system to detect even themost minute sonic difference, nowheredo you prove that the system will, infact, do this. As a control sample, anamplifier should be included that doessound different even if you must delib-erately alter one to do it. You make aconvincing argument that choice of sys-tem, listeners, and ABX comparatorwill guarantee objectivity, but you donot actually prove that any differencewould be detected. The article was,however, very illuminating, and I con-tinue to look forward to more like it.

DAVID MICHAELSHamden, CT

The Truth Can Set You Free. You'reright, all amplifiers sound the same.According to you, so do all CD players,cables, etc. Armed with this new infor-mation, I no longer need to read yourmagazine. After all, any old product willdo! Please cancel my subscription andrefund the balance.

JIM VANAMBURGBethlehem, CT

While I'm not attempting to contra-dict your assertion that amplifier differ-ences are very minor or nonexistent, Iwonder why you chose to try to provethat they exist instead of trying to provewith statistical significance that theydon't. In any case, one conclusion thatcan safely be made is that both sides ofthe debate have their shares of wind-bags. Thanks for the interesting article.

RALPH GONZALEZPhiladelphia, PA

STEREO REVIEW'S double-blind listen-ing tests on audio cables, CD players,and amplifiers have been a breath offresh air in the controversy between theBelievers and the Skeptics. With regardto A/B testing, many years ago I used todo equipment testing for another maga-zine-phono cartridges and loudspeak-ers, in particular. The pitfalls of A/Btesting when the person knew what hewas switching became clear at that time.The ABX comparator used for yourtests is a step in the right direction, andit ought to be used by everyoneinvolved in preference testing.

ALEXANDER ROSNERLong Island City, NY

How much would you like to wagerthat all of the comments and statisticsin your amplifier listening tests wouldhave been essentially the same had onlyone amplifier been used in all the listen-ing sessions? Those who profess to havegolden ears might spend their timemore profitably listening for differencesbetween Haydn and Mozart.

JOE COMPELLOGlen Arm, MD

Congratulations for your courageousapplication of scientific method to thepsychoacoustic aspects of equipmentevaluation. Your series of articles em-ploying statistical techniques goes along way toward dispelling the mythsand anecdotal evidence that permeatethe audio field.

The fanaticism/hysteria of the "truebelievers" is enough, on first encounter,to give any potential equipment buyer asevere case of indecision. Your testshelp the average buyer make decisionsbased on factors that really count.

KRIS J. SUNDBERGSeattle, WA

I love it! I love it! We high -end peopleneed an occasional dose of reality. Thebest part of the amplifier listening -testresults was when the skeptics had a bet-ter score than the believers in compar-ing the Futterman amplifier ($12,000)with the Pioneer receiver ($220).

STEVE DRAKULICHClovis, NM

You Oughta Be in PicturesWe would really appreciate it if you

would print a photograph of all yourrecord reviewers, especially AlannaNash. Mark Peel is a god.

JIM YOCUM, ADAM STANLEYMt. Vernon, IA

Herewith Ms. Nash. The gods do notpermit photographs.

Alanna Nash (left) and friend.

Who Needs DAT?I can't believe the furor being created

by the impending arrival of digital au-dio tape (DAT) recorders when for afew hundred dollars you can buy a tapedeck that can make copies virtuallyindistinguishable from the originals. Allwe have in DAT is a small (and perhapsinaudible) improvement in tape -record-er performance-nothing more.

The manufacturers are understand-ably excited because they can sell a newpiece of equipment with the word "dig -


The concert continueswith the Ford JBL Audio System.

Imagine the music of 12 speakers driven by 140 watts...

Just imagine a car audio system that could reallydeliver music as rich and powerful as a live concert

Imagine music emanating from 12 JBL speakers-specifically equalized and adjusted to the surroundingenvironment and deftly capable of reproducingdigitally accurate full -range, high fidelity sound.

12 JBL speakers including 2-6" x 9" woofers, 2-31/2"midrange speakers and 2-7/s" tweeters located in therear deck; 2-51/4" woofers mounted in the doors;and 2 tweeters and 2 midrange speakers in theinstrument panel. Selective frequency fading so allwoofers remain in operation at controlled levelswhen faded front/rear.

Imagine the sheer impact of 140 watts of total systempower. Ample power to virtually eliminate distortionfor the most comfortable listening-even at highvolume for very long periods of time.

140 watts TSP-4 amplifiers, 35 watts per channelinto 4 ohms at 1000 Hz with .07% THD. 105 dBSPL maximum acoustic output. Excursion controlcomputer with continuously variekle loudnesscompensation and automatic overloadprotection.

Then stop imagining and hear the real thing foryourself, exclusively at your Lincoln-Mercury dealertoday.

JBL loudspeakers are featured in worldrenowned sound systems everywhere,including Tokyo's NHK Hall, Los AngelesMusic Center, Tanglewood Music Shed,Frankfurt Opera House and now the LincolnContinental and the Lincoln Town Car.


JBL

AUDIO SYSTEMS

McIntoshGet all the newest and latest informa-tion on McIntosh stereo equipmentfrom McIntosh Laboratory.

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McIntosh Laboratory Inc.East Side Station P.O. Box 96Binghamton, N.Y. 13904-0096

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LETTERS

ital" on it, but I'm not convinced theconsumer should be so excited. Whenconsumers realize that DAT cassettesare not indestructible and will not lastforever like CD's (the tape rubs theheads), that they cannot provide thenear -instant track access and seamlessprogrammability of CD's, and that thetape machine they already have athome can provide darn good sound,then maybe the nonsense will stop. If allthat energy had been spent pressuringthe manufacturers of prerecorded tapesto improve the quality of their product,not only might DAT never have been abig issue, but perhaps the rush to CD'swouldn't have been so great.

JAY H. WALDWhippany, NJ

For a full discussion of the pros and consof DAT, see Steve Birchall's article onpage 56.

Dolby's LicensesWe were very pleased with Ralph

Hodges's flattering piece about Dolby inJanuary ("The High End"), but it con-tained a gross inaccuracy that we mustcorrect. Mr. Hodges stated that thelicensing royalties collected by DolbyLaboratories are for the use of the Dol-by trademarks only and that the use ofour patents is free of charge, that "youcan make and sell as many Dolby pro-cessors as you like without much fear oflegal interference." This is untrue. Dol-by Laboratories owns and has rights to amultitude of patents covering many as-pects of analog and digital audio andvideo signal processing. We enforcethose patents rigorously, and our licens-ees pay us royalties that are directlylinked to the existence of our licensedpatents.

ED A. SCHUMMERVice President, Dolby Laboratories

Licensing CorporationSan Francisco, CA

Price IncreaseThirty cents more per month, eh?

Well, what the heck-STEREO REVIEWis worth the money!

DANIEL C. POPEBoston, MA

Truth and AngerConcerning William Livingstone's

January column, "The Truth MayMake You Mad," I would first like tocommend him on his perspicacity withregard to the male middle -life crisis.

Second, with regard to "truth" andemotions, I can only quote BertrandRussell (from his book An Outline ofIntellectual Rubbish): "If an opinion

contrary to your own makes you angry,that is a sign that you are subconscious-ly aware of having no good reason forthinking as you do. Whenever you findyourself getting angry about a differenceof opinion, be on your guard; you willprobably find, on examination, thatyour belief is going beyond what theevidence warrants."

JOHN H. BERRY, JR.Hastings, MI

Video DefenderI would like to respond to the recent

criticisms in "Letters" of your coverageof video recorders and reviews of vid-eos. I want to hear the best sound possi-ble, no matter if it's on vinyl, audiotape, CD, or video. I not only like tohear the music, but on occasion I like towatch the performer as well. Who elsebut STEREO REVIEW would you trustand turn to to find out how to get greathi-fi sound with a picture? Now thatstereo sound is available on video, whynot include it? "Stereo" means thesound you hear, not just the type ofequipment it comes from.

If you enjoy going to concerts buthave never watched a video of one "be-cause it just doesn't sound the same,"give yourself a treat and try watching itin stereo. Then see if you still thinkinformation about stereo video shouldnot be in STEREO REVIEW.

ROBIN HAMMANSClarinda, IA

True Rock on CD'sI have been reading STEREO REVIEW

for a number of years, and while I verymuch enjoy the technical aspects of theequipment reviews, I rarely agree withthe record reviews. But I was realpleased with most of the choices inSteve Simels's "Rock Music on Com-pact Disc" (January, page 134). In par-ticular, I liked the two Who selectionsand the Pink Floyd. Very few albumscan compare with these when it comesto creativity and emotional impact("Quadrophenia" in particular). I hopeat least a few people take his advice andcheck these discs out. Maybe that willopen their eyes to what true rock musicis all about.

TOM CRATINBaudette, MN

CorrectionThere was an error in the "Laboratory

Measurements" box in the test reporton the Perreaux TU-3 tuner in January,pages 53-54. The selectivity measure-ments should have read: alternate -chan-nel, 40 dB; adjacent -channel, 2.5 dB.We regret the error.


346643

345827 Bob James andDavid Sanborn -DoubleVision. Joined by AlJarreau. others. IncludesSince I Fell For ìba(Warner Bros.)

343095. Philip Gloss-Songs From LiquidDays. Lyrics by PaulSimon; David Byrne; etc.Featuring Linda Ronstadt.(CBS)

219477 Simon &Garfunkel's GreatestHits. El Condor Paso;Bodge Over TroubledWaters; etc (Columbia)

316604. Tchoikovsky:1812 Overture; MarcheSlave; Beethoven:Wellington's Victory. LorinMaazel, Vienna Phil.(Digital -CBSMasterworks)

BILLY JOEL11:1

THE BRUaGE

346312

343251. Both: GoldbergVariations. Glenn Gould.(Digital -CBSMasterworks)

287003. Eagles -TheirGreatest Hits 1971-1975.(yin Eyes; Take It To TheLimo; etc. (Asylum)

346767 Johnny Mathis-Most RequestedSongs. (DogitollyRemostered-Columbia)

337519. Heart. Top 10Album. What About Love;Never, etc (Capitol)

321570. Beethoven:Symphony Na 5, Op 67Schubert: SymphonyNa 8. Lorin Maozel,Vienna Phil. (Digital -CBSMasterworks)

333286. Phil Collins -NoJacket Required. Albumof the Year! (Atlantic)

348649. The PochelbelCanon And Other DigitalDelights. The TorontoChamber Orchestra.(Dtgital -Fanfare)

"2- COMPACT

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347955 J

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348706. WyntonMarsalis -J Mood.Melodic invention( MuchLater; Melodque; more.(Digital -Columbia)

347492. Glenn MillerOrchestra -In The DigitalMood. (Digital-GRP)293597 Led Zeppelin -Houses Of The Holy.(Atlantic)

350736. Rolling Stones -Rewind. (Rolling StonesRecords)

348987-398982. LindaRonstadt-'RoundMidnight with NelsonRiddle and HisOrchestra. (Asylum)

339044. Mozart:Symphony Na 401nG Minor. Bovarion RadioSymphony Plgotol -CBSMasterworks)

349324

344622. Anito Baker -Rapture. Cl album.Includes smash hit SweetLove, much more! (Elektra)

319996-399998.Motown's 25 # 1 HitsFrom 25 Years. (Motown)

269209. Boston -Boston. (Epic)

291278. The DoobieBrothers -Best of theDoobies. (Warner Bros )

273409. Horowitz PloysFavorite BeethovenSonata. VladimirHorowitz, Piano,(CBS Masterworks)

346023. Genesis -Invisible Touch. (Atlantic)

345777 Peter Gabriel -So. IncludesSledgehammer; In YourEyes; more! (Geffen)

347039

The age of CD sound is here -and youhove a practical new way to find the CDsyou want. As your introduction to the CBSCompact Disc Club, you can choose any3 CDs listed in this ad for just $1.00. Fill in andmail the application -we'll send your CDsand bill you for $1. You simply agree to buy2 more CDs (at regular Club prices) in thenext year -and you may then cancel yourmembership anytime after doing so.How the Club works. About every fourweeks (13 times a year) you'll receive theClubs music magazine, which describes theSelection of the Month for your musicalinterest...plus many exciting alternates. Inoddition, up to six times a year, you may re-ceive offers of Special Selections, usually ata discount off regular Club prices, for a totalof up to 19 buying opportunities.

If you wish to receive the Selection of theMonth, you need do nothing -it will beshipped automatically. If you prefer on alter-nate selection, or none at all, fill in theresponse card always provided and mail it

345785. Tap Gun -Soundtrack. #1 album!(Columbia)

346957 Steve Winwood-Bock In The High Life.(Island)

246868. Jim Croce -Photographs AndMemories -His GreatestHits. (Salo)

346536. The Monkees-Then And Now.. TheBest Of The Monkees.Includes the new hit) ThatWas Then, Thts Is Now, etc.(Arista)

334391. WhitneyHouston -WhitneyHouston. Greatest Love 01All, etc (Arista)

336222. Dire Straits -Brothers In Arms. A c 1album! Money For Nothing,.others. (Warner Bros.)

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314443. Neil Diamond's12 Greatest Hits, Vol. 2.(Columba)

308049. CreedenceClearwater RevivalFeaturing John Fogerty/Chronicle. Greatest hits(Fantasy)

343582. Van Halen-5150. (Warner Bros.)

345553. BranfordMorsolis-Romance foeSaxophone. Top 10!English ChamberOrchestra. (Digital -CBSMasterworks)

347054. David Lee Roth-Eat 'Em and Smile.Yankee Rose; Gain Crazy,more, (Warner Bros.)

263293. Bolling: SuiteFor Flute & Jazz Piano.Rompal, Bolling.(CBS Masterworks)

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348458 347153

decision. If you ever receive any Selectionwithout having 10 days to decide, you mayreturn it at our expense.

The CDs you order during your member-ship will be billed at regular Club prices,which currently are $14.98 to $15.98 -plusshipping and handling. (Multiple -unit setsmay be somewhat higher.) After completingyour enrollment agreement you may cancelmembership at any time; if you decide tocontinue as a member, you'll be eligible forour money -saving bonus plan. It lets you buyone CD at half price for each CD you buy atregular Club prices.10 -Day Free Trial: We'll send details of theClub's operation with your introductoryshipment. If you are not satisfied for anyreason whatsoever, just return everythingwithin 10 days and you will have no furtherobligation. So why not choose 3 CDs for$1 right now.ADVANCE BONUS OFFER: As a specialoffer to new members, take one additionalCompact Disc right now and pay only $6.95.

by the date specified. You will always have It's a chance to get a fourth selection at aat least 10 days in which to make your super low price! flys oiler ot not ovolade in AV FPO, Absko. Howes. Puerto Rco; Please wide for

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343327 WyntonMarsalis-Jolivet/Tomasi:Trumpet Concertos.Philharmonia Orchestra(Dtgotal -CBSMasterworks)

339226. Gershwin:Rhapsody In Blue;Second Rhapsody; etc. -M.Tolson Thomas, LosAngeles Phil (D9tol -CBS Masterworla)

326629. BruceSpringsteen -Born In theU.S.A. (Columbia)

342097 BarbraStreisand-TheBroadway Album.Somewhere; Something'sComing more, (Columbia)

341073. Steely Don -A Decode of Steely Dan.Reeling In The Years; HeyNineteen; more. (MCA)

CBS COMP CT INSC C11 B: liTre Haute, IN 47811 L or reiect any application CN9/C2 CP1 /C3

Beyond Digital Ready

Many speakers today are supposed to be digital ready. Butwhat happens if there's something beyond digital?

The original Bose' 901- Direct/Reflecting speaker wasready for acute' back in 1968 because it reproduced music withrealism and impact never before heard from a speaker. Today'sBose 901 Series V adds som9 350 design improvements to theoriginal's legendary performance. Unlimited power handling andvery high efficiency make the Series V speaker ideal for listeningto the best that audio presently has to offer-the digital compactdisc. And while no one can predict exactly what the future hasin store, ore thing is certain: it will sound better on the Bose 901system. Audition the complete line of Bose speakers at your au-thorized Bose dealer. For more information, write: Bose Corporation,Dept. SR, 10 Speen Street, Framingham, MA 01701.

Better sound through research.

Co...114,POWVItsimodordierpwlint911711exaCameneen AlVimeornd

NEW PRODUCTS

DenonThe DR -M07 is the most affordable

cassette deck ever offered by Denon. Ithas full lc logic circuitry and Denon'sproprietary transport design. The trans-port solenoids are mounted on the samecircuit board that holds the logic circuit-ry, eliminating loose lead wires. Themanual bias -trim control allows usersto adjust for variations between brandsof Type I and Type II tapes. Dolby Band Dolby C provide up to 20 dB ofnoise reduction at 2,000 Hz. Additionalfeatures include LED peak -level meters,

one -touch record standby, and full autostop. The DR -M07 will also automati-cally stop and eject the tape if the ejectbutton is pressed when the deck is in the

sonasnommliam erX/01

-- 30=895 -

SansuzThe Sansui TU-X701 AM/FM stereo

tuner has two switchable antenna in-puts so users can select the one givingbest reception. The sensitivity of the FMfront end is said to rival that of a four -gang variable capacitor, giving im-proved selectivity, image -rejection re-sponse, and intermodulation-interfer-ence rejection. Usable sensitivity israted as 10.8 dBf, and 50 -dB stereoquieting sensitivity as 30.0 dBf. The

tuner's Super Linear Digital Decoder issaid to combine clean performance withlow harmonic distortion -0.0095 per-cent for stereo reception. The stereo sig-nal-to-noise ratio is given as 91 dB at an85-dBf input level.

The TU-X701 has thirty station pre-sets, direct -access tuning, memory sta-tion scan, an FM noise canceller, andselectable IF bandwidth. Price: $450.Sansui, Dept. SR, 1250 Valley BrookAve., Lyndhurst, NJ 07071.Circle 121 on reader service card

KenwoodThe Kenwood KDC-9R car stereo

CD player/receiver has a defeatablebuilt-in beep/tone feature that audiblyconfirms the driver's commands. TheLED readout can display volume andmuting status, the current track numberof a CD, the tuned station frequency, ordigital clock time. The CD section fea-

tures skip and search keys in both direc-tions and repeat play. Twelve FM andsix AM stations can be preset, and thetuner also features an Automatic NoiseReduction Circuit. Two preamplifieroutputs are provided. Price: $849. Ken -wood, Dept. SR, P.O. Box 6213, 1315 E.Watsoncenter Rd., Carson, CA 90749-6213.Circle 122 on reader service card

play, fast -forward, or rewind modes.Price $200. Denon, Dept. SR, 27 LawDr., Fairfield, NJ 07006.Circle 120 on reader service card

PolkThe Polk SDA 1B uses the same

midrange drivers, tweeters, and cross-over as the more expensive Polk SDA-SRS 2. In addition to four 61/2 -inch tri-laminate polymer midranges, two 1 -

inch silver -coil polyamide-dome tweet-ers, and the isophase SDA crossover,the SDA 1B has a 12 -inch planar sub -bass driver that is said o improve bassresponse and power handling. The SDA1B can be used with amplifiers orreceivers with power outputs of 10 to600 watts per channel.

The phase -coherent driver alignmentis said to provide a smoother midrangeand better driver blending. All the driv-ers have ribbon -wire voice coils for highefficiency, and the tweeters use Polk'spoint -source technology for greater ver-tical dispersion. Rated frequency re-sponse is 14 to 26,000 Hz, nominalimpedance 4 ohms. Each speaker meas-ures 16 inches wide, 431/2 inches high,and 12 inches deep and weighs 85pounds. Price: $699 each. Polk, Dept.SR, 5601 Metro Dr., Baltimore, MD21215.Circle 37 on reader service card

STEREO Review MARCH 1987 15

NEW PRODUCTS

Boston AcousticsThe T830 tower speaker from Boston

Acoustics has an 8 -inch woofer, a 31/2 -inch midrange, and a 1 -inch dometweeter. Frequency response is given as45 to 25,000 Hz ± 3 dB. It is rated tohandle up to 75 watts of power. Finishis rosewood -grain vinyl. The similarT1000 (not shown) has two 8 -inchwoofers, a 61/2 -inch midrange, and a 1 -inch dome tweeter. Frequency responseis given as 38 to 25,000 Hz ± 3 dB. Fin-ished in walnut or oak veneer, theT1000 is rated to handle up to 150 wattsof power.

With an input of I watt, both speakersare rated to produce a sound -pressurelevel of 90 dB at a distance of I meter.Both models have grille panels withtapered inner edges that are said toeliminate diffraction effects, and eachspeaker occupies less than 1 square footof floor space. Prices per pair: T380,$450; T1000, $1,200. Boston Acoustics,Dept. SR, 247 Lynnfield St., Peabody,MA 01960.

BlaupunktThe diversity -tuning front ends and

the Codem III microprocessor circuitryin Blaupunkt's two-piece Berlin TQR07 car stereo cassette receiver are said toresult in optimum channel separation,fidelity, and frequency response. TheTQR 07 memorizes the sixteen strong-est AM and FM stations in any given areaas well as sixteen ARI channels, whichbroadcast traffic and emergency infor-mation. The tuner can decode C-QUAM stereo AM broadcasts. Manualtuning and automatic seek, scan, andpreset -station scan are additional tunerfeatures.

The TQR 07 has a full -logic autore-verse cassette mechanism with brassflywheels, an extended -range HP tapehead, and special equalization circuitry.An automatic volume control can ad-just the tape or tuner output to over-come ambient noise. The TQR 07 hasDolby B and Dolby C, a three -levelautomatic loudness contour, a program-mable security system, and a Data Bussystem to communicate with future au-tomotive products such as navigationand climate -control systems. Price:$1,499.95. Blaupunkt, Dept. SR, P.O.Box 4601, North Suburban, IL 60198.Circle 123 on reader service card

MultiVisionA pair of built-in video tuners enables

the MultiVision 3.1 to display two pic-tures simultaneously on any TV screen.Viewers can watch two live broadcastsor cable transmissions or use the 3. I 'stwo video inputs to monitor or scan avideotape, a videodisc, or images cap-tured by a video camera while watchingTV. The second, inset picture can befrozen, placed in any of the screen's fourcorners, and assigned one of four differ-ent sizes. The main and inset picturescan also be swapped.

The MultiVision 3.1 includes anMTS (multichannel television sound)decoder for stereo TV or Separate Au-dio Program (SAP) reception as well assimulated -surround circuitry. The wire-less remote control operates most im-portant audio and video functions.Price: $499. MultiVision, Dept. SR,1751 Fox Dr., San Jose, CA 95131-2312.Circle 124 on reader service card

AzdenDesigned to handle demanding pro-

gram sources such as compact discs, theDSR-50 full-size stereo headphonesfrom Azden use 16 -micron double -dome diaphragms, copper -clad alumi-num wire, and a gold-plated plug. Im-pedance is 300 ohms. Sensitivity is giv-en as 101 dB sound -pressure level at1,000 Hz. Frequency response is ratedas 15 to 24,000 Hz ± 3 dB. An adaptorfor use with portable CD players is sup-plied. Price: $79.95. Azden, Dept. SR,2978 Shore Dr., Merrick, NY 11566.Circle 125 on reader service card

16 STEREO REVIEW MARCH 1987 More New Products on page 122

Find out in Stereo Review.Subscribing to Stereo Review makes sense. Whether you'reshopping for your first stereo system, upgrading yourpresent one, looking for maintenance tips or trying to sortthrough the hundreds of new recordings released everymonth, Stereo Review has answers you can rely on.

Our world-famous Equipment Test Reports help youselect new audio equipment. Explanations of features,laboratory test results and comments from our expert tech-nicians make it easy for you to select components for a greataudio system.

If you already have a terrific sound system, StereoReview can help you care for it and upgrade it. With hints ongetting four -channel sound from your stereo discs...how tocare for your tape deck's heads ...how to handle records topreserve them ...and much more.

Stereo Review also helps you select the music to playover your sound system. We cover every category of record-ing on disc or tape, to help you steer away from uninspiredperformances or mediocre record ngs.

Stereo Review. When you subscribe you'll join thegroup of people who enjoy music on their own terms-andtruly know what to buy.

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1

AUDIO O&A

by Ian G. Masters

Cassette Shut -OffQWhat damage might I do to a cas-sette by turning the deck's power off

while it is still in the play mode?ANDREW TESICA

Markesan, WI

It's unlikely that the tape will suf-fer very much, but the machine

might. Many cassette decks have amechanism that automatically disen-gages the tape drive when power isremoved, and this performs exactly thesame function as pushing the stop but-ton before killing the power. It providesprotection in the case of unintentionalpower outages and is often associatedwith a machine's ability to be controlledby an external timer-if applying exter-nal AC power can engage the record orplay mechanism, removing it willusually disengage it. If your machinehas this feature, you needn't worry toomuch about turning off the power inmid -play.

Some decks, on the other hand, lackthis arrangement, in which case shut-ting down the power simply stopseverything in its tracks-the motorstops, the electronics quit, but themechanism remains physically in theplay or record mode. As far as the tapeitself is concerned, this does not mattervery much. But the rubber pinch -rollerthat holds the tape against the rotatingcapstan when the tape is playing willremain in contact with the now -station-ary capstan. There is a risk that this can

cause a deformity in the roller becauseonly one spot on its surface is underpressure. If the pinch -roller isn't per-fectly round, it will "bump" as it rotatesin subsequent playings, causing a sort ofirregular flutter. This condition is im-mediately audible and very annoying.

Under most circumstances, it is quiteobvious that a cassette deck does, ordoes not, disengage itself when turnedoff. If you're not sure, however, it's awise policy to hit the stop button rou-tinely before shutting off the power.

Microphone Inputs/-.1 When I purchased my cassette

deck I had no interest in liverecording, so I chose a model withoutmicrophone inputs. Would it now bepossible to record by connecting micro-phones to the auxiliary inputs of myamplifier?

LEWIS A. REDDINGBoston, MA

AI wouldn't recommend it. The var-ious inputs on a receiver or pream-

plifier are designed for high-levelsources such as tuners or CD players,and while manufacturers exercise somediscretion in what they consider to be"high level," it is always much greaterthan the tiny output created by a micro-phone.

It is possible that you might getenough level for recording if your mikehas a relatively high output and youturn the recording level control on yourdeck all the way up, but the signal islikely to be very noisy. Even the bestpreamplifier sections produce somehiss, and this will all be recorded ontothe tape along with any tiny leaks fromother sources such as FM. The wholesystem will also be susceptible to 60 -Hzhum as well, particularly if your micro-phone uses an unbalanced cable. Someof this might be reduced by connectingthe microphone directly to the lineinput of your deck, which has a sensitiv-ity similar to that of a receiver's high-level inputs, but the results are still like-ly to be unsatisfactory. Since your liverecordings will probably be of thingsyou want to preserve, why make suchcompromises right at the beginning? Asimple microphone preamplifier willmatch your microphones to your deckat low cost.

Disappearing FMBecause of very poor distant recep-tion, I subscribed to the FM service

of my local cable television company,and for a while I enjoyed immaculatesound. Then, overnight, I discovered Icould not pick up my favorite station-another signal was on the same frequen-

cy, although other stations were notaffected. How can a station come in loudand clear one day and not at all the next,and what can I do to correct it?

DEAN DE LONGKutztown, PA

"ei I suspect your problem is not atechnical one at all, but that

doesn't make it any less frustrating.Cable companies do not function sim-ply as master antennas. They receivebroadcast signals in exactly the sameway you would and then retransmitthem through their systems. This allowsthem to decide which stations they willcarry, and on what frequencies. Gener-ally, most companies try to keep FM sig-nals as close as possible to their originalplaces on the dial, although local sta-tions are usually shifted to reduce thepossibility of multipath distortioncaused by the direct signal's arrival atthe tuner's antenna inputs slightly be-fore its cable -processed counterpart.With distant stations, on the otherhand, the direct signal is usually tooweak to cause such problems, so theoriginal frequency is generally main-tained. This is simply a choice the cablecompany makes, and it can change.

In your case, I would guess that thecompany decided, for whatever reason,to delete or move the station you likeand replace it with something else. Theyare not obliged to warn you of this inadvance. Call the company and askthem. You may not be able to get yourstation back (although it may simplyhave been shifted to another frequen-cy), but you should at least get somekind of explanation.

Audio in a Confined SpaceQI have recently moved into a traveltrailer, and this is posing a serious

space problem. I can accommodate allof my audio components but my speak-ers. I need speakers about the height andwidth of STEREO REVIEW and 10 inchesdeep. How do I reconcile this require-ment with full, rich, deep bass?

RAY BUCHANANPhoenix, AZ

AOne of the fortunate things aboutlow -frequency sound is that it is

relatively nondirectional, so it doesn'tnecessarily have to come from the sameplace as the middle and high frequen-cies. Purists will argue the point, sayingthat coherence is very important andthat all sound sources should be careful-ly time -aligned, and they are probablyright on technical grounds. But some-times it's better to have a less -than -idealarrangement than no arrangement at all(in fact, all stereo setups involve com-promise of one sort or another).

r


SilentRunning.

CARVER'S FAMOUS TUNING TECHNOLOGYTAKES TO THE ROAD WITH THE ONLY AM/FM

TUNER CASSETTE DECKS CAPABLE OF CUTTINGMULTIPATH INTERFERENCE UP TO 92.9%!

The new TX -Seven and TX -Nine audiophileautosound decks employ the same AsymmetricalCharge -Coupled FM Stereo Detector circuitry asCarver's revolutionary TX -11a home tuner. They alsoincorporate an ingenious automatic computer logic -controlled antenna switching system that furthervanquishes multipath distort on.

In point of fact, no other autosound decks in theworld - regardless of price- even begin to approachthe TX -Seven and TX -Nines ability to maintain ahiss -free, glitch -free FM listening environment in

car.

COMPUTER LOGIC -CONTROLLEDDIVERSITY ANTENNA SWITCHING DRIVESAROUND MULTIPATN. One way to get temporaryrelief from interference at home is to move the

ri antenna around slightly. Instead of physically mov-ing your car antenna, the TX -Seven and TX -Nine usecomputerized circuitry to switch between twc sepa-rate antennas, one out -of -phase, and one in-pnascwith incoming FM signals.

VER

When multipath occurs, a special "smart" circuitautomatically switches (at the speed of light) to theother antenna, automatically correcting phase andeliminating the multipath before you ever hear itWhat little multipath distortion gets through thissmart antenna system runs headlong into theremarkable tuner innovation High Fidelity Magazinedescribed as distinguished (by) its ability to pullclean, noise -free sound out of weak or multipath-ridden signals."

Alone, without antenna diversity switching, theTX -Seven and TX -Nine's Asymmetrical Charge -Coupled FM Detector Circuitry delivers a net noiseand distortion reduction of 935%!Together, they seta new standard for clear, clean FM autosoundreproduction.

REM WORLD CONFIRMATION. Both deckswere tested on a torturous 6 -mile course near theCarver factory which could regularly trigger at least287 separate multipath occurrences in conventionalautosound FM tuners.

The TX -Seven and TX -Nine with AsymmetricalCharge Coupled FM Detection and diversity antennasystem, reduced multipath occurrences to an aver-age of two during the same cdurse while listening tothe sa

PO Box 1237, Lynnwood, WA 98046

FACTORY-LOADED WITH EXTRAS.The fifteenrandom presets on the TX -Seven and TX -Nine areincredibly easy to set. Just press the button markedBEST and the logic circuitry automatically selectsthe fifteen strongest signals and locks them in on thepresets. Plus you can select another fifteen on yourowl!

t,,.(AlcvER fig 1,*1 ISIE1

woe son IV IM=11

NO. C-9 El:31E1E10 F";11

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sitw. Fr"---grig IMIP1419118Adl

Naturally both decks are metal tape compatiblewith Dolby noise reduction and have auto -reversetransports, separate bass, treble, balance andloudness and four-way fader controls. All tuningand transport functions are signalled with a gentle"beep" that keeps your eyes on the road, not on theccrnpact, ergonomically -styled deck.

There's even a security code system that rendersti TX -Seven or TX -Nine inoperable to anyone butyou, and a quick removal system so you can slip outycur TX -Seven or TX -Nine in seconds for storage intrunk or house.

THE BEGINNING OF THE PERFECT AUTO -SOUND LISTENING ENVIRONMENT. Visit yourCarver dealer icon and experience the TX -Sevenand TX -Nine. Out of hundreds of the only tuner/cassette models available, they are the only oneswhich can truly put you in the driver's seat of aunique, interference -free musical experience.

Dolby is a trademark of Dolby Licensing Corp.

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In your case, the best solution couldbe to use a pair of good minispeakers-there are lots of them available-located in the best position for goodstereo and supplement them with anoutboard bass unit. Such a subwooferneed not be huge, and you can probablymake do with just one.

The question is, where do you put it?

Trailers, like boats, and airplanes, allowvery little flexibility in this regard, butas long as you can fit the subwoofer insomewhere, it should do the trick. De -

I pending on its size and shape, youmight consider mounting it on the ceil-ing. To avoid bumping your head onthe cabinet. you could position it overanother piece of furniture-your listen -

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ing chair, say. Alternatively, a first-classcar audio system might be a good solu-tion to your problem. The best of thesecan give home audio components realsonic competition.

Rescuing Records

QI enjoy listening to my old recordsbut not the awful sound of the

scratches caused over the years by wearor improper care. Is there anything I cando to eliminate this problem?

WES WUNSCHELBentonville, AR

AYou have come to the right place! Ihave more gray records than a

jukebox clearance depot, and I listen tothem all the time. For some detailedthoughts on the subject, you might wantto look at my "New Life for OldRecordings" (STEREO REVIEW, Novem-ber 1985). If that is not immediatelyavailable, here are some tips.

Play them in mono. Much of the noisecaused by dirt and wear is out of phase,so simply switching your receiver oramplifier to mono will cancel out a sig-nificant proportion of it. For me, thesacrifice of stereo is more than compen-sated for by the reduction in noise.

Play them wet. Dousing the disc withrecord -cleaning fluid can reap enor-mous benefits in quietness. Two cau-tions, however: First, it's hard to keep adisc wet throughout a complete sidewithout spritzing it periodically, so thisinconvenient technique is appropriateprimarily when you are trying to get onegood play for taping. Second, a recordwet -played once will usually alwayshave to be wet -played.

Equalize them. Most of the noise anddistortion caused by wear occurs in theupper frequencies. If you have access toa graphic equalizer, use it to roll off thehigh end. The uppermost frequenciescan usually be cut without sacrificingmuch of the musical content, but evenif you do lose a bit of crispness, theimprovement in noise will probably beworth it. If you don't have an equalizer,dubbing the records onto relatively low -quality tape can often achieve the sameeffect, but without the same control.

Process them. While their popularityhas waned somewhat, a number ofdevices have been marketed over theyears to help with such problems, andsome of them are still available on thesecondhand market or from discountmail-order houses. Two possibilities arethe SAE 2000 "click and pop machine"and Phase Linear's Autocorrelator.

Bear in mind, however, that very fewdamaged records can be completely re-stored to their original condition. Thebest you can hope for is to make themost annoying faults listenable.

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As a member, you'll alwayshave a wide range of choices. Ifyou want the Director's Selection,don't do a thing. It will arrive auto-matically. If you prefer an alternatetitle, or none at all, just returnthe card provided by the datespecified.

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VIDEO BASICS

by William Wolfe

(-ki

A Checklistfor theFirst -Time VCR Buyer

NOWLEDGE is power, espe-cially when you're shop-ping for a videocassette re-corder. There are so many

brands on the market and so manydifferent models to choose from, it'sa wonder that people are able todecide what to buy at all. But,of course, people have boughtVCR's-nearly forty million ofthem. While most advertisements,salesmen, and store displays onlyadd to the difficulty of purchasing aVCR, some basic advice and a littlebackground on the medium canturn a potential nightmare into ahappy and rewarding process.

The following checklist of basicdecisions in buying a VCR will helpyou determine what you want yourVCR to do. Then you can narrowdown the vast number of models bylooking through one of the specialpublications that lists all of the cur-rent video equipment now availablein stores. With your priorities and amanageable group of model num-bers in hand, you'll be ready to be-gin shopping.

ED Format. Nine out of every ten

VCR's sold in this country are inthe VHS format, which makes VHSthe obvious choice for nearly everyindividual situation. Retail storeswill have the tapes you want to rent,and your friends will probably haveVHS VCR's, making it easy to swaptapes. VHS VCR's produce goodpictures, and all but the lowest -priced models come with wirelessremote controls and a host of con-venience features.

Beta -format VCR's are an endan-gered species, and prerecorded Betatapes are scarce. While Beta VCR'sare generally less expensive and canproduce appreciably better picturesthan comparable VHS models, theymay not be around long enough tobe considered a safe investment.

The 8mm format has generatedinterest because of its ability torecord PCM digital audio and be-cause of the small, full -featuredcamcorders the format has madepossible. But serious interest in8mm VCR's is justified only if youalso plan to purchase an 8mm cam-corder. Movies prerecorded on8mm tape are even more scarcethan prerecorded Beta tapes.

0 Picture quality. The picturesproduced by VHS, Beta, and 8mmVCR's are remarkably similar-with two exceptions. Most VHSVCR's now have HQ (High Quali-ty) circuitry, which sharpens the

For the audio enthusiast,video hifi is a "must"feature-and both VHS andBeta have it. Frequencyresponse is rated at 20 to20,000 Hz, and dynamicrange is 80 to 90 dB.

edges of images-limiting picture"blurriness"-and improves colorbalance. SuperBeta VCR's recordand play back pictures that are up to20 percent more detailed than eventhose of VHS HQ VCR's, and thatis an appreciable difference. Itshouldn't pressure you, though, to"go Beta": VHS HQ pictures lookvery good, and HQ has nearly be-come a format standard.

0 Sound quality. For an audio en-thusiast, video hi-fi is a "must" fea-ture-and both VHS and Beta haveit. Hi-fi VCR's have a rated fre-quency response of 20 to 20,000 Hzand a dynamic range of 80 to 90 dB.All hi-fi VCR's can be used torecord music alone, and some comewith manual level controls, peak -

reading meters, and a headphonejack. Hi-fi VCR's also have stereoaudio outputs for connection to anaudio receiver or an integrated am-plifier, and a few of them are nowequipped with stereo amplifiers andspeaker jacks, eliminating the needto connect the VCR to your stereosystem.

The 8mm format offers two inter-esting alternatives to VHS Hi-Fiand Beta Hi-Fi, but both have theirdrawbacks. Some 8mm VCR's havethe ability to record up to 24 hoursof PCM digital audio on a single8mm cassette, but frequency re-sponse on these tracks is only 20 to15,000 Hz. All 8mm componentscan record audio with a systemcalled audio -frequency modulation,which is rated for a frequency re-sponse of 20 to 18,000 Hz and adynamic range of 70 dB-but inmono, not stereo.

0 MTS/SAP. A VCR equippedwith an MTS/SAP decoder can re-ceive, record, and play back TV pro-grams with stereo soundtracks orwith a separate audio program (suchas for bilingual broadcasts). Cur-rently, the networks broadcast atleast thirty hours of stereo program-ming a week, and more is sure tocome. Some VCR's have MTS/SAPdecoders built into them, and othershave a jack for connecting an op-tional decoder, which usually costs$100 to $200. As with hi-fi video-cassettes, a VCR used to record andplay stereo TV should be connectedto an audio component system or toa pair of powered speakers.

Some television sets are alsoequipped with an MTS/SAP decod-er, but you can "time -shift" stereoprograms only if your VCR has itsown MTS/SAP decoder.

Remote control. For the littlebit of "couch potato" in all of us,even most inexpensive VCR's comewith a wireless remote control. Abasic one operates standard trans-port controls such as play, rewind,


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AUTHORIZED DEALER LIST

CANADA Call MissionElectronics in Toronto fornearest dealer 1-416.673-3777

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VIDEO BASICS

and pause; the more sophisticatedunits control special -effects func-tions, such as variable -speed slowmotion, allow on -screen program-ming, and give random access toTV channels. Some manufacturersoffer deluxe remotes that operatetheir TV sets and their VCR's andsometimes even audio and videocomponents made by other manu-facturers. As with any seductivevideo feature, determine whichfunctions are vital for you andwhich you can live without.

Digital enhancements. Firstemployed in quartz -synthesis videotuners, digital VCR technology isnow used to reduce video noise, toimprove existing special effects andadd new ones, and to provide aninset picture that can be viewedsimultaneously with the main pic-ture on any TV screen. Videophilesand sports fans seem to love the pic-ture -in -picture feature, but the noisereduction and special effects aremore likely to appeal to the averageVCR buyer. As with most new tech-nology, though, you have to pay apremium for these digital features.

0 Programmability. You shouldbe concerned with a VCR's abilityto time -shift only if you plan to tapeTV shows for later viewing. Mostmid -priced to high -end VCR's canbe programmed to record betweenfour and eight broadcasts over thefollowing fourteen to twenty-onedays. This is more than enough tocover ordinary, daily situations andmost extended absences fromhome. Advertisements and bro-chures usually list this feature as "4event/14 day" or "8 event/21 day"programmability.

Programming itself has beenmade easier on VCR's that have afeature called "on -screen program-ming." Using buttons located on theVCR's remote control, you cansummon a graphics "menu" to yourTV screen and follow simple visualprompts to issue programmingcommands. It's the ultimate videoconvenience feature.

0 Audio dubbing. The ability todub a new soundtrack over the orig-inal one on a videocassette withoutdisturbing the video portion of thesignal is called audio dubbing. Thefeature is most useful for peoplewho make home movies and want

to add music or sound effects be-tween sections of dialogue. Audiodubbing is also good for monkeyingaround with movies-you cancome up with hilarious hybrids thatresemble Woody Allen's What's UpTiger Lily? But if you aren't inter-ested in becoming a video auteur, itis not essential.

0 Video heads. Video signals arerecorded on tape by video heads,and video heads also read those sig-nals when you play back a tape. Thechoice is how many heads you need:two heads (the minimum) or more.

There is no point in pamore for extra heads ifyoudon't notice any improvementin the picture quallty or specialeffects over VCR' s with theminimum tzvo heads.

.ng

Less expensive VCR's have twoheads, and mid -priced and high -endunits generally have four or five.Four- and five -head machines aresaid to produce clearer pictures andmore stable special effects, but it is agood idea to judge this for yourself.When shopping, compare record-ings from a two -head VCR and afour- or five -head VCR to see if younotice a difference. Then comparestill -frame and slow-motion play-back. If you don't see any differ-ence, there is no point in payingmore for more heads.

There are other considerations aswell. If you have cable, a VCR witha "cable -ready tuner" will do awaywith the need for signal -degradingsplitters or junction boxes. Styling,warranty terms, and ease of use arealso important factors. Styling pref-erences, of course, are subjective,and warranties are fairly standard atninety days for parts and labor. Asfor ease of use, if the VCR comeswith a wireless remote control thathas buttons for on -screen program-ming, it will be no harder to usethan a remote -controlled television.And because of all the great moviesand music programs that you canrent or buy, it will be a lot more funto watch. 0

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Mission Electronics Corp. of America, 5985 Atlantic Drive, Unit 6.Mississauga, Ontario, L4W 1S4, Phone: (416) 673-3777

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PIONEER DEX-77by Julimi Hirsch and Christopher Greei / heaf

pIONEER'S DEX-77 is a newaddition to the company'sCentrate series of deluxe au-tomobile stereo compo-

nents. It includes an AM/FM tuner, aCD player, and an audio preamplifi-er. The line -level stereo audio out-puts are intended to drive an exter-nal power amplifier.

Although the DEX-77 is excep-tionally flexible, it has no morefront -panel controls than most oth-er high-performance after -marketcar stereo units. Most of its controls,however, serve dual, and sometimestriple, functions, depending onwhether the radio or the CD playeris being used. The CD loading slot,which is lined with a soft (non -scratch) material, extends across thetop of the panel. Although somecontrol functions are obvious, oth-ers are not. For example, the buttonmarked FU (for "function") is notonly the power switch but alsoswitches between radio and CD op-eration. Many of the other controlsare identifiable by equally arcaneabbreviations.

Another unusual feature of thePioneer DEX-77 is its antitheft se-cret -code system. To use it, a four -digit numerical code is stored in thesystem's computer memory. Subse-quently, if the unit is removed fromthe car or the DC power source fromthe car battery is interrupted foreven a moment, the DEX-77 cannotbe operated without first enteringthe same code by means of a fairlycomplex, nonobvious procedure.

When a CD is inserted, the lumi-

nous panel display first shows thetotal playing time and number oftracks on the disc, then the currenttrack number and its elapsed time.Two large buttons on the panel stepthe pickup forward or backward onetrack at a time. The CD player cansample all the tracks on a disc, andany of the sampled tracks can beselected for subsequent playback insequence at the touch of a button.Pressing R. PLAY plays all the tracksin a random order.

In the tuner mode, the panel dis-play shows the station frequencyand the status of all applicable con-trols. The digital frequency displayalso serves as a clock. Tuning isdone by the same two buttons usedfor track stepping on a CD. Normal-ly, a single touch starts a scan in thecorresponding direction until a suit-able signal is received. Pressing bothbuttons simultaneously toggles be-tween the auto -scan and manualtuning modes.

The DEX-77 has six preset stationmemories, each of which can beassigned to three different FM chan-nels and one AM channel. There isalso a "best station" feature inwhich the tuner scans an entireband and automatically assigns thesix strongest stations to the presetmemories. The preset -scan tuningmode sequentially tunes the radioto each preset frequency and plays itfor about 8 seconds before proceed-ing to the next station. Price: $850.Pioneer Electronics (USA), Inc.,Dept. SR, P.O. Box 1760, LongBeach, CA 90801.

Lab TestsThe specifications for the DEX-

77 omit several key items, includingthe line -output voltage and suchtuner parameters as selectivity, cap-ture ratio, and AM rejection.

The FM tuner was one of the mostsensitive we have measured, follow-ing in the tradition of previous Pio-neer "Super Tuners." The distor-tion, like that of most car tuners,was moderately high, about 0.6 per-cent in mono and 0.8 percent instereo. The noise levels were reason-ably low. Also like many other cartuners, the DEX-77 has a signal -controlled channel -blending circuitthat makes it difficult to determineits stereo threshold. Using stereomodulation, with both channelsmodulated in opposite phase, wearbitrarily defined the stereo thresh-old as the signal input with whichthe audio output was down 6 dBfrom its maximum level. In thiscase, it was about 36 dBf (17.3microvolts, or tiV, at the 75 -ohmantenna input). The stereo indicatorlight, however, came on with aninput of only 3 dBf (0.4 AV).

Like most digital -synthesis FMtuners, the DEX-77 had a moderatefrequency tuning error (23 kHz) thatslightly degraded its usable -sensitiv-ity measurement, which was nev-ertheless outstanding. The error hadno significant effect at the 65-dBfinput used for most other tunermeasurements.

The alternate -channel selectivitycould not be measured-it ap-peared to be an impossibly high 110dB! This result was probably due tothe action of an internal automatic -gain -control (AGc) circuit that de-sensitized the tuner at the high sig-nal levels used for a selectivitymeasurement. Our more reasonableadjacent -channel reading of 6 dB in-dicates good tuner selectivity, how-ever. Among our tuner measure-ments only the capture ratio (4.5dB) was clearly substandard, and itseems inconsistent with the overallperformance of the DEX-77.

The CD section's specificationsare much like those of any homeunit. The control unit's built-in au-dio section, however, and possiblysome other effects of combining thecontrol functions of the CD player


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CAR STEREO

with those of the tuner, have slightlydiminished some of the usual CDperformance standards. Neverthe-less, the player's performance wasmore than adequate for automotiveservice. For instance, playback wasrelatively unaffected by physicalshocks; a rather strong blow wasneeded in order to produce a mo-mentary dropout.

The Pioneer DEX-77 is a veryimpressive product. It is difficult toimagine a better use of limited phys-ical space and a manageable num-ber of controls to operate a systemwith so much versatility. A negativeby-product of this achievement is adegree of operating complexity thatmay render most of the features ofthe system unusable by many peo-ple. Almost all of the controls andfeatures are explained reasonablywell in the instruction manual, but alarge percentage of users do noteven look at the instructions.

I must praise, however, the DEX-77's incredibly sensitive FM tuner,which surpassed in that respect notonly just about every car FM tunerwe have tested but most home tun-ers as well. Moreover, every otherfunction of the CD player and tunerworked exactly as claimed. Even ifyou don't use all of its versatility,this is a top -performing unit. J.H.

Road TestsThe Pioneer DEX-77 was a very

welcome electronic passenger onceI'd worked out how to mount itstwo modules in my car. The sepa-rate tuner pack and power wiringharness came with plenty of cable,which I appreciated, and extensionsare available if needed. The DEX-77 can ride at any angle up to 30 de-grees off horizontal, which enablesit to fit in any normal installationand adapt even to most unusualmounting situations.

My periodic trips down to theBrooklyn waterfront to test varioushead units on the Belgian blockstreets and crumbling trolley tracksaround the old Navy Yard have de-veloped into a ritual. I always drivearound there at the same speed, so Ihave a fair chance of presentingeach car CD or tape player I testwith the same regular and irregularshakes and jolts. The DEX-77 per-formed faultlessly, never muting or

mistracking. I missed a controlmany other CD players have: high-speed scanning through a track withthe music audible.

I decided I liked Pioneer's choicenot to eject a CD automaticallywhen the car's ignition is switchedoff. Weighed against the chances ofleaving a disc partially exposed tohot sunlight or visible to passersby,the risk of leaving it inside theplayer is less.

The sound of both the compactdisc player and the FM tuner wassmooth, unstrained, and free fromnoise. The few multipath problemsI encountered were under the ap-proaches to the big East Riverbridges, where many a tuner hasthrown its hands in the air. Pio-neer's Super Tuner III circuitry han-dled even these nasty reception con-ditions with aplomb. To my sur-prise, the AM tuner's quieting waseffective without removing all thehigh frequencies from the signal.Impulse noises were nearly nonexis-

tent. In a city with extreme signalconditions, this was simply out-standing performance. Also, the FMhigh -blend circuitry was discreetand very effective in its operation.

I found this an unusually easy CDplayer and tuner to learn to operate,and use on the road only confirmedmy pleasant first impressions. Theillumination is nicely done. Thoughmost of the symbols are legible onlyclose up, their positions enabled meto tell the unit's status even at a dis-tance. All buttons were firm to thetouch, making unintentional com-mands unlikely.

I applaud, too, the novel securitysystem, which allows a user not toenter a code if he prefers. The warn-ing stickers that come with theDEX-77 should eventually be agood deterrent to car thieves, whowill latch onto what will be, forthem, an unusable unit. All in all,this is a terrific product that I'dproudly own and use. C.G.Circle 139 on reader service card

FEATURES

CI Digital -synthesis AM/FM tunerwith Super Tuner Ill circuitry

O Manual, auto -seek, preset, andpreset -scan tuning

O Up to twenty-four station presets(eighteen FM, six AM)

O "Best stations" memory topreset strongest stations

Three -position sensitivity switchfor see function

O Line -level audio outputsCI Bass and treble slider tone

controlsO Secret -code function to prevent

operation of stolen unit

LABORATORY MEASUREMENTS

0 Tuner Section (all measurementsfor FM only except frequencyresponse)

Mono usable sensitivity (75 -ohminput): 12 dBf (1.1 µV)

50 -dB quieting sensitivity (75 -ohminput): mono, 10.5 dBf (0.9 µV);stereo, 33 dBf (12.3 µV)

Signal-to-noise ratio at 65 dBf:mono, 69 dB; stereo, 67.5 dB

Harmonic distortion ('rHD +noise) at 65 dBf: mono, 0.6%:stereo, 0.82%

AM rejection at 65 dBf: 52 dBSelectivity: alternate -channel, not

measurable (see text): adjacent -channel, 6 dB

Stereo channel separation at 100,1,000, and 10,000 Hz: 36, 41,and 31 dB

Frequency response: FM, 30 to15,000 Hz +2.7, -1 dB; AM,-6 dB at 57 and 3,200 Hz

CI CD Player SectionTotal harmonic distortion at

1,000 Hz: 0.056% referred to 0dB, 0.02% referred to -6 dB,0.01% referred to -10 dB

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

Channel separation: 76 dB at1,000 Hz, 51 dB at 20,000 Hz

Frequency response: +0.35, -1.4dB from 20 to 20,000 Hz

Impact resistance: top, A;sides, A+

CI Control SectionMaximum output voltage (0 -dB

CD or 100% FM modulation):0.34 volt

Tone -control range: ± 8 dB at 100and 10,000 Hz

Loudness compensation (-30-dBvolume setting): +8 dB at 50Hz, +5.5 dB at 10,000 Hz


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TECHNICAL TALK

byJulia,n Hirsch

Testing Car Stereo

FUNCTIONALLY, a car stereoreceiver is identical to ahome receiver, with the pos-sible addition of a built-in

cassette deck or CD player. If youcompare their measured perform-ance, however, you will notice somestriking differences between thetwo. Numerical differences in themeasurements can be rather large,with the car receiver usually(though not always) appearing to befar inferior to its stationary counter-part. It is fair to ask why this is soand whether it really signifies thatcar receivers, as a class, do notmatch home receivers in importantaspects of their performance.

Most of the differences in meas-urements come from the unified de-sign and construction of a car re-ceiver, which permits no access toits individual sections (tuner,preamplifier, power amplifier, tapedeck, etc.). Even though a homereceiver is also an "all -in -one" de-sign, it has inputs for externalsources, such as phono cartridges orCD players, and it usually also has

tape -recorder outputs that precedeits amplifying stages. These featuresallow us to measure each of its sec-tions more or less independently.

In contrast, only a few car receiv-ers have line outputs (for drivingadditional amplifiers) that followtheir tone controls but precede thepower -amplifier sections. There isin these cases no access to the pro-gram inputs to the amplifier andthus no way to measure the distor-tion, noise, or frequency response ofan individual section. On the otherhand, a number of after -market carradios have line outputs only andrequire external power amplifiers,which makes it possible to measuretuner (or tape -deck) performanceindependently of the power ampli-fier but not of the preamplifier andits tone controls.

A few car receivers have lineinputs, usually designed to be usedwith external CD players. These in-puts provide access to the pream-plifier's inputs, allowing the ampli-fier characteristics to be measuredfree of influence from the tuner sec-tion. Usually, though, this is notpossible, and the performance ofneither the tuner nor the amplifiercan be determined in any meaning-ful way.

Of course, the user of such areceiver could not care a whit aboutits internal components and theirperformance, and this is as it shouldbe. Still, to the degree that our meas-urements of car receivers might becompared with those of home re-ceivers, the disparities that some-times exist must surely raise ques-tions among readers of STEREO RE-VIEW, if not the general public.

Tested This Month

Kyocera D-811Cassette Deck

JSE Infinite SlopeModel 1 Speaker

Vector ResearchVCD-770 CD Player

Speakerlab DAS 2Speaker

Ortofon X3 -MC Ph,orwCartridge 1

The primary offender is the FMtuner section. In part, that is un-avoidable because of the conditionsunder which it must operate. A carradio usually receives very weak sig-nals unless it is close to a transmit-ter. This situation obviously callsfor a sensitive tuner, but one thatdoes not overload when presentedwith a strong signal. The same cir-cumstances require the tuner to behighly selective if it is to be free ofcross -modulation effects when pass-ing a transmitter a few hundredyards away. But all these are charac-teristics of a very high -quality, andthus expensive tuner, and they arenot likely to be found in any afford-able car radios.

The worst enemy of mobile recep-tion is multipath distortion. As thecar travels a couple of feet, a fullyquieted signal may drop out com-pletely and then return to fullstrength. This "picket -fencing" ef-fect can vary in its severity, fromimposing a mild noise "flutter" onthe signal to completely destroyingreception. The effect is even worseon stereo broadcasts, whose channelseparation can be degraded severelyby an amount of multipath thatwould be practically inaudible on amono transmission. Multipath dis-tortion is minimized by a good (nu-merically low) capture ratio and byhigh AM rejection. Neither of theseparameters is likely to be particu-larly good in a car radio comparedwith a good home receiver.

To deal with the problem of sig-nal -level fluctuations, most car ster-eo manufacturers use some form ofsignal -controlled channel -blendingcircuit. These circuits graduallyconvert the reception from stereo tomono as the signal strength de-creases, but there are large differ-ences among them in the actualrelationship between channel sepa-ration and signal level. Almost uni-versally, however, the blendingtakes place at such a high signal lev-el (50 dBf or more) that the tuner isactually delivering a mono outputmost of the time except when thecar is in a really strong signal area.Nevertheless, the stereo indicatorlight usually comes on at very lowlevels, implying a stereo mode thatdoes not necessarily exist. Fortu-nately, not much separation is

0

aa


TECHNICAL TALK

needed in a car installation, giventhe closeness of the listeners to thespeakers, so the 5 to 10 dB of sepa-ration that you might actually havecould be adequate.

These blending circuits are oftendesigned to give a nearly constantsignal-to-noise ratio (s/N) over awide range of signal strengths,which seems reasonable. Since amono signal has a 20 -dB advantageover stereo in respect to S/N, it ispossible to maintain an S/N of 50 to55 dB over a wide range of signallevels with the aid of a well -designed blending circuit.

Automatic channel blending seri-ously complicates the measurementof quieting and channel separation,however. In some respects, it is notunlike trying to nail jelly to a tree (asthe apt title of a book on computerlanguages puts it). The measure-ments simply don't come out theway one would expect them to, andcomparisons of the results withthose from conventional home tun-ers are risky at best.

But the most obvious differencebetween car FM tuners and hometuners is in their distortion levels. Iam not entirely certain why this isso-higher distortion would be anexpected result of very high selectiv-ity, which is a desirable property ofa car radio, but few we have meas-ured have been as good in thisrespect as the typical low-pricedhome receiver, and many have mar-ginally acceptable selectivity. What-ever the reason, it is routine for usto measure FM tuner distortion lev-els exceeding 0.5 percent, and some-times well over 1 percent, comparedwith the 0.1 or 0.2 percent distor-tion of almost any home tuner.

These high tuner distortion read-ings-which, fortunately, are notparticularly audible in normaluse-make it impossible to measurethe distortion of a car receiver'samplifier, since the input signal tothe amplifier is the output of thetuner. The amplifier section has itsrevenge, however: we also cannotmeasure the frequency response ofthe tuner (or cassette deck, or CDplayer), since its output must passthrough the tone controls before be-ing measured. Some car receivertone controls may have flat re-sponse (if you can find their center

settings, which is another matter),and others may not-we have noway of knowing. Of course, we domeasure the unit's frequency re-sponse, as well as noise level, butyou must realize that our resultsapply to the entire receiver, not thetuner or amplifier sections alone.

The cassette deck's performanceis less compromised than any otherpart of a car receiver. It still suffersfrom the generic ailments of cassettedecks-flutter, speed error, frequen-cy -response errors, and (in auto -reverse models) differences in re -

Most of the disparities inmeasurements between carand home receivers come fromthe car receivers' unddesign and construction,which gives no access to theirindividual sections."VIM AIRIPPW: KiltANINPONMANNINN/M/11111111111110111111

sponse for forward and reverse play-back-but these are not really dueto its presence in a car stereo com-ponent. In fact, most of the cardecks we have tested have done acreditable job. Here, too, though, wecannot measure the true frequencyresponse.

The final point to be aware ofdoes not really concern measure-ment problems but rather the prod-uct specifications. Without a doubt,the power ratings of car receiversare the last bastion of the totally fic-tional specifications that used to becommon in the audio industry, be-fore the Federal Trade Commissionstepped in to restore order. Most ofthe car stereo power ratings we haveseen are patently impossible, al-though here and there a manufac-turer will remain within the con-straints of physical laws in giving apower -output rating.

A car receiver operates from a 12 -volt battery (the actual voltage in acar can be more or less than this, butit is a good value to use for illustra-tion). If one side of its audio outputis connected to a ground (the car'sframe or the negative side of its bat-tery), the absolute maximum peakvoltage that can appear across the

speaker load is 12 volts. In fact, itmust be less than that since there issome loss across the output transis-tors. But even if we ignore that phe-nomenon, the peak -to -peak value ofa sine -wave output (which is used toestablish a power rating) cannot ex-ceed 12 volts. The rms value of thatsine wave is about 4.25 volts. If thespeaker impedance is 4 ohms, acommon value, 4.25 volts rms rep-resents a power output of about 4.5watts. If the speaker outputs havegrounded returns, a power ratingappreciably higher than 4.5 watts isfanciful, to say the least.

Another category of car amplifier,found in many of the better after -market receivers, uses "bridged"output sections to get more power.You can recognize these models bytheir installation warnings not toground either side of a speaker out-put. Bridging effectively doubles theavailable signal voltage, which inour example means that 8.5 voltsrms can be delivered to the speaker.With a 4 -ohm speaker, that is about18 watts. If the rating is more thanthat, don't believe it!

It is possible to obtain far higherpower outputs from a car amplifierand a 12 -volt battery, but it requiresan inverter power supply that stepsup the 12 volts to whatever isneeded by the output transistors. Ingeneral, such a power supply isavailable only in after -market exter-nal amplifiers, whose ratings canexceed 200 watts.

In case you are wondering howcar receiver manufacturers can jus-tify their exaggerated power claims,take a close look at the specs. Theyusually say something like "maxi-mum power output" or "power out-put at 10% distortion." When I tryto match these figures, I can onlyapproach them by driving the am-plifier section into hard clipping.Even then, I usually cannot matchthe rating, since I do not wish todestroy the unit-and I think thatwould be likely with such severeoverdriving. It's true that if thewaveform is square instead of sinu-soidal, its power is doubled. Butthat just reminds me of the old say-ing, -Figures don't lie, but liars fig-ure." You wouldn't care to listen tothat kind of distortion for verylong!


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TEST REPORTS

KYOCERA D-811CASSETTE DECKCraig Stark, Hirsch -Houck Laboratories

THE Kyocera D-811 cassettedeck incorporates a largenumber of advanced fea-tures, including a direct -

drive dual -capstan transport, DolbyHX Pro headroom -extension cir-cuitry, a calibration system for theDolby B and Dolby C noise -reduc-tion circuits, and automated pro-gram search and memory replay.

The D-81 I's transport uses threemotors. The first is direct -coupledto the pulling capstan (the othercapstan, the holdback capstan, isbelt -coupled). A second motordrives the two reel hubs, and a thirdis used to operate the tape -gate andpinch -roller mechanisms for quiet,shock -free operation with soft -touch control buttons. A single sen-dust-alloy tape head is used for bothrecord and playback functions.

The Dolby HX Pro headroom -extension system used in the D-811was developed originally by B&Oand Dolby Laboratories. The HXPro circuitry continuously sensesthe high -frequency demands of themusic and slightly reduces the biascurrent when necessary in order toprevent treble saturation of thetape. The result is significantly bet-ter high -frequency performancewithout an audible increase in low -frequency distortion.

The D-811 has a rather conven-tional cassette -well design. An illu-minated area at the back of the wellshows the remaining tape per sideclearly, though label visibility islimited. While most decks today usesensors within the well to set thebias and equalization for the cas-sette type in use, the D-811 has

manual tape -selector pushbuttons(unaided by LED indicators) for thispurpose.

A four-way, four -digit tape coun-ter can be switched to displayelapsed time, remaining time, tapelength (C-60, C-90 or large -hub C-46), or conventional counter units.Signal levels are shown on a pair oftwelve -segment -per -channel peak -reading indicators that are cali-brated from +7 to -30 dB, with 0dB indicating Dolby level. Twoswitches determine whether DolbyB, Dolby C, or no noise -reductionsystem is used. An auto -search facil-ity enables the user to audition, thenplay or skip selections that have 4 -second pauses between them; a sec-ond switch is provided to generate4 -second pauses in the recordmode.

Memory rewind/replay switchesand jacks both for headphones andfor a pair of microphones are nicelyconcealed behind a fold -down sub -panel. The same panel hides otherless frequently used controls, suchas those for headphone and output

SiEREO REviEw MARCH 1987 33

TEST REPORTS

levels, record channel balance, biasadjustment, and a switch for a 400 -Hz Dolby tone generator. The tonegenerator and a pair of rear -panelscrewdriver controls enable the user

to compensate, if necessary, fortape -sensitivity differences thatwould affect the calibration (andthus the frequency response) of theDolby noise -reduction systems.

FFATURFS

Three -motor, dual -capstan,direct -drive transport.HX Pro headroom -extensionsystem

O Dolby B and Dolby CO Four-way time -reading tape

counter Twelve -segment -per -channel

peak -level indicatorsO User -adjustable bias and Dolby

calibration controls

Memory rewind/replay andprogram -preview circuitsPunch -in record capability

O Separate playback level controlsfor output and headphones

O Built-in microphone inputsSendust-alloy record/playbackheadDefeatable FM -multiplex filter

+5

0

5

10

O

15

KYOCERA 0-811RECORD -PLAYBACK RESPONSES

20

- 25

TDK AD (TYPE L FERRIC)TDK SA (TYPE IT CHROMEEOUIVAIENT)

TOE MA (TYPE META!)

20

.5

0

5

50 100 500 Ik

PLAYBACK ONLY RESPONSES(IEC.STANDARD BASE TEST TAPES)

Sk ICE 201

- 120 As (TYPE I)- 70 ,4s( TYPES AWN!

PEOUENCY IN HERTZ'


Fast -forward time (C-60): 75seconds

Rewind time (C-60): 73 secondsSpeed error: +0.17%Dolby tracking error: Dolby B,

+1.5, -0 dB; Dolby C, +3.0,-0 dB

Wow -and -flutter: 0.022% wrms,0.035% DIN peak -weighted

Line input for indicated 0 dB:75 mV

Line output at indicated 0 dB:0.59 volt

Microphone input for indicated 0dB: 0.52 mV

Microphone -input overload point:64 mV

Meter indication at IEC-standard0 dB: +0 dB

0 Tape: TDK AD (Type I, ferric)IEC 0 -dB distortion: 1.1%Meter indication at 3% third -

harmonic distortion:. +2 dB

Signal-to-noise ratios (in decibels):Unwid. A-wld. CCIR

NR off 52.0 57.3 55.5Dolby B 56.5 69.2 69.5Dolby C 57.5 73.5 78.40 Tape: TDK SA (Type II,

chrome -equivalent)IEC 0 -dB distortion: 1.5%Meter indication at 3% third -

harmonic distortion: +1 dBSignal-to-noise ratios (in decibels):

Unwid. A-wtd. CCIRNR off 53.4 59.6 58.0Dolby B 56.5 67.8 67.9Dolby C 57.5 74.3 77.00 Tape: TDK MA (Type IV,

metal)IEC 0 -dB distortion: 1.5%Meter indication at 3% third -

harmonic distortion: +2 dBSignal-to-noise ratios (in decibels):

Unwid. CCIRNR off 53.0 58.8 57.0Dolby B 56.4 67.2 67.1Dolly' C 57.5 73.4 76.2

The main panel of the D-811 alsocontains switches for using an exter-nal timer and for activating or deac-tivating an FM stereo multiplex fil-ter. In addition to the usual input/output jacks, the rear panel pro-vides a 200 -watt unswitched AC out-let and a connector for an accessoryremote -control device.

The Kyocera D-811 is slightlylarger than an average cassette deck,measuring 181/8 inches wide, 51/2

inches high, and 121/8 inches deep. Itweighs slightly over 18 lbs. Price:$625. Kyocera International, Dept.SR, 7 Powder Horn Dr., Warren,NJ 07060.

Lab TestsThe D-811 produced a very satis-

factory frequency response, within± 2 dB, with our IEC-standard fer-ric and Cr02 playback test tapes.We checked the overall record -play-back response with certified center-line samples of TDK AD (ferric),TDK SA (chrome -equivalent), andTDK MA (metal) cassettes. At thecustomary - 20 -dB measurementlevel, the response of all three tapeswas within ± 3 dB from below 25Hz to our 20,000 -Hz measurementlimit. At the same time, the risingcharacter of the treble responsesshown in the graph suggests that thetapes were slightly underbiased.While the degree of correction re-quired to optimize performancewould be well within the range ofthe D -811's user -adjustable biascontrol, we did not modify thebias.

At the IEC 0 -dB level (250 na-nowebers per meter), the positiveinfluence of the HX Pro system isclearly apparent in the graph. Thehigh -frequency headroom ( -3 dB)was extended all the way to 20,000Hz with TDK MA and nearly to10,000 Hz with the more conven-tional ferric and Cr02-type formula-tions. The undulations in bass re-sponse below 100 Hz, typical con-comitants of a two -head design,were too small to be audible.

The wow -and -flutter figures forthe D-811 were very good, as was itstape handling in general. The meas-ured signal-to-noise ratios were alsogood. Using metal tape did not pro-duce the expected improvementover the other types, although this


TEST REPORTS

will not be an important considera-tion for many users. The Dolby Band Dolby C tracking errors werewithin the normal range, and theycould have been improved on byuse of the deck's calibration con-trols, but the two -head design madethe calibration procedure so cum-bersome that we did not use it.

Microphone and line -level inputsensitivities were both typical,though the microphone circuitryoverloaded at a lower level than wewould like. High-speed windingtimes were very good, and the speedaccuracy was exceptional.

CommentsWhile we could not make instan-

taneous A/B comparisons betweensource and tape because of the D -811's combined record/playbackhead, we were generally pleasedwith the sound quality of our testrecordings. The deck's low wow -and -flutter was evident in the clarityof piano tones, for example, thoughon wide -range material a smallamount of residual hiss was audibleeven using Dolby C. And while theimaging capabilities of this machinecould not match those of our refer-ence deck, neither did its price.

Serious audiophiles will appre-ciate the ability to adjust the Dolbycalibration, even though most tapestoday do not require such adjust-ment and the D -811's two -head de-sign makes rapid, accurate calibra-tion rather cumbersome. The singlerecord/playback head and the lackof a calibrated tone generator alsomake it difficult to set the user -adjustable bias control properly.

The punch -in record capability,which allows you to enter the recordmode directly from playback-asclose to a real editing facility as youcan get with cassettes-worked verywell, without generating the usualturn -on clicks. The layout of thedeck's transport -control pushbut-tons could have been improved, ascould the legibility of the front -pan-el markings, but these are minorcaveats. In general the Kyocera D-811 appears to be a well-built, well-behaved, and excellent -soundingdeck suitable for all but the mostdemanding audiophile applica-tions.Circle 140 on reader service card

JSE INFINITE SLOPEMODEL 1 SPEAKER

Julian Hirsch, Hirsch -Houck Laboratories

THE JSE Infinite Slope Model1 speakers outwardly re-semble many other speakersystems but embody two

unique design features. The mostobvious one is suggested by theterm "infinite slope," which impliesthe use of steep crossover filters.Although not truly infinite, at about100 dB per octave the JSE crossoverslopes contrast sharply with theusual 6-, 12-, or 18 -dB -per -octaveslopes of other speaker systems.

The advantages of using infinite -slope crossovers, if they could berealized in practice, would include:1) handling any specific audio fre-quency by only one driver, thuseliminating the response irregulari-ties and pattern distortions that re-sult when two or more drivers oper-ate at the same frequency; 2) reduc-ing intermodulation distortion by

eliminating bass frequencies fromhigh -frequency drivers; 3) increas-ing dynamic range and power -han-dling ability, since the middle- andhigh -frequency drivers do not haveto be designed to handle the highcone excursions imposed by bassfrequencies; 4) eliminating "conebreakup" and the associated re-sponse irregularities that occurwhen a speaker driver is driven atfrequencies above its design limits.Although the JSE crossover slopesare not really infinite, the manufac-turer claims that all these benefitsare realized in its products.

A conventional crossover net-work becomes complex (and costly)when its slope exceeds the usual 6 or12 dB per octave. In addition, phaseshifts can be very large in the vicin-ity of the crossover frequency whena large number of reactive elements


TEST REPORTS

(capacitors and inductors) are used.According to JSE, the patentedcrossover design of the company'sspeakers uses inductive coupling be-tween some of its coils to produce"zeros" (transmission nulls) in thecrossover response just outside thetransmission band. These zeros arecanceled by "poles" (transmissionmaxima) in the adjacent transmis-sion band. The result is a uniformoverall amplitude and phase charac-teristic said to be a good approxima-tion to that of an ideal all -pole, min-imum -phase transfer function.

The second unique element in theJSE speaker's design is the PhaseShift Bass Loading system, which isclaimed to provide enhanced low -bass response, flatter mid -bass re-sponse, and lower distortion thanconventional woofer configura-tions. Two woofers, of differentsizes, operate in a sealed space. Theamplitude and phase of the signaldriving the larger woofer are modi-fied so that the two drivers operatein phase at the lower end of the bassspectrum (40 Hz), giving an aug-mented output at low -bass frequen-cies. At higher frequencies, the out-put of the larger woofer is attenu-ated and its phase is shifted so thatthe two woofers are driven in quad-rature (90 degrees apart) at the up-per end of the larger woofer's range

(about 300 Hz). The attenuationand phase shift together produce asteep crossover between the twobass drivers, leaving the smaller oneto carry the middle and upper bass(as well as the midrange) withoutthe usual response peak and result-ing boominess.

The JSE Infinite Slope Model I isa fairly compact floor -standing sys-tem, equipped with casters for easymovement. Its wooden cabinet(available in walnut, natural -oak, orblack -lacquer finishes) measures 31inches high, 141/4 inches deep, and13 inches wide at the bottom. Thefront panel slopes back at a 15 -de-gree angle, reducing the depth of thespeaker's top surface to about 63/4inches. Each speaker weighs about55 pounds.

The black grille cloth's frame un-snaps to reveal a fully finishedspeakerboard with three verticallyaligned drivers. The 8 -inch low -bassdriver is just below the center of thepanel, with the 61/2 -inch mid -bass/midrange driver above it. The 8-inch driver cone is made of rein-forced polypropylene, and the 61/2 -inch cone is formed of filled poly-propylene. Both drivers are heavilydamped, with Q ratings of about0.25. Near the top of the speaker-board is the 1 -inch dome tweeter,which operates above 2,000 Hz. It is

"Terrorists struck today at a Chicago rock concert. Police said that between 2:00and 5:00 a.m., 710 speakers in the huge, 185.000 -watt sound system were rewired'out of phase.' When the first notes were played, eight nearby bungalows collapsedand a mini mall imploded. No serious injuries were reported. . ."

damped and cooled by ferrofluid inits magnetic gap and is rated to han-dle over 300 watts.

The JSE Model 1 is recom-mended for use with amplifiersrated to deliver from 20 to 300 wattsinto 8 -ohm loads. Its nominal im-pedance is 8 ohms, with a 5 -ohmminimum. The system's sensitivity(with a 2.83 -volt drive level) is ratedas 90 dB sound -pressure level (sPL)at 1 meter, the frequency responseas 40 to 20,000 Hz ± 3 dB. Price:$969 per pair. JSE, Dept. SR, 519East Middle Turnpike, Manchester,CT 06040.

Lab TestsThe averaged room -response

curve of the JSE Model 1 speakers,measured on the axis of one cabinetand about 30 degrees off the axis ofthe other, was remarkably smoothand free of the usual amplitudeirregularities caused by a room'sstanding waves. The horizontal dis-persion (confirmed by Frr responsemeasurements but also evident inthe room curves) was very good fora speaker using a single 1 -inchtweeter, with little difference in re-sponse on -axis and 45 degrees off -axis below 10,000 Hz and onlyabout 8 dB difference in response at15,000 Hz.

The close-miked woofer responsewas measured in two ways: sepa-rately for each woofer and at a singlepoint midway between the two. Theresults were similar, showing a± 1.5 -dB variation from 60 to 1,100Hz. The woofer curve spliced easilyto the room curve, yielding a com-posite frequency response that var-ied only ± 3 dB from 56 to 20,000Hz. The only significant departurefrom flatness was a slight bumpbetween 1,000 and 2,000 Hz, appar-ently in the output of the 61/2 -inchbass/midrange driver near its upperfrequency limit, with an amplitudeabout 2.5 dB above the averageresponse in that frequency range.The combined low -bass output fellat 12 dB per octave below 60 Hz.The 8 -inch woofer's output peakedat 90 Hz and fell off at 6 dB peroctave above that frequency.

Our FFr frequency -responsemeasurements confirmed most ofthe results of the room measure-ments, including the smoothness of


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TEST REPORTS

the low and middle frequencies anda tweeter response that was flatwithin 6 dB overall from 2,000 to18,000 Hz. These measurementsalso displayed the extraordinarilysteep crossover slopes of the JSEspeaker-at least 50 dB per octavein the first 24 dB of the cutoffslope.

Group -delay measurements alsounderscored the effectiveness of theModel 1's crossover system, with a0.2 -millisecond overall variationfrom 3,000 to 22,000 Hz. In thecombined frequency range of thetwo woofers, there was a delay shiftof about 0.5 millisecond comparedwith the tweeter delay, but there wasless than 0.2 millisecond variationbetween 500 and 3,000 Hz. Thisresult indicates a degree of phaselinearity that we have not previous-ly seen in a multidriver dynamicspeaker system. Even the best ofthem, which may have a very uni-form group delay over most of theirrange, usually display large shifts inthe woofer and midrange driverbands.

The averaged room-ressicurve of the JSE Mode 1speakers was remarkablysmooth and free of the usualamplitude irregularitiescaused by a room's standingwaves, and the horizontaldispersion was very good.

The impedance of the JSE Model1 was 5 ohms at 20 and 2,750 Hz,with a maximum of 22 ohms at 56Hz. Its first minimum above thatpeak was 6 ohms at 110 Hz. Thesemeasurements confirm the validityof the speaker's 8 -ohm impedancerating. We measured its sensitivity(with 2.83 volts of pink -noise input)as 88 dB SPL at 1 meter. Woofer dis-tortion was measured with a drivelevel of 3.56 volts, equivalent to a90 -dB SPL. Separate measurementswere made for the two woofercones. Because of the manner inwhich the outputs of the driverscombine, it was not practical tocombine their distortion readings,

but the two curves were plotted asessentially parallel traces, with dis-tortion readings in the range of 1 to2 percent from 300 down to 50 Hz,increasing slowly in the lowest bassto 5 percent at 25 Hz.

Our peak -power tests with short(one- or two-cycle) tone bursts pro-duced an audible rasp from thewoofers at 100 Hz with an input of350 watts to the speaker's 6 -ohmimpedance at that frequency. Athigher frequencies, we were unableto drive the speaker into obviousdistortion with the available ampli-fier power. At 1,000 Hz, the ampli-fier clipped at 760 watts into the9.5 -ohm impedance of the 6I/2 -inchwoofer. At 10,000 Hz, where thedome tweeter's impedance was 7ohms, the amplifier clipped at 985watts.

CommentsWhen we first listened to the JSE

Infinite Slope Model 1 speakers (be-fore making any measurements),our impression was of a somewhatbright sound with little evidence ofdeep or strong bass. Other speakersto which we had been listening priorto that time had a relatively"warm" sound, with good but notprominent highs. The contrast withthe Model 1 was striking-and sur-prising, since we had heard the JSEspeaker a few months before andhad not been aware of the character-istics that appeared in our familiarsurroundings.

The message in this is simply thata sudden change from one speakerto another with different soundproperties can lead to erroneousconclusions. Putting it another way,we tend to become accustomed to aparticular sound quality and may bejarred somewhat by a very differentone. That is what happened to us inthis case. Extended listening left nodoubt that real bass in a programwas reproduced with full potencyand a gratifying lack of distortion bythese speakers. The absence of arti-ficial midbass coloration was par-tially responsible for our initialreaction, since the voices of FM sta-tion announcers were reproducedwithout the annoying heaviness thatwe find objectionable in so manyspeakers.

As for the "brightness," part of

this impression may have been ourreaction to the speaker's slight mid-range peak at 2,000 Hz, but we sus-pect that it was mostly a conse-quence of the speaker's very flat,widely dispersed high -end response.

Our first impression was of asomewhat bright sound withlittle deep bass, but extendedlistening left no doubt that realbass in a program wasreproduced with full potencyand a gratifying lack ofdistortion by these speakers.

22231112224 241152111122( 2

We were able to use the JSE Model1's for several weeks and foundthem among the most enjoyablespeakers we had heard in sometime. An advantage of intrinsicallyflat speakers is that their overallsound balance is easily altered tosuit a listener's taste (without losingthe speakers' essential good quali-ties) by using tone controls or anequalizer. We felt no need for suchalteration, but experiments left nodoubt that it was a practical proce-dure-unlike the usual attempts tocorrect deficiencies in a speaker'ssound by similar means, whichhardly ever works! In any case, theJSE Infinite Slope Model 1 speakerssound just great. They are also veryreasonably priced and look as goodas they sound.

It was also gratifying to find a"radically different" speaker designthat was just that-and which unar-guably produced the claimed re-sults! No hype was needed to pre-sent the case for the JSE system'sdesign, and our measurements fullyconfirmed the FFr test data suppliedby the manufacturer, as our ears didfor its claimed listening qualities.The inventor of the Phase Shift BassLoading system and the InfiniteSlope Crossover, Richard Modafer-ri, is a highly respected engineer-among his creations were the McIn-tosh MR77 and MR78 tuners-whohas been concentrating on speakerdesign for over seven years. Theresults speak for themselves.Circle 141 on reader service card


THE COMPONENTS OF HIGH PERFORMANCE.

No one plays the piano better than Harman Kardon. Or theflute. Or the guitar. Oran' other instrument, for that matter.No one has a better voice than Harman Kardon. Becausetrue -to -source performance is foremost in every aspect 01every Harman Kardon high fidelity component.

Harman Kardon's years .3f experience add up to your ex-periencing the full sonic range, excitement and subtlenuance of live music. Front hot rock to cool jazz, symphonicgrandeur to vocal timbre Harman Kardon's technologicaladvances have continually set the highest standards of sonicexcellence. No one engineers components that bring youthis near to live sound.Advanced audio and video components from HarmanKardon. We put the live performance in high performance.

For a live audition at a dealer near you, call toll free 14300-633-2252 Ext. 250Or write to 240 Crossways Park West, Wpodbury, flew York 11797

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TEST REPORTS

VECTOR RESEARCH VCD-770COMPACT DISC PLAYERJulian Hirsch, Hirsch -Houck Laboratories

VECTOR RESEARCH'S VCD-770 CD player features athree -spot laser -pickuptracking system, quadru-

ple (176.4 -kHz) oversampling of thesignal, digital low-pass filters, andfull 16 -bit digital-to-ahalog (D/A)conversion. It has a twelve -functionwireless remote control that dupli-cates the principal front -panel con-trols of the main unit. Operation issimple and straightforward, and aprogrammable memory allows upto sixteen selections to be played inany desired sequence.

Once the motor -driven disc draw-er closes, the word FOCUS appears inthe display window for a few sec-onds, followed by a display of thetotal number of tracks and totalplaying time on the disc. Touching

PLAY/PAUSE changes the display toI PLAY; in a couple of seconds thePLAY is replaced by the elapsed timeas the first track is played. Alternatetouches on the PLAY/PAUSE controltoggle the player between thosemodes (a pause is indicated by ablinking track number on the dis-play). Like most of the front -panelcontrols, it is a large, easy -to -oper-ate touch -plate.

The pickup can be skipped for-ward or backward by successivetouches on the appropriate controls,and another pair of controls cue thepickup at high speed to any desiredpart of a disc. The other controls area row of small rectangular buttonsbelow the display window. One ofthem switches the display to showthe remaining time on the disc for a

couple of seconds, and another al-lows either the current track or theentire disc to be repeated. Two but-tons are used for storing track num-bers in the programming memoryand for clearing the memory whenother selections are to be played.

The Vector Research VCD-770measures 17 inches wide, 12 inchesdeep, and 33/s inches high, and it

The Vector ResearchVCD-770 appears to havebeen designed primarilyforease of use. Few other CDplayers we have seen o ersuthasimple,straigh orwardcontrol layout.

weighs 9 pounds. The cabinet is fin-ished in black with pale gold letter-ing. Price: $350. Vector Research,Dept. SR, 1230 Calle Suerte, Ca-marillo, CA 93010.


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TEST REPORTS

FEATIJRES

O Quadruple (176.4 -kHz)oversampling

Digital filtersCI Programmed playback of up to

sixteen selections in any orderO Fast search in either direction

(program not audible) Skip to beginning of each track

in either direction

O Repeat play of any track orentire disc

O Display shows total number oftracks, total playing time,current track number, elapsedtime on current track, status ofoperating functions

O Full -function wireless remotecontrol


Maximum output level: 2.08 voltsTotal harmonic distortion at 1,000

Hz: 0.004% referred to 0 dB;0.0063% referred to -10 dB

Signal-to-noise ratio (A -weighted):99 dB referred to 2.08 volts (0 -dBlevel)

Channel separation: 84.5 dB at1,000 Hz; 73 dB at 20,000 Hz

Frequency response: +0.2, -0 dBfrom 20 to 20,000 Hz

Cueing time: 4 secondsCueing accuracy: AImpact resistance: sides, B; top, BDefect tracking: tracked all

maximum defects on PhilipsTS5A test disc

Lab TestsThe output of the Vector Re-

search VCD-770 was 2.08 voltsfrom a maximum -level (0 -dB) re-corded test signal. The channel lev-els were identical. The A -weightednoise level, referred to 0 dB, was-99 dB. The frequency responsewas very flat, with one output chan-nel varying less than 0.1 dB and theother by 0.2 dB from 20 to 20,000

Hz. The 1,000 -Hz harmonic distor-tion was 0.004 percent at 0 dB. Thechannel separation was 83 to 85 dBup to 1,000 Hz, narrowing slightlyto 78.5 dB at 10,000 Hz and 73 dBat 20,000 Hz.

The phase shift between channels, .

which was less than 5 degrees below5,000 Hz, rose to 20 degrees at20.000 Hz, results characteristic of aquadruple-oversampled playbacksystem in which a single D/A con-

verter is multiplexed between thechannels. The square -wave re-sponse showed the ringing patterntypical of digital filters.

The laser pickup slewed fromTrack 1 to Track 15 of the PhilipsTS4 test record in 4 seconds, per-formance typical of many currentCD players. It made the transitionfrom Track 17 to Track 18 of thatdisc (which have no silent intervalbetween them) without clipping anyof the opening syllable of Track 18.All the calibrated "defects" of thePhilips TS5A test record wereplayed without audible errors. Theplayer was moderately sensitive toimpact on its thin, unbraced metaltop cover, but it was less sensitive toside impact.

CointnentsUnlike some CD players in which

a high degree of flexibility has beenachieved at the expense of operatingsimplicity, the Vector ResearchVCD-770 appears to have been de-signed primarily for ease of use,with an emphasis on the more basicand useful control features. For ex-ample, it lacks index cueing or indi-cation, and there is no feature allow-ing the repetition of a user -definedsegment of the program. Few otherCD players we have seen, however,offer such a simple, straightforwardcontrol layout. Even if you have noprevious experience with CDplayers, you should be able to usethis machine with full effectivenessby simply reading the brief and veryclear manual.

Just about the only feature wereally missed was audible outputduring high-speed search/cue. As isthe case with almost any properlyfunctioning CD player, the playbackperformance of the VCD-770 wasexcellent. If its 83 -dB channel sepa-ration worries you, keep in mindthat a 35 -dB separation figurewould be considered outstandingfor a phono cartridge and any LPrecord!

This is a CD player for peoplewho just want to listen to the discsand give that goal a priority overelaborate, little -used features or anexcessively complex (albeit impres-sive) appearance. It fills that rolevery well.Circle 142 on reader service card

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TEST REPORTS

SPEAKERLAB DAS 2 SPEAKERJulian Hirsch, Hirsch Houck Laboratories

SPEAKERLAB entered the mar-ket, years ago, by developinga broad line of speaker kitsthat were sold both by mail

and directly from the company'sSeattle headquarters. Much morethan a packager of raw speakers inwooden boxes, Speakerlab also de-signed and built many of its owndrivers, and all of its products soonearned a reputation for quality andvalue.

The company reorganized a fewyears ago, and now it manufacturesa full line of handsomely finishedspeakers with prices ranging from$220 to $1,798 a pair. We recentlyauditioned an impressive array ofSpeakerlab products, ranging in sizefrom very small to quite large. Wewere impressed not only becausethey sounded very good, but alsobecause of their very similar soundcharacter. In fact, we found it nearlyimpossible to guess which modelwas playing, since even the smallest,the DAS 2, had the sonic balance ofa much larger speaker.

The Speakerlab DAS 2, a trueminispeaker, measures 13 incheshigh, 7 inches wide, and 81/2 inchesdeep and weighs 13 pounds. The

'V 17.,,,r4Z '41 .1E,::`,"

wooden speakerboard behind theremovable, sculptured brown clothgrille matches the rest of the cabi-net, which is actually finished on allsix surfaces. The DAS 2 is a two-way system, with a 51/4 -inch wooferand a 3/4 -inch dome tweeter. Thecrossover frequency is 2,500 Hz.The woofer enclosure is vented by aducted port in the rear of the cabi-net. Somewhat unconventionally,the woofer is located above thetweeter.

The DAS 2 has a rated impedanceof 8 ohms and a sensitivity of 91 dBsound -pressure level (sPL) at 1 me-ter when it is driven at a 1 -watt lev-el. Its frequency response is speci-fied as 50 to 21,000 Hz ± 3 dB. Theminimum and maximum recom-mended amplifier power ratings are5 and 75 watts per channel respec-tively. Price: $198 to $220 per pairdepending on finish. Speakerlab,Dept. SR, 735 N. Northlake Way,Seattle, WA 98103.

Lab TestsThe averaged room -response

curve from the left and right speak-ers was extremely flat from 500 to20,000 Hz, with a broad rise of

about 3 dB between 12,000 and20,000 Hz and a peak of about thesame amplitude from 1,000 to 1,300Hz. Elsewhere, the curve was nearlyruler -flat, indicating excellent hori-zontal dispersion; it was confirmedby Fr -1 measurements of the speak-er's response on -axis and 45 degreesoff -axis, which differed by no morethan 6 dB up to 20,000 Hz.

The close-miked woofer response,combined with that of its port,showed an overall variation of 4 dBfrom 36 to 420 Hz. The compositeresponse curve, formed by splicingthe woofer curve to the overallroom curve, produced an overallresponse variation of 7.5 dB from29 to 20,000 Hz. The on -axis Frrresponse measurement, at 1 meterdistance, was flat within 6 dB from180 to 20,000 Hz. The speaker'sexcellent phase linearity wasdemonstrated by its group -delayvariation of only 0.2 millisecondfrom 2,500 to 20,000 Hz.

The impedance curve of the DAS2 had two low -frequency peaks(characteristic of ported enclo-sures), at 38 and 110 Hz, withamplitudes of 18 and 24 ohms. Theminimum impedance, at 250 Hz,was about 6.5 ohms, and it re-mained between 10 and 16 ohmsfrom 600 to 20,000 Hz. The meas-ured sensitivity of the speaker waslower than rated, with an 85 -dB SPLat 1 meter when we drove it with2.83 volts of pink noise.

To reach the 90 -dB SPL we use forour bass -distortion measurements,we had to drive the speaker with a5 -volt signal. As would be expectedfrom such a small -diameter woofer,the distortion was fairly high at thislevel, between 5 and 6 percent from100 to 70 Hz and rising sharply to25 percent at 50 Hz. The effectivecrossover to the port takes place at60 Hz, and below this frequency thehigh air velocity in the small port( IN inches in diameter) resulted insome turbulence and air noise athigh drive levels. Our peak -powerhandling tests also revealed the lim-ited, but quite respectable, low -fre-quency power capacity of the tinywoofer, which "bottomed" audiblywith 190 watts into its 17 -ohm im-pedance at 100 Hz. At 1,000 Hz,however, where the woofer cone'sexcursion was much smaller, it did


TEST REPORTS

not distort up to the clipping pointof our amplifier, 510 watts into 13ohms. And the tweeter, at 10,000Hz, showed no distress before theamplifier clipped at 1,050 watts into10 ohms.

CommentsThe Speakerlab DAS 2 speakers

sounded just as good in our own lis-tening room as they had duringSpeakerlab's demonstrations. Wetried them placed against the wall aswell as on stands a couple of feetaway from any wall. Both positionsgave excellent results, although wepreferred the stand mounting.

The sound was so superbly bal-anced and smooth that no onewould suspect that it came fromthese little speakers, especially withlarger ones highly visible nearby.They could be played at surprisinglyhigh levels without sounds of dis-tress, although we did not treatthem as roughly as we sometimesdo larger speakers. Not only is the51/4 -inch woofer relatively fragile,but the ported enclosure effectivelyunloads the speaker at very low fre-quencies. With an amplifier capableof hundreds of watts of outputdown to the infrasonic range, a sin-gle careless move could vaporizethese speakers.

Compared with some larger-andfar more expensive-speakers, theSpeakerlab DAS 2 holds its ownremarkably well. It has a slightlywarm sound, balanced by a sweet,extended high end, with never ahint of harshness or stridency. Thebass content sounds like more thanit really is, but the illusion is veryconvincing.

The Speakerlab DAS 2 is not amiracle speaker, and in a battle ofdecibels it would surely come offsecond to most larger speakers (es-pecially if the low bass is involvedin the comparison). Nevertheless, itcan play loud enough to discourageconversation in a good-sized livingroom, without driving the listenersout of the room. Finally, its finishand general workmanship are un-commonly attractive (our sampleswere finished in a golden walnut -grain lacquer). All things consid-ered, you won't find many speakersat its price that will match it.Circle 144 on reader service card

ORTOFON X3 -MCPHONO CARTRIDGEMOW 11011111Er9

Julian Hirsch, Hirsch Houck Laboratories

0 RTOFON introduced thefirst moving -coil (Mc) car-tridge in 1948, and itsname has been virtually

synonymous with moving -coil con-struction ever since, although thecompany also makes fine moving -magnet cartridges. In spite of thecost and fragility of mc cartridges,their special sonic qualities haveearned them a place in the affec-tions of many serious audiophiles.

The newest Ortofon mc car-tridges, the X1 -MC and X3 -MC,identical except for the contours oftheir diamond styli, have been re-fined in many ways to improvetheir performance and simulta-neously make them more afford-able. The mass of the magnetic sys-tem has been dramatically reducedby using a powerful samarium -cobalt magnet with a newly de-signed pole -piece structure. Accord-ing to Ortofon, the magnetic systemweighs only 0.8 gram, as compared

It=

with the normal 4.2 grams of mostprevious MC cartridge designs.

The cartridge's moving system-consisting of the stylus, its cantile-ver, and the armature carrying thecoils-has also been improved. Thecross shaped armature allows moreturns of wire in the coils, with a cor-respondingly higher output voltage.Each leg of the cross contains 230turns of fine wire (only 18 micro-meters in diameter), a total of 460per channel. Together with the im-proved magnetic system, the in-creased number of turns gives thecartridge a rated output of 2 milli-volts, sufficient to drive the magnet-ic cartridge inputs of almost anypreamplifier without the use of anauxiliary step-up transformer orhead amplifier.

The X3 -MC, the model we tested,has a Fine Line nude -mounted sty-lus with radii of 35 and 7 microme-ters (in contrast with the more usual18 and 8 micrometers of the ellipti-


TEST REPORTS

cal stylus in the X1 -MC). The ex-tended line contact of the X3 styluswith the groove walls gives it a high -frequency response out to 40,000Hz. The rigid aluminum cantilevertube is suspended on a fine piano-wire support and damped by a layerof butyl rubber. Like almost all Mccartridges, the Ortofon models donot have replaceable styli, but thecompany offers an exchange servicefor cartridges with damaged or wornstyli.

The Ortofon X3-MC's ratedouter t of 2 millivolts issufficient to drive the magneticcartridge inputs qfalmost anypreamplOer without need ostep-up transformer.

The Ortofon X3 -MC, whichmounts on standard 1/2 -inch centers,weighs 4.1 grams. It is designed tooperate at tracking forces from 1.8to 2.2 grams, with 2 grams being therecommended value. The recom-mended load impedance is 47,000ohms, although the 80 -ohm internalresistance of the X3-MC's coilsmakes it relatively immune to theeffects of load variation. Channelseparation at 1,000 Hz is rated at 25dB, with the channel outputsmatched within 2 dB. The cartridgeis rated to track a 70 -micrometerlateral -modulation amplitude at315 Hz. Price: $140. Ortofon, Dept.SR, 122 Dupont St., Plainview, NY11803.

Lab TestsWe mounted the Ortofon X3 -MC

in the tonearm of a medium-pricedrecord player whose moderatelyhigh effective mass (a little over 20grams) appeared to be compatiblewith the stylus compliance andoverall mass of the cartridge. Thesystem resonated at 9 to 10 Hz, anideal frequency from the standpointof warp tracking and full low -fre-quency response. At its rated 2 -gram tracking force, the X3 -MCpassed all of our high-level trackingtests, including the 30-cm/s 1,000 -Hz band of the Fairchild 101 testrecord, the 32 -Hz tone of the Cook60 record, and the 70 -micrometer

315 -Hz tones of the German Hi-Fi#2 and DIN 45-549 test records.

The cartridge output was 2.05millivolts per channel at 3.54 cm/svelocity, and the channel levelswere matched within better than 0.1dB. We measured the frequency re-sponse and separation with severaldifferent test records, including thenew CBS CTC 300 and CTC 330.The measured performance of aphono cartridge is always highly de-pendent on the specific test recordsused, although the frequency re-sponse of the X3 -MC was relativelyindependent of the record. It wasimpressively flat with the CTC 330,varying only 1.5 dB overall from 20to 20,000 Hz. The CBS STR 100showed a slightly rising response atthe extreme top end (above 15,000Hz), and slightly different (but gen-erally similar) responses were ob-tained with the JVC TRS- I 007 andB&K QR-2009.

The crosstalk (channel separa-tion) of any cartridge is also critical-ly dependent on the test record. TheCTC 330 gave the most uniformcrosstalk response but the smallestnumerical magnitude (the B&KQR-2009 was very similar). Thechannel separation was about 17 dBfrom 30 to 2,000 Hz, increasing to25 dB in the 7,000- to 17,000 -Hzrange. The JVC TRS-1007 gave sep-aration readings of 24 dB in themidrange, narrowing to 22 dB at7,000 Hz and 17 dB from 15,000 to20,000 Hz.

The response to a 1,000 -Hzsquare wave (on the CTC 330) wasexcellent. There was a single over-shoot and ringing cycle at about10,000 Hz and several cycles of low-level, damped ringing at about35,000 to 40,000 Hz. The rise timeof the cartridge was 20 microsec-onds. Its vertical stylus angle was 20degrees.

CommentsOur measurements of the Ortofon

X3 -MC confirmed all of its ratingswithin the limitations of the avail-able test records. Obviously, it is anexcellent cartridge in every way thatwe could measure. But how does itsound?

Listening to this cartridge pro-duced some unexpected results.Considering its unusually flat re-

sponse, we would not expect it tohave the crispness or brightness typ-ical of MC cartridges. Nevertheless,we have sometimes heard vestigesof that quality on other mc car-tridges with a flat response. MostMM cartridges have little outputabove 25,000 or 30,000 Hz, but anmc cartridge can extract signals anoctave or two higher than that, evenif they consist only of noise and dis-tortion. This extended ultrasonic re-sponse may account, at least in part,for an mc cartridge's tendency to-ward crispness or even brilliance.

The X3 -MC had none of thosequalities. In fact, it sounded as flatand as smooth as its frequency-response curve implied, which isnot necessarily true of all phono car-tridges. It was one of the smoothest,silkiest, and least -colored cartridgeswe can recall using. At times it evensounded "soft," although when therecord really had extended highs,the cartridge reproduced them flaw-lessly. We did not hear a trace ofany of the abrasive qualities of someMC cartridges we have used. Rather,the sound of the X3 -MC remindedus of some of the finest MM car-tridges, including those selling atconsiderably higher prices. This isin no sense intended as a "put-down" of the X3 -MC, or of mc car-tridges as a class, although we sus-pect that this one might appeal tomany people who are not enamoredof that particular type of cartridge.

The X3 -MC sounded 44dand as smooth as its

frequency -response curveim lied. It was one of thesilkiest and least -coloredcartridges we can recall using.

The Ortofon X3 -MC is a delight-ful cartridge, the kind that can beenjoyed for hours without creatingan urge to listen to something else.Its output is high enough to be per-fectly usable with almost any MMpreamplifier, the stylus is clearlyvisible for easy cueing, and its massand stylus stiffness are well matchedto most good tonearms. And theprice is right!Circle 145 on reader service card


'19'f

tr -tEt

CHOOSE YOUR CASSETTE TAPEAS CAREFULLYAS YOUR CASSETTE DECK.- J 1

7, 7E_ 110

If you own a deck like one of these, ycu were obviouslyconcerr ed with low wow and flutter, extended kequency

response smooth tape -.ransport and with dynamic range.When k comes to choosing cassette tape, why behave any

c iffe-ently?Denon's new High Density HD8 formulation is

the finest high -bias tape you can buy. Its "HighTechnoroum" dispersion and binding plus its

metal hybrid formulation guarantee digital levelperformance on the widest range of cassette

decks (including yours). You can keep an eyeon things through Denon's new giant window.

And enjoy your music knowing HD8 is guaranteedfor a lifetime.

So how good is your cassette deck? With Denon HD8beler than you think.

DENONDigital -ready tape from the first name in digital recording.


DenonAmencan, Inc., 27 Lay Drive, Fairfield. N.J. 07005Denon Canada, Inc., 17 Denison Street. Markham, Cnt L3R 165 Canada Nippon Columbia Co., Ltd., 14-14, 4 -Chrome, AkasaKa, Minato-ku, Tokyo, 107 Japan


CUIputAuk_ Rpr 'ease

TWELVE TIPS ON CHOOSING A

A PERFECT cassette deck wouldmake perfect recordings, withno noise, no distortion, and nowow -and -flutter, and with rul-

er -flat frequency response so thatevery part of the music wouldsound just as loud as it should. Aperfect deck would be easy to useand affordably priced. Nobody hascome up with the perfect casssettedeck yet. But many of the more thantwo hundred models now on themarket feature impressive perform-ance at reasonable prices. How doyou find the right one for you?

Here are twelve tips to help youfind the cassette deck of yourdreams at a price that won't giveyou nightmares. If you are prepared,the noise, wow, and flutter of shop-ping for a deck will be much easierto handle.

&' VVILLJATV1

Set your budget.

Suggested retail prices for homecassette decks range from $1,995down to $40. More expensive ma-chines should have better sound,better design and engineering, andmore useful features, and theyshould be easier to use. Before yougo shopping, set a budget so you canconcentrate on decks you can af-ford. State-of-the-art decks may lureyou with multiple heads, multiple

J

BURTON

motors, multiple noise -reductionsystems, closed -loop dual -capstantransports, clear and logical controlsand displays, amazing specs, and aseductive aura of quality and ele-gant design that makes them seemworth twice their high prices.

The best of anything is usuallyvery attractive, but try to leaveyourself enough money after buyinga deck so you can afford necessitiessuch as tape and food. At the otherend of the scale, don't be suckeredin by bargain -basement closeouts.The price may be low, but the qual-ity, features, and performance maynot be sufficient for your needs. Abargain you don't like and won't useis no bargain.

Do a little homework.

After you've set a budget, thereis more homework to be done be-fore you step inside an audio store.You should read magazine articles,test reports, and buyers' guides. Tryas many friends' decks as you can,using all the controls and judgingthe decks on sound and conve-nience. If you know people moreinformed about cassette decks thanyou are, ask their advice, but don'tlet them make your purchase deci-sion for you.

When you get to the store, don't

STEREO Rui EW MARCH 1987 49

topcassette deck isthe autoreverseDragon. .shownon the preceding

rag ,s. Priced at$1.995. it has manydelu.vefeatures. in-cluding an automaticazimuth -alignmentsystem tha contin-uously adjusts the an-gle between the tapeand the playbackhead to insure accu-rate frequency re-sponse.for both sidesof the cassette.

evo.v's B215(above) hasthree heads.four motors.dual capstans.

both Dolby B andDolby C and DolbyIlx Pro headroom ex-tension. The correctbias and equalizationas well as recordinglevels can be set ei-ther manually or au-tomatically. and thedeck can store set-tings for six differenttape brands. Wirelessremote control is op-tional. Price: $1.590.

panic. If you have done your home-work, no salesman can talk you intobuying some piece of equipmentthat you don't want, don't like, andcan't afford. Most salespeople canbe very helpful, providing valuableinformation, but weigh their advicecarefully.

Decide on at least one powerfulnoise -reduction system.

All tape is noisy. Put any blanktape into any tape deck, hit play,crank up the volume, and you'llhear noise. To reduce this inherentnoise, there are a few different sys-tems you can choose. The mostcommon noise -reduction system isDolby B, and almost every deck,unless it is ancient or very cheesy,will have it. To make even quieterrecordings, look for a more power-ful noise -reduction system such asDolby C or dbx. A number of cas-sette decks have both Dolby C anddbx in addition to Dolby B.

4Choose between a manualand an automatic.

Cars have either a manual trans-mission or an automatic transmis-sion. With a manual, you shift foryourself; an automatic does theshifting for you. Cassette decks can-not be quite so easily divided, butsome decks require that you setbias, equalization, noise reduction,recording levels, and so on, whilemore automatic decks take care ofthose settings themselves. Somedecks give you a choice of manualor automatic operation. Settingeverything yourself is no big deal ifyou are a real enthusiast, but if itseems too complex, look for a deckthat does these things for you.

IChoose between twoand three heads.

The heads in a cassette deck dothree things: erasing, recording, andplaying. Some decks have only twoheads: one for erasing and one forboth recording and playing. A two -head deck can't record and play atthe same time. You have to rewindthe tape and play it back to hearwhat you recorded. With a three-head deck, however, you can listento ("monitor") the tape while youare recording on it. This can saveyou time and trouble. Three -headdecks may also sound better be-cause the heads are optimized fortheir specific functions. Three -headdecks are generally more expensivethan two -head decks, so you mayhave to sacrifice the extra head ifyou can't afford it.

Look for Dolby HX Pro.

Dolby HX Pro is not a noise -reduction system-the HX standsfor headroom extension. It worksonly during recording, so a tapemade in an HX Pro deck can beplayed on any deck without prob-lems. The HX Pro circuit allowsloud high -frequency sounds, like acymbal crash, to be recorded withless distortion. It does this by reduc-ing the amount of bias, a very high -frequency signal added during re-cording, when loud high -frequencysounds are being recorded, on theassumption that loud high frequen-cies in the music have their ownbiasing effect.

More important than understand-ing HX Pro is getting a deck thatincludes the circuit. HX Pro in-creases high -frequency headroom sothat normal -bias tapes perform

50 STEREO RINIEW MARCH 1987

more like high -bias or metal tapes.Once you have a deck with HX Pro,don't worry about it: there are nocontrols that you have to set for HXPro to work.

Close the tape loop.

In addition to noise, one inher-ent problem of tape recording isinconstant speed. It can vary annoy-ingly from too slow to too fast. Slowvariations from the correct speedare called wow, and fast ones arecalled flutter. A deck with a lot ofwow -and -flutter will make waveringor watery -sounding recordings. Arecording of a piano is a good wow -and -flutter test-listen to the notesgradually fade into silence. Thereshould be no pitch change-nowavering-as the sound decays.

To prevent these disturbing speedinconsistencies, better tape deckscontrol the motion of the tape onboth sides of the heads, isolating thepart of the tape being played fromthe hubs of the cassette. This kind oftransport is called closed loop, be-cause the second capstan closes theloop of tape between it and the firstcapstan. Since this feature uses thetwo capstans to hold the tapesteady, it is also called dual -capstandrive. It's a good thing to have in acassette deck, but, like some othergood things, it comes at a price.

Get the access you want.

It is usually easier to find a par-ticular point in a recording on a discthan on a tape. Some tape decks cansearch out the quiet bits betweenselections, allowing you to skip tothe beginning or end of the song ormovement you are playing. A blankskip feature can automatically fast -

wind through silent sections of atape. And some decks can be pro-grammed, like CD players, to playthe selections you want in the orderyou want to hear them.

Autoreverse decks give you accessto the other side of the tape withoutyour having to flip the tape overyourself Because most autoreversedecks have their heads more accu-rately aligned for one side of thetape than the other, their perform-ance is sometimes poorer on oneside than on the other.

Dual -transport decks, also re-ferred to as "dubbing decks" or"double decks," give you access totwo cassettes at once. They alsoallow you to copy one tape onto ablank tape in the other transport.The copying can sometimes be doneat accelerated speed, which savestime, but at the expense of soundquality.

Check for microphonefeatures.

If a deck does not have micro-phone jacks on the front panel, youcan't record live music or conversa-tion easily. A cassette deck can be agreat way of communicating acrossthe country or across continents-just plug in a mike and talk. And ifyou sing or play an instrument, youmay want to immortalize your per-formance on tape. Mike inputs letyou do that.

Additional features give you morerecording flexibility. Mike/line mix-ing lets you combine your voice orinstrument with another source. Ifyou plan on doing serious record-ing, however, you will probablywant a separate mixer to combineand process a larger number ofsound sources.

ealistic's SCT-82 autoreversecassette deckhas two mo-tors. Dolby B

and Dolby C noise re-duction, microphoneinputs, and a head-phone output. Sepa-rate heads for record-ing and playback letyou check your re-cordings while youmake them. Bias andequalization are setmanually. Suggestedretail price is $220.

S FERE° REVIEW MARCH 1987 51

tvgNon WYn 10.311

UId II

1

I I I 1I I

kg he ==iNNiial

Compare specifications.

There are three main specifi-cat' ons that you can use to comparethe performance of different decks.

Wow -and -flutter tells you how ac-curately the deck moves the tape: alower number, such as 0.03 percent,is better than a higher number, suchas 0.1 percent.

The signal-to-noise ratio, or S/N,tells you how loud the music on thetape can be compared with thenoise. It will vary according to thetype of tape (metal, high -bias, or fer-ric tape) and the noise reductionused. Higher numbers are better.

Frequency -response specs tell youhow accurately the deck records thevarious frequencies. Every noteshould be recorded exactly as loudlyas it was played-not too loud, nottoo soft. A frequency -response spec-ification will tell you the lowestsound and the highest sound thatcan be recorded within a certainrange. A specification of "20-20,000Hz ± 3 dB" means that every note,from one as low as 20 cycles per sec-ond, or hertz, to one as high as20,000 cycles per second, will berecorded not more than 3 dB tooloud or 3 dB too soft, which is onlya slight audible difference.

Look at the displays.

You can make a tape byear-and with a three -head deck,you should listen to the tape you aremaking as you record-but a gooddisplay can make it easier to make agood tape. Look for displays thatare simple to understand.

The most important displayshows the volume level of the signalthat is being recorded or played.Recording a signal at too low a levelwill result in a noisy tape. Record-ing a signal too high will result indistortion. You have to set your lev-els between those extremes to mini-mize both noise and distortion, anda good display will help you do that.

An LED (light -emitting diode) orLCD (liquid -crystal display) readoutthat has many parts, or segments, ismore accurate than one with only afew segments and makes it easier foryou to see the actual level of the sig-nal being recorded.

Level displays usually have onesection for the left channel and onefor the right channel. These partsare sometimes arranged horizon-tally, with the left on top of theright, and sometimes vertically, sothat the left is on the left and theright is on the right. Look for thekind of display that makes moresense to you.

Push the buttons.

If you use a cassette deck alot, you will be pressing a lot of but-tons, flipping a lot of switches, andturning a lot of knobs. Each controlshould do something worthwhile,should be clearly labeled, andshould be easy to use. Before youbuy a deck, operate all the controlsand see what they do.

Is every control labeled logically?Is there some sort of visual indica-tion telling you how the control isset? This can be a single light or arow of lights, or the control itself, ifit is a toggle switch or a pointy knob,can indicate its setting clearly. Get afeel for the deck. Your fingers cansense the quality of the mechanicalengineering of a deck, just as yourears can judge the quality of its elec-tronic circuitry and its transport.

Operate all the transport controlswith a tape in place. Go from fastforward to rewind to see how wellthe transport handles the tape. Canyou go from play into record modeeasily? Does the transport coddlethe tape or abuse it? The deck thatfeels good to your fingers, soundsgood to your ears, and leaves yourwallet full enough to buy prere-corded and blank tape is the rightone for you. Enjoy the music that itbrings.

arman Kardon'sTD302 ($245)has Dolby B andDolby C noisereduction, Dolby

HX Pro headroomextension, and alogic -controlled sole-noid transport forgentle tape handling.Bias can be adjustedfor optimal high -fre-quency response. Anauto -repeat featurewill rewind and re-play a tape. Infre-quently used controlsare concealed behindthe panel at lowerright. Shown in Har-man Kardon's tradi-tional champagne fin-ish, the TD302 is alsoavailable in black.


HE Handel and HaydnSociety in Boston is the old-

a new artistic director. He isin its 172nd season, the Societytion in the United States. Now

performing arts organiza-

glamorous. He is English. He is ChristopherHogwood.

A harpsichordist/conductor with manybest-selling recordings in his discography,Hogwood is a leader in the movement toperform eighteenth -century music on origi-nal instruments. He is much in demand for

engagements in England, Continental Eu-rope, North America, and as far away asAustralia and Japan. His star shines verybrightly in the musical firmament.

Landing Hogwood was a great coup forthe Handel and Haydn Society. On the oth-er hand, the United States has played anincreasingly important part in Hogwood'scareer in recent years, and he seems pleasedas Punch to have been offered the job withH & H. It's old. It's good. It's in the heart ofthe Northeastern Intellectual EstablishmentTerritory.

Conductor

Christopher Ilv%ood

establishes a base

in North America.

IA II i I Ilan] ligstotie

STERF.0 REVIEW MARCH 1987 53

(9-X..rp&adWhen I chatted with Hogwood recently he said, "Out

of the possible bases in America, the Handel and HaydnSociety seemed best suited to me, considering my expe-rience with those two composers. My predecessorThomas Dunn had already streamlined the Society'schorus to a size I could work with." Dunn had prunedthe chorus from ample Victorian proportions down tothe leaner size now favored for Baroque music.

"A position on the East Coast was desirable," Hog -wood continued, "and the Handel and Haydn Societyperforms music of all periods, which makes possible theslightly didactic programming I like. For example, in mymost recent concert with them I conducted the PergolesiStabat Mater on a program with Stravinsky's Pulcinella,a reworking of some elements from Pergolesi's music.

"I don't want to seem too didactic-not too old-so Istill plan to conduct in the Hollywood Bowl once ayear." The day after our interview Hogwood was due tofly to Australia, where he regularly conducts the Austra-lian Chamber Orchestra in the Sydney Opera House.His performances in the Hollywood Bowl and SydneyOpera House are viewed with a jaundiced eye by Hog-wood's detractors, who see him as a charming careeristbent on world conquest. Detractors? Certainly.

A handsome, youthful man with compelling eyes,Hogwood does not have the ungainly physique, unrulyhair, and bad teeth commonly associated with special-ists in authentic Baroque performance practices. Quiteaside from his musical accomplishments, he is articulateand has the ability to charm audiences with a few well-chosen, witty, didactic words from the podium. Youdon't get to be that young, that good-looking, and thatsuccessful without acquiring at least a few detractors.

ogwood was born in Nottinghamin 1941. He studied classics and

music at Cambridge University,where his teachers included Raymond

Leppard and Thurston Dart. He laterstudied with Gustav Leonhardt and Ra-

fael Puyana, and he mentions David Munrow amongothers who influenced his career in music. "I learned agreat deal from Thurston Dart," he said. "He was themodel for being a performer as well as a scholar."

Scholarly work for Hogwood includes writing andediting, and among his books is a successful biographyof Handel. "I try to write a book a year, and I edit a lot ofmusic, mostly keyboard music, particularly works forthe clavichord. Then I have a big sixteenth -century diaryI'm working on. To make time for it all I plan to coolkeyboard recitals for a while, except recording projectsor projects involving the clavichord. I'm keen to pro-mote the clavichord."

Hogwood is best known to American audiences for hisrecordings with the Academy of Ancient Music, a per-forming group he founded in 1973 and named after aneighteenth -century organization. He performed as a key-boardist with Munrow's Early Music Consort and withthe Academy of St. Martin -in -the -Fields under NevilleMarriner, and now he directs his own orchestra from theharpsichord.

Based in Cambridge, where Hogwood lives, the Acad-emy of Ancient Music records for L'Oiseau-Lyre, one ofthe Decca/London labels. "Our first record was music ofArne," he said. "This was on original instruments. Thenwe made a lot of out-of-the-way records, filling gaps in

the catalog with compositions by Johann ChristianBach, some Handel church music, and early Haydnmasses. Then we moved on to Messiah and found ourbearings."

Hogwood came to the attention of large numbers ofSTEREO REVIEW readers when Igor Kipnis reviewed thefirst volume of his complete set of all of Mozart's sym-phonies in the "Best of the Month" section of our May1980 issue. That volume contained eleven works fromMozart's Salzburg period of 1772-1773. A harpsichord-ist and early -music specialist himself, Kipnis raved.

He was enthusiastic about the scholarship behind theproject and the care devoted to authentic performancepractices. He felt that with this one blockbuster presen-tation post -Baroque music on period instruments hadcome into its own. He said, "The use of period instru-ments means a more transparent and articulated sound.First and second violins have been separated so that onecan more easily hear Mozart's antiphonal intentions.Ornamentation is handled according to the latest schol-arship (appoggiaturas, for instance, are played forexpressive values rather than as short, blipped gracenotes, and trills start clearly on the upper note). . . .

every scholarly 1' has been dotted, every 't' crossed."Kipnis made it clear that the recordings were not

merely academic exercises. "The performances them-selves are all first-class musical ones, with the emphasisvery much on sparkle and galant entertainment. . . .

They have tremendous vivacity and fiery energy."In November 1981 our critic Stoddard Lincoln

reviewed a subsequent volume in the series, the one thatcontained the popular Haffner and Linz Symphonies.He was no less enthusiastic about the leadership by Hog -wood and concertmaster Jaap Schrt5der and the waymembers of the Academy of Ancient Music had mas-tered old instruments and performed on them.

Lincoln wrote: "The orchestral language of the lateeighteenth century was created for these instruments,and their skillful use gives to the sudden accents, con-trasts of dynamics and timbres, crescendos, and delicatemelodic articulations of the music the clarity and ease,the balance of power and grace that are so typical of theperiod. There is a dramatic contrast between the 'white'strings, the militant brass, and the reedy woodwinds,and yet they somehow manage to blend, creating a tre-mendous sonority in which every instrument is stillheard individually. This is, in fact, the most importantadvantage of an orchestra of old instruments, that every-thing can be heard clearly, thus shedding new light onthe music."

1 hat's about it in a nutshell. That'swhat all the shouting is about and what

the original -instrument specialists, suchas Hogwood, Trevor Pinnock, and John

Eliot Gardiner, strive for. Hogwood doesnot claim to be the first to apply authentic per-

formance practices to the music of Mozart.He gives credit to the developers of such chamber

orchestras as I Musici and the Academy of St. Martin -in -the -Fields. "They convinced the public that you onlyneed twenty-five performers, not two hundred, to playMozart. In chamber music, Schroder, Leonhardt, Niko-laus Harnoncourt, and others had been experimentingwith Mozart on old instruments. So the chamber -orches-tra people got the scale right, and Leonhardt and other


players got the instruments right, and we put together alot of things that were already going on.

"I had been wondering about whether we could makea Classical orchestra that was different from a Baroqueorchestra, and I was thinking about size and proportionsand how many violins and the fact that wind playersneeded a different kind of instrument. In our work withHaydn and J. C. Bach we had come to the Rococo andwere on the verge of Mozart.

"The idea of recording all the Mozart symphoniescame from Decca. We wanted a future plan, a profile toproject for the orchestra. I thought some of the Mozartsymphonies would be nice, but the idea of recording allof them was quite novel.

"Right away we needed a structure for the project. Wefound a specialist concertmaster in Jaap SchrtSder, aviolinist who already had the appropriate idiom, theidiom we were still looking for."

The musicologist Neal Zaslow, of Cornell University,assisted in research and other scholarly matters. "Zas-low grouped the symphonies according to where theywere composed. Mozart did different things in differentplaces, depending on the performing forces available tohim in Italy, Paris, Salzburg, or Vienna. The symphonyis the public side of Mozart. His internal side comes outin the concertos and chamber music."

In Hogwood's performances some people miss theexpressivity we have come to expect in Romanticizedinterpretations of Mozart. Hogwood says, "I try to letwhat is in the symphonies be heard without adding myfeelings to Mozart's. We shouldn't milk the slow move-ments to underline what doesn't need underlining."

-2-----he Mozart symphony recordings putHogwood and the Academy of Ancient

Music on the map of North America as wellas Europe, and they have toured here several

times. Last November he brought a smallgroup of the players for appearances in such cities

as Columbus (Ohio), Louisville, Milwaukee, Toronto,and New York. In February he is scheduled for concertswith the full forty -member orchestra in Chicago, Pasade-na, and New York. In Boston the group will performwith the chorus of the Handel and Haydn Society.

In addition, Hogwood has engagements this spring asa guest conductor with such orchestras as the NationalSymphony in Washington, the San Francisco Sympho-ny, and the Chicago Symphony. Besides Mozart, thecomposers whose works he has programmed includeBach, Haydn, Stravinsky, Martina, and Villa -Lobos.

His recordings with the Academy of Ancient Music donot include such moderns as Martine and Villa -Lobos,but they are certainly not limited to Mozart. BesidesMozart's symphonies, Requiem, and Exsultate, jubilate,Hogwood's best-sellers are the Bach Brandenburg Con-certos, Pachelbel's Canon, Handel's Messiah, and Vival-di's Four Seasons. And now-fasten your seatbelts-they are taking on all nine Beethoven symphonies!

"Once you have become completely familiar with thevocabulary for Haydn and Mozart," Hogwood says,"you can prepare yourself psychologically for what wassurprising in Beethoven. We are doing his symphonieschronologically, and each of them is a surprise." Sym-phony No. 3 is reviewed in this issue on page 97.

It's one thing for critics and musicologists to getexcited about where the second violins are placed on

stage and about performances based on scholarly edi-tions, but it's hard to believe the general public respondsto performances and recordings by Hogwood, Pinnock,and Gardiner in quite that same way. Nevertheless,Hogwood has attracted a passionately devoted follow-ing, and his name has been constantly on industry listsof best-selling records for the last five years.

n other interviews he has offered avariety of explanations for the pub-

lic's enthusiastic response. In one hesuggested that the people who are buy-

ing his records are a different audience,like those who go to concerts of new music.

When I raised the subject with him, he said, "I think thepublic had got tired of a lot of varied repertoire pre-sented in the same way-everything from Bach to Bar-tOk with one accent. A 90- to 100 -piece orchestra is a realheadache. It's suited only to certain repertoire.

"Not everyone is comfortable with the sound of origi-nal instruments. I was leafing through The PenguinGuide to Compact Discs-the critics who write for it saysome very nice things about our recordings-but I wasstruck by how frequently they used the word 'acid.' Thatcould mean something good, like 'astringent,' but not in,`This is a fine performance if you can stand the acidstring tone.' There is still a sweet tooth in the public. Ithink people hanker for the lush sound of the modernorchestra."

Hogwood is likable, and I enjoyed talking with him.The big question in my mind-as in the minds of manyothers-was, where does he go from here? I mentionedNeville Marriner, who started with a chamber orchestra,made many best-selling records, then moved on to bigmodern orchestras, conducting the nineteenth-centurysymphonic repertoire and even opera. Could Hogwoodimagine that his career might parallel Marriner's?

"There's no reasor why it shouldn't," he said. "I tendnot to plan very far ahead. I wouldn't want to sacrificethe laboratory of early music, but neither would I wantto be condemned forever to pre -1800 music."

Does this mean there is a complete cycle of Mahlersymphonies in his recording future? "No, not Mahler orBruckner. If I were the music director of a large sympho-ny orchestra, I'd have to invite guest conductors forthose composers. No matter what the period, though, I'dstill apply the same principles of the right size, the rightplacement, and the right text. My leaning is to a largerchamber orchestra rather than a reduced symphony."

This does not sound like a man consumed by ambi-tion, lusting for global domination. He may not planvery far ahead, but he has made some pretty detailedplans for the Handel and Haydn Society-a major Han-del oratorio each year (this year Athalia), introducingauthentic instruments for Classical and Baroque works,free concerts in parks to attract new audiences, and tak-ing the Society to perform in other cities. "Touring willincrease the prestige of the Society and the public's per-ception of my presence with the Society."

It appears, therefore, that the H & H Search Commit-tee need not think about looking for a replacement artis-tic director for at least the next few seasons. Still, if Iwere Seiji Ozawa or Zubin Mehta, I wouldn't get toocomfortable with the Boston Symphony or the NewYork Philharmonic. I'd tend not to plan very farahead.


Issues and answers

by Steve Birchall

H -B MEI 1M -MR

"DOUBLE, double, toil and trouble,"cackled the witches in Macbeth asthey stirred their cauldron of magicpotions. Recently, the electronicsindustry dipped its ladle into itsbubbling cauldron and pulled out acontroversial new product called R-DAT. Now, industry leaders are try-ing to decide whether they havefound a magic elixir or an evilcurse.

Essentially, R-DAT (rotary -headdigital audio tape) is the compactdisc format adapted to the cassettetape medium. It has all the advan-tages of tape over disc-along withtape's disadvantages. [Another digi-tal audio tape system, called S-DATbecause it uses stationary heads, hasbeen proposed. It is nowhere nearbeing ready for commercial release.For the remainder of this article,therefore, "DAT" will refer to R-DAT.] Within the industry, intensepolitics are pushing DAT in threedirections at once. One: The manu-facturers are eager to start makingand selling DAT decks. Two: Phil-ips, co -developer (with Sony) of theCD format, has lobbied persuasive-ly to delay the introduction of theDAT medium until the CD be-comes more strongly established. Aformat war could destroy both.Three: The recording industry isfundamentally opposed to the con-cept of a digital cassette recorder (orrecordable CD) because of the prob-lems of piracy.

From the computer industrycomes a fourth factor: Digital audiotapes can store computer data, justlike CD-ROM's, but they are easierand cheaper to duplicate, and thedata can be revised, unlike thatstored in CD-ROM (the "ROM"stands for read-only memory). Thecomputer industry has already pro-posed a data format, called R-DAT-RAM (for random-access memory)that has nearly three times the ca-pacity of CD-ROM. Users can up-date the tapes easily and makecopies quickly. DAT could surviveeven without audio applications.

At the Japan Audio Fair lastOctober, most major manufacturershad large displays of working DATdecks. But, in deference to Philips'swishes, they put "prototype" stick-ers on them. At other recent shows,Sony has displayed key elements ofthe DAT chain, including a portableprofessional DAT recorder andboth real-time and high-speed tapeduplicators. Sony's development ofthese software production chains

for the CD helped make it a reality.In DAT technology, Sony reported-ly owns over half the patents. Thus,the company has a vested interest inthe success of both the CD and DATformats.

The System andHow It Works

The DAT system has two basicoperating modes. With a 44.1 -kHzsampling rate, Mode One is identi-cal to the compact disc and is forplayback only. Mode Two is forrecording and playback, but, by in-dustry choice, its 48 -kHz samplingrate is incompatible with the CD toprevent digital -to -digital dubbing.

Both modes have variations toprovide additional capabilities. InMode Two, an optional 32 -kHzsampling rate provides either longerplaying time, or four channels. Inthe playback -only mode, the systemhas Narrow Track and Wide Trackvariations. Narrow Track is forprerecorded tapes made from theCD master tape duplicated in realtime by large banks of machines.High-speed duplication is not possi-ble in this mode.

Contact PrintingPrerecorded Tapes

High-speed duplication is possi-ble, however, with Sony's new "con-tact printing" method using theWide Track option. The samemethod is currently used for video-tapes. The duplicating machinewinds the master and a blank tapeso that they touch at one point. Abias head saturates the blank tapewith a tightly focused magneticfield, the bias field, shaking up themagnetic particles and helping thembecome magnetized. The mastertape then acts like a record head.But since the magnetic energy onthe master tape is weaker than arecord head's output, and magneticenergy decreases with the square ofthe distance, the copier squeezes thetwo tapes together against the con-tact -printing drum with a jet ofcompressed air.

Du Pont has developed anothercontact -printing method for video-tape that could work for DAT aswell. Instead of applying a bias field,Du Pont heats a portion of theduplicating tape with a laser. Whilethey are heated, the magnetic parti-cles assume the magnetic propertiesof the master tape, and they retain

-DAT (rotary -head digitalaudio tape) is the CD formatadapted to the cassette me-dium. The DAT system hastwo basic operating modes.With a 44.1 -kHz samplingrate. Mode One is for playbackonly. Mode Two is for record-ing and playback, but at a 48 -kHz sampling rate to preventdirect digital -to -digital dubbingsuch as from CD's. Top photoon facing page shows a proto-type Luxman DAT deck.

he DAT cassette shell,which looks like a miniatureVHS videocassette (a Triadprototype is shown at left), issealed to prevent damage fromdust and dirt. A sliding coveron the bottom keeps contami-nants from entering throughthe hub holes. The shell alsohas recognition slots for tapetype, record lockout, and tapespeed. The shell's design pre-vents incorrect insertion. Themetal -particle tape inside issimilar to 8mm videotape.


Denon is apparently ready to enterthe market with a full line of DATdecks. Shown here is the company'sdisplay at the Japan Audio Fair.

Sony's DAT-7 was the first prototypedeck ever demonstrated in the U.S. Itwas shown at the National Associationof Broadcasters conference last April.

Because DAT tapes are so small. weare likely to see an abundance of per-sonal -size portable players. Here's aprototype from Aiwa.

these when they cool. This tech-nique is also the basis for recordablecompact discs.

The Main DATRecord/Playback Modes

In the full record -and -playback modes, the sampling rate is 48 kHz, with 16 -bit quantization. Profes- sional digital recorders use the same format. Departing from the official standard, Sharp and Hitachi have shown consumer DAT decks that

record at 44.1 kHz, the same rate as CD's. Although DAT machines

have direct digital inputs and out-puts, they can't record program ma-terial that uses special copy -inhib-iting codes (many CD's already in-clude them, as do many video-

tapes), no matter what the sampling rate is. A DAT deck can also record any analog source, including the analog output of a CD player or another DAT machine. Inevitably,

the extra digital -to -analog (D/A) and analog -to -digital (A/D) conversions

will add noise and distortion, but the differences would probably not be noticeable, or even detectable.

Encoding the Signal: Sequence o f Events

Before recording the audio signal on the tape, the circuitry puts it through an elaborate series of trans-

formations. The first step is the"regular" PCM encoding process.Next, double Reed -Solomon encod-ing (the same as the CD formatuses) generates extra data so theplayback circuits can detect incor-rect or missing data and restore thecorrect data. If the dropout is toolarge to correct, the circuits insert

plausible numbers between the missing samples.

nless preventive measuresare taken, consumers couldmake thousands of perfect,but illicit, DAT copies ofevery CD sold. That would

spell economic disaster for therecording industry.

The machine then breaks the 16-bit digital "words" into two 8 -bithalves prior to Eight -to -Ten M odu-

lation (ETM). Similarly, CD's em-ploy eight -to -fourteen modulation(EFM). The circuit replaces each 8-bit word with a 10 -bit word, using alookup table stored in a ROM chip.The relationships are arbitrary-noparticular logical or mathematicalconnection exists, but the goal is touse only those words with a patternof ones and zeros that the tape headcan read with consistent accuracy.

Finally, the system duplicates the10 -bit words from the left and rightchannels and interleaves them be-tween adjacent tracks. This checker -boarding protects against problemscaused by dropouts and dirt. If onehead can't read the data recorded onthe top half of the track during itspass, the other head can read theduplicate data on the bottom half ofthe next track.

Now the DAT recorder assemblesthe signal into the five -block struc-ture of a single slanted track. In theNarrow Track mode, each track is13.591 micrometers wide-about atenth the thickness of a human hair.The first block contains subcodedata, block two the tracking data.The third block is the largest block,and it contains 196 bytes of audiodata. Following the audio data isanother tracking block and then theother subcode block. Because of thesystem's rotating heads, a brief sig-nal gap occurs between the time onehead on the drum leaves the tapeand when the other head spins intoplace to record data. So the recorderstores the data in a buffer memoryuntil the other head is in position.

The Automatic Track Finding(ATF) system, designed especiallyfor DAT, keeps the rotating headscentered on the track. Because ofthe ATF system, the tracks don'tneed guard bands between them,making DAT decks extremely effi-cient in their use of tape.

The two subcode blocks, likethose on CD's, can store programnotes, lyrics, or even still pictures.The DAT subcodes have a largertotal capacity and a recovery rate4.5 times faster than the CD sub -codes (273.1 kilobytes per secondcompared with the CD's 60 kilo-bytes per second).

Here Comes the MusicThe main data block is the longest

of the five. Four 8 -bit words precedethe actual audio data. The syncburst tells the deck, "Pay attention!Real audio data is on the way!" Theidentity word carries technical infor-


mation (sampling rate, number ofchannels, quantizing steps, tapespeed, copy -inhibit codes, and pre -emphasis). The block address tellsthe machine, "You Are Here." Thefourth word contains the error -checking data. At last comes thegood stuff: 196 bytes of audio data.

On playback, the microprocessorin the deck sorts out and unscram-bles all of the data and converts itback to an analog signal for humanperception and enjoyment. It alsosends data to the deck's digital out-put for the amusement of otherDAT decks. Considering the com-plexity of the system, the trulyastonishing thing is that this little16 -bit dedicated audio computerdoes it all in real time. To make adeck that allows you to monitor atape while recording it, the manu-facturer simply adds two moreheads to the drum and two moreplayback channels.

1-o prevent illicit dubbing,DAT decks record at adifferent sampling ratethan CD's use. And manyCD's have copy -inhibiting

codes that won't allow digitaldubs at any sampling rate.

411 041 OHO 16111th VIII 00 IIHD

The DAT cassette shell, whichlooks like a miniature VHS video-cassette, is sealed to prevent damagefrom dust, hair, bat wings, orsmoke. On the bottom, a slidingcover keeps dirt from enteringthrough the hub holes. The shellalso has recognition slots for tapetype, record lockout, and tapespeed. The shell's design preventsyou from inserting it in the wrongposition. The metal -particle tape in-side is similar to 8mm videotape.

The Ethical IssueUnless preventive measures are

taken in the design, with a DATdeck it would be possible to makean exact copy of the data on a CD.After buying one CD, you couldgive or sell unlimited numbers ofexact copies to your friends withDAT decks. They, in turn, could dothe same. For every CD sold, con-sumers could make potentiallythousands of perfect, but illicit,

copies. That would spell economicdisaster to the recording industry.For consumers, the demise of therecording industry would mean theend of commercial recordings.

Consequently, DAT decks havebeen designed so that they canrecord only at 48- or 32 -kHz sam-pling rates. Thus, the only way todub a CD is to record the player'sanalog output. That tape's qualitywould not be equal to a direct copyof the digital data-but it might beaudibly indistinguishable.

Beyond Catch 22Catch 22: DAT decks can make

digital copies of that first -generationtape copy. Since every digital copywill be equally as good. piracy willcontinue unchecked. Catch 23: Theaudio industry is moving toward anetworking standard based on 44.1kHz, the CD sampling rate. At theJapan Audio Fair, several manufac-turers showed amplifiers andpreamplifiers with digital inputsand outputs, CD players with digitaloutputs, and DAT decks that canrecord at the 44.1 -kHz rate. In theU.S., the FCC has encouraged Bos-ton's WGBH-TV's experimentalfrequency -modulated broadcasts ofPCM-Fl digital signals, which DATdecks could decode with an appro-priate adaptor.

Catch 24: Every copy -protectionscheme eventually gets cracked, andsampling -frequency converters arenot difficult to make. Catch 25: Inthe computer software industry, le-gitimate buyers and users havecomplained about the inconve-nience and annoyance that copyprotection causes them. In re-sponse, many software publishersnow don't use copy protection. Willmusic lovers too revolt against copyprotection? In the Disney/Sonycase, the U.S. Supreme Court ruledthat people can make copies ofmovies on videotape for their ownprivate use. But the movie andrecording industries are pressingCongress for laws requiring copy -protection chips on all tape record-ers, thus rendering them nearly use-less as recorders.

Catch 26: By restricting DAT re-cording capabilities, the industrynearly guarantees that consumerswill perceive DAT and CD as com-peting formats. Remember, the onlysources of digital music will be pre-recorded DAT's-or CD's. Catch27: While CD's are still in short sup-ply, commercially duplicating digi-

tal tapes doesn't require expensive,high-tech plants and complex pre-production processes. With the con-tact -printing method, tape duplica-tion is fast and inexpensive.

Catch 28: Digital tapes will wearand develop dropouts. With a rec-ord -breaking data density of 114megabits per square inch, that's in-eN itable. How many playbacks areacceptable? Will music lovers ex-pect a back-up copy with every pre-recorded tape, or will they settle fora lower price? Will consumers ac-cept a medium with limited longev-ity but no way to make their ownback-up copies?

Taxing Red HerringsThe question still remains: If

people can copy a recording bor-rowed from a friend instead of buy-ing the tape or disc, how do we paythe artists for their efforts? ASCAPand BMI provide good models.They collect fees for the perform-ance of a composition or its re-corded use on radio or TV. Thenthey distribute those fees to the art-ists in proportion to the number ofperformances.

The most straightforward solu-tion to the piracy problem is tobuild a royalty fee into the price ofthe blank tape and pay the artists inproportion to the ASCAP and BMIdistributions. That would be fairboth to the artists and to the con-sumers. Though imperfect, thosesystems have worked well for toolong to ignore. The current pro-posed tax on blank tape and taperecorders is clearly too high-a redherring intended to defeat the wholeidea. But a royalty fee at a reason-able rate could benefit everyone.Beyond the question of ethics, wehave a vested interest in solving thisproblem if we want musicians tomake recordings in the future.

Your ChoiceIn the end, you and I will make

the final decision on whether DATwill succeed. The first machines willappear in the shops sometime in1987. Among the early contenderswill be Sony, Technics, Onkyo,Denon, Sharp, Hitachi, and JVC.Initial prices will be in the $1,500neighborhood. When the decks be-come available, we consumers willfinally have the opportunity to vote,with credit card in hand. I'll proba-bly buy one, but I may go shoppingwith bell, book, and candle-ormaybe a big wooden spoon.

S'I'EREO REVIEW MARCH 1987 59

I ISZT LIVES!T. honor the Hungarian

composer Franz Liszt(1811-1886), a free copy ofthe Newport Classic prere-

corded cassette "Lisztronique" bysynthesizer artist Jeffrey Reid Bak-er will be sent to you for only $3for packing and mailing. Includedwith "Lisztronique" will be a freeShape Mark 10 C-90 blank chromecassette, which brings the value ofthis gift to $14.98.

In 1986 throughout the Westernworld music lovers observed theone -hundredth anniversary of thedeath of Liszt. Pianists were par-ticularly conspicuous in payinghomage to a composer who washimself a great performer on theirinstrument and permanently en-riched the literature for keyboai(virtuosos.

Liszt lives on through his music,and as we enter the second post-Liszt century, STEREO REVIEWhonors Liszt, with the cooperationof Newport Classic, a new record-ing company, with the gift of"Lisztronique" to the readers ofthis magazine.

A commercial release on a high -quality cassette, "Lisztronique"(Newport Classic 30022) is a reci-tal of works by Liszt synthesizedby Jeffrey Reid Baker. Included onthe digitally recorded tape are thePiano Concerto No. 1, HungarianRhapsody No. 2, La Campanella,Gnomenreigen, Un Sospiro, andAu bord dune source (No. 4 fromAnnees de pelerinage, Premiere

lk*Annee). The recital is rounded offby the world -premiere recording ofBaker's own virtuosic compositionHomage to Liszt.

An American pianist who hasdeveloped a command of electron-ic keyboards, Baker is making hisrecording debut with this Lisztprogram. In performing well-known classics on the synthesizerhe is the latest in a line of musi-cians that includes Wendy Carlos,Isao Tomita, Don Dorsey, andGraziano Mandozzi.

Some synthesizer artists ap-proach their work with deadly ear-nestness. Others, like Mandozzi,

have a sense of humor about itand perform great works by Bachand Handel, for example, with asense of affectionate parody. Bakeralso has a sense of humor, and youshould too if you send for this gift.

You may recall that in 1985,during the celebrations of the Bachand Handel tricentennial, we of-fered a limited number of freecopies of Mandozzi's "Bach/Han-del 300" on Deutsche Grammo-phon to STEREO REVIEW readers.We underestimated the response,and thousands of people were dis-appointed that the supplies wereexhausted by the time we receivedtheir requests. This year NewportClassic has guaranteed us that theywill honor all requests for "Liszt-ronique" and the free Shape C-90cassette that are received by thedeadline of April 1, 1987.

To get your free "Lisztronique"gift package, send a check or mon-ey order for $3 (no cash, please)for postage and handling to LISZT-RONIQUE, Newport Classic, 106Benefit Street, Providence, RI02903. Clip the coupon printed be-low and include it with your order.No requests will be honored with-out the coupon, and photocopiesof it will not be accepted.

This offer is limited to one giftpackage per household. Requestsfor more than one cannot be hon-ored, and requests must be re-ceived by Newport Classic byApril 1, 1987. The offer is void af-ter that date.

FOR STEREO REVIEW READERS ONLYFREE GIFT

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Mt MITSUBISHIFor the name of ar authorized Mitsubishi Electric dealer near you. call (800) 654-8056. In California,call (800) 843-1252

Mitsubishi Electric Sales America, Inc., 5757 Plaza Drue, Cypress, CA 90630-0007.


Proton's acclaimed 40 Series Audio Components top tobottom: D940 Stereo Receiver with DPD", 440 StereoTuner, D540 Stereo Amplifier with DPDTM, 740 StereoCassette Deck and the 830R Compact Disc Player.

Hear WhatYou've BeenMissingIntroducing DPDTM from Proton

If you're running that terrific new CD player off anamplifier or receiver that's three to five years old, you'remissing out on a great deal of clean, uncompromisingsound. Most amps of that vintage just cant create theextra headroom that's necessary for accurate digitalreproduction. Every time the music hits a peak, your ampwill be gasping for breath. And you'll definitely hearabout it. Unless you have a Proton 40 Series amplifier orreceiver with our exclusive, patented DPD circuitry.

Reserve power in an instantDPD stands for Dynamic Power on DemandTm.

Designed for the increased demands of today's digitalaudio discs and hi-fi video sound, it utilizes asophisticated, dual power supply which acts as a power

reserve. During musicalpeaks, it delivers up tofour times the amplifier'srated power for anamazing six dB ofheadroom. And DPDhandles these boostsmuch more smoothly.

Plus, DPD sustainsthat dynamic power up to400 milliseconds. More

than enough time for you to hear all the crisp, cleantransient response you've been missing. From the pluck ofa cello. To the crash of a cymbal. As faithfully as if theywere being performed live.

Best of all, DPD gives you all of this extra powerwithout your having to pay the extra price for a muchlarger amplifier.

So if you want totally uncompromising digital sound,you can't afford to compromise with your system. That'swhy you need Proton with DPD. With anything else,you'll be missing out.

For the Proton Audio/Video Dealer nearest you,call (800) 772-0172 In California, (800) 428-1006

PROS TONlit 64r.

737 West Artesia Blvd., Compton, Calif. 90220

BY WILLIAM BURTON, WENDY SCHAUB, ANDJOHN WEINBERG1

BASFMetal IV CassettesMetal -particle tape for metal settings.ME -IV C-120. 120 min $6.99

LH Maxima I CassettesFerric tape with high MOL for increased S/Nand low distortion.C-90. 90 min $2.49C-60. 60 min $1.99

Chromdioxid Maxima II CassettesHigh -density chrome formulation. precisionshellC-90. 60 min $4.29C-60. 90 min $3.29

Chromdioxid Extra II CassettesPure chrome for lowest noise and high output.C-90. 90 min $3.29C-60. 60 min $2.59

LH Extra I CassettesFerric position. Extended S/N over entire fre-quency range.C-90. 90 min $1.79C-60. 60 min $1.49

CERTRONEndless CassettesContinuous ferric cassettes.EC 12. 12 seconds $5.50EC 20. 20 seconds $5.50EC 30. 30 seconds $5.76EC 45. 45 seconds $5.76EC 60. 60 seconds $5.76

MicrocassettesFerric microcassettes with 390 -oersted coercivity.M60. 60 min $3.99

HD CassettesFerric cassettes with 360 -oersted coercivity.C60 HD/3. 60 min. 3 pack $3.99C90 HD/3. 90 min. 3 pack $4.99C30 HD. 30 min $1.19C45 HD. 45 min $1.29C60 HD. 60 min $1.39C90 HD. 90 min $1.79C120 HD. 120 min $2.49

UX CassettesFerric cassettes with 390 -oersted coercivity.C60 UX/2. 60 min. 2 pack $2.99C90 UX/2. 90 min. 2 pack $3.99

DENONAll Denon cassettes feature large windows, *-time warranty, and head -cleaning leader.

High Density SeriesHD -M Metal CassettesHigh -stability pure metal tape formulation uses

BLANKTAP E13L TYING

a ASSETTES continue to be themost popular audio tapeformat, far outselling open -reel tape, microcassettes,minicassettes, and, of

course, eight -track cartridges.The information in this guidewas provided by tape manufac-turers, and the prices given aresuggested; actual prices are setby retailers. Like any listing ofthis type, this one cannot becomplete, although it rangesfrom budget normal -bias cas-settes to Extra Efficiency open -reel. To find the best tape foryour machine, we suggest thatyou buy samples of the tapesyou can afford, record onthem, and compare the resultsuntil you find one you like.The names and addresses ofblank -tape manufacturers canbe found on page 68.

high -density dispersion technology that yields aresidual magnetic flux density of over 3.500gauss and a coercivity of 1,200 oersted.HDM-90. 90 min $6.50HDM-60. 60 min $5.00

HD8 High -Bias CassettesHigh -density metal particle formula uses NewHigh Technoroum magnetic pigment to increaseresidual flux density to 2,800 gauss yielding anMOL of -13.5 dB at 10 kHz.HD8-90. 90 min $4.75HD8-60. 60 min $3.75

HD7 High -Bias CassettesType -II formulation with extended high -frequen-cy response and low noise. Residual flux density1,700 gauss. MOL -17 dB at 10 kHz.HD7-90. 90 min $3.00HD7-60. 60 min $4.00

HD6 High -Bias CassettesType -II formulation with extended high -frequen-cy response. Residual flux density 1,700 gauss.MOL -16 dB at 10 kHz.HD6-90. 90 min $3.25HD6-60. 60 min $2.50

DX SeriesDX4 Ferric Normal CassettesType -1 formulation with extended frequency re-sponse. Residual flux density 1.700 gauss. MOL-14.5 dB at 10 kHz.DX4-90. 90 min. $4.00DX4-60. 60 min. $3.00

DX3 Ferric Normal CassettesImproved DX3 offers a 12% increase in bothretentivity and coercivity yielding better high-fre-quenry response and dynamic range. MOL-16.0 dB at 10 kHz.DX3-90. 90 min $3.00DX3-60. 60 min $2.50

DXI Ferric Normal CassettesType I low -noise high -output cassettes with highsensitivity and high MOL (-19.5 dB at 10 kHz).DX1-90. 90 min $2.25DX1-60. 60 min $1.75

FUJIFR Series Metal Cassette TapeMetal -coated tape with tensilized polyester base.Designed for metal bias. 70 -us EQ. Packaged inhinged plastic box.FR (C-46). 46 min $5.79FR (C-60). 60 min $6.39FR (C-90). 90 min $8.49

FR -1I Super Series Cassette TapeType-il super -premium high -bias cassettes for70 -us EQ with cobalt -modified super -fineBeridar magnetic particles.FR -II Super (C-46). 46 min $4.39FR -11 Super (C-60). 60 min $4.89FR -II Super (C-90). 90 min $6.49

FR -II Series Cassette TapeChromium -dioxide cassettes with tensilizedpolyester base. Designed for Type -11 (Cr02) biaswith 70-ps EQ. Packaged in hinged plastic box.FR -I1 IC -46). 46 min $3.99FR -II (C-60). 60 min $4.49FR -I1 (C-90). 90 min $5.99

FR -I Super Series Cassette TapeSuper -premium Type -I normal -bias cassetteswith 120 -us EQ and cobalt -modified fineBeridox magnetic particles.FR -I Super (C-46). 46 min $3.79FR -1 Super (C-60). 60 min $4.19FR -I Super (C-90). 90 min $5.49

FR Series Cassette TapeType -1 normal -bias casettes for 120 -us EQ withcobalt -modified fine Beridox particles.FR (C-46). 46 min $2.69FR (C-60). 60 minFR (C-90). 90 min

$2.99$3.99

DR Series Cassette TapeDR (C-46). 46 minDR (C-60). 60 min

$2.39$2.59

DR (C-90). 90 minDR (C-120). 120 min

$3.49$4.99

GT-H Series Cassette TapeHigh -bias cassettes for 70 -us EQ. Heat -resistant


BLANK TAPEtape, shell. and clear plastic case. Dual -springpressure pad.C-46. $4.39C-60. $4.89C-90. $6.49

GT-I Series Cassette TapeNormal -bias, I20 -ms EQ car audio cassette withheat -resistant tape, shell, and clear plastic case.Tensilized polyester backing.GT (C-46). 46 min $3.79GT (C-60). 60 min $4.19GT (C-90). 90 min $5.49

IRISHHigh -Output CassettesFerric cassettes in Norelco box. Precision shell.XR-90. 90 min $2.70XR-60. 60 min $2.10

Low -Noise CassettePrecision -shell, ferric cassette in Norelco box.LN-90. 90 min $2.15LN-60. 60 min SI.75LN-30. 30 min $1.50

JVCME9OPII Metal CassettesMetal cassette tape with pure high -density metal-

alloy magnetic particles. Tape is housed in a pre-cision -molded cassette shell with a low -frictionlining and head -cleaning leader tape. EQ 70 ms.C-60. 60 min $3.90

UFH High -Bias CassettesHigh -bias cassette tapes housed in a heat -resis-tant smoked plastic shell. EQ 70 us.UFII-60. 60 min $1.50UFII-90. 90 min $1.75

UPI Normal -Bias CassettesNormal -bias cassette tapes housed in a heat -re-sistant smoked plastic shell. EQ 120 ms.UFI-60. 60 min $1.20UFI-90. 90 min $1.65

Fl Normal -Bias CassettesFl C-60. 60 min $0.85Fl C-90. 90 min $1.00

LASER BY SWIRE MAGNETICSLaser XL CassettesNormal -bias ferric cassettes with extra low noise.For voice or music.C-120. 120 min $2.49C-90.90 min $1.89C-60. 60 min $1.49C-45.45 min $1.39

Laser UHD-I CassettesNormal -bias ferric cassettes with high-energy,high -density formulation.C-90. 90 min $2.59C-60. 60 min $1.99

Laser UHD-II CassettesHigh -bias ferric cassettes with high-energy ex-tended frequency response.C-90.90 min $2.59C-60. 60 min $1.99

MAXELLMX Metal CassettesMetal bias and EQ.MX -46. 46 min $4.39MX -60. 60 min $5.39MX -90. 90 min $6.99

XLII-S Epitaxial CassettesHigh-level bias, 70 -us EQ.XLII-S60. 60 min $3.69XLII-S90. 90 min $4.99

XLI-S Epitaxial CassettesNormal bias, 120 -ms EQ.XLI-S60. 60 min $3.69XLI-590. 90 min $4.99

XL -I Epitaxial CassettesNormal bias; 120 -ms EQ.C-46. 46 min $2.49C-60. 60 min $2.99C-90. 90 min $3.79

XL -H Epitaxial CassettesChrome; high-level bias; 70 -ms EQ.C-46.46 min $2.69C-60.60 min $2.99C-90. 90 min $3.79

UDS-I Normal -Bias CassettesFeatures phase -accuracy shell. frictionless slipsheets, Quin-Lok hubs, cleaning leader.C-46 $2.29C-60 $2.49C-90 $2.99

IIDS-H High -Bias Cr02 CassettesFeatures phase -accuracy shell, frictionless slipsheets. Quin-Lok hubs, cleaning leader.C-46 $2.29C-60 $2.49C-90 $2.99

Normal -Bias CassettesUR-46. 46 min $1.59UR-60. 60 min $1.69UR-90. 90 min $1.99UR-120. 120 min $2.99

MicrocassettesNormal bias.MC-46UD2PK (2 per card) $6.19MC-60UD2PK (2 per card) $6.49

XLII Open -Reel TapesDesigned for use with EE -tape -capable decks.XLII 35-90. 1,800 ft $16.48XLII 35-180. 3,600 ft $44.98

XLI Back -Coated Open -Reel TapesXLI 50-60B. 1,200 ft, 7- reel $10.58XLI 50-120B. 2,500 ft, 10.5" reel $31.98XLI 35-9013. 1,800 ft, 7" reel $12.48XLI 35-180B. 3,600 ft, 10.5' reel $32.98

Ultra -Dynamic Open -Reel TapesUD50-60. 1.200 ft. 7" reel $8.68UD50-120+. 2,500 ft, 10.5" reel $27.38UD35-90. 1,800 ft, 7" reel $8.98UD35-180. 3,600 ft, 10.5" reel $27.98UD50-120. 2,500 ft, 10.5' reel $11.48UD18-180. 3,600 ft, 10.5" reel $12.48

MEMOREX BY MEMTEKCDX H High -Bias CassettesMetal tape for high -bias (Type 11) setting. De-signed for recording CD's or other digital sourcesat high -bias, 70 -as setting. Greater headroom fordistortion -free reproduction at higher recordinglevels than conventional high -bias tapes. Newpermanent reference cassette mechanism.C-90 $4.99

HBX H High -Bias CassettesHigh-performance ferric/cobalt tape for use athigh -bias, 70 -us setting. Higher MOL's, greatersensitivity compared to standard high -bias andCr02 tapes. New permanent reference cassettemechanism.HBX II High Bias C-90 $3.79HBX II (Type II) C-60 $2.99

HB II High -Bias CassettesPremium tape for high -bias, 70 -ms EQ position.Improved low -end MOL, greater sensitivity, newpermanent reference cassette mechanism inclear shell.HB II High Bias C-90 $2.79HB II (Type II) C-60 $2.29

MRX I Normal -Bias CassettesPremium normal -bias tape in clear shell. Fulllifetime warranty.C-90. 90 min $2.69C-60. 60 min $2.19

dBS CassettesNormal -bias tape for general music recording.Clear shell. Full lifetime warranty.C-120. 120 min $2.59C-90. 90 min $1.79C-60. 60 min $1.49C-46. 46 min $1.29

NAKAMICHIZX Reference Cassette TapesMetalloy (metal -particle) formulation for record-ing on metal -compatible decks only; features ul-tra -high coercivity and retentivity for improveddistortion and MOL; 70 -us EQ.ZX-C60. 60 min $7.25ZX-C90. 90 min $10.00

SX II Reference Cassette TapesDouble -coated ionized cobalt and ferric -oxideformulation. Cr02 bias and EQ (70 us).SXII-C60. 60 min $6.50SXII-C90. 90 min $8.90

SX Reference Cassette TapesSingle -coated ionized -cobalt and ferric -oxide for-mulation. High coercivity permits use of Cr02bias and EQ (70 ms) for 4-5 dB better S/N ratio.SX-C60. 60 min $4.50SX-C90. 90 min $6.50

EX II Reference Cassette TapesSingle -coated ferricobalt formulation; same biasand EQ (120 as) as EX tape; extra -low noise;high output.EXII-C60. 60 min $4.25EXII-C90. 90 min $6.00

PANASONICMicrocassettesRT-602 MC. C-60 length. 2 pack $5.95RT-604 MC. C-60 length. 4 pack $11.95RT-90 AMC. C-90 length. Angrom compo-sition $6.95

Normal -Position CassettesRT-60EN2. C-60 length. 2 pack $3.95


BLANK TAPERT-80EN2. C-90 length. 2 pack $5.45RT-60FS2. Fashion series. C-60 length. Color -tinted shell. 2 pack $5.45

Cr02-Position CassettesRT-90EX2. C-90 length. 2 pack ,

QUASARMicrocassettesMT462M. 46 -minute metal -bias microcassettesin twin pack $8.49MT90A. Angrom-tape microcassettes $4.49MT602. 60 -minute normal -bias microcassettesin twin pack $2.95

REALISTICSupertape Type -IV Metal Cassettes44-960. 60 min44-961. 90 min

$5.99$6.99

Supertape Type -II Metal Cassettes44-950. 60 min $4.8944-951. 90 min $5.69

Supertape High -Bias Cassettes44-940. 60 min $3.4944-941. 90 min $4.29

Supertape Gold Type -I Cassettes44-920. 45 min44-921. 60 min44-922. 90 min44-923. 120 min

$2.59$2.79$3.79$4.99

Realistic Type -I CassettesLow -noise, high output.44-601. 30 min $1.5944-602. 60 min SI.9944-603. 90 min $2.7944-604. 120 min $3.49

Concertape: Type 13 -Packs44-606. 30 min $1.99/3 -pack44-607. 60 min 52.59/3 -pack44-608. 90 min $3.59/3 -pack44-609. 120 min $4.9913 -pack

Concertape: Singles44-605. 60 min $0.8844-620. 90 min $1.25

Mini -Cassettes44-633. 30 min $2.89

Microcassettes44-640. 2.4 cm/sec. 60 min. $3.4944-644. 2.4 cm/sec. 90 min. $6.95

Open -Reel TapeSupertape Premium44-1872. 5" reel. 900 ft $3.9944-1878. 7" reel, 1,200 ft $5.7944-1877. 7" reel, 1,800 ft $6.4944-1880. 7" reel. 3,600 ft $11.49

Low -Noise44-754. 7' reel, 1.800 ft $5.4944-758. 7" reel, 2.400 ft44-766. 7' reel, 3,600 ft

$6.49$7.99

SCOTCHXSM IV CassettesFine -metal magnetic -particle formulation. De-livers maximum output up to 10 dB better thantypical oxide tapes and up to 7 dB greater thanchrome rapes. Low distortion. added high:fre-quency response, and improved S/N.60 min $7.9990 min S10.29

XS II CassettesFeatures premium grade; improved S/N; lesstape hiss; dual -layer cobalt -modified ferric oxide;for use with recorders in the chrome or 70-µs EQ;album packaging; improved shell for critical me-chanical permanence and 3 -head equipment.60 min $4.7990 min $5.99

XS I Normal -Bias CassettesFeatures premium -grade, low -noise ferric -oxide.formulation; improved high -frequency sensitivityand max output: album packaging: improvedshell for critical mechanical permanence and 3 -head equipment.60 min $4.4990 min $5.79

CX CassettesNormal -bias ferric -oxide cassette featuring im-proved low frequencyoutput and clarity. Six -screw impact polymer shell houses an inner as-sembly with specially made low -friction rollerguides; album package.60 min $3.2990 min $4.79

BX CassettesFerric -oxide formulation for all-purpose cassetteuse: polyester base; 5 -screw impact polymer shellwith low -friction roller guides and high -impactcase.60 min $2.4990 min $3.39

SONYMetal -ES CassettesType -II,' metal cassettes with 70-tas EQ. High-performance extralloy particle formulation idealfor live or digital recording.ES -90. 90 min $11.95

UX Series CassettesType -11 chromium -oxide high -bias cassettes us-ing Sony's uniaxial super -fine particle formula-tion for high -density packing, more uniform re-cording, and high frequency response. 70 -ms EQ.UX-60. 60 min $4.10UX-90. 90 min $5.50UX-S 60. 60 min $4.75UX-S 90. 90 min $6.95UX-ES 60. 60 min $5.25UX-ES 90. 90 min $7.95

UX-Pro CassettesSimilar to 1,r)( cassettes with high retentivity andceramic tape guide for stable transport.UX-Pro 60. 60 min $7.95UX-Pro 90. 90 min $9.95

HF-S Series CassettesType-/ normal -bias cassettes for micro -fine gam-

ma particles. 120-ps EQ.HF-S 60. 60 min $3.10HF-S 90. 90 min $4.25

HE Series CassettesType -1 normal -bras cassettes for 120-ps EQ.HI 46. 46 min $2.05HF 60. 60 min $2.25HF 90 90 min $3.15HF 120. 120 min $4.05

Macrocassettes3MC-60N. 60/120 min. 3 pack $2.75MC -90N. 90/180 min $8.00

TDKMetal TapeM.4 -R (Metal Alloy -Reference) CassettesMetal bias; 70 -us EQ; housed in reference stan-dard die-cast metal shell: designed for excellenthigh frequency MOL and high coercivity for im-proved sens and extra recording headroom.MA -R90. 90 min $9.40MA -R60. 60 min $7.00

MA-XG Type IV CassettesMetal bias; 70 -As EQ: housed in RS -11 (referencestandard II) shell with die-cast frame; ultra -fineSuper Finavinx particles; designed for excellenthigh -frequency MOL and high coercivity for im-proved sens and extra recording headroom tomeet the demands of digital sources.MA-XG90. 90 min $9.40MA-XG60. 60 min $7.00

MA -X Type IV CassettesMetal bias: 70-1.1.s EQ: reference standard DLM(dual later mechanism) shell for increased reso-nance control and superior tape -to -head contact:ultra -fine Super Finavinx particles: designed forexcellent high -frequency MOL and high coerciv-ity for improved sens and extra recording head-room to meet the demands of digital sources.MA -X90. 90 min $7.00MA -X60. 60 min 55.20

MA (Metal Alloy) CassettesMetal bias; 70 -ms EQ: housed in precisionmolded plastic shell housing and laboratorystandard mechanism.MA -90. 90 min $6.00MA -60. 60 min $4.25

HX-S Type II Cassette TapeMetal -particle tape for high -bias setting; de-signed for recording compact discs or other digi-tal material. Coercivity 700 Oe: remanence3,000 gauss.HX-S90. 90 min. $7.00HX-S60. 60 min. . $5.20

High -Bias Type -II CassettesSA -.VG CassettesDouble -coated Super-Asilyn-particle tape: highbias: 'Ow EQ: high output and wide dynamicrange; RS -11 (reference standard) mechanismconsisting of 3 -layer die-cast shell with stainlesssteel guide pins for reduced modulation noiseand increased tape transportability.SA-XG60. 60 min $7.00SA-XG90. 90 min $9.40

SA -X CassettesDouble -coated Super-Avilyn-particle tape; highbias: 70 -ms EQ: high output and wide dynamicrange; reference standard DLM (dual layermechanism) shell for increased resonance con-trol and superior tape -to -head contact.SA -X60. 60 min $3.90SA -X90. 90 min $5.50

STEREO REv1EW MARCH 1987 67

BLANK TAPE

SA (Super Avilyn) CassettesImproved cobalt -ferric formulation; high bias;70-ps EQ; extended FR and low noise; laborato-ry standard mechanism.SA -90.90 min $3.70SA -60. 60 min $2.80

Normal -Bias Type -I CassettesAD -X (Acoustic Dynamic -Extended) CassettesAvilyn-particle technology in a normal -bias cas-sette. High output, wide dynamic range, highsens. Laboratory standard mechanism. 120 -µsecEQ.AD -X90. 90 min 54.30AD -X60. 60 min $3.00

AD (Acoustic Dynamic) CassettesLinear ferric -oxide particle formulation for nor-mal bias: I20 -µs EQ: superior high -end responseand output level; laboratory standard mecha-nism.AD -90. 90 min $3.30AD -60. 60 min $2.40

General -Purpose CassettesD (Dynamic) CassettesNormal bias; 120-µs EQ; precision mechanism.D-120. 120 min $3.20D-90. 90 min $2.20D-60. 60 min $1.90D-46. 46 min $1.80D-30. 30 min $1.70

SA Open -Reel TapeExtra -efficiency Super Avilyn open -reel tape forhigh -end tape recorders with EE (Extra Efficien-cy) bias position. Designed for high coercivityand low noise for full performance at half speed.SA35-180M. 3,600 -ft, 10.5" metal reel $32.80SA35-90. 1,800 -ft, 7' plastic reel $12.50

GX Open -Reel TapeExtremely high output level, extended range,

low -noise, low -distortion tape for mastering andall critical recording applications. Back treatedfor smooth running and stable winding. Avail-able in 35- and 50 -micron thicknesses.GX35-180BM. 3,600 ft, 10.5' metal reel $27.30GX50-120BM. 2,500 ft, 10.5' metal reel $23.40GX35-90B. 1,800 ft, 7' plastic reel $10.10GX50-60B. 1,200 ft, 7' plastic reel $8.60

MicrocassettesD-MC60B3. Same dynamic formulation asstandard -size cassettes. Has flat response andlow noise for speech recording. Packed inthrees. 60 min each $9.40AD-MC60B3. Same acoustical dynamic formu-lation as standard -size cassettes. High -output,extended -range, low -noise tape for music andspeech recording. Packed in twos. 60 mineach $7.80MA-MC60. Same metal -alloy tape formulationas standard -size cassettes. High-MOL, high -co-ercivity tape for critical music recording in met-al -compatible microcassette recorders. Singlepack. 60 min $7.00

TEACMetal -Reel Cassette TapesCRC -60. Cr02 tape. 60 min $5.95CRC -90. Cr02 tape. 90 min $6.50CDC -60. Normal bias. 60 min $5.75CDC -90. Normal bias. 90 min $6.00

High -Grade Cassette TapesCr02 high-grade cassette tapes.HDX-60. 60 min $3.95HDX-90. 90 min $5.00

Premium -Grade Cassette TapesMetal premium -grade cassette tapes.MDX-60. 60 min $4.75MDX-90. 90 min $6.30

Studio 52 Cassette TapeMetal cassette tape wound on colored metalreels (gold, silver). C-52 length $6.50

Sound 52 Cassette TapeNormal -bias cassette tape wound on coloredmetal reels (blue, black, gold, green, pink, sil-ver). C-52 length $5.00

TRIADMG -X90 Cassettes90 -min, metal -position Type -IV tape featuringDelta transport mechanism shell and cleaningleader. FR at 10,000 Hz +0 dB; MOL at 315 Hz+5 dB; SOL at 10,000 Hz, -1 dB; retentivity3300 gauss; coercivity 1,150 Oe $4.99

FX-90 Cassettes90 -min, normal -position Type -I tape featuringDelta transport mechanism shell and cleaningleader. FR at 10,000 Hz +3 dB; MOL at 315 Hz+5.5 dB; MOL at 10,000 Hz -6 dB; retentivity1,800 gauss; coercivity 380 Oe $3.39

EM -X90 Cassettes90 -min, high -bias Type -II tape featuring Deltatransport mechanism shell and cleaning leader.FR at 10,000 Hz +0.5 dB; MOL at 315 Hz +5dB; SOL at 10,000 Hz -3 dB; retentivity 3,100gauss; coercivity 720 Oe $3.99

VISA BY INTERWORLDELECTRONICSHigh Performance I TapeFerric cassette tape with iron dioxide coating.60 min $1.5990 min SI.99

Extra Performance II TapeHigh -bias cassette tape.60 min $1.9990 min $2.49

CX-II Professional TapeHigh -bias cassette tape.60 min $2.4990 min $3.49FDX-I Professional TapeFerric cassette tape.60 min $1.9990 min $2.79

UFX-I High Tech TurboFerric cassette tape with clear housing.60 min $2.9990 min $3.99UCX-II High Tech TurboHigh -bias cassette tape.60 min $2.9990 min $3.99UCX-H-S High Tech TurboHigh -bias cassette tape with ultra -refined Cr02coating and special housing.60 min $3.4990 min $4.99

DI RECTORY OFMANUFACTURERS

BASF SYSTEMS, Crosby Dr.,Bedford, MA 01730CERTRON, 1651 S. State CollegeBlvd., Anaheim CA 92806DENON AMERICA, 27 Law Dr.,Fairfield, NJ 07006FUJI MAGNETIC PRODUCTS,555 Taxter Rd., Elmsford, NY10523IRISH MAGNETIC TAPE, 270Newtown Rd., Plainview, NY 11803JVC COMPANY OF AMERICA,41 Slater Dr., Elmwood Park, NJ07407LASER by SWIRE MAGNETICS,301 E. Alondra Blvd. #1187, Garde-na, CA 90248MAXELL CORP. OF AMERICA,60 Oxford Dr., Moonachie, NJ07074MEMOREX by MEMTEK, 2155S. Bascom Ave., Campbell, CA95008NAKAMICHI USA, 19701 S. Ver-mont, Torrance, CA 90502PANASONIC, One PanasonicWay, Secaucus, NJ 07094QUASAR, 9401 W. Grand Ave.,Franklin Park, IL 60131REALISTIC (Division of TandyCorp.), 1300 One Tandy Center,Fort Worth, TX 76102SCOTCH (3M Corp.), 3M Center,Bldg. 223-5N-01, St. Paul, MN55144SONY, Sony Drive, Park Ridge, NJ07656TDK ELECTRONICS CORP., 12Harbor Park Dr., Port Washington,NY 11050TEAC CORP. OF AMERICA,7733 Telegraph Rd., Montebello,CA 90640VISA by INTERNATIONALELECTRONICS, 5601 NW 78thAve., Miami, FL 33166


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featuring the Eastman Wind Ensemble under the directionof Donald Hunsberger. The excitement of unparalleledmusicianship sparks this album from Wynton's spiritedperformance of "Carnaval Of Venice" to his technicaltour de force on "The Flight Of The Bumblebee"-the fastestversion ever recorded!

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BEST OF THE MONTH

Stereo Review'scritics choose the outstandingcurrent releases

ANDRAS SCHIFF'SFRESH -SOUNDINGTCHAIKOVSKY

ANDRAS SCHIFF is a pianist weidentify with the music ofBach, Mozart, and Schu-

mann. We don't think ofthe Tchaikovsky Concerto in B -flatMinor as his sort of work, andneither does Schiff. He surely neverthought of recording it, but Lon-don/Decca, the label that has madehim one of its star "properties" inthe last few years, thought it wouldbe a good idea and put him togetherwith no less a team than Sir GeorgSolti and the Chicago Symphony.According to Schiff, he didn't haveto learn the piece: "I still had it inmy fingers from having had to playit in the Tchaikovsky Competition,and I thought, too, that it might benice to record it before I simplydrop it from my repertoire."

Anyone who can make this worksound as freih and beautiful asSchiff does ought never to think ofdropping it from his repertoire, butif he does, the recording will be evenmore of a treasure, in the sense thatit will be the only way to hear hisperformance. In any event, it joinsthe Argerich/Dutoit recording onDeutsche Grammophon at the verytop of the list of CD versions of thismost popular of all concertos.

What Schiff does with the Tchai-kovsky is nothing mysterious. Hesimply approaches the work withthe same seriousness and enthu-siasm he shows for Bach or Mozartor any other music he might chooseto play. He is neither especiallyinfluenced by tradition nor out toflout it. He lets the big tunes singwithout milking them. He knowshow to be powerful without beingoverpowering and how to makeevery note really beautiful withoutimpeding the natural momentum ofthe piece. And what momentum!He finds an ideal tempo for everymovement, and there is no gear -

shifting; phrases don't appear to be"molded" but flow with the samesense of intuitive assurance. Thereis, in short, nothing the least bitlabored or self-conscious in this per-formance. It is a model of clarityand apparent spontaneity in manyrespects similar to the recordings ofthis work made by Solomon and thelate Sir Clifford Curzon. Solti wasthe conductor in Curzon's record-ing, too, and in the new one withSchiff he seems to respond to bothhis soloist and their joint undertak-ing with an altogether exceptionalenthusiasm-an enthusiasm gener-ated, one has every reason to feel,by the joy of discovering so muchfreshness and beauty in a work as"overexposed" as the TchaikovskyFirst Concerto.

In nearly every one of Schiff'sconcerto recordings (all but two, Ithink), his conductors have been fel-low Hungarians, but this is the firstin which he has performed music bya Hungarian composer. Coupledwith the Tchaikovsky is the Varia-tions on a Nursery Song by the greatErn6 Dohnanyi, who was himselfan elegant pianist with repertoireaffinities very much like Schiff's-and who was also one of Solti'steachers. This was an imaginativeidea; the Dohnanyi is an enchantingwork, and it is not heard nearly asfrequently as it ought to be. I can

imagine it played with a little morevivacity than is evident here, butcertainly not with more affection,subtlety, or all-round charm.

The recording itself is as close toperfection as even this label has yetcome, with the piano in the Tchai-kovsky for once in absolutely idealbalance with the orchestra. Andhow one appreciates the wide dy-namic range of the compact disc inthe soft passages of the slow move-ment! Richard Freed

TCHAIKOVSKY: Piano Concerto No.1, in B -flat Minor, Op. 23. DOH-NANYI: Variations on a Nursery Song,Op. 25. Andras Schiff (piano); ChicagoSymphony, Georg Solti cond. LONDON0 417 294-1 $10.98, C) 417 294-4$10.98, C) 417 294-2 no list price.

TAJ MAHALGOES HISOWN WAY

THOSE who lament the lackof individualism among to-day's recording artistsshould listen to "Taj," the

new album by Taj Mahal. It is thefirst release in eight years by thisversatile singer -guitarist -composer,who has always sounded more likean old-time Mississippi bluesman

Andras Schiff a model performance of the most popular of all concertos


BEST OF THE MONTH

than a college -educated, one-timefarmer from Massachusetts. Back inthe late Sixties and early Seventies,a time of national soul-searching,there was a ready audience for hisdistinctive brand of music, whichdeftly blended genuine folk idiomswith urgent contemporary mes-sages. He came fully equipped witha built-in sense of authenticity, cul-tivated by his careful study of hisroots. But the times changed.

Now Taj Mahal has re-emerged tolaunch a counterattack against whathe has called "today's chocolate-covered -granola -bars music." In tenresplendent selections, ranging fromthe heavy blues we know so wellthrough previously unheard-of vari-eties of South Pacific popular mu-sic, he has created an album thatchallenges the comfortable con-straints of current popular modeswhile providing an extraordinarilyhigh level of musical gratification.

Taj Mahal has always followedhis personal muse. In the past-asin the present-it has led him to themusic of black America. But he haslived in Hawaii for the past four anda half years, and he has also soughtinspiration in the indigenous musicand social concerns of the SouthPacific. This element, as much asanything else here, places the album

Taj Mahal: immediately engaging

in a category of its own. The speciallilt and lyrical cadences of the warmclimates are its hallmark, and itspolitical statements are ironicallycouched in the most appealing ofmusic. For instance, the first track,

Everybody Is Somebody, says"Black is beautiful," but in the mostpalatable terms. Light of the Pacificand French Letter employ familiarreggae rhythms while addressingsuch concerns as nuclear testing andits disastrous effect on the environ-ment. Kauai Kalypso, referring tothe state in which Taj Mahal nowlives, deals with the economic con-cerns of its sugar -cane farmers.

"Taj" is an album that must belistened to quite carefully, for themusic is so immediately engagingit's easy to overlook the lyrics. TajMahal at his best, as he is here, issimply so riveting a musical forcethat the formidable funk of his vo-cals and instrumentals is all thatseems to matter. What's more, hedelivers two superb servings ofdown-home blues, Do I Love Herand Deed I Do. The group of sup-porting players on "Taj" iscrammed with stars, but none of themusical trappings detract from theessential message, which is that TajMahal is a musician with a view.Views, really-views to be reckonedwith. Phyl GarlandTAJ MAHAL: Taj. Taj Mahal (vocals,acoustic and electric guitars, bass, per-cussion, keyboards); Wayne Henderson(keyboards); Babatunde Olatunji,Ralph McDonald (percussion); othermusicians. Everybody Is Somebody;Paradise; Do I Love Her; Light of thePacific; Deed I Do; Soothin; PillowTalk; Local Local Girl; Kauai Kalypso;French Letter. GRAMAVISION 18-8611-1$9.98, 18-8611-4 $9.98, © 18-8611-2no list price.

CHARLES DUTOIT:A SURPASSING"FIREBIRD"

IT was a little more than fiveyears ago that Charles Dutoitand the Montreal SymphonyOrchestra appeared on records

for the first time, in a marvelousperformance of the complete Daph-nis et Chloe on London. It identi-fied the orchestra as one of this con-tinent's overlooked treasures andDutoit himself as a conductor in nodanger of being overlooked fromthat moment on. Since then Dutoithas made some valuable recordings

with French and German orchestrasfor Erato, and further releases withhis Canadian orchestra have solidi-fied its reputation.

Charles Dutoit: enthusiasm and polish

The deservedly successful Daph-nis launched an extended Ravel cy-cle and further exploration of theballet scores written for Diaghilevby such composers as Stravinskyand Falla. The latest in this series is,to my ear, the finest issue yet fromthis team, a gorgeous complete Fire -

bird that surpasses the most distin-guished previous recordings of thisglittering but very substantial score.I feel that Dutoit has gone just a bitfarther than other conductors inprobing its fairy-tale core and inlighting its remarkable colors, andhe's persuaded every player to re-spond on the level of a sharedvision.

And what a splendid program Du-toit has devised! While other re-cordings of the complete Firebirdcome without additional material,Dutoit fills out his package with thetwo earlier pieces that first arousedDiaghilev's interest in the obviouslytalented but still unknown youngStravinsky: the Scherzo fantastique,a fascinating piece that alone mighthave made a lesser composer's rep-utation, and the brief fantasy calledFireworks.

These three works were the first inwhich Stravinsky's own personalitycame to the fore, and one mightalmost say they grew out of oneanother. In any event, they add upto a stunning package, for Dutoitbrings the same enthusiasm andpolish to the shorter pieces as to thebig one, and the recording itself


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three sonically su-perior removable

sound degradation Alpine is standa-d equipment in the Lamborghin Countach radio/cassettebeing the most con-mon failing o' players that are Alpine -quality down toremovable radios). the last circuit. And built for the long,

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BEST OF THE MONTH

(with access points on the CD forcueing each section of The Firebird)is another demonstration -class pro-duction from a label that has givenus more than a few. Richard Freed

STRAVINSKY: The Firebird (Com-plete Ballet. 1910); Scherzo fantastique,Op. 3; Fireworks, Op. 4. Montreal Sym-phony, Charles Dutoit cond. LONDON G414 409-1 $10.98, 414 409-4 $10.98,

414 409-2 no list price.

FIRE TOWN:RESTORINGROCK'S PROMISE

verffirP1111.111111.0104POPV

LOT of the fun of rock-and-roll used to be discoveringthings for yourself, findingout about a band that no-

body else in your school had heardof, or stumbling across a record andwondering where the music hadbeen all your life. These days, whenthe major record companies havebecome a de facto monopoly andpop music has blanded out as aresult, this happens less than it usedto, but it still happens. Case in

Erikson and Phil Davis, are a lotmore resonant and complex thanthat categorization might suggest.

The twelve -string part on the rag-ingly beautiful Carry the Torch, forexample, doesn't recall the Byrds somuch as the idea of the Byrds, andthe central guitar riff of FavoriteSong, which turns into a metaphorfor the relationship being describedin the lyric, is so integral to thewhole thing that you might not evennotice that it's based on a quotefrom the Yardbirds.

There's just so much else to ad-mire, from the deft productiontouches on the Creedence-like Rainon You to the way the gorgeouscountry ballad Secret Heart turnsnear -symphonic in the most unex-pected places. But what's most im-pressive about the album, apartfrom its ungimmicky integrity, isFire Town's serene self-assurance.Clearly, these guys write and playthe way they do because they haveto, not because they think it's a goodcareer move.

Let me be as unequivocal about"In the Heart of the Heart Country"as I can. There is more intelligence,craftsmanship, and genuine feeling

Doug Erikson, Butch Vig, Tom LaVarda, and Phil Davis ofFire Town

point: Fire Town's "In the Heart ofthe Heart Country," a debut albumon a small independent label by anunknown band from the wilds ofWisconsin that crossed my desk to-tally unheralded-and then pro-ceeded to knock my socks off.

As the title suggests, Fire Town'smusic can be lumped, at least super-ficially, with that of a lot of otherroots -conscious bands, and there isa certain Midwestern -gothic feel tomuch of it-fleeting images of rain-swept highways, deserted factories,and the like. By and large, though,the songs, mostly by guitarists Doug

here than in almost any record Ihave heard in a good long time, andyou should do everything humanlypossible, short of theft, to get holdof a copy. It's the kind of album thatwill restore your faith, and not justin rock-and-roll. Steve Simels

FIRE TOWN: In the Heart of theHeart Country. Fire Town (vocals andinstrumentals). Places to Run; Carry theTorch; Secret Heart; Rain on You;Heart Country; Favorite Song; There's aFire; One More Reason; The MysteryField. BOAT FT 1013 $8.98 (from BoatRecords, P.O. Box 3362, Madison, WI53704).

NOW ON CDCompact Discs ofpreviously released LP's

POPULARO ERIC CLAPTON: No Reason toCry. RSO/PoLvGRAxi 813 582-2 (witha previously unreleased bonus track)."Rich and fad -free" (February 1977).

O ROBERT CRAY: Strong Persuader.MERCURY 830 568-2. "Uncomplicated.soulful music [delivered with] engagingurgency" (February 1986).

O CULTURE CLUB: Kissing to BeClever. VIRGIN/EPIC EK 38398. "NewWave supper club" (April 1983).

O PETER GABRIEL: Plays Live.GEFFEN 4012-2 (two CD's)."Electrifying" (September 1983).

O BENNY GOODMAN: Air Play.DR. JAZZ/CBS WGK 40350 (two -recordset on one CD). Broadcast recordingsdating from 1936-1938.

O MAME (Jerry Herman). COLUMBIACK 03000. Original 1966 Broadwaycast, with Angela Lansbury.

O THE MOODY BLUES: SeventhSojourn. THRESHOLD/POLYGRAM 820159-2. "Lithe and responsive, one of[their] best" (April 1973).O TELEVISION'S GREATESTHITS, VOLS. I -II. TEEVEE TUNESTVT 1100 and 1200. "Never a dullmoment" (January 1987).

CLASSICALO BACH: Violin Concertos Nos. 1-2;Double Concerto. Perlman. Zukerman;Barenboim. EM1/ANGEL CDC 47856."Superbly musical" (March 1973).

O BEETHOVEN: Piano ConcertosNos. 1-5. Gilds; Szell. EMI/ANGELCDC 47713 (Nos. 1-2); CDC 47714(Nos. 3-4); CDC 47619 (No. 5 plusvariations for solo piano). "Totalmastery" (December 1968).

O BERLIOZ: La Damnation de Faust.Veasey, Gedda. Bastin; C. Davis.PHILIPS 416 395-2 (two CD's)."Unflagging splendors" (March 1974).

O FAURE: Barcarolles. Collard.EMI/ANGEL CDC 47358. "Exquisitelymolded. richly lyrical" (December1975).

O MONTEVERDI: Orfeo. G. Quilico:Corboz. ERATO/RCA ECD 88133."Charged with drama" (June 1986).

O VERDI: Nabucco. Suliotis. Gobbi;Gardelli. LONDON 417 407-2 (twoCD's). A performance of "greatconviction" (Best of Month. September1966).

74 STEREO RwiEw MARCH 1987

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*YAMAHACIRCLE NO. 14 ON READER SERVICE CARD

POPULAR MUSIC

Discs and tapes reviewed byChris Albertson, Phyl Garland,Alanna Nash, Mark Peel,Steve Simels

JOHN ANDERSON: Countrified.John Anderson (vocals, guitar); vocaland instrumental accompaniment.Countrified; What's So Different AboutYou; Yellow Creek; Do You Have a Gar-ter Belt; Honky Tonk Crowd; Peace inthe Valley; You Can't Judge a Book (Bythe Cover); If I Could Have My Way;and two others. WARNER BROS. 25373-1 $8.98, 0 25373-4 $8.98.

Performance: Not his bestRecording: Very good

John Anderson, a Lefty Frizzell acolytewho came on the scene in 1980 and wona Horizon award from the Country Mu-sic Association three years later, lookedfor a while as if he were going to turnNashville upside down, and he darnednear did with a boogie tune calledSwingin', the 1983 Single of the Year.Since then, however, Anderson's al-bums-which were once packed withglistening, left -field jewels such as I'mJust an Old Chunk of Coal (But I'mGonna Be a Diamond Some Day), Wildand Blue, and Would You Catch a Fall-ing Star-have gotten increasinglyspotty. Part of the reason is that he hasslacked off on the honky-tonk, barroomweepers that he does best and chosensome particularly airless songs that donothing to boost his career.

On "Countrified" Anderson offers uptwo barroom ditties, the ingratiatingWife's Little Pleasures and Honky TonkCrowd, but he recycles four songs-Tony Joe White's Do You Have a Gar-ter Belt, Merle Haggard's The Fightin'Side of Me, Willie Dixon's You Can'tJudge a Book (By the Cover), andThomas A. Dorsey's Peace in the Val-ley-that, with the possible exception ofthe last tune, only make you yearn forthe better-known renditions. I'm surethat Anderson is still a formidable tal-ent-there's something transfixingabout his weirdly wistful voice-butthis album does little to prove it. Betterluck next time. A.N.

FRANKIE BEVERLY AND MAZE:Live in Los Angeles. Frankie Beverlyand Maze (vocals and instrumentals).Running Away; Too Many Games; IWanna Thank You: You; Happy Feel -

EXPLANATION OF SYMBOLS:

= DIGITAL -MASTER LP = TAPE CASSETTE = COMPACT DISC

ERIC CLAPTONAoFTER nearly a decade of lowering

ur expectations, Eric Claptonbrings a lot of excess baggageto his new recording, "Au-

gust." So maybe it isn't as good as Ithink it is. But don't bet on it. On "Au-gust," Clapton has stopped hiding be-hind slick, empty arrangements andstarted playing for keeps again. Nothingflashy, just clean, sharp attacks and sim-ple, solid rhythm work.

Take the opener, for instance, It's inthe Way That You Use It, from TheColor of Money. All right, it's a starvehicle and you're supposed to be key-ing on the vocal, but if you hang withthe song till the end, you're rewardedwith a sizzling exit solo. For me, thatsolo is really when the album begins.

Clapton picks up momentum withLamont Dozier's Run, which features apunchy rhythm chart by Phil Collins,then starts to burn with Tearing UsApart, a duet with Tina Turner. Claptonis clearly showing off his chops for Tina,but he upstages even her with a terrificgrowling vocal. The first time I heardClapton sing "The rain is falling" onthis track, I swear I got drenched. Healso does a nice cover of West Coastblues guitarist Robert Cray's Bad In-fluence, comes up with a great police -siren guitar sound for Hold On, andtransforms a rather bland tune calledMiss You (for which he has no one toblame but himself, since he wrote it)

into something memorable with an ex-quisitely raunchy solo. As if to demon-strate his range, Clapton even does aconvincing job on the weird, Euro-synth-pop Behind the Mask. It's actual-ly my favorite track on the album.

"August" isn't a guitar album. Clap -ton has developed into a wizened, dis-tinctive vocalist with the years, andwhile he gets swamped occasionally bysome of the headier arrangements, it isreally his vocals that give "August" itscharacter. But his guitar work is impor-tant nonetheless. It's workmanlike andconfident, and given Clapton's history,that's nothing to sneeze at. Phil Col-lins's production is bright, flattering,never overpowering, and the band-including the Brecker Brothers and JonFaddis, who tear through Leon Pendar-vis's horn charts-seems to have en-joyed the session. So, I'm happy to pre-dict, will you. Mark Peel

ERIC CLAPTON: August. Eric Clap -ton (guitar, vocals); Greg Phillinganes(keyboards, backing vocals); NathanEast (bass); Phil Collins (drums, percus-sion, backing vocals); other musicians.It's in the Way That You Use It; Run;Tearing Us Apart; Bad Influence; WalkAway; Hung Up on Your Love; Take aChance; Hold On; Miss You; HolyMother; Behind the Mask. WARNERBROS. 25476-1 $8.98, @ 25476-4 $8.98,

25476-2 no list price.


Earl Thomas Conley sings a duet with Anita Pointer in his new album.

ings; Feel That You're Feeling; I Wantto Feel I'm Wanted; We Are One; andseven others. CAPITOL SWBB-12479two LP's $17.98, 0 4XWW-12479 onecassette $17.98.

Performance: Nostalgic vibesRecording: Satisfactory

Frankie Beverly and the vocal -instru-mental group called Maze are a delight-ful throwback to the glorious era in soulmusic that began in the mid -Sixties andextended into the mid -Seventies, end-ing at about the time synthesizers seizedcontrol. Somehow they have managedto survive by emphasizing liltingrhythms, expressive singing, sympa-thetic instrumentals, and a light airy fla-vor-all characteristics of the blackpopular music of that earlier period.Stylistically, they are reminiscent of thememorable West Coast band War,though they steer clear of urban politicsand focus on love, faith, and personalfeelings. The dominant element is thepleasant baritone of Beverly, who alsowrites and produces all of the group'smaterial. The creative drain this repre-sents is apparent on this extended setrecorded live in Los Angeles. For all itscaptivating music, it does generate acertain monotony with its repetitiousrhythms and themes spread over foursides, though there are some momentswhen the dynamics change, as on thegospelish I Wanna Thank You. Thealbum has nevertheless made a homefor itself on my turntable, transportingme back to the time when this musicwas creating a lot of good vibes. P.G.

JAMES BROWN: Gravity. JamesBrown (vocals); vocal and instrumentalaccompaniment. Gravity; Let's Get Per-sonal; How Do You Stop; Turn MeLoose, I'm Dr. Feelgood;; and four oth-

ers. SCOTTI BROTHERS/CBS FZ 40380,© FZT 40380, no list price.

Performance: Soul livesRecording: Good

The Godfather of Soul has worked a bitof techno-funk into his new record, butthe emphasis here is still on solidrhythm-and-blues tunes. And they areperhaps the most tuneful and ingratiat-ing of James Brown's long career.

There is a heavy, heady trace of theold Memphis blues in How Do You Stopand a get -down boogie beat on Turn MeLoose, I'm Dr. Feelgood, while the titletune and Let's Get Personal employrhythmic repetition imaginatively with-out beating you over the head. Theresult is hypnotic. The best selectionoverall, though, is Living in America,once a Top 10 hit with its irresistiblebeat, catchy melody, and patriotic mes-sage. Here Brown whips that messageacross with a sense of urgent energy.

No small ingredient in the artisticsuccess of this recording is the highquality of the instrumentals that com-pensate for Brown's minimal vocalism.The Uptown Horns punch out sharp,inspired statements that are perfectlycomplemented by the sassy guitar workof Dan Hartman and T. M. Stevens.And nowhere in this album do you heara single one of those horrible clichéhorn licks that are now standard fare onblack pop records. Instead, these guysreally play! "Gravity" offers welcomeassurance that soul music is alive andwell and will continue to thrive as longas James Brown is around. P.G.

VASSAR CLEMENTS: Hillbilly JazzRides Again. Vassar Clements (fiddle,lead vocals); Dave Salyer (guitars);Steve Davidowski (saxophone); KirbyBivans (drums); Edgar Meyer (bass);

Doug Jernigan (steel guitar); other mu-sicians. Hillbilly Jazz; Don't Hop. Don'tSkip; Airmail Special; Swing Street; Bea Little Discreet; and seven others. FLY-ING FISH FF 385 $8.98.

Performance: Top of the formRecording: Good

A dozen years ago fiddler Vassar Cle-ments, along with David Bromberg, D.J. Fontana, and Doug Jernigan, re-corded a ground -breaking double albumcalled "Hillbilly Jazz," which fusedcountry, blues, western swing, jazz, andbig -band music. Now comes its sequel,with a couple of the original players.

"Rides Again" couldn't possibly seemas revolutionary as the first one did,times and musical evolution being whatthey are, but this record has nothing tobe ashamed of. There aren't any roaringfires on it, but it burns steadily and vig-orously and occasionally breaks into ablaze. The original tunes, written most-ly by the players in the band, jive beau-tifully with the old swing standards. Adelight. A.N.

EARL THOMAS CONLEY: TooMany Times. Earl Thomas Conley (vo-cals); vocal and instrumental accom-paniment. Too Many Times; I Can'tWin for Losin' You; Attracted to Pain;Many Forgiving Years; That Was aClose One; and five others. RCA 5619-1$8.98, 5619-4 $8.98, 0 5619-2 no listprice.

Performance: Stretching outRecording: Nice

For his sixth RCA album, Earl ThomasConley, one of country music's mostpowerful and poetic songwriters, cutback on the number of his originaltunes in an effort to showcase his vocaltalents. He performs a pop -orientedduet with Anita Pointer, Too ManyTimes, and a variety of not -very -coun-try -sounding songs-mostly white-faced r -&-b, Fifties rock-and-roll, andupbeat love ballads-that stretch himout as a singer.

The duet, written by Michael Smoth-erman, has already proved a big hit, soConley makes his point. But the irony isthat the most affecting songs here arethe three that Conley had a hand inwriting-Attracted to Pain, I Need aGood Woman Bad, and If Leavin' WasEasy, the first exploring the dark side oflove, one of Conley's strong suits, andthe second offering aching country -soul.The more commercial, hit -bound tuneshave more integrity than those usuallysmuggled onto a country record, and asa singer Conley knows how to sail themhome. But it is in his originals-thesongs that RCA probably regards as fill-ers-that Conley again shows himself tobe one of country's true and indispens-able treasures. A.N.

FIRE TOWN: In the Heart of theHeart Country (see Best of the Month,page 74)


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JESSE JOHNSON: Shockadelea.Jesse Johnson (vocals, guitar); othermusicians. Change Your Mind; Crazay;Baby Let's Kiss; A Better Way; Do Your-self a Favor; Burn You Up; and four oth-ers. A&M SP -5122 $8.98, © CS -5122$8.98, (15) CD -5122 no list price.

Performance: A new Sly?Recording: Very good

Just when it seemed that funk hadbecome nothing but a noisy irritant thatwouldn't go away, Jesse Johnson camealong to show us what contemporaryblack dance music is all about. A giftedguitarist who speaks with his instru-ment as well as his voice, Johnson doesnot rely simply on a beat. He surroundsit with music that reflects influences ofthe distant and more recent past.

A Better Way is a deep bow to theblues with its sensual bass lines andinspired guitar work. Black in America,an appeal for racial equality cast in theform of a ballad, rings with sincerity.Another highlight is Johnson's duetwith Sly Stone on the rollicking Crazay,which is guaranteed to put you inmotion. P.G.

HOWARD JONES: One to One. How-ard Jones (vocals, keyboards, drum andpercussion programs, sequencing); vo-cal and instrumental accompaniment.You Know I Love You . . . Don't You?;The Balance of Love (Give and Take);All I Want; Where Are We Going?;Don't Want to Fight Anymore; and fiveOthers. ELEKTRA 60499-1 $8.98, ©60499-4 $8.98.

Performance: PerkyRecording: Excellent

A Howard Jones album is like a datewith a beautiful woman who makes yousquirm every time she opens hermouth. I don't think there's anyone inpop music right now who's as inventiveor as musical a performer on synthesiz-ers. His songs are wonderfully melodic,his keyboard palette has a wide range ofmoods and colors, and he's got counter-point down like one of the Bach kids.And his intentions are good: he'sagainst conformity and anarchy, not tomention drugs and meaningless sex.But somehow everything Jones sayswinds up sounding sanctimonious or,worse, simpleminded. You're left withthe impression that his contribution toa discussion of the arms race would besomething on the order of, "Well I don'tsee why we can't all just live together inpeace and harmony."

That caveat out of the way, "One toOne" is a huge improvement over"Dream into Action" and "Action Re-play." From the quasi -reggae beat ofGive Me Strength to the lush orchestra-tion of Will You Still Be There to theshards of splintered synth on The Bal-ance of Love to the bleating horns ofYou Know I Love You, Jones coaxesforth an amazing assortment of stylesand sounds. On titillation alone, you've

Howard Jones: wonderfully melodic

got to give him high marks. And if hegets a little preachy now and then, hissincerity makes it easier to take.

At the risk of sounding like a brokenrecord, I'll say it again: Howard Jones's"Human's Lib" is an essential acquisi-tion. But "One to One" is certainly thebest of the rest. M.P.

FRED KOLLER: Night of the LivingFred. Fred Koller (vocals, guitar, Do-bro); Bruce Sweetman (fiddle, viola,trumpet); vocal and instrumental ac-companiment. I Know How the Dino-saurs Felt; Jennifer Johnson and Me;Roundin' Third and Heading Home;The White Bread Blues; and six others.LUCRATIVE 0001 $8, © 0001 $8 (fromLucrative Records, P.O. Box 90363,Nashville, TN 37209).

Performance: Fine time for allRecording: Good

Imagine, if you can, what Randy New-man might sound like doing a Sylvesterthe Cat impersonation, and you havesome idea of the air that circulatesaround Fred Koller, one of Nashville'smost prolific-and off-the-wall-song-writers. After writing songs recorded byGene Watson, Bobby Bare, Gail Dav-ies, Jerry Lee Lewis, Michael MartinMurphy, and others, Koller has now cuthis own solo album, offering what hesays is the most -requested materialfrom his club performances.

A man who says he "looks for a senseof the absurd" when adding to his col-lection of 5,000 records, Koller spillssome of that over his own work too,such as Goodnight Little Houseplant,which he wrote with Shel Silverstein.But Koller's humorous approach alter-nates with an affecting and lyrical qual-ity that's evident in Lacy J. Dalton'sBoomtown and Nanci Griffith's Goin'

Gone. Koller may not have a householdname, but in Nashville he's practically acult artist. Here's why. A. N.

KRAFTWERK: Electric Cafe. Kraft-werk (vocals and instrumentals). BoingBoom Tschak; Techno Pop; MusiqueNon Stop; The Telephone Call; Sex Ob-ject; Electric Cafe. WARNER BROS.25525-1 $8.98, © 25525-4 $8.98.

Performance: What performance?Recording: Unfortunately, yes

If your telephone answering machinecould think, it would probably loveKraftwerk. But I can't imagine anyearthly reason why a human beingwould want to listen to this stuff. "Elec-tric Cafe" is an example of digital tech-nology taken to horrible extremes. Digi-tized voices and percussion sniff, clank,and burble self -reflexive lyrics, like"synthetic electronic sound, industrialrhythms all around," over and over andover. It's like eavesdropping on a robotin therapy.

"Electric Cafe" is so preposterousthat at first you think there's got to bemore to it than meets the ear: maybe it'ssome kind of neo-Expressionist state-ment about the domination of technol-ogy, or maybe the group's machinesreally did take over the recording ses-sion-maybe the guys are tied up in thestudio and the synthesizers are outspending their royalty checks on one-night stands with cheap cable -readyTV's. But by the time you get to TheTelephone Call-yes, they actually dida song using that most tired of cliches, aringing telephone-you realize thatKraftwerk is just plain dumb. M.P.

STACY LATTISAW: Take Me All theWay. Stacy Lattisaw (vocals); vocal andinstrumental accompaniment. Jumpinto My Life; The Hard Way; Take MeAll the Way; A Little Bit of Heaven; YouAin't Leavin'; Over the Top; and fourothers. MOTOWN 6212 ML $8.98, ©6212 TC $8.98.

Performance: RobustRecording: Satisfactory

Stacy Lattisaw, the little girl who grewup in the spotlight, having made herrecording debut with Van McCoy whenshe was twelve, is now nineteen, whichplaces her squarely in the age groupmost likely to respond to this album.Gifted with a robust voice, she hasalways sung with an authority amazingin one so young, and her vocal surenesshas increased over the years. Whilemost of the songs here are moldedaccording to today's pop formulas, sherises above them by virtue of her force-ful delivery. She is heard to best advan-tage on Take Me All the Way and a bal-lad called Love Me like the First Time.In all, a promising step forward. P.G.

CYNDI LAUPER: True Colors. CyndiLauper (vocals); vocal and instrumentalaccompaniment. Change of Heart;


Canton announces significantengineering advances in the scienceof music reproduction.

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Enlarged detail fromCenter of photo: therigid aluminum ringwith obliquely posi-tioned xermanent mag-nets. Ir front of it, thesemiconductor sensorwhich is linked via asupporting plate withthe diaphragm andmoves to and fromwith it.

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CIRCLE NO. 33 ON READER SERV CE CARD

LIONA BOYD

0 N her new album, "Persona,"the world-renowned English-born guitarist Liona Boydturns her attention to an en-

trancing and dignified set of pieces thatintelligently bridges the gap betweenclassical guitarists and their pop coun-terparts. Joined by an ensemble thatincludes blues/rock guitarist Eric Clap -ton, David Gilmour of Pink Floyd, andcellist Yo -Yo Ma as well as keyboards,synthesizer, percussion, and bass-thepresence of which is bound to alienatesome of the more purist classical -guitarbuffs-Boyd balances short, lyrical, andintrospective pieces with moody, im-pressionistic, medium -length composi-tions that evoke other eras of history,such as the Middle Ages in producerMichael Kamen's Sorceress.

Boyd seems to be just as much at easewith Francisco Tarrega's Recuerdos dela Alhambra (here renamed Memoriesof a Thousand Moons), where she getsto prove her nickname of "Miss Tre-melo," as she is with Vangelis's moviemusic (L'Enfant, from The Year of Liv-ing Dangerously), and she interacts well

with the supporting musicians withoutever letting them take the upper hand.The modern pieces, including Boyd'sown Destiny and Persona, have moreemotional range to them than the adap-tations of classical fare (the Tarrega andSea of Tranquility, credited to Brahms).But throughout the program, Boyd dis-plays a particularly diverse range of ton-al colors and textures. It is this, ratherthan her magnificent virtuoso tech-nique, that the listener remembers longafter the album is over-one of theways "Persona" differs from the usualnylon -string performance and one ofthe reasons this album is so satisfyingand moving. Alanna Nash

LIONA BOYD: Persona. Liona Boyd(acoustic guitar); Eric Clapton, DavidGilmour (electric guitar); Yo -Yo Ma(cello); other musicians. L'Enfant; SunChild; Memories of a Thousand Moons;Sorceress; Mother and Sister; Labyrinth;Phoenix Reborn; Sea of Tranquility;Destiny; Flight of the Phoenix; Persona.CBS FM 42120, © FMT 42120, © MK42120, no list price.

Maybe He'll Know; Boy Blue; TrueColors; Calm Inside the Storm; What'sGoing On; and four others. PORTRAITOR 40313, C) ORT 40313, 0 RK 40313,no list price.

Performance: SincereRecording: Familiar

As a pop -culture icon, Cyndi Lauper isthe patron saint of the awkward, the dis-affected, the homely, and the noncon-formist. If you're under twenty, hate thejocks, preppies, and greasers in yourhomeroom, make Mom slide yourmeals under the door, and never leaveyour room except to buy records, Cyn-di's for you.

"True Colors" has some killertracks-an inspired cover of MarvinGaye's What's Going On, which showsLauper's got a lot more vocal techniquethan 1 would have guessed, and a hop-ping Brenda -Lee -on -drugs torch song,Maybe He'll Know. Lauper revealsmore of herself than most pop artistsare willing to, but "True Colors" is themusical equivalent of her on -screen per-sona-freakish, squeaky, and a little toopitiable to be much fun. M.P.

DOROTHY LOUDON: BroadwayBaby. Dorothy Loudon (vocals); BuddyBarnes (piano); Ron Delseni (electrickeyboards); John Chiodini (guitars);David Finck (bass); Jimmie Young(drums). Broadway Baby; Bobo's; PackUp Your Sins and Go to the Devil: Ten

on You: and seven others. DRG G SL -5203 $8.98, © SLC-5203 $8.98,CDSL-5203 $15.98.

Performance: Wow!Recording: Excellent

This is the album that lots of us havebeen waiting for Dorothy Loudon tomake-to prove, once and for all, thatthere are few singers who can come nearher in getting beneath the lyrics of ourbest Broadway songsmiths' best songs.Whether she's belting out to the last rowof an imaginary balcony (as in Sond-heim's Broadway Baby) or purring inti-mately to someone sitting right next toher (Porter's After You, Gershwin's DoIt Again), she brings something spe-cial-and deeply communicative-toeach lyric. And Buddy Barnes's fresh,infectious arrangements let her get rightto the core of each song.

For all her reputation as a rowdycomedienne, Loudon is (like MarthaRaye) at her best in the intimate bal-lads. She brings to them a poignanceand sincerity that is always touchingand convincing. Her versions of Arlenand Mercer's I Had Myself a True Loveand Rodgers and Hart's He Was TooGood to Me may well become the stan-dards by which other versions of thesesongs will hereafter have to be judged.

Roy Hemming

TAJ MAHAL: Taj (see Best of theMonth, page 71)


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Flora Purim: a few new twists worth noting

TOM PRINCIPATO: Smokin7 TomPrincipato (vocals, guitar); Steve Wolf(bass, vocals); Clark Matthews (drums,vocals); other musicians. Slipped,Tripped, Fell in Love; My Baby Wor-ships Me; Blue Mood; Lipstick, Powder& Paint; Fish Fry; Here I Come (Backfor a Taste of Your Love); and four oth-ers. POWERHOUSE P-101 $8.98 (fromPowerhouse Records, 3144 Darwin Dr.,Falls Church, VA 22042).

Performance: Best foot forwardRecording: Good

Tom Principato, former guitarist for theBoston -based band Powerhouse andnow a Washington, D.C., area favorite,pulls out all the stops on his first soloLP. Working from a blues base of theMuddy Waters, Howlin' Wolf, and B.B. King variety, Principato goes on towhet his axe on old r -&-b, straight -ahead rock-and-roll, rockabilly, jazz,and swing.

Principato doesn't have the most dis-tinctive voice in the world-he soundssomewhat like Eric Clanton, which isn'ta compliment so much as an assess-ment that he does the most with whathe has. But what he lacks in vocal colorhe makes up in enthusiasm, instrumen-tal execution, and song selection. Inaddition to two tasty instrumentals, heoffers an odorous mix of ripe chestnuts:Clarence Carter's Slipped, Tripped. Fellin Love, Big Joe Turner's Lipstick, Pow-der & Paint, Jerry Lee Lewis's I'm onFire, and Sly Johnson's Here I Come(Back for a Taste of Your Love). But oneof the most dynamic numbers is SteveEarle's My Baby Worships Me, wherePrincipato is joined by the FabulousThunderbirds' Kim Wilson on harmon-ica and duet vocals. This is undiluted,honkin' stuff, with cut -deep guitar so-los. Get it. A.N.

FLORA PURIM AND AIRTO: TheMagicians. Flora Purim (vocals); AirtoMoreira (percussion); other musicians.Sweet Baby Blues; Garimpo; Esquinas;Bird of Paradise; The Magicians; andfour others. CROSSOVER/CONCORDJAZZ CR-5001 $8.98, © CR-5001-C$8.98.

Performance: A delicious blendRecording: Very good

The usual delectable blend of jazz withBrazilian music that is the specialty ofFlora Purim and her husband, the per-cussionist Airto Moreira, is in abun-dance here, with a few new twists worthnoting. Purim tries to sing the blues onSweet Baby Blues, and while it is clearthat this is not her forte, the selectionfeatures some outstanding tenor -saxo-phone work by Mary Fettig, who isheard on other tracks playing sopranoand alto sax. This woman can blow!Also, Purim and Airto offer their owninterpretation of Djavan's Esquinas,which the Brazilian star sang on hisNorth American debut album. They domuch better by his lovely song than hedid, being augmented by an array offirst-rate backing musicians, as he wasnot. Purim otherwise offers plenty ofdelights with her inimitable vocal spe-cial effects, especially on Jump and thetitle track, while Airto is consistentlyamazing in his rhythmic resourceful-ness. A splendid album. P.G.

JUDY RODMAN: Judy. Judy Rod-man (vocals); vocal and instrumentalaccompaniment. I've Been Had by LoveBefore; Until I Met You; Do You MakeLove as Well as You Make Music;You're Gonna Miss Me When I'mGone; She Thinks That She'll Marry;He's All I'll Ever Need; Sure Need YourLovin; and three others. MTM/CAP1-

TOL ST -71050 $8.98, © 4ST-71050$8.98.

Performance: Bright futureRecording: Crisp

Judy Rodman, a former Memphis jin-gles singer, comes to mainstream coun-try music with a smooth, expressivesoprano, proven songwriting abilities,and a sure sense of commerical worth.Sounding alternately like Janie Fricke,Dolly Parton, and Tanya Tucker, Rod-man also sounds like a good girl tryingto tame a hot libido. The resulting con-flict, greased by producer TommyWest's eager production, has so faryielded Rodman a handful of hit sin-gles, with more qn the way. Under-neath, she probably has the capacity totackle something more substantial thanan LP ready-made for radio. But fornow, her album "Judy" points to a busyfuture. A . N.

KENNY ROGERS: They Don't MakeThem Like They Used To. Kenny Rog-ers (vocals); El DeBarge (backgroundvocals); vocal and instrumental accom-paniment. This Love We Share; If ICould Hold On to Love; Anything at All;Twenty Years Ago; Life Is Good, Love IsBetter; and five others. RCA 5633-1$8.98, 5633-4 $8.98, 5633-2 no listprice.

Performance: Knuckling downRecording: Very good

The last few times out, Kenny Rogershas seemed to demonstrate a new inter-est in his records. Unlike the old days,they didn't sound as if the singer justbreezed into the studio, glanced atwhatever his producer put in front ofhim, and cut it. Of course, back then,Rogers was the King of Countrypolitan.Now, as he settles around the fifty-yearmark, he seems to be more concernedwith easy listening.

Nothing on this new set ever risesabove midtempo, and almost all of it isbacked with earnest, fervent strings. Butif there is a certain airless feel to the pro-duction, Rogers sings the program-mostly well -crafted songs about love,the strength derived from it, and theredemptive quality of old friendships-as if he means it. Could these be reflec-tions of a man well into middle age?Does Imelda Marcos wear shoes? A.N.

SOUTH PACIFIC (Rodgers and Ham-merstein). Kiri Te Kanawa, Josd Carrer-as, Mandy Patinkin, Sarah Vaughan,others: Ambrosian Singers; LondonSymphony Orchestra, Jonathan Tunickcond. CBS 0 SM 42205, 0 SMT 42205,

MK 42205, no list price.

Performance: UnenchantingRecording: Good

New recordings of classic Americanshows are always welcome and oftengive fresh insights into their scores (asRCA's Follies recently did). But forgetthis one. Unlike its best-known song,


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Stevie Ray Vaughan: an hour and a hall 0/ guilty pleasure

some enchanted evening it isn't. Operastars Kiri Te Kanawa and Jose Carrerasmay be less miscast than they were inDeutsche Grammophon's West SideStory, but they are still distressingly outof their element.

Te Kanawa, in particular, overdoeswhat she presumes to be pop manner-isms, adopting an unattractively nasallittle -girl voice for some songs and com-ing across in the process more like aparody of a pop singer than a legitimatecrossover artist in the Dorothy Kirstenor Julia Migenes-Johnson tradition.Her Honey Bun and I'm Gonna WashThat Man Right Out of My Hair are, toput it charitably, embarrassing.

Carreras sings Some Enchanted Even-ing and This Nearly Was Mine veryprettily, but his tenor voice soundsmuch too youthful and innocent for theaging plantation owner he's playing (arole many of us identify perhaps toocompletely with the bass voice of EzioPinza on Broadway and Giorgio Tozziin the movie version). Sarah Vaughansings Bali Hai and Happy Talk as ifthey were part of one of her supper -clubsets, which may be fine on those termsbut is certainly not appropriate for aBloody Mary characterization in a showalbum. Only Mandy Patinkin, as Lt.Cable, seems right for his role, and hemakes Younger Than Springtime thehighlight of the album.

Most disappointing of all is JonathanTunick's flaccid musical direction.There's none of the brightness andbounce of Columbia's 1948 original-cast album, even though Tunick hasprovided us with a few musical divi-dends not included in that earlier re-cording (mostly unimpressive instru-mental interludes). A great show is lostat sea here. Roy Hemming

STEVIE RAY VAUGHAN ANDDOUBLE TROUBLE: Live Alive. Ste-vie Ray Vaughan (vocals, guitars);Tommy Shannon (bass guitar); ChrisLayton (drums); Reese Wynans (key-boards); Jimmy Vaughan (guitars,bass). Say What!: Ain't Gone 'n' GiveUp on Love; Pride and Joy; Mary Had aLittle Lamb; Superstition; I'm LeavingYou (Commit a Crime); and eight oth-ers. EPIC E2 40511 two LP's, 0 E2T40511 two cassettes, E2K 40511 twoCD's, no list price.

Performance: ProfessionalRecording: Good

Remember when everybody did livealbums, even Jan and Dean? Now thatsynthesizers have given us a generationof recording artists who can't performin front of an audience, the once -obliga-tory live concert recording will probablybecome as rare as hen's teeth. All thebetter-leave the live stuff to the guyswho can bring it off. Like Bruce Spring-steen. And Stevie Ray Vaughan.

Vaughan, of course, is a tireless andidiomatic, if somewhat derivative, gui-tar wiz whose specialty is electric blues.Tex-Mex, and blatant Hendrix imita-tions. For power -chord junkies, "LiveAlive" is an hour and a half or so ofguilty pleasure-bluesy dances up anddown the fretboard, with lots of sustain.wah-wah, distortion, and, when you'relucky, the accompaniment of a tawdryFarfisa.

Most of the material on "Live Alive"has appeared on Vaughan's outstandingstudio albums, so the real questions are:1) How's the sound? 2) Does the bandgo over the top? To answer the firstquestion, the sound is excellent, espe-cially the vocals. But to the second, I'dsay that Vaughan and company never

really reach that moment of catharsiswhen sweat and inspiration ignite andall hell breaks loose. Vaughan almosthits it on Voodoo Chile, but a Hendrixsolo, no matter how well done, reallyhas to come under the heading of CheapTheatrics. M.P.

RONNY WHYTE TRIO: SomethingWonderful. Ronny Whyte (piano);Frank Tate (bass); Butch Miles (drums).Porgy and Bess Medley; Caravan; SatinDoll; Something Wonderful; Take the'A' Train. PROGRESSIVE PRO -7075$8.98.

Performance: The title says itRecording: Firft-rate

All of Ronny Whyte's previous record-ings, both as a solo singer and as half ofa still -unmatched (and lamentably inac-tive) team with Travis Hudson, havebeen distinguished by Whyte's inge-nious, colorful, often witty, and alwaystopnotch arrangements-and by pianoplaying that must make him the envy ofevery other supper -club singer -pianist.So "Bravo!" to whoever it was who hadthe idea of spotlighting Whyte as strictlyan instrumentalist for this album. It's sogood you wonder why Whyte didn't doit sooner.

The interplay between Whyte's alter-nately swinging and impressionisticpianism and the rhythmically crisp,pungent, and always -so -musical lines ofbassist Frank Tate and former Basiedrummer Butch Miles makes everytrack the sort you want to play over andover, with marvelous new things to hearevery time you do. The highlight is anexceptional twenty -minute medleyfrom Gershwin's Porgy and Bess thatcaptures the underlying bittersweetqualities of the score without ever los-ing its nobility or its swinging exuber-ance. Even though Whyte doesn't sing anote, his experience as a singer shinesthrough in the way each note takes on ashading or meaning perfectly in linewith the familiar lyrics. Roy Hemming

LENNY WILLIAMS: New Episode.Lenny Williams (vocals); vocal and in-strumental accompaniment. Episode;Ten Ways of Loving You; When I NeedYou; Love Will Come in Its Own SweetTime; No More Lonely Nights; andthree others. KNOBHILL/FANTASY F-9648 $8.98, 0 F-59648 $8.98.

Performance: PromisingRecording: Good

Lenny Williams has a light, sweet voiceand an engaging way with lyrics, quali-ties that are well suited to ballads andthe moderately paced fare featured here.The problem is that too many of thesongs are so unremarkable that they'redifficult to remember even after repeat-ed listenings. He does manage to makesomething more of the material in a fewcases, such as No More Lonely Nights.Williams has talent, but it's a talentwaiting to be properly shaped. P.G.


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THE STONES ON CD

Near right, theearly Sixties

Stones (clockwisefrom top): Bill

Wyman, CharlieWatts, BrianJones, Keith

Richards, andMick Jagger.Facing page:

Mick Jagger inthe late Seven-

ties; the late Sev-enties lineup,

with Richards.Wyman, RonWood, Watts,

and Jagger.

1. HE recordings the Rolling Stonesmade during the Sixties mightseem to be among the least likelycandidates for digital refurbish-ment ever. They're mostly inmono, often indifferently engi-neered, and sometimes musically

sloppy and out of tune. Nevertheless,they contain one of the most impressiveand exciting bodies of work in rock-and-roll, and their release by PolyGramon CD is, with certain qualifications, agenuine event. (The Stones' Seventiesand Eighties output is also due out onCD, courtesy of CBS, and will be dis-cussed separately in a future issue.)

The most basic decision confrontingAndrew Oldham, the band's originalproducer and the overseer of the newdigital transfers, was what to include.The Stones' American and British al-bums rarely coincided in terms of trackselection, and more frustratingly, sev-eral songs-the ones they cut at the oldChess studios in Chicago with geniusengineer Ron Malo-appeared in truestereo versions only on obscure Euro-pean anthologies.

Probably wisely, Oldham opted to re-tain the song selections on the Ameri-can releases, but, somewhat inexplica-

bly, he has been arbitrary about stereo.On "The Rolling Stones, Now!," forexample, the wonderful Down the RoadApiece makes a first -ever Stateside ster-eo appearance, but on "December'sChildren," the bluesy Look WhatYou've Done, heretofore the only earlytwo -channel Stones track available inAmerica, reverts to mono. Even moreconfusing, on "Hot Rocks," the band'searly greatest -hits collection, all the cutsare presented in their mono singlesmixes, which makes good aestheticsense (this is the way they were designedto be heard on the radio), except forHeart of Stone, which shows up in itsAmerican stereo debut. As my motherused to say, go figure.

Purist carping aside, however, how dothese albums sound on CD? Well,speaking as somebody who's auditionedthe various LP pressings-American,European, audiophile-over the years, Iam happy to report that they sound gen-erally sensational. Everything is bright-er-a lot brighter-than I remembered,and though the band's early recordingswould not have won audiophile awardseven in their own day, an impressiveamount of sonic murk (and, of course,all that Sixties fake stereo) seems to

have been stripped away at last. Thebetter -engineered later albums similarlybenefit from the digital remastering.The improved stereo spread on "After-math," for example, lets you hear intothe music in ways that will probablysurprise you, and the clarity and snap of"Beggars Banquet" are now reallybreathtaking.

When the Stones CD project wasannounced, a number of critics won-dered publicly whether this musicmight not be suited to hi-fi scrutiny,whether the new digital technologymight, in fact, destroy the basic atmo-sphere of the records. Happily, that isnot the case. These new CD's retainevery bit of the crude power of the origi-nal incarnations, only more so. As Poly -Gram's trade ads perhaps hyperbolical-ly suggested, it just might be time foryou to throw out your old Stonesrecords.

A final note: longtime fans will noticethe absence of "Got Live If You WantIt" and "More Hot Rocks." The former,admittedly one of the group's moreeccentric efforts, will not be restored tothe catalog because of the disappear-ance of the original tapes (not a cata-clysmic loss, though I'll miss it). The

88 STEREO Review MARCH 1987

latter, however, is promised for nextyear, newly reprogrammed to includeevery above -ground Stones track fromthe period not included in the rest of theseries. And, oh yeah-those of you whohaven't taken the CD plunge will bepleased to learn that the simultaneousvirgin -vinyl and chrome -cassette rere-leases from the same new masterssound nearly as impressive.

Steve Simels

THE ROLLING STONES: England'sNewest Hit Makers. The RollingStones (vocals and instrumentals); oth-er musicians. Not Fade Away; Route 66;I Just Want to Make Love to You; Hon-est I Do; Now I've Got a Witness; Littleby Little; I'm a King Bee; Carol; TellMe; Can I Get a Witness; You CanMake It If You Try; Walking the Dog.ABKCO/POLYGRAm 0 7375-2.

THE ROLLING STONES: 12 X 5.The Rolling Stones (vocals and instru-mentals); Ian Stewart (piano). Aroundand Around; Confessin' the Blues; Emp-ty Heart; Time Is on My Side; GoodTimes, Bad Times; It's All Over Now;2120 South Michigan Avenue; Underthe Boardwalk, Congratulations; GrownUp Wrong; If You Need Me; Susie Q.ABKCO/PoLYGRAM 0 7402-2.

THE ROLLING STONES: Now! TheRolling Stones (vocals and instrumen-tals); other musicians. Everybody NeedsSomebody to Love; Down Home Girl;You Can't Catch Me; Heart of Stone;What a Shame; Mona (I Need YouBaby); Down the Road Apiece; Off theHook; Pain in My Heart; Oh Baby (WeGot a Good Thing Coin); Little RedRooster; Surprise, Surprise. ABKCO/PoLyGRAm 0 7420-2.

THE ROLLING STONES: Out of OurHeads. The Rolling Stones (vocals andinstrumentals); other musicians. MercyMercy; Hitch Hike; The Last Time;

That's How Strong My Love Is; GoodTimes; I'm All Right': Satisfaction; Cryto Me; The Under Assistant West CoastPromotion Man; Play with Fire; TheSpider and the Fly; One More Try.ABKCO/PoLyGRAM 0 7429-2.

THE ROLLING STONES: Big Hits(High Tide and Green Grass). The Roll-ing Stones (vocals and instrumentals);other musicians. (I Can't Get No) Satis-faction; The Last Time; As Tears Go By;Time Is on My Side; It's All Over Now;Tell Me; 19th Nervous Breakdown;Heart of Stone; Get Off of My Cloud;Not Fade Away; Good Times, BadTimes; Play with Fire. ABKCO/PoLY-GRAM © 8001-2.

THE ROLLING STONES: Decem-ber's Children (And Everybody's). TheRolling Stones (vocals and instrumen-tals); other musicians. She Said Yeah;Talkin' About You; You Better MoveOn; Look What You've Done; The Sing-er Not the Song; Route 66; Get Off of MyCloud; I'm Free; As Tears Go By; GottaGetAway; Blue Turns toGrey; I 'm MovingOn. ABKCO/PonTRAm 0 7451-2.

THE ROLLING STONES: Aftermath.The Rolling Stones (vocals and instru-mentals); other musicians. Paint ItBlack; Stupid Girl; Lady Jane; UnderMy Thumb; Doncha Bother Me; Think;Flight 505; High and Dry; It's Not Easy;I Am Waiting; Going Home. ABKCO/PoLyGRAm 0 7476-2.

THE ROLLING STONES: Betweenthe Buttons. The Rolling Stones (vocalsand instrumentals); other musicians.Let's Spend the Night Together; Yester-day's Papers; Ruby Tuesday; Connec-tion; She Smiled Sweetly; Cool, Calm &Collected; All Sold Out; My Obsession;Who's Been Sleeping Here?; Compli-cated; Miss Amanda Jones; SomethingHappened to Me Yesterday. ABKCO/PoLyGRAm 0 7499-2.

THE ROLLING STONES: Flowers.The Rolling Stones (vocals and instru-mentals). Ruby Tuesday; Have YouSeen Your Mother, Baby, Standing inthe Shadow?; Let's Spend the Night To-gether; Lady Jane; Out of Time; MyGirl; Backstreet Girl; Please Go Home;Mother's Little Helper; Take It or Leave

It; Ride On, Baby; Sittin' on a Fence.ABKCO/POLyGRAm 0 7509-2.

THE ROLLING STONES: Their Sa-tanic Majesties Request. The RollingStones (vocals and instrumentals);Nicky Hopkins (keyboards); other mu-sicians. Sing This All Together; Citadel;In Another Land; 2000 Man; Sing ThisAll Together (See What Happens); She'sa Rainbow; The Lantern; Gomper; 2000Light Years From Home; On with theShow. ABKCO/PoLyGRAm 0 8002-2.

THE ROLLING STONES: BeggarsBanquet. The Rolling Stones (vocalsand instrumentals); Nicky Hopkins(keyboards); other musicians. Sympa-thy for the Devil; No Expectations; DearDoctor; Parachute Woman; Jig -SawPuzzle; Street Fighting Man; ProdigalSon; Stray Cat Blues; Factory Girl; Saltof the Earth. ABKCO/PoiNGRADA7539-2.

THE ROLLING STONES: Let ItBleed. The Rolling Stones (vocals andinstrumentals); Ry Cooder (guitar);Nicky Hopkins (keyboards); other mu-sicians. Let It Bleed; Love in Vain; Mid-night Rambler; Gimmie Shelter; YouGot the Silver; You Can't Always GetWhat You Want; Live with Me; MonkeyMan; Country Honk. ABKCO/PoLy-GRAM 0 8004-2.

THE ROLLING STONES: Throughthe Past Darkly (Big Hits Vol. 2). TheRolling Stones (vocals and instrumen-tals); other musicians. Paint It, Black;Ruby Tuesday; She's a Rainbow; Jump -in' Jack Flash; Mother's Little Helper;Let's Spend the Night Together; HonkyTonk Women; Dandelion; 2000 LightYears From Home; Have You SeenYour Mother Baby, Standing in theShadow?; Street Fighting Man. ABK-CO/PoLyGRAm 0 8003-2.

THE ROLLING STONES: Get YerYa-Ya's Out! The Rolling Stones (vo-cals and instrumentals); Ian Stewart(piano). Jumpin' Jack Flash; Carol;Stray Cat Blues; Love in Vain; MidnightRambler; Sympathy for the Devil; Livewith Me; Little Queenie; Honky TonkWomen; Street Fighting Man. ABKCO/POLYGRAM 0 8005-2.

THE ROLLING STONES: Hot Rocks1964-1971. The Rolling Stones (vocalsand instrumentals); other musicians.Time Is on My Side; Heart of Stone;Play with Fire; Satisfaction; As TearsGo By; Get Off of My Cloud; Mother'sLittle Helper; 19th Nervous Breakdown;Paint It Black; Under My Thumb; RubyTuesday; Let's Spend the Night To-gether; Jumping Jack Flash; StreetFighting Man; Sympathy for the Devil;Honky Tonk Women; Gimme Shelter;Midnight Rambler (Live); You Can'tAlways Get What You Want; BrownSugar; Wild Horses. ABKCO/PoLy-GRATA 6667-2 two CD's.


AZZ

ART BLAKEY AND THE JAZZMESSENGERS: Live at Kimball's. ArtBlakey and the Jazz Messengers (instru-mentals). Jody; I Love You; Old Folks;Polka Dots and Moonbeams; and threeothers. CONCORD JAZZ CJ -307 $8.98, 0CJ -307-C $8.98.

Performance: SparklingRecording: Fine remote

I don't believe there is such a thing as aroutine Art Blakey performance-atleast I have never heard one. The ener-gy level can, however, vary, and it hasnever been higher than on this newalbum recorded during an April 1985engagement at Kimball's in San Fran-cisco. One of Blakey's finest groups inrecent years, this edition of the JazzMessengers features Terence Blanchard,Donald Harrison, and Jean Toussaintin the front line, with pianist Mu!grewMiller and bassist Lonnie Plaxico.

Tenor saxophonist Toussaint re-mains relatively inconspicuous, but tohear his performances on I Love Youand Jody is to know that time will reme-dy that situation. Other highlights areMiller's solo reading of Old Folks and

his feverish weave of creativity on Youand the Night and the Music, Blan-chard's mellow performance on PolkaDots and Moonbeams, the diabolicstompede (if you will) by Harrison andMulgrew through Jackie McLean's Dr.Jekyl, and, as always, Blakey's ownindefatigable percussion work. C.A.

ROY ELDRIDGE: The Nifty Cat. RoyEldridge (trumpet); Benny Morton(trombone); Budd Johnson (sopranoand tenor saxophones); Nat Pierce(piano); Tommy Bryant (bass); OliverJackson (drums). Ball of Fire; Cotton;5400 North; and three others. NEWWORLD NW 349-1 $10.98, ®NW 349-2no list price.

Performance: Royal treatRecording: Good

Roy Eldridge's "The Nifty Cat," origi-nally released on LP on the Master Jazzlabel in 1971, is a generous serving ofsmall -band mainstream jazz tastefullydominated by the leader's horn, whichis sometimes hot and raspy, sometimeswarm and melancholy, but always scru-pulously honest. Eldridge invariably

had a way with humorous lyrics, andthe album's only vocal, a blues calledWineola, is a good example. Add tothese Eldridge gems the fine, sympa-thetic work of trombonist Benny Mor-ton, the surging, blues -drenched saxo-phone of Budd Johnson, and a rhythmsection headed by pianist Nat Pierce. Itis good to see such timeless jazz makeits way back into the catalog. C.A.

DUKE ELLINGTON: The Blanton -Webster Band. Duke Ellington and HisOrchestra. Jack the Bear; Ko-Ko; CongaBrava; Just a Sittin' and a Rockin; Con-certo for Cootie; Cottontail; Bojangles;The "C" Jam Blues; Never No Lament;Warm Valley; John Hardy's Wife; Har-lem Air Shaft; Main Stem; Jump forJoy; Rocks in My Bed; Dusk; In a Mel-lotone; Perdido; and forty-eight others.BLUEBIRD/RCA 0 5659-1 four LP's$29.98, Co 5659-4 three cassettes $29.98,

5659-2 three CD's no list price.

Performance: In focusRecording: So-so transfers

As he liked to point out himself, DukeEllington's main instrument was not so

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much the piano as it was his orchestra,which helps to explain why he was ableto keep it together for more than sixdecades. There were occasional changesin personnel, though far fewer than inmost big bands, but sometimes even aslight change could make an apprecia-ble difference. When composer/arran-ger Billy Strayhorn joined Ellington in1939, the result was almost a rebirth ofthe band. The following year, which sawbassist Jimmy Blanton and tenor saxo-phonist Ben Webster come aboard, isconsidered by many fans and critics tohave been the Ellington orchestra's fin-est. That was the year in which the bandrecorded such classic sides as Ko-Ko,Conga Brava, Warm Valley, Concertofor Cootie, and Harlem Air Shaft. WhileStrayhorn was not directly responsiblefor any of these compositions or thearrangements, it is reasonable to as-sume that he served as an inspiration toEllington, who once wrote, "Any time Iwas in the throes of debate with myself,harmonically or melodically, I wouldturn to Billy Strayhorn. We would talkand then the whole world would comeinto focus."

Certainly, the band was in full focusin 1940 and 1941 when it made thosememorable recordings, when Strayhorncontributed its famous theme, Take the"A" Train, when Ben Webster roaredthrough Cottontail, when JohnnyHodges's Warm Valley redefined beau-ty, and when Jimmy Blanton enhancedthe position of bass players with thekind of dazzle he generates on Jack theBear. It was also a period in whichEllington hired an unusually gifted vo-calist, Ivie Anderson.

Now sixty-five sides made betweenMarch 6, 1940, and July 28, 1942, havebeen gathered in an attractively pack-aged four -record boxed set that includesa sixteen -page illustrated booklet withscholarly notes on each of the record-ings. There are some weak sides heretoo but enough strength to make this avery positive listening experience.Technically, I am less impressed. Therecordings were digitally remastered,but they still have far too much surfacenoise and the lack of clarity that oftenindicates over -equalization. RCA's en-gineers have never sparkled in the areaof vintage disc restoration, but theyhave been known to treat older materialbetter than they have here. Still, the setas a whole represents a very importantslice of the Ellington pie and must berecommended. C.A.

SONNY ROLLINS: The Quartets,Featuring Jim Hall. Sonny Rollins (te-nor saxophone); Jim Hall (guitar); BobCranshaw (bass); Ben Riley, Harry T.Saunders, Mickey Roker (drums). GodBless the Child; John S.; You Do Some-thing to Me; Where Are You; If Ever IWould Leave You; The Bridge; TheNight Has a Thousand Eyes; My Ship;Without a Song; and five others. BLUE-BIRD /RCA 0 5634-1 two LP's $11.98,

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© 5634-4 two cassettes $11.98, 5634-2 one CD (containing nine of the four-teen titles) no list price.

Performance: ExcellentRecording: Excellent

Here is the sound of Sonny Rollins, vin-tage 1962, in a double album of materialthat originally appeared in three Sixtiesalbums: "What's New?," "The Bridge,"and "The Standard Sonny Rollins."Since then some of these performanceshave been hard to find, especially in thiscountry, and this release is the first withall the celebrated quartet sides in chron-ological order.

I recall the shock that went throughthe jazz community in 1961 when it wasrumored that RCA had signed Rollinsto a $100,000 contract. That kind ofmoney was rarely, if ever, offered to ajazz performer, not even a firmly estab-lished international star like Basie orArmstrong. What worried many of uswas the belief that Rollins's recordswould not earn the money back andthat RCA would consequently give upon jazz. That is precisely what hap-pened, but if it seemed like a bad movetwenty-five years ago, my ears today tellme that it was-if you will pardon apun-a sound investment.

Sonny Rollins continues to be asomewhat enigmatic figure aboutwhom there circulate intriguing storiesof nights, even months, spent playingthe saxophone under New Yorkbridges. He is a man of few words who,as critics like to point out, can thrill jazzfans in person while leaving them coldon records. But these quartet sides. cutearly in 1962, are the exception. At thetime guitarist Jim Hall was with ChicoHamilton's group working on his first

tatell1(711.

New York job, opposite the CliffordBrown/Max Roach Quintet, withwhom Rollins played. Rollins askedHall to join a new quartet, Sonny Roll-ins and Co., and a fine partnership wasformed.

There is an extraordinary rapport be-tween Rollins and Hall. Rollins hadcome completely into his own at thispoint, and Hall provided the perfectcomplement to every one of his shiftingmoods. Two Caribbean -flavored tracks,Brownskin Girl and Don't Stop the Car-nival, are a bit on the pop side-theywere regarded as experimental at thetime, and the latter was released inEurope only. But even here Rollins'sblasting tenor makes intelligent musicalstatements. There is much to cherish inthis collection of superb teamwork andfinely structured solos, but to me thehigh point is The Bridge. In a sense,these recordings formed a bridge forRollins to cross, but I don't think he hasever matched their intensity-at leastnot on records. C.A.

McCOY TYNER: Double Trios.McCoy Tyner (piano); Avery Sharpe,Marcus Miller (bass); Louis Hayes, JeffWatts (drums); Steve Thornton (percus-sion). Latino Suite; Lil' Darlin'; LoverMan; Sudan; and four others. DENON33CY-1128 no list price.

Performance: InvigoratingRecording: Excellent

Pianist McCoy Tyner's new Denon al-bum has an odd title, "Double Trios,"since it features him leading two quar-tets. Perhaps the title refers to Tyner'splaying with two different trios, but thatdoesn't make sense because this is notan album of McCoy Tyner with trio

accompaniments. These are integratedquartets.

It's the music that counts, though,and here Tyner is full of surprises. Forone thing, he has all but abandoned thetinkly style that had begun to be weari-some. Second, he spends part of histime on this CD at an electric keyboard.Tyner's playing is quite heavy-handed,and you might even say that he has goneto the other extreme when he poundshis way to the deep South on DownHome. The usually delicate Lover Manisn't exactly treated with kid gloveseither, and the piano on that selectionhas a tinny sound that suggests it's anelectronic instrument. If Lover Man isequivocal in its use of an electronic key-board, Sudan, a not very original com-position by bassist Marcus Miller,makes no bones about it. Mind you, Iam not condemning the use of electron-ic pianos, but I see little reason for anartist like Tyner to play one if all he isgoing to do is to make it sound like anacoustic piano. All told, though, I dorather like this album. It has an energyand forthrightness that I have foundlacking in most of Tyner's recent re-leases. C.A.

WORLD SAXOPHONE QUARTET:Plays Duke Ellington. World Saxo-phone Quartet (instrumentals). Takethe "A" Train; Come Sunday; In a Sen-timental Mood; Lush Life; and four oth-ers. NONESUCH 0 79137-1 $10.98,79137-2 no list price.

Performance: Kinda un-DukishRecording: Good

WORLD SAXOPHONE QUARTET:Live at Brooklyn Academy of Music.World Saxophone Quartet (instrumen-tals). Great Peace; Georgia Blue; KindaUp; and three others. BLACK SAINT/POLYGRAM BSR 0096 $9.98.

Performance: PatheticRecording: Good

The ongoing existence of the WorldSaxophone Quartet is a mystery to me.Its members-Hamiet Bluiett, JuliusHemphill, Oliver Lake, and DavidMurray-have all carved small nichesfor themselves in the so-called avant-garde jazz world, but not one of them ismore than a so-so saxophone player.Put them all together and you have anexcruciating noise machine that makesalbum after album of grating pretentious-ness. On these two recent releases-alive Black Saint album made at theBrooklyn Academy of Music in Decem-ber 1985 and an April 1986 Nonesuchset devoted to music by or associatedwith Duke Ellington-the group buzz-es, scratches, and screeches as appall-ingly as ever. The original material onthe live set is easier to accept than thedestruction of familiar tunes like BillyStrayhorn's Lush Life and Ellington'sPrelude to a Kiss, but there is not a sin-gle moment on either album when anyof this sounds professional. C.A.


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s For more information on Rashid VRSS collision warningsystem, see PopuiarScience_lanuary 1986.

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CENT ERby Chris Albertson

FIFTY-EIGHT years ago, on awindy Chicago night, MelTorme's parents gave their four-year -old son an unusual treat.

They took him to hear the Coon -San-ders Original Nighthawk Orchestra atthe Blackhawk Restaurant. Why? Be-cause the boy had a special fascinationfor the family radio, and he nevermissed the orchestra's broadcasts overstation WGN. "I had my electric train,little fire engines, and all that stuff," herecalls, "but the radio was my favoritetoy, and I loved the bands."

As he wound up a recent, successfulNew York engagement, Torme remi-nisced about his singing debut. "I wassitting ringside, tapping my feet andsinging along with the orchestra whenone of the leaders-Joe Sanders, Ithink-walked over and asked 'Who'sthe kid?' or words to that effect. Mymother told him that I listened to all theband's broadcasts and had memorizedevery arrangement, so they got me up tosing You're Driving Me Crazy. Youhave to understand that this was 1929.It was a wacky time, and kid performerswere very much a part of that scene."

Torme performed with the Coon -San-ders Orchestra once a week. By the timehe was six he was also appearing regu-larly with the bands of Louis Panico,Frankie Masters, and Buddy Rogers.

While still in school, Torme beganwriting songs and became, as he sayswith pride, "the youngest songwriter tohave a song on the Hit Parade." Thesong that made it to No. 7 was Lamentto Love, and Torme was only sixteenwhen it was recorded by a number ofbig bands, including those of HarryJames and Les Brown.

"Ben Pollack, who really put the Chi-co Marx band together, got me anaudience with Glenn Miller, wholooked at my tunes. I had heard allkinds of stories about Glenn Miller, buthe was really a very nice man, at least tome, and not at all condescending. Hesaid, 'Mel, you've got a knack for song-writing, but you've got to get away fromthe moon -June variety.' Then hewalked over to the piano, grabbed a leadsheet off it, and showed it to me. It wasa brand-new Johnny Mercer song calledThat Old Black Magic. He startedpointing out the lyrics. 'These wordsmake pictures,' he said. ' "Like a leafthat's caught in the tide"-that's a pic-ture.'

"Later, when I asked Mercer how hedid it, he said, 'I read everything there isto read. I read pulp magazines, comicbooks, Dickens, Thoreau, current nov-els, nonfiction, Time magazine, every-thing I can lay my hands on. That's thebest advice I can give to you.' From that

MELTORME"I just don't sing like I used

to. The 'Velvet Fog' is amisnomer. It does notfit."

moment on, I was devoted to reading. Iread every single night of my life."

Torme often read scripts, too. Thedramatic element in his song delivery isno accident. He also acted in radio soapoperas from 1933 to 1939 and made hisfilm debut in a 1943 Frank Sinatra filmfor RKO, Higher and Higher. Thesewere but early steps in an acting careerthat, so far, has included parts in twen-ty-two films, some of them nonmusical,and a 1957 Emmy nomination for anappearance in the Playhouse 90 TV pro-duction The Comedian.

In the Mid -Forties, with his group theMeltones, Torme developed a cool,smooth singing style that earned himhis nickname as the "Velvet Fog." It isno longer a valid one, he feels. "From1946, when I started making those Mu-sicraft sides with Artie [Shaw], untilapproximately 1955, when I shiftedgears and began to sing like I really,honestly sing, that whole 'velvet fog'sound, that sort of head-toney, creamy,wispy sound, was-well, I can't saymanufactured, because I was singinglegitimately, but not as robustly as Icould have been.

"When I started recording for Bethle-hem, in 1955, I was able to relax andopen up, and sing like I really like tosing. Since then, I have changed radical-ly as a singer. My range on the low end

has increased about four notes, and I'velost track of how many it has increasedon the high end, but-from the bottomto the top-my whole range has gainedat least an octave, and I just don't singlike I used to. So, when somebody todayrefers to me as the 'Velvet Fog,' it's amisnomer. It simply does not fit."

Torme considers a Gershwin medleyon the 1976 Atlantic album "MelTorme Live at the Maisonette" to bethe turning point. "From that albumon, I have really been proud of my out-put-the things I did at Marty's andobviously the things I've done with[George] Shearing-I think they are re-ally good records." The Shearing collab-oration has won Torme two Grammies.

He becomes positively radiant whenhe talks about his fine recent release,"Mel Torme-Rob McConnell and theBoss Brass" on Concord Jazz (0-306,also available on compact disc CCD-4306). It's the most expensive albumConcord Jazz has ever made, accordingto Torme. "I can't tell you what thisalbum means to me," he says, "and tofind it on the charts is just delightful." Asmooth, thoroughly swinging affair,with tight, imaginative arrangements byMcConnell and inspired vocals byTorme, the album is decidedly a Gram-my contender. The brassy, bouncy ar-rangements are very up-to-date, but thesongs are from the past, and there is areason for that.

"New material is very, very, verytough to come by," Tormt maintains."That is to say, material with which Ican be credible. There are some goodtunes around, from young writers, butthey are patently written for the youngmarket, and I don't feel there is anycredibility in Mel Torme singing them.I look very hard at the Donald Fagensongs, because I love them. I love SteelyDan, and I love Donald Fagen on hisown. I've never met him, I just thinkthe guy is marvelous, and I like his sing-ing, too. But other than Walk BetweenRaindrops, from his 'The Nightfly' al-bum, I have trouble adapting what hewrites to what I am-not the way I sing,but what I am."

Obviously having the time of his life,Torme is quick to tell you that the pastten years have been wonderful for him."What is so terribly rewarding to me,"he says, "is that my audience is filledwith extremely young yuppies, not justa mass of snow-white heads. That's tre-mendously rewarding because, whenyou start getting up in years-even ifyou're active and in demand-you tendto be in demand only by your peers, andit's just not so with me."

Mel Torme has a lot more to sayabout his life, but you'll be able to readall about it in his autobiography, whichhe has just completed. 0


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MUSICAL ACCURATE

evolutionDistributed in Canada by: tzchnoiogy

CLASSICAL MUSIC

Discs and tapes reviewed byRobert Ackart, Richard Freed,David Hall, Stoddard Lincoln

BACH: Goldberg Variations (BWV988). Maria Tipo (piano). LA VOIX DESON MAITRE/EMI 0 270438-1 $12.98(from International Book and RecordDists., 40-11 24th St., Long Island City,NY 11101).

Performance: SingingRecording: Bright

While I've enjoyed several of MariaTipo's recordings-her Scarlatti sonatasin particular-I've never seen her or aphotograph of her. When I saw the oneon the cover of this recording I thoughtat first someone had made a mistakeand used a picture of the sopranoArleen Auger. It's no mistake, and if theresemblance isn't quite as close as itseemed at first, it seems curiously ap-propriate, for this performance ofBach's Goldberg Variations might becharacterized by the word "singing."

Fortunately, Tipo does not embellishthe music with actual singing, as someof her colleagues have done. The onlysound one hears is that of the piano-or, one might say, "the sound of Bach,"for the music proceeds so naturally andunfussily that one becomes as unawareof the instrument itself as of the per-former as intermediary. In sum, this is astimulating and enriching performancethat, while it may not displace thesuperb recordings by Glenn Gould andAndras Schiff, is worthy to stand besidethem. The exemplary sound, bright andcrisp, is enhanced by Direct Metal Mas-tering. (Angel is releasing this recordingin the U.S. on CD only.) R. F.

BEETHOVEN: Piano Concerto No. 5,in E -fiat Major, Op. 73 ("Emperor,.Emanuel Ax (piano): Royal Philhar-monic Orchestra, Andre Previn cond.RCA 0 HRCI-5854 $11.98, © HREI-5854 $11.98, RCDI-5854 no listprice.

Performance: /n the classic moldRecording: Very good

This installment in the Beethoven pi-ano -concerto cycle by Emanuel Ax andAndr6 Previn follows much the sametack as their readings of the previouslyreleased Concertos Nos. I and 2, whichis to say that the phrasing and dynamicsare poised yet vital, with Ax's bent forlyrical pianism showing to best advan-

EXPLANATION OF SYMBOLS:

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HOGWOOD'S BEETHOVEN°THING in Christopher Hog -wood's deadpan treatment ofBeethoven's first two sym-phonies with the Academy of

Ancient Music would have preparedanyone for his uncontrivedly eloquentEroica, released toward the end of lastyear on L'Oiseau-Lyre. The persuasive-ness of this performance is, of course,the more surprising because of the Eroi-ca's dimensions and its long identifica-tion with the big -orchestra repertoire. Itis the earliest symphony that we wouldnever think of assigning to the "cham-ber -orchestra" literature-and, ofcourse, it is not a chamber orchestrathat Hogwood has assembled for thisperformance but an ensemble number-ing forty-four players, which is nearlyhalf again as many as Beethoven had forthe work's premiere. The CollegiumAureum recordings, issued here on ProArte, actually duplicated Beethoven'soriginal orchestra, and they achievedconsiderable power. Hogwood achievesmore, not simply by virtue of his largerensemble but because of his insightfulconducting.

This is a flexible, extremely well-bal-

anced Eroica. It manages to be at oncespacious and brisk. The smallish en-semble makes possible the clarity ofarticulation that in turn enables a feel-ing of unrushed expansiveness to beevoked at a fleet and flowing pace. It isconvincing, too, because it sounds sothoroughly uncontrived. Hogwoodthrusts neither his reduced instrumen-tation nor his interpretation into the lis-tener's consciousness with a demandfor attention. (Nor the fortepiano fromwhich he conducts -1 didn't even no-tice it during the entire performance.)The first -movement repeat is taken, dy-namic markings are given exceptionalattention, winds are gratifyingly crisp,and the lean strength of the symphonyis the more effective overall for theabsence of the usual muscle -flexing.The recording itself, like the perform-ance, is exemplary. Richard Freed

BEETHOVEN: Symphony No. 3, in E-lko Major, Op. 55 ("Eroica' ). Academyof Ancient Music, Christopher Hog -wood cond. L'OISEAU-LYRE 0 417 234-I $10.98, © 417 234-4 $10.98, © 417234-2 no list price.


tage in the slow movement. Previn andthe Royal Philharmonic provide fineorchestral collaboration, giving us a fi-nale with a good deal of snap and verve.Sonics are both clean and warmthroughout. D.H.

BEETHOVEN: Missa solemnis in DMajor, Op. 123. Leila Cuberli (so-prano); Trudeliese Schmidt (contralto);Vinson Cole (tenor); Jost van Dam(bass); Vienna Singverein; Berlin Phil-harmonic Orchestra, Herbert von Kara-jan cond. DEUTSCHE GRAMMOPHON419 166-1 two discs $19.96; 0419 166-4two cassettes $19.96, © 419 166-2 twoCD's no list price.

Performance: MagisterialRecording: Very good

For raw intensity, Leonard Bernstein'stwo stereo recordings of Beethoven'sHimalayan masterpiece, the Missa so-lemnis, stand alone. Herbert von Kara-jan's latest recorded version, his fourth,seems to attempt a viable compromisebetween the volatile Toscanini ap-proach and the Austro-German tradi-tion represented by BOhm and Klem-perer. The swift pacing here of the "Etvitam venturi saeculi" typifies for methe Toscaninian element at work.

As a whole, I find the performancetakes a while to work up a full head ofsteam, not to mention spiritual intensi-ty. Despite lovely work by a beautifullymatched team of soloists, the Kyrie leftme rather unmoved, and I was a bit putoff by the orchestral work at the start ofthe heaven -storming Gloria. But in theelaborate Credo, Karajan elicits thekind of total communicative absorptionthat this music by its very naturedemands. The "Et incarnatus" is en-dowed with true mystery and the "Cru-cifixus" with heart -wrenching poi-gnance, which makes the "Et resurrex-it," by contrast, the electrifying experi-dence it should be. The Benedict us, withits celebrated violin solo, is whollyexquisite, and the performance is prop-erly capped by an Agnus Dei that is inturn hushed and terrifying (as in theagonized pleas for peace by the contral-to and chorus, followed by relentlessmartial fanfares).

I do not expect to experience the ulti-mate Missa solemnis in this world, onor off records, but overall Karajan'slatest is among the very finest recordedrealizations. Certainly I found it thebest of his four tries, not only by virtueof the fine soloists-among whom Jostvan Dam (in the Agnus Deft and VinsonCole particularly stand out-but espe-cially because of the virtually superhu-man work of the Vienna Singverein.The chorus's rhythmic address andmastery of dynamic inflection bring im-mense vitality and textural clarity toevery page they sing. And, of course, theBerlin Philharmonic Orchestra is in topform all the way. Add in the fine digitalsonics, and it all amounts to a majorachievement. D.H.

Jean -Philippe Collard: attractive performances ofChausson. sumptuously recorded

CARTER: Piano Concerto; Variationsfor Orchestra. Ursula Oppens (piano);Cincinnati Symphony Orchestra, Mi-chael Gielen cond. NEW WORLD 0 NW -347 $9.98, NW -347-4 $9.98, © NW -347 -2 no list price.

Performance: ExcellentRecording: Ditto

These pieces belong to the heroic age ofmodern music, when new music wasvery new and very modern indeed.Elliott Carter was (and is) the finestAmerican representative of the big -scaleinternational modernism that domi-nated the musical Fifties and Sixties inthe way that abstract expressionism be-strode the world of painting. Both ofthese pieces were written in Europe-the Variations for Orchestra in Rome inthe mid -Fifties, the Piano Concerto inBerlin a decade later.

The location of the composition ofthe two seems more than fortuitous.The variations, although regarded asdifficult in their day, are by far the moreaccessible of the pair. They are eclectic,fantastic, open -spirited, optimistic,even expansive.

We now know that Carter was headedelsewhere. Within a very few years hehad developed a very personal and idio-syncratic style in which instruments orgroups of instruments were given ex-treme individuality and then set offagainst one another. In his Piano Con-certo, in a form traditionally based oncompetition anyway, Carter isolates thesoloist musically, emotionally, and spa-tially. The piano inhabits one world, theorchestra another; a small chamber en-semble surrounding the piano tries(quite unsuccessfully) to mediate.

It is no secret that the inspiration forall this was a year spent living near theBerlin wall, and the result is that, unlike

the earlier and almost mellow varia-tions, the concerto has a terribly tragic,bleak, even inhospitable climate. It is inits way a great work, but one that is veryhard to like.

The performances here, recorded live,are both excellent. Michael Gielen is themaster of this kind of modernism, andhis collaboration with Ursula Oppens isparticularly notable. The concerto, bythe way, is an excellent digital recording(the variations were recorded on analogequipment), and the compact discmakes an impressive showcase for thenew medium. Eric Salzman

CHAUSSON: Concert in D Major forPiano, Violin, and String Quartet, Op.21; String Quartet, Op. 35 ("Unfin-ished"). Jean -Philippe Collard (piano);Augustin Dumay (violin); Muir StringQuartet. LA VOIX DE SON MAITRE/EMI0 270381-1 $12.98 (from InternationalBook and Record Dists., 40-11 24th St.,Long Island City, NY 11101).

Performance: Very goodRecording: Sumptuous

It was an imaginative idea to coupleChausson's fairly well-known Concertwith his virtually unknown unfinishedstring quartet, and these are very attrac-tive performances. Itzhak Perlman,Jorge Bolet, and the Juilliard Quartetmay be marginally more appealing inthe Concert-and more than marginallyso in the second -movement Sicil-ienne-but their performance for CBSis spread extravagantly over two wholesides and is less sumptuously recorded.The new recording from Pathe Marconiin France, with Jean -Philippe Collard,Augustin Dumay, and America's MuirQuartet, is a handsome proposition.Like all recent releases from EMI'sFrench company, it also offers the addi-


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CHOPIN: Ballades Nos. 1-4; PianoSonata No. 2, in B -flat Minor ("FuneralMarch"). Emanuel Ax (piano). RCA 0ARCI-7069 $12.98, © AREI-7069$12.98, RCD1-7069 no list price.

Performance: WarmRecording: Fine

CHOPIN: Ballades Nos. 1-4; PianoSonata No. 2, in B -flat Minor ("FuneralMarch"). Andrei Gavrilov (piano). AN-GEL 0 DS -37669 $11.98, © 4DS-37669$11.98, CDC -47344 no list price.

Performance: ColdRecording: Fine

The contrast between these two read-ings of Chopin's Piano Sonata No. 2and the four ballades is incredible.Emanuel Ax invokes the full sonoritiesof the piano and molds them into beau-tifully contoured long lines. The dy-namics are exquisitely shaded, and theplaying is full of subtle details. Ax neverseems rushed; the music unfolds inundulating waves of lyric beauty andpowerful drama. Andrei Gavrilov, onthe other hand, limits his sound to a drycrispness that undermines those longlines. He pushes forward relentlesslyand never allows himself, or us, to savor

the ever-changing moods of this pas-sionate music. Gavrilov's Chopin isharsh and cold. S.L.

COPLAND: Symphony No. 3; QuietCity. New York Philharmonic, LeonardBernstein cond. DEUTSCHE GRAMMO-PHON 0 419 170-1 $10.98, © 419 170-4$10.98, 419 170-2 no list price.

Performance: CompellingRecording: Rich and vivid

COPLAND: Symphony No. 3; Danzdncubano; El salon Mexico. Dallas Sym-phony Orchestra, Eduardo Mata cond.EMI/ANGEL 0 DS -37365 $11.98,4DS-37365 $11.98, © CDC -47606 nolist price.

Performance: ImpressiveRecording: Well-defined

Both of these new recordings bring usstrong, valid statements of a work thatsurvived a long period of near neglect toemerge as one of the truly great Ameri-can symphonies. Leonard Bernstein, ofcourse, is immensely authoritative inCopland's music, but Eduardo Mata'simpressive performance of the bigThird Symphony on Angel puts him inthe same league. In fact, Mata's gener-ous program shows how far he hasbrought his already very good Dallasorchestra since they first recorded ElsaMn Mexico for RCA.

Bernstein's performance of the sym-phony, as one might expect, is some-what more expansive as well as moreintense than Mata's, making more ofthe hymn -like sections in the thirdmovement as well as the "grand ges-tures" of the finale. Mata is morestraightforward in these sections, and ingeneral he stresses the lean muscularityof the work and the clarity of its struc-ture. To describe the overall differencesbetween these two fine performances insuch terms is, of course, to oversimpli-fy. It need hardly be said that Bern -stein's has plenty of muscle and leavesno detail unclarified, and Mata's almostmatches it in intensity. The recordedsound in each case reflects the actualcharacteristics of the respective per-formances. Deutsche Grammophon hascaptured the New York Philharmonicwith greater richness in a relativelyclose-up focus (a big sound, one mightsay, in keeping with the nature of thework itself), whereas Angel has pro-vided X-ray clarity in which the windsand brass stand out crisply, but some-what at the expense of the strings.

Narrowing it all down, I would haveto say that the totality of Bernstein'srealization of the Third Symphony hereis irresistibly compelling, and the poig-nant Quiet City, in what is surely itsfinest performance on records to date (astudio -recorded one in which the trum-

Thelast wordinphonocartridges

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pet and English -horn solos are playedeloquently by Philip Smith and ThomasStacy, respectively), is a more apt en-core for the big work than the two Lat-in -flavored pieces offered (with greatpiquancy and charm) by Mata. But themargin of preference is by no meanswide, and surely no one can be otherthan pleased by either of these splendidreleases. R. F.

DOHNANYI: Variations on a NurserySong, Op. 25 (see Best of the Month,page 71)

DVOITIAK: Cello Concerto in B Minor,Op. 104. TCHAIKOVSKY: Variationson a Rococo Theme, Op. 33. MstislavRostropovich (cello); Boston Sympho-ny Orchestra, Seiji Ozawa cond. ERA-To/RCA 0 NUM 75282 $10.98, 0MCE 75282 $10.98, ECD 88224 nolist price.

Performance: Superb solo work!Recording: A disappointment

For all his conducting activity over thepast decade and more, Mstislav Rostro-povich has lost none of his prowess asone of the world's leading cellists. As inhis justly celebrated 1969 DeutscheGrammophon recording of this sameDvotak-Tchaikovsky coupling withHerbert von Karajan, he displays theutmost poetry and passion in the Czechmasterpiece and dazzling virtuosity andamazing command of tonal colorationin the Rococo Variations. But all thisdoes not a great recorded performancemake. The Dvotalc in particular re-quires a conductorial presence of thekind required for the Brahms concertos,and in my opinion Seiji Ozawa is nomatch for Karajan in that department,let alone George Szell in the historicPablo Casals recording with the CzechPhilharmonic.

But for me the real fly in the ointmenthere is the recording balance, whichputs the soloist decidedly more in thespotlight (or the orchestra more in thebackground) than the DG productionand also places the timpani in an obtru-sively resonant spot in the orchestra.Fortunately, DG has had the wisdom tomake the 1969 performance availableon CD. Grab it! D.H.

HAYDN: Cello Concerto in C Major;Cello Concerto in D Major. Ofra Har-noy (cello); Toronto Chamber Orches-tra, Paul Robinson cond. FANFARE 0DFL-6001 $9.98, © DFC-6001 $9.98.

Performance: LushRecording: Very good

One of the most interesting aspects ofcoupling the two Haydn cello concertosis hearing the stylistic difference be-tween the two. The C Major (circa1765) is a gruff hangover from the Ba-roque era with its dazzling passage workand brusque melodic writing. The DMajor (1783), on the other hand, ispurely Classical in its graceful melodic


work and delicate tracery. Ofra Harnoyplays both of them with a lush, vibranttone, pouring forth a long, unarticulatedline. Stylistically correct or not, she isan excellent cellist who is well worthhearing. The Toronto Chamber Orches-tra under Paul Robinson offers richsupport, and the music making is re-laxed and supple. S.L.

PUCCINI: Tosca. Kiri Te Kanawa (so-prano), Tosca; Giacomo Aragall (tenor),Cavaradossi; Leo Nucci (baritone),Scarpia; Spiro Malas (bass), Sacristan;Malcolm King (bass), Angelotti; others.Welsh National Opera Chorus; Chil-dren of the Royal Opera, Covent Gar-den; National Philharmonic Orchestra,Georg Solti cond. LONDON 0 414 597-1two LP's $19.96, @ 414 597-4 two cas-settes $19.96, 414 597-2 two CD's nolist price.

Performance: Correct and coolRecording: Splendid

One's heart leaps to imagine what SirGeorg Solti might do with Puccini's fi-ery melodrama. And for his part in thisnew recording of Tosca, I have highpraise. The orchestra, recorded with vi-brancy and exceptional clarity, playsvery well indeed, responding deftly andsonorously to Sir Georg's impassionedreading of the score. I cannot recall abetter -sounding Tosca orchestra. More-over, the chorus sings the Te Deumwith spirit and richness of tone, and theoff-stage Act II cantata is similarly wellperformed.

Of the three principal artists, Giaco-mo Aragall seems most involved withthe dramatic goings-on. His durablevoice is equal to Cavaradossi's rhetori-cal outbursts and capable of the lyricismrequired in his arias. If Aragall does nothave the most beautiful tenor imagina-ble, he is convincing in this part, towhich he brings a feeling of urgency.

Leo Nucci is curiously unmoving asScarpia. He sings well, he is readilyunderstandable, but he is not arresting.His performance lacks the quality ofaristocracy that Baron Scarpia com-mands as well as his pathological cruel-ty, fanatical need for power, and sado-masochistic desire. All these traits ofcharacter are there in the music or textor in Puccini's explicit stage directions.Nucci's is a correct villain-musicallysound, openly interpreted-but not aparticularly memorable or richly indi-vidual one.

The same applies to Kiri Te Kana-wa's Tosca. By temperament a some-what objective artist, Dame Kiri seemsunable to illumine Tosca's unembar-rassed passion. Her voice, though pureand disciplined, is not a large one, andwhile she does not push it in heaviermoments, her climaxes sound some-what unfulfilled and too carefully pre-pared. An artist of musical persuasive-ness when heard in roles well suited toher-Mozart's Countess, for example-she is less often moving dramatically,

for she seems to perform outside a givencharacter. Like her audience, she is theobserver.

It is the performances of Te Kanawaand Nucci that lead me to characterizethis performance as "Correct and cool."The earlier Tosca on RCA featuringLeontyne Price, Placid() Domingo,Sherrill Milnes, and Zubin Mehta is lesscorrect but more impassioned. Andthen there is the supreme Tosca of Ma-ria Callas, supported wonderfully onAngel by Di Stefano, Gobbi, and DeSabath. Both of these performances arestill available (and on CD), thoughneither boasts the magnificent sound ofthe new London recording. R.A.

REICH: Sextet. Bob Becker, Russ Har-tenberger, Garry Kvistad, Glen Velez(marimba, vibraphone, bass drum, cro-tales, tam -tam, sticks); Edmund Nie-mann, Nurit Tilles (piano, synthesiz-ers). Six Marimbas. Bob Becker, KoryGrossman, Russ Hartenberger, JamesPreiss, Bill Ruyle, William Trigg (ma-rimba). NONESUCH 0 79138-1 $10.98,© 79138-4 $10.98, 79138-2 no listprice.

Performance: HypnoticRecording: Excellent

You've probably experienced the sensa-tion while listening to a ticking clock. Atfirst, you may hear the ticking as twobeats, with the accent on the first. Grad-ually, though, the emphasis shifts to thesecond beat-or the beats re-form intogroups of four rather than two. Nothingin the movement of the clock haschanged, but the pattern your subcon-scious has superimposed over the tick-ing has. Steve Reich calls this effect"rhythmic ambiguity," and, in a muchmore complex form, it plays an impor-tant role in both his Sextet and Six Ma-rimbas.

Reich's intensely rhythmic, iterativemusic isn't so much minimalist as it ismathematical. Of course, all music hasa mathematical component-rhythmcan be expressed as a ratio of beats overtime, melody and harmony as patternsor "equations" of notes whose valuesare defined by their distance from atonic center. But where these abstra-tions are merely descriptive conve-niences for most composers, they are animplied framework in Reich's composi-tional technique. Sextet, for example,takes the form of an A -B -C -B -A struc-ture of cyclical movements, each ofwhich follows strictly defined chordaland metric operations. In Six Marim-bas, three marimbas play the sameeight -beat rhythmic pattern but withdifferent notes; a fourth marimba mim-ics the pattern of one of the first threebut reverses the fifth and seventh notes,the first and third, and so forth; finally,two other marimbas double some of thepatterns created by the first four.

The result of all this is a fascinating,richly contrapuntal music with abso-lutely no emotional overtones what-

soever. It's much too energetic and var-ied to be "drone" music, but unless youlisten actively and concentrate onReich's compositional technique, itmight very well lull you to sleep. Sextetand Six Marimbas are both scored forpercussion (the piano is considered, inthis context, as a percussion instru-ment), but the soft, rounded tone ofvibes, marimbas, bass drum, and syn-thesizers keeps the music from sound-ing hard or brittle. In fact, with Reich'stechnique. the effect is altogether relax-ing and felicitous-every contrapuntalencounter is a happy coincidence.

Mark Peel

STRAVINSKY: The Firebird; Scherzofantastique, Op. 3; Fireworks, Op. 4(see Best of the Month, page 72)

TCHAIKOVSKY: Piano Concerto No.1, in 11 -flat Minor, Op. 23 (see Best ofthe Month, page 71)

TCHAIKOVSKY: Piano Concerto No.1, in B -fiat Minor, Op. 23. Barry Doug-las (piano); London Symphony Orches-tra, Leonard Slatkin cond. RCA 05708-1 $9.98, 5708-4 $9.98, 5708-2no list price.

Performance: SplendidRecording: Very good

This performance of the TchaikovskyFirst by Barry Douglas, the 1986 Inter-national Tchaikovsky Competitionwinner, seems to strike a golden meanbetween the lyrical emphasis of VanCliburn's historic 1958 RCA recordingand the brilliantly virtuosic approachof, say, Martha Argerich on DeutscheGrammophon. What impresses meabout Douglas is the way he has man-aged to integrate the virtuosic passage -work of the outer movements into areading that is intellectually and musi-cally all of a piece. Yet there is nothingmerely cerebral about his playing. Hispiano tone is as big and his colorationas brilliant as anyone could wish, and inthe slow movement, with its contrastinglyrical and scherzando sections, hecomes up with a flawless amalgam ofelegance and keyboard flash. And, ofcourse, the fabled double -octave caden-za that caps the finale comes off glo-riously.

Leonard Slatkin and the LondonSymphony provide A-1 collaborationthroughout, backed by splendid sonicsall the way. The piano -orchestra bal-ance is just about ideal for this work,and the recorded sound of the HamburgSteinway can only be described as im-posing from top to botton. D. H.

TCHAIKOVSKY: Variations on a Ro-coco Theme (see DVORAK)

WALTON: Belshazzar's Feast HenriV, Suite. Benjamin Luxon (baritone);Brighton Festival Chorus; Royal Phil-harmonic Orchestra, Andre Previncond. MCA MCA -6187 $9.98, ©

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Performance: SplendidRecording: Splendid

It seems incredible that so important achoral work of our century as Walton'sBelshazzar's Feast should have been to-tally unrepresented on records for thelast few years, but it is good to have thatsituation corrected with such distinc-tion. The Royal Philharmonic chosethis material to launch its own recordlabel in England last year, and nowMCA has taken on the U.S. distributionto mark its own return to the "classical"record business.

For some of us, the late Sir AdrianBoult's 1953 recording of this work forWestminster, with Dennis Noble as so-loist, will never be matched, but asimpressive as the sound of that versionwas when it was new, this brilliantlyscored work really requires wide -rangestereophonic treatment. Boult never gotround to remaking Belshazzar's Feast;Walton himself did, but his LP is gonenow too. Among the deleted recordingsare one made by Sir Georg Solti forLondon about ten years ago and onemade by Andre Previn for EMI aboutfive years before that. Previn had bythat time pretty well established himselfas the near equal of Boult, who was stillactive then, in the performance of twen-tieth-century English music, and overthe years Previn's authority in this rep-ertoire has deepened to the point that heis now acknowledged as peerless.

Previn's new Belshazzar, I think, ismore powerful than his earlier one, aswell as a more spacious and impressiverecording-and the filler is more attrac-tive too. The little suite from Henry V,the finest of Walton's Shakespeareanfilm scores, is set forth here with apanache and all-round evocativenessbeyond anything Walton himself or anyother conductor who has recorded itachieved. I haven't heard the CD, butthe beautifully processed LP leavesnothing to be desired except the free-dom from turnover-and a printedtext, which I have to assume will bemissing from the CD as well. R.F.

COLLECTIONSBENNETT LERNER: American PianoMusic, Vol. IL Harris: American Bal-lads; When Johnny Comes MarchingHome. Bowles: Dance; Cross -Countryfor Two Pianos; Sonatina. Copland:Three Moods; Sonnet II; Petit portrait("Abe); Sentimental Melody (SlowDance). Barber: Love Song. Ramey:Canzona. Schuman: Voyage. Blitzstein:Variation II; Pas de deux; Three -FourDance. Bennett Lerner (piano). ETCET-ERA 0 ETC 1036 $12.98.

Performance: PersuasiveRecording: Lifelike

Bennett Lerner's earlier collection ofAmerican piano music for Etcetera


(ETC 1019) was a valuable issue thatcarried an implicit promise to respondto the demand it would surely create formore, and here that promise is hand-somely honored. Once again there ismusic of Samuel Barber, Aaron Cop-land, Paul Bowles, and Phillip Ramey.Once again there is music never re-corded before: Roy Harris's little pieceon When Johnny Comes MarchingHome (not a piano version of the con-cert overture, but the opening numberin a projected second set of ballads forpiano), all the Bowles material, all theCopland, the Blitzstein, the Barber, andthe Ramey (which was written for Lern-er less than five years ago). The big Wil-liam Schuman work, a cycle of five verysubstantial pieces, had not been re-corded since Beveridge Webster's monoversion on Columbia in the mid -Fifties.In all, the new collection representsgreater variety and greater substancethan its predecessor, and, since none ofthe music could be in more authorita-tive or persuasive hands, and the re-cording itself is again first-rate, VolumeII seems to call even more strongly thanthe first for still more. R.F.

TERESA STRATAS: Stratas SingsWeill. Teresa Stratas (vocals); Y Cham-ber Symphony, Gerard Schwarz cond.Lonely House; J'attends un navire; DasLied von der Unzulanglichkeit; Sura-baya -Johnny: One Life to Live; Havan-na-Lied; It Never Was You; Der kleineLeutnant des Lieben Gottes; FoolishHeart: and six others. NONESUCH79131-1 $10.98, 79131-4 $10.98,79131-2 no list price.

Performance: Wrong flavorRecording: Excellent

When Lotte Lenya sang such songs byher husband, Kurt Weill, as Surabaya -Johnny and Havanna-Lied, she con-jured up images of pre-war Berlin de-cadence. When Teresa Stratas singsthese songs, I get the same feeling ofuneasiness I experienced when I heardJames Earl Jones recite old blues lyricson a television program a few yearsback-a feeling that there has been aterrible mismatch.

I understand that Stratas's earlier al-bum, "The Unknown Kurt Weill," isquite good, but its sequel, "Stratas SingsWeill," sends chills down my back-forthe wrong reasons. The problem maywell be that Stratas was reluctant to dothe album, an impression I get fromreading the sleeve notes, an interviewwith the singer that is far more interest-ing than anything within. Stratas singsthese Weill songs in a most dispassion-ate way, every once in a while eruptingas if to inject an emotion that refuses toshow itself. I would buy this album forthe notes and look for the Lenya record-ings to hear how this music should real-ly sound. If you want to hear Stratas ather best, pick up the DG recording ofLulu by Weill's contemporary, AlbanBerg. Chris Albertson


DEALERSCOPE MERCHANDISING PRODUCTS OF THE MONTH

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LOUIS ARMSTRONG AND HISORCHESTRA 1942-1965. Louis Arm-strong (trumpet, vocals); Buster Bailey(clarinet); Big Sid Catlett (drums); Vel-ma Middleton (vocals); other musi-cians. You Rascal You: Swingin' onNothin; Sleepytime Down South: Shine:Mack the Knife; and five others. JAZZCLASSICS/AUDIOFIDELITY 102 VHS andBeta $19.95.

Performance: The one and onlyRecording: Vintage

Jazz Classics is a new series of videocas-sette releases featuring material from avariety of sources, including early TVkinescopes and "Soundies." The latterwere forerunners of today's music vid-eos, short (three -minute) films, shownon special video jukeboxes, in whichmusicians often synchronized theirmovements to the sounds of their ownrecordings and acted out stories basedon the lyrics.

This skimpy, thirty -three -minute vid-eo offering consists of four Soundiesmade by Louis Armstrong in 1942, pos-sibly to get around that year's musi-cians' union recording ban, and fiveselections from a 1965 television show.Visually, the Soundies paint a racistportrait of black people that will makeyou cringe, but you can always closeyour eyes and enjoy the music, which istypical Satchmo pop of the day. Theembarrassing moments are provided bycomedian Nicodemus, who is of the oldStepin Fetchit mold, and Velma Mid-dleton, a pedestrian singer who cashedin on her obesity.

The television segment, directed byJdrn Winther, who these days keepshimself busy with the soap opera All MyChildren, is a more dignified presenta-tion. Here we have the mid -Sixties ver-sion of the All -Star group, with TyreeGlenn on trombone and vibraphone,Buster Bailey on clarinet (heard togreater advantage than on the Sound-ies), and Billy Kyle on piano. Middle -ton's replacement, Jewell Brown, is aneven worse singer than Middleton, butshe does look pretty good as she singsMy Man (not the famous French songwe all know).

The accompanying notes are infor-mative and nearly accurate, but to setthings straight, it was Lil Armstrong,not Louis, who wrote Struttin' withSome Barbecue, and Sam Theard, notPheard, who gave us You Rascal You. Ialso wish some care had gone intoassembling these films for video release.Providing smooth transitions betweenclips would not have been difficult, so

VIDEO REVIEWS

Albert Dieudonne in the title role

NAPOLEONBILLED as "Abel Gance's 1927

Masterpiece" when FrancisCoppola brought it back fromfilm limbo in 1981, Napoleon is

a movie that deserves its legend andthen some, but unlike many certifiablemasterpieces it's also a lot of fun. Direc-tor Gance was a hell of a showman,among other things, and his ahead -of -his -time bag of tricks-multiscreentriptychs anticipating Cinerama, over-lapping montage, faster -than -the -eyeediting-not only make powerful emo-tional sense but give you the impressionthat somebody is working very hard atknocking your socks off.

Starring Albert Dieudonne, wholooks for all the world like a vest-pocketRod Stewart (come to think of it, a lotof the actors look like contemporarypop stars), the film is an astonishingcollision between Gance's nineteenth-century literary/philosophical sensibili-ty and his twentieth-century visual one,and as restored here to close to its origi-nal marathon running time (through theheroic efforts of film archivist KevinBrownlow), it registers as the work ofsomeone who was a filmmaker down tohis bones, the kind of bravura directingthat has all but disappeared in this eraof cinema by conglomerate. Despite thefilm's occasional naïveté and melodra-matic excess, it's hard to avoid wordslike "art" after seeing Napoleon, andyou can readily understand why Coppo-la wanted it to reach a wider audience:

he obviously recognized in Gance akindred spirit.

MCA's home version necessarily suf-fers in comparison with the theatricalversion. Gance packed an astonishingamount of detail into most of hisscenes, much of which gets lost on avideo monitor, and the concluding tri-ple -screen sequence (which had peoplestanding and cheering when I saw it atRadio City in New York) simplydoesn't work in the compressed videoformat. Fortunately, Carmine Coppo-la's weD-recorded score restores muchof the epic sense of scale. It may rely tooheavily on quotes from Beethoven,Mendelssohn, Berlioz, and La Morse&laise, but in its cornball, bombastic way,the music strikes me as exactly the kindof music a genuine Hollywood compos-er of the period would have ground out,and it's cued to the visuals quite effec-tively.

Regardless of what you think of themusic, though, and allowing for the lim-itations of the TV screen, there's nodoubt that Napoleon is one of the genu-ine home video events of the Eighties.Don't miss it. Steve Simels

NAPOLEON (Carmine Coppola). Re-stored version of the 1927 film by AbelGance. With Albert Dieudonne, Anto-nin Artaud, and Abel Gance. Orchestra,Carmine Coppola cond. MCA A0086VHS Hi-Fi and Beta Hi-Fi two cassettes$79.95, 40086 three LaserDiscs $89.98.


there is no excuse for simply slappingthem together, end -of -reel noise and all.As for the claimed digital transfers, Idon't believe it, because I have seenthese same films with far better qualityon imported Japanese LaserDiscs. C.A.

BOB DYLAN WITH TOM PETTYAND THE HEARTBREAKERS: Hardto Handle. Bob Dylan (vocals, guitar);Tom Petty and the Heartbreakers (vo-cals and instrumentals). In the Garden;Just like a Woman; Like a RollingStone; It's Alright, Ma (I'm Only Bleed-ing); and six others. CBS/Fox 3402VHS Hi-Fi and Beta Hi-Fi $29.98,3402-80 LaserDisc $29.98.

Performance: Worth watchingRecording: Terrific

I don't know what history will make ofthe recent collaboration between BobDylan and Tom Petty and Co., but onthe basis of this new home video, shoton tour in Australia by director GillianArmstrong (My Brilliant Career), it wasmore or less a dream match. Petty andthe Heartbreakers are, in fact, absolute-ly superb accompanists, unerringly mu-sical and utterly in synch with the trade-mark Dylan instrumental sound with-out slavishly imitating it. It's not anexaggeration to say that a lot of thesesongs have never been played so well.

The nominal star, meanwhile, is aninteresting case. He seems to be enjoy-ing himself, and he remains an arrestingpresence, but his vocals, even by hisown unpredictable standards, are so ec-centric that you can't quite tell if he'sre -interpreting his past or simply trash-ing it. Nevertheless, there are momentshere (Just like a Woman, Knockin' onHeaven's Door) when everything comestogether in a genuinely goosebump-inducing way, and Armstrong's cameracatches the whole affair with a nicelyobjective distance. Not the Dylan con-cert for the ages, perhaps, but never lessthan fascinating. L.M.

THE MONKEES: Head. The Mon-kees, Annette Funicello, Frank Zappa,Teri Garr, Victor Mature, others. RCA/COLUMBIA 60702 VHS Hi-Fi $69.95,20702 Beta Hi-Fi $69.95, 30702 Laser -Disc $29.95.

Performance: Surprisingly goodRecording: Well-done

Head, the Monkees' only feature film,was made in 1968 at the time when thegroup's fortunes were flagging and theyhad little to lose by taking potshots attheir image as a cutesie-poo plastic con-trivance. What the group-along withdirector Bob Rafelson and screenwriterJack Nicholson (look for his brief cam-eo)-came up with is a sort of genialAmerican version of Fellini's 81/2: anamusingly surreal collage of topical bits(the Vietnam war is a virtual subtext),old -film parodies (Westerns, GoldenBoy, etc.), stepping -out -of -the -movievisual non sequiturs, and some genu-

The Monkees: Davy Jones, Peter Tork, Mickey Dolenz, and Mike Nesmith

inely off-the-wall sequences, includingone with the group on a golf ball swat-ted by a giant Victor Mature.

There's also a fair amount of music,most of it better than you'd expect(Mike Nesmith's Looks Like We MadeIt Once Again, for instance, staged aswhat today we'd call a concert video),and a good deal of not -so -gently self-deprecating humor. Imagine a typicalepisode of the Monkees' TV show lacedwith a bit of R-rated cynicism andworldliness, and you'd get an idea of thefeeling of the film. All in all, it's not somuch a period piece as a nice way toremember four guys who rank as thebaby -boom generation's favorite guiltypleasure. The bottom line: a divertingway to kill eighty-six minutes. Picturequality and sound are first-rate. L.M.

RICK NELSON: In Concert.Rick Nel-son (vocals, guitar); the Jordanaires(background vocals); instrumental ac-companiment. Stood Up; Travelin'Man; Hello Mary Lou; Garden Party;and four others. MCA 80360 VHS Hi-Fi and Beta Hi-Fi $19.95.

Performance: Fitting tributeRecording: Good

The summer before his death in a NewYear's Eve plane crash, Rick Nelsonteamed with Fats Domino for a series ofrevival shows that had people talkingseriously about his comeback. One suchperformance, at the Universal Amphi-theatre in Los Angeles-where the neonsign in the background, like the cover ofthis video release, insists on adding theold "y" at the end of his name-wasfilmed for a one -hour TV special sched-uled to air in January 1986. With Nel-son's death, however, his manager re-called the show. The home -video con-cert is brief-only eight tunes-but it isworth checking out.

Nelson, who was more amiable thandynamic on stage, looks as boyish hereas ever (the Jordanaires, however, lookolder than God), and the performance,with Nelson's crackerjack band, walksthe line between pure nostalgia androckabilly for the Eighties. Through itall, Nelson appears more to be havingfun than thinking about how his musicis going over, but the one new tune-You Know What I Mean, a rockabillysong with a shuffle beat-shows that hewas probably ready to move forward

instead of resigning himself to the oldiescircuit.

The real tragedy of Rick Nelson is notso much that he died but that he neverreally fulfilled the promise of either hiscountry -rock phase (She Belongs to Me)or his rockabilly repopularization. Still,as this video proves, he was one ofrock's forgotten resources and an under-rated figure in the evolution of themusic itself. A.N.

BOBBY SHORT: Bobby Short andFriends (Live at the Carlyle). BobbyShort (vocals, piano). The Way YouLook Tonight; Just One of ThoseThings; As Time Goes By; Let's Misbe-have; I Can't Get Started; Hooray forLove; Too Marvelous for Words; IDidn't Know What Time It Was; andeight others. MGM/UA MV300859VHS $29.95, MB300859 Beta Hi-Fi$29.95, ML100859 LaserDisc $34.95.

Performance: A bore, darlingRecording: Satisfactory

It was all I could do to sit through thishour of pretentiousness. It all startswith Bobby Short stepping out of a limoand into the Cafe Carlyle, one of NewYork's showiest watering holes, wherehe has been a maintstay for a decadeand a half. Then the name-droppingbegins, as the camera pans from face tofamiliar face. The gathering includesJack Lemmon, Scavullo, Alice Faye,Tony Bennett, Lisa Hartman, and RexReed-all looking like Madame Tus-saud figures after the blitz, their smilesfrozen, their eyes glassy, their make-upcracking.

The music on this tape is equally hardto take, all of it sounding like theresort -pianist skits Bill Murray used todo on the original Saturday Night Liveshows. At one point, Jack Lemmon isencouraged to play the piano (it's agood thing he can act), Lucie Arnazsings What Love Has Done to Me,andeverybody is asked to participate onToo Marvelous for Words. Don't youhate it when performers force you tojoin in the act?

If you want to eavesdrop on an ever-so -precious gathering of Bobby Shortand his dearest friends, this video is foryou. A little bit of Short goes a long waywith me, but this entire presentation,performance and all, is drenched inshallow drivel. C.A.

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If you can't live withoutmusic, then you oughtto read The AbsoluteSound, which is allabout music-how it isrecorded, how it is repro-duced, how we hear itand how it came to be.V tell you which rec-ords and audio compo-nents sound most likethe absolute sound, thatis, real music beingplayed in a real space.and we tell the truth in a magazine where cussedindependence and straight talk are the golden rule.

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=MIN=INMDENON YAMAHA

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SONY R3 199

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KEF DM1400 749103 2 675 DM220 Call104 2 Call Mat. 2 Call

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PIONEERPIONEER ALPINE149 7272

6E11 279340201693519

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HIFONICS JVC

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6X11421 79 FF1700 149K011426 109 SONYKXT1625 99 ITA500 1591002135 78 ITA600 189KXT2345 63 161300 676012425 158 SPP100 1591113135 88 SPP300 2291X13160 148 PHONEMATE6013845 119 7000 89

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409

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YAMAHA: R9 $699, R8 $539, GE 60 $329, CD 2000$649, CD 700 $479, CD 500 $329, M 85 $799, C 85 $639,T 85 $379, T 720 $229, T 1020 $299, DSP 1 $749. NAK-AMICHI: BX 100 $279, BX 125 $379, BX 300 $599, RX202 $549, RX 505 $1019, CR 7 A $1269, DRAGON$1629, OMS 3 A $599, OMS 4 A $849, SR 2 A $389, SR3 A $499, ST 7 $619, CA 5 $629, TO 700 $699, TD 300$319, PA 400 M $359, PA 350 $339, SP 300 $279, SP400 $309, DENON: DRM 44 HX $519, DCD 1300 $449,DCD 1500 $539. SONY: TCD 5 M $649. USA Warranty.International models available. VISA/MC, AMEX,DINERS.DISCOVER, COD. For catalog or order only,please call 1(800) 255-9500 extension 201. More in-formation on ONKYO, LUXMAN, CARVER, HARMANKARDON, KYOCERA please call 1(206) 747-9999.TASKAMICHI AUDIO. P.O. Box 25583. Seattle, Wa98125. Prices subject to change.

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RECORD COLLECTORS SUPPLIES. REPLACEMENTJACKETS, inner sleeves. 78 RPM sleeves, operaboxes, etc. COMPLETE CATALOG. Cabco, Box 8212.Room 640, Columbus, Ohio 43201.

FROM EDISON TO ELVIS (AND BEYOND) LP's 78's,45's etc. Visit or mail -in wants. The Olde Tyme MusicScene, 915 Main Street, Boonton, NJ 07005. (201) 335-5040. Tuesday -Sunday.

SOUNDTRACK COLLECTORS. Largest selection of inprint, out of print, foreign and domestic records. Inbusiness 14 years. Discount and free bonus recordsavailable. Send for free catalog. SOUNDTRACK AL-BUM RETAILERS, Dept SR11, Box 487, New Holland.PA 17557. (717) 656-0121.

TAPES

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SERIOUS ABOUT CLASSICAL MUSIC? ABOUTCOMPACT DISCS? Now is our 4th year. Ethel Enter-prises is serious about both and invites you to sub-scribe to our 100+ page catalog detailing more than2000 titles in stock. Annual subscription $5.00 ob-REFUNDABLE WITH ORDER]. ETHEL ENTER-PRISES, P.O.B. 3301, Dept. SR, Falls Church, VA 22043.

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COMPACT DISCS -AT LOW WAREHOUSE PRICES.Now in our fourth year. Over 6,000 titles available. Freecatalog, plus regular updates and monthly specialsstarting at $10.99. OZ WAREHOUSE, 5246 MemorialDrive, Stone Mountain, GA 30083. (404) 292-5451.

AUDIO SPECIALITY SHOPSMCINTOSH (all types), MARANTZ (tube) and otherprecision audio components. Free catalog. Sam-5pmest, Mon -Fri. Audio classics, pob 176SR, Walton, NY13856. 1(607) 865-7200.

COMPACT DISCS AT COMPETITIVE PRICES! Largeselection In stock in all music categories. Discountfor multiple disc orders. Send for free catalog toWINDY CITY COMPACT DISCS, P.O. Box 2327, Des -Plaines, IL 60017-2327. OUR SERVICE WILL BLOWYOU AWAYI

PRE -OWNED CD'S WANTED! Top dollar guaran-teed. Free information. THE CD LINK, 410 -SR WeaverLane, Simpsonville, SC 29681-8908.

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Cash for used CD's. Now paying $6.00 and up. Sendimmediately or write for details. Moles CDX, 2497 E.Main St., Columbus, Ohio 43209. (614) 231-1701.

CLUBS

CLASSICAL MUSIC LOVERS EXCHANGE. Nation-wide Liik between unattached music lovers. Write:CMLE, Box 31sr, Pelham, NY 10803.

MEET THE FIRST CLUB dedicated entirely to qualitySixties music. Sample newsletter: $2.50: $4.00 out-side North America. US funds. Classic Rockers, Box1043A, Stevens Point, WI 54481.

FOR INVENTORS

INVENTORS! Can you patent and profit from your idea?Call AMERICAN INVENTORS CORPORATION for freeinformation. Over a decade of service. 1(800) 338-5656. In Massachusetts or Canada call (413) 568-3753.

DUWARS sells classical music on compact discs atspecial mail order prices. Catalog $2.00. P.O. BOX LASER VIDEO DISCS6662D, GREENVILLE, SC 29606.

DIGITAL DISC DEPOT. We carry over 200 domestic la-bels. Competitive prices. Catalog-$2.00(refundable onfirst purchase). Shipping & handling -$2.50. P.O. Box248868, Detroit. MI 48224.

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INSTRUCTION

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EVENTS

THE BEST PRODUCED SOUND YOU'VE EVER HEARDCalfifornia High End Hi-fi Show presented by Stereo-phile Magazine and Nelson and Assocates. Over 50premiere audio brands demonstrated. Meet the de-signers and inventors in person. Recalibrate your earsat the show's continuous live classical guitar concert,plus °tier ear -and soul -satisfying musical events.Located at the Bayview Plaza Holiday Inn in SantaMonica. CA on West Pico near the beach. Dates: Fri-day (3/27/87) 5-10 p.m. Saturday (3/28) 11 a.m.-10p.m.Sunday (3/29) 11 a.m.-7p.m) Admission: at door, 510/ticket (good for all 3 days); by mail, $9/ticket. Sendcheck, n.o. or MC/Visa information to Stereophile, P.O.Box 5529, Santa Fe, NM, 87502.

WANTED TO BUY

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R E C ( ) M A K R

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SAY IT AIN'T SO! DEPART-MENT: This being an era

when pop stars fall all overthemselves in a rush to hawkeverything from soft drinks(Glenn Frey) to motorcycles(Lou Reed) to magazines(Tina Turner), we probablyshould have expected it, butnone other than ex-BeatleRingo Starr is about to be-come ubiquitous as a TVpitchman for Sun CountryClassic, a new up -scale (?)wine cooler. This gives Ringothe dubious distinction of be-ing the first Beatle to act as aproduct spokesman (unless,of course, you count the late

-dc

Ovirrti.

Starr: pitchman

John Lennon's relentlessshilling for the music of hiswife, Yoko Ono). Ah well, an-other vestige of innocenceshot to hell.

In less depressing Beatlesnews, however, we arepleased to report that MPIVideo is releasing a home -tape version of Help, the

114.1tildifk ;

'it;111

, 110 14

Short: definitive

group's second feature filmand one of the crucial come-dic artifacts of the Sixties.List price (VHS or Beta) is$69.95. 0nETURN OF THE WERE-/ WOLF! Warren Zevon,possibly the sharpest Ameri-can singer/songwriter of re-cent vintage, hasn't made analbum since 1982, but thanksto Tom Cruise's pool -halldance number to the strainsof Zevon's hit Werewolves ofLondon in Martin Scorsese'sThe Color of Money, the manwill be recording again mo-mentarily, this time for theVirgin label. And get this: inone of the most fortuitouspairings since Leopold andLoeb or Rimsky and Korsa-kov, the backings on the asyet untitled waxing will beprovided by the favorite bandof sensitive Yuppies every-where, none other thanR.E.M. Meanwhile, Zevon'sold label (Asylum) has justunleashed "A Quiet NormalLife: The Best of Warren Zev-on." Fans are advised tospring for the CD version,

which contains twobonus tracks. 0

Nor so very long ago theveteran cabaret singer

and pianist Bobby Short wasdescribed in these pages, byPeter Reilly, as a New YorkCity landmark: "Not to goand hear him sing at the CafeCarlyle is rather like going outof your way to avoid the Pla-za fountain or RockefellerCenter or the MetropolitanMuseum of Art."

Located only a couple ofblocks from the museum onManhattan's upper East Side,the Carlyle has been Short'shome away from home foralmost twenty years. But At-lantic Records has been hishome as a recording artist fora good deal longer than thatThe label has thus seized theopportunity of honoring hisfiftieth year in show businessin 1987 with the release of afour -record set titled "50 byBobby Short."

The earliest tracks go backto the mid -Fifties, rangingfrom such standards as I Likethe Likes of You by E. Y. Har-burg and Vernon Duke andManhattan by Richard Rodg-ers and Lorenz Hart to theBessie Smith classic Gimme aPigfoot. Side eight windsdown with Short's inimitablerenditions of Stephen Sond-heim's Losing My Mind (re-corded live at the Carlyle in1973) and another Rodgersand Hart entry, Spring IsHere.

Hailed by his Atlantic pro-ducer of many years, NesuhiErtegun, as "the definitive au-thentic original genuine inter-preter of the American song,"Short is slated to participate

R.E.M. (left) and Zevon: Yuppies' favorite band backing hitmaker

AMP

lib NE,

in a Rodgers and Hart eve-ning at the White House onMarch 8.

N CASE YOU'RE WONDER-/ ING, IT STANDS FOR DECI-BELS. The dB's, the quirky,original pop/rock outfit thatonce described their work(apparently with lasting re-gret) as "smart music for stu-pid people," made nary acommercial ripple with "LikeThis," their 1984 Bearsvilledebut after a string of suc-cesses on a small British inde-pendent label. But quality, itseems, will out, and they'regetting another shot at the bigtime. I.R.S. Records, thehome of several other quirky,original bands that nonethe-less get played on the radio,

' ;

4

The dB's: bracing

has signed the dB's, and anew album (no producerchosen yet) is promised formid -year.

While waiting, however, westrongly urge you to hunt up acopy of "Like This," still inprint as Bearsville 25146-1and still one of the most brac-ing, melodic, and intelligentalbums of the decade. (Asideto Bearsville: a CD versionwould be nice). 0

AMONG the many pianistsobserving the centenary

of Liszt's death in 1986 wasEarl Wild, a Lisztian fromway back, with several re-cordings of the composer'smusic to his credit. Wild'scontribution to last year'scommemorative activities

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Wild: honoring Liszt

was a series of three all -Lisztrecitals he was invited to playat the English estate of LordLondonderry, Wynyard Hall.

ings has been drawn from therecitals, all three double sets(two LP's, two cassettes, ortwo CD's) on the Etcetera la-bel from Qualiton.

The first of these new sets,"Liszt the Virtuoso," was re-leased late last year at justabout the time Wild receiveda Franz Liszt Commemora-tive Award from the People'sRepublic of Hungary. Thetwo remaining sets are de-voted to "Liszt the Tran-scriber," due out this month,and "Liszt the Poet," which isset for September.

/HERE'S good news andbad news for fans of Jane

Wiedlin, formerly the rhythmguitarist of trail -blazing pun-kette hitmakers the Go-Go's.The good news is that shemade her feature -film debutin one of the smasheroos ofthe season, Star Trek IV: TheVoyage Home. The bad newsis that her appearance lastsunder ten seconds and thatshe is all but unrecognizableunder Spock-type eyebrowsand ears (for the record,Wiedlin can be glimpsed asan alien communications of-ficer on a video monitor on

the right side of Star -fleet headquarters ap-proximately thirty minutesinto the film). Undeterred,Wiedlin is said to be prepar-ing material for her secondsolo album on I.R.S.

THE Hungarian -born com-poser Gyorgy Ligeti, now

living in Hamburg, Germany,was in the U.S. recently toaccept the 1986 Universityof Louisville GrawemeyerAward for Music Composi-tion. Funded by retired engi-neer and Louisville alumnusH. Charles Grawemeyer, theaward carries with it a cashstipend of $150,000, makingit probably the music world'smost generous. Said Ligeti,"That such a generous prize isavailable to composers, thatis an inspiration. It brings glo-ry to us all." His prize-winning work was a set of sixpiano etudes.

Ligeti was only the secondwinner of the Grawemeyer.The Polish composer WitoldLutoslawski was the first, in1985, for his Symphony No.

by the Chicago Symphony in1972 and first performedeleven years later. 0

You should look for thefirst batch of reissues

from the newly re -activatedChess/MCA catalog. In printfor the first time in years(with original cover art and abargain list price of $4.98!)are twelve all -time -classicblues and r -&-b albums, in-cluding "Muddy Waters atNewport" (a brilliant live setfrom 1961), Howlin' Wolf's"Moanin' in the Moonlight,""The Best of Little Walter," ablues album by John LeeHooker, and the first two ef-forts from Bo Diddley, all ofwhich are indispensable. 0

ar HE eminent cellist and/conductor Mstislav Ros-tropovich celebrates his six-tieth birthday this month, anoccasion being marked on thevery day, March 27, with agala performance in Wash-ington by the National Sym-phony, of which he is musicdirector.

A few days earlier Rostro-povich is being feted in Parisby his friends there, notably

E R S

by his record compa-ny, Erato Disques, with

which he signed exclusivelylast fall. And a few days ear-lier than that he appears withthe Boston Symphony underSeiji Ozawa in both Bostonand New York, soloing inwhat amounts to an overviewof the literature for cello andorchestra. In two programs he

port on EMI's French label(as is the Strauss). But theDvotak concerto, a pieceRostropovich has recordedmany times before, has justbeen released in a new ver-sion on Erato with Ozawaconducting. The cellist is verypleased with his work on thisone, and so is our reviewer(see page 104). 0

Wiedlin: trail -blazing punkette in feature -film debut

is playing cello concertos byVivaldi, Boccherini, Dvotak,Prokofiev, and Lutoslawskias well as Richard Strauss'sDon Quixote, in which thecellist plays the "title role."

The Lutoslawski and Pro-kofiev concertos are amongthe many works especiallywritten for Rostropovich byleading twentieth-centurycomposers. The Prokofiev isstill in the catalog, on an oldmono LP, but it's not easy tofind, and the Lutoslawski isnow available only as an im-

Rostropovich: sixty

GRACENOTES: Given thecurrent national anti-

drug hysteria, we note with-out comment the home -videorelease of Psych Out, perhapsthe quintessential LSD -ex-ploitation film of the Sixties.Available from HBO/Can-non, it stars Jack Nicholsonas a crazed biker and featuressoundtrack music and an on-screen appearance by theStrawberry Alarm Clock. . . .

Fans of Those Fabulous Six-ties may or may not bepleased to hear that Paul Re-vere and the Raiders (the1987 edition, that is) are like-wise entering the home -videosweepstakes. MCA's "TheLast Madman of Rock andRoll" features Revere andcompany in an hour-longprogram of hits includingHungry, Steppin' Out, GoodThing, and the anti -drug clas-sic Kicks. . . . Ozzie Osborne,reportedly missing after ashort stay at the Betty FordClinic, shaved his head andsent the peroxided locks tohis wife, prompting her to tellreporters, "I'd say we haven'tseen hide nor hair of him, butobviously that's not strictlytrue." 0

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NEW PRODUCTS

SherwoodThe Sherwood CRD-175 in -dash AM/

FM cassette receiver delivers 6 watts perchannel minimum rms into 4 ohmswith less than 10 percent total harmonicdistortion at 1,000 Hz. Line inputsallow connection of a portable compactdisc player, and a more powerful ampli-fier can be connected through thepreamplifier output. Other features in-clude an autoreverse tape mechanism,Dolby B noise reduction, separate bassand treble controls, and a digital clock.

Six AM and six FM stations can be pre -

set, and the preset stations can bescanned with the touch of a single but-ton. Frequency response for the cassettesection is given as 30 to 13,000 Hz withType I (normal) tape and 30 to 15,000Hz with Type II (high -bias) or Type IV

(metal) tape. Stereo 50 -dB quieting is46.8 dBf, tuner selectivity is 65 dB, andcapture ratio is 1.8 dB. Price: $229.95.Sherwood, Dept. SR, 13845 ArtesiaBlvd., Cerritos, CA 90701.Circle 126 on reader service card

HitachiThe Hitachi DA -050 compact disc

changer has a six -disc magazine and aone -disc magazine. A sequence of up tothirty-six tracks from any of the CD's inthe six -disc magazine can be pro-grammed either with the front -panelcontrols or with the wireless remotecontrol. The DA -050 also features re-peat play, random playback, a head-phone jack with level control, and anaudible, two -speed music -search systemfor scanning discs in either direction.The multifunction readout displays thenumber of the disc being played, thetrack number, the elapsed time on thedisc, and the total playing time andnumber of tracks on the disc. Signal-to-noise ratio is given as 98 dB, dynamicrange as 94 dB, frequency response as 4to 20,000 Hz. Price: $499.95. Hitachi,Dept. SR, 401 W. Artesia Blvd., Comp-ton, CA 90220.Circle 127 on reader service card

HaflerThe XL -280 power amplifier from

Hafler uses the company's Excelineartechnology, which is said to make dis-tortions of all types virtually nonexis-tent throughout the audio range. Asloudspeaker systems reflect amplifierperformance, the XL -280 can easily beadjusted to minimize distortion in indi-vidual audio systems. The amplifier israted for a power output of 145 wattsper stereo channel, or 400 watts inbridged mono operation. It uses an all-complementary design, including FETinputs. Phase shift is said to be less than0.5 degree at both ends of the audiospectrum. Price: $600. David HaflerCo., Dept. SR, 5910 Crescent Blvd.,Pennsauken, NJ 08109.Circle 128 on reader service card


NEW PRODUCTS

SonrisePlaced side by side, the Sonrise SH-4

Magnolia audio cabinet and SC -9 Vue-mont video cabinet measure a total of55 inches wide. Each cabinet is 341/2

inches high and 171/2 inches deep andhas casters for easy movement. TheMagnolia (at left in photo) is made ofsolid oak with plywood shelves (oneadjustable) and wood -and -glass doors.Options include all -wood doors and ascratch -resistant glass top for use with aturntable.

The Vuemont (right) has room for aVCR and a video monitor or TV setwith a screen size of up to 26 inches. It,too, is crafted from solid oak with ply-wood shelving; glass doors are optional.The lower doors conceal a drawer thatcan hold compact discs, cassettes, or

VHS, Beta, or 8mm videotapes. Prices(as shown): SH-4 Magnolia, $500; SC -9Vuemont, $770. Sonrise, Dept. SR,13622 N.E. 20th St., Suite F, Bellevue,WA 98005.Circle 129 on reader service card

ParasoundThe Parasound PDM1950 mixer/

preamplifier has six inputs: four formicrophones, with selectable phono orunbalanced phone plugs, and two oth-ers switchable for phono or line level.Each input has its own pan pot and can

be cued separately or combined withanother input through the headphonemonitor independently of the masteroutput -level control. Calibrated LEDpeak -level meters are provided for eachchannel. Feedback and standing -waveeffects are controlled by a six -bandequalizer with three ± 15 -dB low -fre-quency adjustments. Other features in-clude a fixed subsonic filter and anecho/reverb circuit with adjustable lev-el and repeat for use with any or all ofthe microphone inputs. Price: $479.95.Parasound, Dept. SR, 945 Front St.,San Francisco, CA 94111.Circle 130 on reader service card

Lazer-TechThe WD 80 Wedge from Lazer-Tech

is a three-way speaker system that fea-tures an 8 -inch polypropylene bass driv-er, a 41/2 -inch midrange, and a 1 -inch

soft -dome tweeter. Crossovers are at750 and 4,750 Hz with 12 -dB slopes.Nominal impedance is 8 ohms. TheWD 80 can be comfortably powered byamplifiers or receivers providing from10 to 175 watts per channel.

Imaging and sound projection aresaid to be enhanced by the speaker'ssloped driver panel, which is 38 degreesoff the vertical. Frequency response isgiven as 38 to 25,000 Hz ± 3 dB, sensi-tivity as 92 dB sound -pressure levelwith an input of 1 watt. Each speakermeasures 11 inches wide, 36 inches tall,and 2 inches deep at the top and 12inches at the bottom. Weight is 47pounds. The cabinet is finished in simu-lated walnut, oak, teak, or rosewoodFormica. The WD 80 carries a seven-year warranty. Price: $378 per pair,including stands. K-Tronic Labs, Dept.SR, P.O. Box 28342, Spokane, WA99228-8342.Circle 131 on reader service card

INDEX To ADVERTISERSREADER PAGE

SERVICE NO. ADVERTISER NUMBERAcoustic Research 69

9 Alpine Electronics 73, 7531 Arista Records 90

Audio-Technica 102

Bose Corporation 14

Boston Acoustics C3

33 Canton 81

49 Carver Corporation 985 CBS Records 70

Cincinnati Microwave 95Citibank Better Bank Cards 30-A

41 Clarion 32Columbia House CD Club 13Columbia House Video Club 21

68 Coustic 101

Crutchfield Corporation 105

Dealerscope 10927 Denon America, Inc. 4771 Discount Music Club 104

70 Ford Audio SystemsFord Motorcraft 85

Harman Kardon 39

Illinois Audio 110

39l&R

Music World 106-107JBL 43

2 Klipsch and Associates 10373 Koss C4

40 LaserDisc Corporation of America 2052 Luxman Home Electronics 23

56 Magnat Electronik 92Marlboro 41

22 McIntosh Laboratory, Inc. 12

50 Mission Electronics 24, 2566 Mitsubishi Electric Sales 62-63

74 Nakamichi C2 -I19 NEC 9317 Nikko 97

60 Perreaux International 4

55 Pioneer Electronics 3737 Polk Audio 6-7

Proton Corporation 6435 Pyle Industries 9

Radio Shack 2

Radio Shack 83RCA Direct Marketing 27

38 Recoton 61

R. J. Reynolds -Vantage 29

15 SAE 91

48 TDK 87

U.S. Army 79

25 We R Electronics 108Wisconsin Discount Stereo 113

14 1r amaha 76

MARCH

More New Products on page 15STEREO REVIEW MARCH 1987 123

THE HIGH END

by Ralph Hodges

Why Test?

ARECENT meeting of the AudioEngineering Society onceagain attempted to face off

"objective" (that is, num-bers -oriented) hi-fi equipment eval-uators with their "subjective" (lis-tening -oriented) counterparts foranother round of the soul-searchingquest for the real secrets of audiotruth and beauty-or audio truth vs.beauty, as more than a few wouldput it. There were four panelists onthe dais: Julian Hirsch and BradMeyer (audio journalists), and DickSequerra and John Marovskis(manufacturers and consultants ofthe refreshingly outspoken sort).None of them could be described aspurely objectivist or subjectivist,but each leaned far enough in onedirection or the other to provoke afew sparks of debate. Of conclusionsthere were none, except that somemembers of the panel were able tosubscribe, with reasonably untrou-bled consciences, to the currentformula for audio "wisdom," theevolution of which is interesting totrack.

In the Fifties it was said, "If ittests good, it will sound good," andno one in his right mind ventured todisagree. Then in the late Sixties webegan to hear, "If it tests bad, it willsound bad; but if it tests good, it

may or may not sound good." To-day the dictum is, "If it tests verygood, it will sound anywhere fromsuperb to marginally acceptable; if ittests mediocre, it will sound any-where from execrable to better thansuperb." What is going on here?

Something fairly simple, I think,if we restrict ourselves to one equip-ment category, such as amplifiers.In the Fifties, very little in this cate-gory was good, and almost anythingdesigned to test good sounded dis-tinctly better than the alternatives.Later, in the Sixties and early Sev-enties, transistorized designs facili-tated the "negative -feedback fix"and the "protective -circuit safetynet." These were stratagems thatcould work well in the hands of amaster designer but fail miserablyfor the neophyte who studied themeters religiously but never both-ered to listen to the Hammerklavier.Right now we're making a rapidrecovery from some of the earlierexcesses of that sort, but we evident-ly haven't found just the right patheven yet.

This brings us to one of the ques-tions posed by an audience memberto the panel: "Why test? Why com-pile the numbers if they are, after acertain point, at best uninformative,and at worst misleading?" Even

Today the dictum is, "I it testsvery good, it will soundanywhere from superb tomarginally acceptable; if ittests mediocre, it will soundanywhere from execrable tobetter than superb."

from a high -end standpoint, I canthink of several reasons:

To keep everybody honest. Youhave to have worked inside anindustry for a while to realize howquickly manufacturing proprietyslips when the spotlight is switchedoff and the scrutiny is directed else-where. Perhaps the quest for lessthan 0.001 percent static distortionhas not done anything beneficial forour ears (although I'll bet signal-to-noise ratios in excess of 100 dBhave). Still, do we want to throw

these efforts-which do representprogress of a sort, or at least contri-butions to the body of audio knowl-edge-entirely away? We will throwthem away if we stop paying closeattention to the test figures, withintheir appropriate context.

To provide due recognition. Tocreate a powerful and stable ampli-fier with loads of negative feedbackand the ability to save its own life inthe crunch is no mean feat, whetheror not the device turns out to be agood audio amplifier. It wouldprobably be easier to teach the de-signer of such an amplifier to hearthan to teach a golden -eared audio-phile to design. Hence, the designeris an asset for the future and shouldbe encouraged to keep at it.

To continue the search for mean-ingful correlations between meas-urements and sound quality. Per-haps, at the moment, the amplifierthat tests best does not sound best.This is no reason to stop testing. Ifwe do, we'll never know whether theamplifier that ultimately soundsbest doesn't test just as well as wethink it should.

To keep testers busy. Do notlaugh. Experienced reviewers withan established sense of what they'reabout are hard to come by. A well-qualified reviewer with a deep back-ground can have a profound in-fluence on the long-term evolutionof audio design (for better or worse,granted), and most of the big namesin the field have at least onceoffered comments that have helpedan "almost" product into becominga finished piece. You don't have toagree with a reviewer's priorities, oreven believe what he writes, to ben-efit in some way from his consider-able influence. And in the end,you're going to find that a reviewerwho is comfortable with the num-bers as well as with armchair listen-ing is the best bet overall.

I hope this list has included yourfavorite reason for testing, or has atleast outraged you enough to insiston printed redress. Like many oth-ers, I was frustrated by the inconclu-siveness of the AES panel discus-sion and would like the debate con-tinued at greater length. So come allye faithful, pen in hand, and let's seeif there are some fresh ideas on anendlessly argued subject.


BostorAcoustics

The new Boston T1000.A higner level of sonic arcnicectui e.Announcing the Boston Acoustics T1000 tower speakersystem. ft elevates stereo music reproduction to a new,rarified level of realism. Yet its slender tower architec-ture requires very little floor space.We engineered the T1000 in a distinctive new way. Ournew midrange driver is large, letting it reproduce farmore of the impertant mid -frequency information thana smaller driver can. In addition, we placed it - and ourCFT-5 dome tweeter - in the highest portion of thetower. As a result, all the directionally important midand high frequencies emanate together at ear level.

Just as with live music.

This unique architecture also frees the dual woofers toconcentrate on bass reproduction alone. In fact, theBoston T1000 tower system lets you enjoy the entiretonal range of music, including the very lowest octave.With a wide dynamic range that does full justice todigital sources. And with stereo imaging that's pin-point precise.For a descriptive T1000 brochure, just send us your nameand address. Boston Acoustics, Inc., Department ST,

247 Lynnfield Street, Peabody, MA 01960. (617) 532-2111.

Still don't see it? That's the wholeidea behind Koss' revolutionaryinfrared stereophone system.TheKoss Kordless Stereophone.Now, you can enjoy all the bene-fits of stereophone listening withno strings attached. And whilethe cord may be missing, thegreat Sound of Koss isn't. TheKordless system is so advancedit provides a full 20-20KHz fre-quency response at less than1% distortion. Plus enough signalto fill a large room. Yet it's as easyto use as conventional stereo -phones. Just plug the Kordlesstransmitter into virtually anyreceiver or amplifier and turn it

CAN YOUFIND THE

STEREOPHONECORD IN THIS

PICTURE?on. Roam around the room listen-ing to a record. Dance to a CD.Enjoy stereo or mono TV broad-casts and videos in bed. Orwhatever else moves you. Soundimpressive? You bet it does. Andthe best way to appreciate thismajor advance in technology isto visit your nearest Koss Kord-less Stereophone dealer. Onelisten, and you'll never sit stillfor ordinary headphones again. Koss Stereophones, 4129 NPort Washington Rd.. Milwaukee,WI 53212. Koss Limited, 4112 S.Service Rd.. Burlington, OntarioL7L4X5. Koss -Europe: CH -6855,Stabio-Switzerland.

YlcCISS®stereophones


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