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THE ULTIMATEMACHINE

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

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

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

POWERS

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

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

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

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

HIGH FIDELITY

EC OUT

UDNESS

MHz

SIGNALLEVEL - TUNER PRESET -

/- HIGH 1

MD ( _I C I -ILOW

STOP LEVEL FM MODE FM MUTE PRESETSCAN

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

GRAPHIC DIFFERENCE

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

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

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

COMPUTER

SPECIFICATIONS

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

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

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

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

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

Signal to Noise Ratio (IHF-A Weighted)Mono/Stereo-82dB/73dB

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

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

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

seven different control frequencies. Theresult-electrical loss and tonal

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

ADVANTAGE: JVC

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

Jvc®JVC COMPANY OF AMERICA. Ugh Fey Drown 41 Slater D. EYnw000 Park. N.J. 07407 JVC CANADA LTD .Scarborough. O0

Sherwood announces the latestthing in second generation CD

audio technology:Affordability

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The compact disc just may be the most heart -stoppingconcept in sound since stereo. But the most heart -stopping feature of compact disc players has been theirprice. Now, with Sherwood's new CDP-100, you canrelax about money and really get excited about sound.

A tradition of affordable excellence.Sherwood is well-known for high -quality audio productsat affordable prices. And our new CD player is noexception. While others were still on first generationmodels, we combined advanced second -generationperformance with a no-nonsense array of useful,features. And we did it in a way that not only makessense, but saves you dollars as well.

Three laser beams for better tracking. MostCD players use only one laser beam. Sherwood put athree -beam laser into the CDP-100, because a three -beam system virtually eliminates distortion caused byspurious data from adjacent tracks.Me filters, not one.All CD's require filters, because the decoding of digital

411/

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Deb

WO.

sound generates a sampling frequency which must befiltered out, or distortions will be heard.Other CD players use one very steep analog filter, thiscan cause phase distortion. Sherwood's answer is touse a digital filter to double the sampling frequency,then use a more gentle type of analog filter for reducedphase distortion. The result: better sound at less cost.Easy -to -use functional controls.Inserting a disc is easy, thanks to a "smart" motor.zeddrawer under microprocessor operation. (It even knowsif you accidentally put the disc in upside down.)You can easily access any selection, and there's a two -speed fast forward and backward, so you can listenwhile you quickly locate the spot you want to hear.You can even set the CDP-100 to repeat the entire discfor continuous music.Find out how advanced, easy to use, and affordableSherwood's new CDP-100 really is at your nearestSherwood dealer. To find him, call (800) 841-1412during west coast business hours.

8 SherwoodQuality and Innovation You Can Afford

17107 Kingsview Avenue, Carson, CA 90746. In Canada: The Pringle Group, Don Mills, Ontario

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VOLUME 34 NUMBER 9 SEPTEMBER 1984

AUDIOCrossTalk by Robert Long 8Record -cleaning solutions; Tonearm/cartridge matching; Is your tuner obsolete?The Autophile by Ralph Hodges 10A skinflint's guide to good soundNew Equipment ReportsSansui PC -V1000 Compact Disc player 14 Ortofon OM -30 phono cartridge 24Soundcraftsmen PCR-800 power amplifier 19 Yamaha A-1000 integrated amplifier 26Scott 359RS receiver 23

*Special SCES Report: High Tech Goes Pop!Electronics: Microprocessor -equipped receivers dominate by Robert Long and Peter Dobbin 33Tape and Tape Equipment: Features for the asking by Robert Long 38Record -Playing Gear: Turntables are quieter and cheaper by E. Brad Meyer 42Loudspeakers: A trend toward smallness by E. Brad Meyer 46Video: VHS Hi-Fi VCRs, and a truly Olympic Sprinter by William Mowrer 50

NEW TECHNOLOGIESVideo Lab Test: RCA VKT-650 VHS Hi-Fi videocassette recorder 52

Music ReviewsPopular Video: "A Night with Lou Reed"; "Ready, Steady, Go!" 57

Popular Compact Disc: Windham Hill's Shadowfax; "Moonlight in Vermont" by Sonny Stitt 58

Classical Compact Disc: Karajan's atmospheric Turandot; Rachmaninoff s Second, from Ashkenazy 58

CLASSICAL MUSICA Rubinstein Feast Reviewed by Thomas L. Dixon 61Ten new reissues are examined, including five sets of Chopin.1985 Annual Preview of Forthcoming Recordings, Part 1: LPs 63More than 500 expected releases from Angel, Deutsche Grammophon, London, Philips, RCA, and othersReviews: Two recordings of the German Requiem; Jerusalem sings Strauss; American piano music 69

Critics' Choice 72

The Tape Deck by R. D. Darrell 73Timbre!

BACKBEAT/Popular MusicT -Bone Burnett: A Musician for Life by Samuel Graham 74The songwriter discusses his future-with or without a recording contract.Jazz Reviews: Tribute to Thelonious Monk; Alive!; John Hicks; Don Sebesky 76

Percussion Sweet and Bitter Reviewed by Steve Futterman 79A taste (only) of Max Roach as bandleaderPop Reviews: Marcia Ball; Linton Kwesi Johnson; Bruce Springsteen; Peter Wolf 80

DEPARTMENTS Reader -Action Page 88About This Issue 4 Advertising Index 88Letters 4 *Cover Story

HIGH FIDELITY (ISSN 001614551 is published monthly at 825 7th Ave.. New York. N.Y. 10019. by ABC Leisure Magazines. Inc.. a subsidiary of American Broadcasting Companies. Inc. Copyright C 1984 by ABCLeisure Magazines, Inc. The design and contents are fully protected by copyright and must not be reproduced in any manner. Second-class postage paid at New York. New York, and at additional mailingoffices. Authorized as second-class mail by the Post Office Department. Ottawa, and for payment of postage in cash. Yearly subscription in U.S.A. and Pos..essions $13.95; elsewhere $19a5. Single copies51.95. Subscribers: Send subscriptions, inquiries, and address changes to HIGH FIDELITY, P.O. Box 10759. Des Moines, Iowa 56340. Change of address: Give oil and new addresses, including DP code. Encloseaddress label from last issue and allow five weeks for change to become effective. POSTMASTER: send change of addrees to HIGH FIDELITY, P.O. Box 10759. On Moines, IA 50345.

About This IssueI KNOW. THERE STILL are four months leftbefore 1985. but September somehowsignifies the "new year" in terms ofproduct introductions. About now you'llbe seeing the first of the 1985 audio andvideo components arrive on your dealer'sshelves. Most of them were revealed inJune at the Summer Consumer Electron-ics Show in Chicago.

Coverage of the SCES, as it isknown, is contained in a special 14 -pagesection. As our report details, the focusthis year is not so much on any startlingnew products as it is on making existingtechnologies more accessible and easierto use. Part 2 of our SCES coverage willappear next month, with reports on carstereo and digital Compact Disc players.

Fall is also the time when recordcompanies issue their lists of planned re-leases for the coming season. This year,HIGH FIDELITY's preview will appear inthree parts-beginning in these pages.continuing with a special survey of Com-pact Discs in October. and concluding inNovember. More than 1.000 releases willmake 1985 a very musical year. indeed.

Featured in September's classicalmusic section is an overview of ten ArturRubinstein reissues, which represent vir-tually every period of the pianist's longand distinguished career. And our Must -

CAL AMERICA edition includes more thana dozen record reviews and a roundup ofBarton Wimble's latest cassette transfersof historical 78s. a superb group that con-tains some long -buried treasures.

Our pop music interview takes alook at ironic twists of fate faced bysongwriter T -Bone Burnett. We also con-sider the pros and cons of jazz reissues asillustrated in a two -record set of late -Fifties Max Roach bands.

Before closing, a little commercialfor a couple of special magazines HIGHFIDELITY is publishing this year. VIDEO& SOUND will be on newsstands fromnow through late September. It coverstopics found each month in HF's NEWTECHNOLOGIES section. emphasizing digi-tal Compact Discs and home video.

Due on the newsstands in mid -Sep-tember is the tenth edition of HIGH FIDEL-ITY'S TEST REPORTS. This is the first is -

HIGH FIDELITY

HID 1iC4*7)/

COVER DESIGN Skip Johnston

Cover Photo Grant Roberts

ON THE COVER (clockwise fromtop left) Aka VS -603 VHS Hi-Fi vid-eocassette recorder. Bose Room -Mate speakers. Sansui PCV-1000Compact Disc player. TechnicsSL -P15 Compact Disc changer

sue in four years, and its contents havebeen completely revised to include morethan 1()0 products: Compact Disc players.home video components. and car stereogear. as well as speakers, cassette decks.blank tape. and representatives of all theother traditional audio component catego-ries.-W.T.

LettersHale and Hearty

We are very happy to report that Frank McIn-tosh. cofounder of McIntosh Laboratory, is notdead, as was erroneously stated in "Audio Elec-tronics: American Style" (July). A hale andhearty seventy-eight. he is pursuing an activeretirement in Ari:ona.

A Bum Rap'Regarding J. Gordon Holes article. "AudioElectronics: American Style!" ilulyl, it is goodto see some attention paid to the very deservingefforts of these small manufacturers.

However. I feel that the article exaggerate,the risk involved in buying equipment made t)these companies. Over the past ten years. I haveowned electronics from Acoustat. Audible Illu-sions. DB Systems. Precision Fidelity. Conrad -Johnson. PS Audio. Bedini. and Threshold.Most of these companies have been in businessfor at least six years and guarantee their productsfor far longer than the 90 days commonly givenmass -market goods. (Typical warranties run tssoto five years. and they usually are transferable. )Many models are manufactured tOr severalyears-with refinements and updates in somecases, usually offered as upgrades to older unitsat modest cost. When service has been requiredon any of the components I have owned, it hasbeen prompt. and there always has been someoneto phone for help with any questions regardinginstallation or operation of the equipment. Theparts used in most of this gear are of high quality(close -tolerance metal -film resistors, mil -speccircuit boards, polypropylene capacitors. etc.).and there is much use of discrete componentsinstead of integrated circuits.

I believe that the "cottage industry" Amer-ican audio electronics companies offer great val-ue for the money (the prices of many of theirproducts are surprisingly affordable) and thattheir reliability and service records arc mostlyexemplary.George DickinsonNew York. N.Y.

Warranties for high fidelity audio componentsare rarely shorter than one year.-Ed.

Pinnock and BrendelThank you very much for the glowing review ofTrevor Pinnock's performance of the Four Sea-sons [May I. I have heard the CD version on mybrother's Magnavox FD-I000SL player. and itsounds great. especially the clarity of the harpsi-chord. And regarding Alfred Brendel's plea torecord music in a "live" situation ("In Favor ofLive Records'. ), there is a better way: Record inthe way that Telarc does, with a minimum num-ber of microphones (one boo-boo and it's startfrom the beginning again) and in a concert hallwith no audience. I prefer this method becauseaudience sounds distract me from concentratingon the music (as Mr. Brendel mentioned). Also,the minimal -mike setup is less intimidating tomany musicians.Raymond ChuangSacramento. Calif.

Misguided Review?Your rep ie% (,) the Counterpoint SA -7 as a bud-get preamp Duly1 is misleading. The SA -7 is aspecialized preamplifier for the moving -coil car-tridge enthusiast. The hallmark of the design-its high gain-gets buried in irrelevant remarksabout low headroom, and the sonics are com-pletely ignored. It's hard to believe that the reportwas written by anyone who cares about highfidelity or, for that matter. even listened to thething.

HIGH FiDid.rrv's stamp of approval, at leastin this instance. bespeaks an insensitivity to

4 HIGH FIDELITY

1361 Ze.ce acke.01,0,...eo ce. 5 877.

NewTechnics Cassette Decks.With dbx and Auto-Reverse.They eliminate tape noise completely.And play both sides automatically.A remarkableachievement: develoJing a line ofstereo cassette cecks that give you more than tnetotal noise elimination of dbx. They also give you theluxury of auto-reverse. So with Techn cs, your musicis more than dramatically clean. It's also beautifullycontinuous. Anc Technics goes on frcm there.Direct Music Search (DMS) allows vou to programthe deck. To play any selection on either side of thetape. Automatically.

And no matter which noise reduction system yourtapes are encoded with, Technics can handle them.R db. is a registered

tradertr.trk of db., Inc* Dolby is a trademark ofD3Iby Laboratories.

Because in addition to dbx, you get Dolby B and C.You get the staAiry and accuracy only a two -motordrive system can provide. Microprocessor feather-torchcontrol buttons g ye you fast easy switching betweenfunctions such as play, stop, rewind. Bias and EQ levelsare automatically set for any type of tape From normalto chrome to men' There a -e three-color. wide-rangeFL meters for precision sound monitoring And more.So before you buy any cassette deck, make sure itmeasures up to Technics.

TechnicsThe science of sound

Sansui's all -newMidi System.

Fantastic! That's the word forSansui's rlidi ensemble Never beforehas a m :system offered so muchpleasure Vu so little space --with somuch ease of Dperation.

With exclusive One -touch Simul-switchirg teat automatically stops onecomponent and starts anot-er, you cango from :Lntable-to tuner -to tape deckat the touch of a button.

The -nost intriguing component isour dual tore arm turntable that lets youplay both ;odes of 3 recorc -without flip-ping t over

Anc 3ecause man dces not live byrecor is alone, there's a cL al cassettedeck, AK -FM -Liner, and a h gh-poweredintegrated mplifier with 5 -band graphicequalize- tailor ng sounc that's flatout beauti'ul.

Ofccurse, all this sensationalsound nt.'s& ccme out somewhere. And

Oat tone arrr turntable lets you playanycombination of 16 tracks on eithersde, VI any sequence, of a recordwitotzt flipping it over.

there's ro better outlet than a pair ofsuper sounding Sansui speakers.

There's also more to Sansui's M disystem than meets the ears. With ex -guts to looks tc complement its incred -ble .9oorxi and features, it adds pleasu-eto ycu- room or both levels.

Ycu can zhoose from 3 magnifi-cent Mir i systems, and maximize youplea 3L re in a rr inimum of space. Seeyour Sarsui dealer today.SANSJI ELECTRONICS CORPORATION,LynchJrst, NJ 37071; Carson, CA 90'46Sansu Electric Co., Ltd., Tokyo, Japar

Undersized.

Lettersproduct and listener and a willingness to misin-form. The SA -7 deserves to be heard andreviewed in its intended light.Jim GouldingChicago, Ill.

Counterpoint's description to us of the thinkingbehind the SA -7 reads as follows: "The purposebehind the design and manufacture of the SA -7was to offer a preamplifier at a price point typi-cally reserved for solid-state preamps, thus giv-ing audiophiles on a budget a choice." Nothingin Counterpoint's literature or in the SA -7 own-er's manual suggests that the preamp is intendedsolely or even primarily for use with moving -coilcartridges, although one might infer (as we did)that the point of its unusually high gain is to caterto such pickups. However, the gain is still about10 dB lower than usually is provided by moving -coil inputs and may not be enough for some verylow -output cartridges. Moreover, the inputimpedance clearly is intended to accommodatefixed -coil pickups, and the specified overloadmargin (as opposed to what we measured) ismore than adequate for that purpose. Thus, ourcomments on headroom are quite pertinent.

Everyone here who writes about audiocares a great deal about high fidelity, and welisten to everything that we review. But in thecase of electronics, there seldom is anything tosay about the sound unless the component is mis-designed, defective, or operated beyond itsintended limits: What goes in usually is whatcomes out. When verifiable sonic oddities emergein our listening tests, we note them in the report.

Finally, our test reports should not be con-strued as stamps of approval or disapproval.Their purpose is to detail the operation and per-formance of the product being reviewed, withcommentary, where appropriate, on the signifi-cance of our findings to potential users. Deci-sions regarding what you should or should notbuy are your own-as they should be.-Ed.

"TAIVII" WhammyI saw the theatrical release of The TAM/ Showsome 12 years ago and enjoyed it enormously. Ithad always been my faint hope that someday thisvintage material would be made available on vid-eotape. I was afraid that with the trendy razzle-dazzle of MTV, no one would regard its rereleaseas worthwhile. Imagine my joy when MediaHome Entertainment issued "That Was Rock(The TAMI/TNT Show)." Imagine my pro-found disappointment when I discovered the pro-ducers had eviscerated the heart and soul of amagic live concert by hacking up two very dif-ferent concerts, grafting them together, and thensplicing in a bored and irrelevant narrative byChuck Berry!

Billy Altman's review of "That WasRock" [July] insightfully exposes this thick-headed blunder. I only wish I had read it sooner,before I invited a group of friends over for dinnerand the "treat" of seeing what I thought was theoriginal, legendary tape. Apparently some videocompanies feel they can go around blithely tear-ing the hearts out of authentic performances, andI applaud Mr. Altman and HIGH FIDELITY forbeing willing to scold the ones that do so.Andrew TetonSanta Barbara, Calif.

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

6 HIGH FIDELITY

Consumer Information Series __15f17.5"E'

The Future of Audio.The Cornerstone of Home Entertainment.

by John Geheran

Imagine yourself over thelast 50 years. In the 1930syou listened to the radio.In the 1950s you beganwatching TV. In the 1970s

you listened with pride to your compo-nent stereo.

Now it's 1984. The growth and devel-opment of video has provided an enor-mous increase in the number of choiceavailable to you in both equipmentand programming. You probably askyourself questions like: "Do I wantVHS or Beta?" "Should I watch myfavorite program now, or videotape itwhile I watch the playoffs?" Butmaybe the question you really shouldask first is: "How does my audioequipment fit into all this?" You canfind the answer by turning down thevolume on the nearest TV set.

While video brings new programsonto your TV screen, it's audio thatpulls them off the screen and bringsthem to life in your home. Whether it's abass drum beating through a classicrock concert, or a space ship whizzingthrough the latest movie, it's audio thatcreates the mood, generates the excite-ment, and sets the pace for what yousee. The introduction of new technolo-gies and products such as stereo TVand hi-fi VCRs emphasizes this fact.

The key to exciting, powerful homentertainment then, is an integratedaudio -video system. But how can youlogically start building a system whichlets you enjoy all these new develop-ments?

You know that the cornerstone of yoursystem is the sound. You also know that

uvUCU I, palcnl F191115 Istided and/or pendingCopyright 1984 Bose Corporation All rionts reserved

Vice President. Sales and Marketing

millions of dollars to develop and manu-facture speaker systems which deliverthe impact and excitement of live perfor-mance. That investment can now bringmovies, concerts, and specials to life inyour own living room.

Experience the excitement avail-able from a combined audio -videosystem. Ask your local Bose dealer toshow you the Bose Music Video.

Your deaer can also help you decidewhich components and formats offeryou the enjoyment and conveniencewhich best match your lifestyle.

Bose wants to help you learn moreabout the future of audio, and its contri-bution to home entertainment. To do so,

we're using this year's advertisinglik space to discuss and explain keyissues. Knowledgeable experts willshare information which helps youget maximum enjoyment from yourhome entertainment investment.

For more information on Boseproducts and a list of authorized

Bose dealers, write: Bose Corpora-tion, 10 Speen St., Dept. HF,

Framingham, MA 01701. II

your speakers, more Wan any othercomponent, determine the quality of thesound you hear. The right speakers,then, represent the logical base uponwhich to build a modern home entertain-ment system.

At Bose; we've invested 20 years and

AUDIO/VIDEO

CrossTalkPractical answers to your audio and video questions by Robert Long

Best SolutionI use an AIhop Orbitrac record cleanerfor my records and isopropyl alcohol (9/percent) for cleaning the heads and so onof my cassette deck. The Allsop solutionsmells similar to the alcohol, but possiblymore dilute. Can / use isopropyl alcoholinstead, since it's considerably cheaper,without harming my records?-J.Tordeich, Auckland. New Zealand

It all depends on who you talk to. BruceMaier, the founder of Discwasher (and, asfar as I can tell, the world's most exhaustiveresearcher of such matters), says that alco-hol can leach plasticisers from the vinyl,ultimately making it less resilient and moresubject to damage than it would otherwisebe. On the other hand, the Keith Monksrecord -washing machine-widely used bylibraries and other archives, and handsdown the most expensive record -caredevice around-is said to use alcohol in itscleaning solution. At minimum, you shoulddilute the alcohol with distilled water andtake care to use no more than necessary.But I'd rather stick with solutions speciallyconcocted for the purpose by experts whoknow more about vinyl chemistry than I

ever hope to. The elixirs may cost morethan drugstore alcohol, but they cost a lotless than new records.

What Noise Annoys?I have read that what is thought to betape hiss in decks incorporating DBX orDolby C noise reduction often ismodulation noise or scrape flutter. If thisis such an important characteristic inthese decks, why isn't it measured andincluded in test reports?-Charles Arvin,Austin. Texas

A little background is necessary to under-stand why we don't break these effects outseparately. Modulation noise is a sort ofrandom dither of the signal, occasioned bynonuniformities of the magnetic particles inthe tape coating and very roughly compara-ble to the halo that can be created aroundbright objects by interaction between halidecrystals in photographic emulsions. Scrapeflutter is created by friction between thetape and fixed guides, causing the tape toalternately stick and slip. It is a very high -frequency effect and therefore is not pickedup in conventional flutter measurements.

Except for the squeal that can result

from extreme scrape flutter, neither is audi-ble without an input signal and to that extentthey can't be compared to tape hiss, whichis constant. And because there's no agreedmethod of isolating either one from otherforms of noise and distortion-let alone ofquantifying it-you won't see measure-ments of them in reviews. But without themasking hiss that DBX and Dolby C havebanished from normal audibility, perhapsthe impetus to develop testing standards forthese factors will increase.

A Big HissI own on Optonica SA -5207 receiver.With my turntable off, the selector set onphono, and the volume turned all the wayup. my speakers put out an annoyinghiss. Is this because of the relatively lowSIN ratio through the phono input (73dB) or the THD of the amp (0.05 percenat 40 watts per channel)? Or maybe myspeakers are at fault. What would help.short of buying a new amp?-L.Yamada. Cambridge. Mass.

You tempt me to the only half -jocular rec-ommendation that you turn down the vol-ume to listening level, start your turntable.put on some music, and forget about soph-istries: The same thing will happen with anyaudio system. A signal-to-noise ratio of 73dB isn't at all bad for a phono input, and thenoise it represents normally will be maskedby the music even with the volume turnedup as loud as you can stand it. The distor-tion is even more likely to be masked.because it can occur only when a signal ispresent. A speaker with a rough top end willtend to exaggerate the hiss, and switchingmodels could conceivably help-if. in-deed, your system needs help under normallistening conditions. From your descrip-tion. I doubt that it does.

Better BetaI bought a Beta Hi-Fi videocassetterecorder, which puts my friend's stereoVHS deck to shame. But I can't findtapes recorded in the Beta Hi-Fi format.Where can you get them?-DouglasKnight, Worms, West Germany

They keep coming along, little by little-usually on new releases (almost all of whichhave Hi-Fi soundtracks, even when they'renot so labeled), with only occasionalupgradings of old titles. And even then it

takes a while for the new version to filterdown to the retail level, where the earlierone tends to remain until stocks areexhausted. If you're concerned about stay-ing one jump ahead of your VHS buddy.don't worry. VHS Hi-Fi tapes arc comingout even more slowly, I'm told, becausesome duplicators insist there arc unsolvedtechnical problems with the format.

Weight Loss?I've been told that tonearm/cartridgematching is unimportant with equipmentthe quality of my Sansui XR-Q7turntable. No figure for arm massappears in its specifications. When /contacted the local agents, they referredme to their spare -parts department.which thought tonearm mass was a partof the turntable and asked me how I hadlost it. My guess is that matching isimportant. Do you know the mass of theSansui's arm?-A. N. Firth, GPO,Singapore

You're right: Arm/cartridge matching isimportant, regardless of the quality of theequipment. Unfortunately, we never testedthe XR-Q7, so I'm unable to help you avoidtrouble except to suggest that when you'reconsidering a new cartridge you might try itout in your arm with a warped record. If ithas a tendency to hop about on the warps.the arm is too massive for the cartridge. Inthat case, you need a pickup that is lighter.lower in compliance, or both.

Obsolete?With all of the new supertuners atseemingly reasonable prices, is there anyreason I should consider upgrading mySAE Mk. 6 tuner? It cost $1,200 when 1bought it new in 1973, and it still workswell and is dependable.-Bill Gross,Santa Barbara, Calif.

The only reason for upgrading, as far as I'mconcerned, is dissatisfaction of some sortwith what you've got. If you're dissatisfiedwith the Mk. 6 simply because it's not new,so be it. But the "supertuner" with whichyou replace it could be measurably superiorin all respects except one that is critical toreception in your particular area or to bestresults with a favorite station.

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

8HIGH FIDELITY

CO

+10

0

a)_J

0

Maxell introduces thenew XL -S audio cassettes;a series of ferric oxidetapes which deliver a levelof performance that cancapture the sound nu-ances found on Com-pact Discs more faithfullythan other ferric oxidecassettes on the market.

There area number ofareas where this achieve-ment is apparent.

DYNAMIC RANGE.Through a new formu-

lation of our Magnetic par-ticles, we were able to reduce the perceived resid-ual AC bias noise level by1 dB in the critical 2 kHzto 10 kHz mid -frequencyrange. And simultaneous-ly increase sensitivity andmaximum output levelsby as much as 2 dB.

AN/

70

oe1=1:1"1"MOL (5°. DISTORTION)

AC BIAS NOISE

XLI-S

XLII-S

-80 ill Ili02 .05 .1 15 19 2q

Fre Hz)

wAs a result, the dyna-mic range of each tapehas been significantlyexpanded. So you get a

better signal to noise ratioand a fuller impact of thedynamic transients exclu-sively inherent to digitalCD recordings.

LOWER DISTORTION.The newly formulated

particles also contributeconsiderably to XL -S's lowoutput fluctuation, as wellas its virtual distortion -freereproduction, -especiallyin the critical mid -rangefrequencies. This, in turn,accounts for our XL -Stape's enhanced soundclarity

o1 -

DIST RTI N 4REOUENCYACTERISTICS

5.5-00E

01 2

':requencY Critical Mid -Range(kHz) Frequencies

IMPROVEDMAGNIETIF PARTICLES.

Our refined particlecrystallization process isthe basis for all of theseaccomplishments. Maxellengineers are now able toproduce a. more compactnoodle -shaped Epitaxialmagnetic particle ofextremely high unifOrmity.

This allowsus to createa greater ratio of total sur-face area to unit weight ofmagnetic particles.

As a result, our XL -S

TM

-

tapes now have the abilityto record more informa-tion per unit area thanever befOre.

PACKING DENSITY OFUNIFORM PARTICLES.

Which is why Maxellhigh bias XLII-S and nor-mal bias XLI-S are unsur-passed at reproducingthe sound qualities foundon today's finest record-ings. Regardless ofwhether your frame of ref-erence is analog or digi-tal audio discs.

For technical specifica-tions on the XL -S series,write to: Audiophile File,Maxell Corp. of America,60 Oxford Drive,Moonachie, New Jersey07074.

FiraSW.. Fat ,P.11.1 CA,t If

maxell. :xu-s 9054M, A, OW. fMlr.rMl tAS.1If

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AUDIO

The AutophileGoing on the road with stereo by Ralph Hodges

A Skinflint'sGuide toGood SoundIF YOU DON'T LIKL the sound of your carstereo setup. there arc two remedies: Ripout the whole thing and start from scratch,or remove the weakest links in the chain.hoping that the addition of a new set ofspeakers or a better front end will result in asuperior system. The latter option, ofcourse, seems preferable. but be fore-warned: Unless you're prepared to do someplanning. the scheme that you hoped wouldsave time and cash may cost more moneyand aggravation than if you had startedfrom ground zero.

Fortunately. aftermarket suppliershave been keeping an eye on the situation.and they've worked out a few ways toupgrade systems of at least marginal qualitywith a minimum amount of hassle. I spokewith several of them recently. and here aretheir recommendations.

Speakers. Professionals unanimously con-sider new loudspeakers the first and easieststep in the quest for improved sound. Thepeople at Audiomobile/ American Antennasay it's best to install all new drivers insteadof simply adding a couple of woofers andtweeters to your present setup. A goodspeaker system is carefully integrated. Aska novice to "design" his own by adding adriver here and a driver there and you areasking for trouble. Audiomobile also rec-ommends triaxial systems. if you have thespace for them. An alternative would bepowered loudspeakers (i.e., self -enclosedsystems with built-in amplifiers).

Front Ends. Most of the aftermarket sup-pliers I spoke with think the radio/tapeplayers that car makers offer as factory -installed options have few limitations intape and tuner performance, though nicetiessuch as noise reduction and switchable tapeEQ may be omitted. However, older frontends may suffer from poor FM reception,noisy electronics, and high wow and flutterduring tape play. If you don't trust yourown ears to identify and assess these faults,

Ralph Hodges. a frequent contributor tothese pages, is filling in for regular "Auto-phile" columnist Gary Stock, who is busycompiling next month's report on the newcar -stereo gear introduced at the SummerConsumer Electronics Show.

let someone whose hearing is attuned tosuch things make the judgment. Accordingto Rich Coe of Alpine. the front end in a$300 -plus factory -installed system proba-bly is good enough to serve as the heart of ahigh -quality setup.

Amplifiers. Here is where your existingfront end will probably be weakest. Its littleamp is underpowered to begin with, andany speakers you add are bound to requiremore juice. Additional power can beobtained with a booster amplifier or. as I

said earlier, powered speakers. but bothrequire some complicated rewiring. Audio -

mobile offers a trunk -mounted amp thatderives adequate DC from the wire feedingthe trunk light and that is turned on and offautomatically by a signal -sensing circuit.Such an approach is easy. but not cheap.

Alternatively. if you can afford onlynew loudspeakers at present. ask the install-er to wire a couple of capacitors into thespeaker lines. Provided they are of theappropriate value (which he should be ableto figure out), the capacitors will preventthe speakers from drawing too much low-

relatively quick and straightforward). Thecompany remains quiet about what theadditional electronics actually do. but aguess based on a half day of listening is thatthe "black box" synthesizes some high andlow frequencies that arc not actually presentin the source material. This "extra" signalis then amplified and fed to the new speak-ers. Before you get too excited about theconcept. however. take a drive' in a Contra -Tech -equipped car. The ensemble cansound very good. but if the basic system inthe demo car is much better than your own.there's no way of knowing whether you'llachieve similar results.

Summing up: If you're in the mood to dosomething about the sound system in yourcar and don't want to rip it all out and startanew, you should approach the problem ina logical fashion. First, determine whereyour system's problems lie: limited fre-quency response (the speakers), high dis-tortion (the amplifier). audible noise orwow and flutter (the front end). Second.check typical prices for the componentsyou'd like to replace and establish a budget.

ContraTech's System?, 97 lets you add punch and si=le to your present car system.

frequency energy. thus lessening the de-mands on your amplifier. When you havethe money for an outboard amp, just clipout the capacitors.

System Add-ons. Factory -installed speak-ers are reasonable reproducers of midrangefrequencies: it's in the highs and lows thatthey fall flat. Acting on that premise. a newcompany called ContraTcch has designedan add-on ensemble that uses everythingyou already have in your system. It consistsof three additional loudspeakers, some pro-prietary electronics, and a bill in the neigh-borhood of $300 (plus installation, which is

making sure to factor in an additional $100or so for the help of a good installer. Third.approach several dealers with an organizedaccounting of your needs and means. Lookfor definite signs of understanding and will-ingness on their part to deal with your prob-lems. If a dealer seems bored or confusedby what you're proposing. walk out andfind someone else. And fourth, unlessyou've served as an apprentice to a mastermechanic, don't even consider installingthe equipment yourself. Getting goodsound is one thing. but scarring the interiorof a car to achieve it is hardly a trade-off I'dlike to make. HF

10HIGH FIDELITY

4 out of 5 Sonycarstereoowners

wouldgodown thesame road again.

It seems there is one road that most Sony owners would gladly travel again.The road to a Sony car stereo.

In a recent survey, an overwhelming majority of Sony car stereo owners contactedgave Sony the ultimate testimonial. They said they would be more than willing tobuy a Sony again. As one Sony owner, Ronald Dokken of Minneapolis, Minnesota, vol-unteered, "When there's a car stereo that sounds as good and works as well as aSony, why would you want another one?"

In fact, most Sony car stereo owners when asked went so far as to say that theywould keep their car stereos longer than they'd keep their cars. Or, in the words ofValerie Roussel of New Orleans, Louisiana: "My car was in the shop for a few weeks.I missed my car stereo a lot more than my car" And Mark Share of Tempe, Arizona,added, "I have two cars and two kinds of car stereos. I find myself driving the car withthe better sounding one-the Sony."

Which is not at all surprising, considering the fact that Sony car stereos arenot just engineered to perform reliably. They are also engineered to deliver bril-liant high-fidelity stereo sound. Because they take advantage of the same experienceand innovative technology that goes into Sony's home stereos.

So if you're in the market for a car stereo, it makes sense to go down the sameroad that 4 out of 5 Sony owners would travel. SONY

Buy the Sony. THE ONE AND ONLY.o KIT

MO. :on AITIC11,1 ...J11 isa taauegne -,)

DIGITALDYNAMITEFRO

POST' 11

EXI RA

FIRST METAL

FOR MGM

EXTENDED HIGH END HIGH MOL HiGHOUTPUT

LABORATORY STANDARDCASSETTE MEGA

(r)1984 TDK Electronics Corp

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

High frequency saturation ceases to`be a problem since TDK HX-S is capa-ble of an MOL of + 4 dB at 110 kHz.

HX-S also delivers exceptional high-endresponse. Plus a wider dynamic

!range With furtner improvements inoverall sensitivity of up to 1.5 dB.

These superior recording charac-teristics make HX-S perfect or dub-bing high-powered, treble -intensivedigital source material with optimumresults.

And TDK makes sure the perform-nce never fizzles, with our specially

engineered, trouble -free LaboratoryStandard cassette mechanism fordurability and reliability. Plus theassurance of our Lifetime Warranty.

So before you try any other cas-sette, pick up TDK HX-S, the firstmetal particle formulation for Type II4High-Bias) and digitally -sourcedrecordings.

It's absolutely dgital dynamite!

THE MACHINE FOR YOUR MACHINE.

PublisherSteven I. Rosenbaum

Editor -in -Chief Associate PublisherWilliam Tynan

Editor, Musical AmericaShirley Fleming

Senior EditorMichael Riggs

Managing EditorPeter DobbinArt Director

Skip JohnstonCopy Editor

Ken Richardson

Technical DepartmentTechnical Editor: Michael Riggs

Electronics Features Editor: Peter DobbinAssistant Editors: Lida A. Silverman, (Special

Projects), Randy Brozen (Administration)Consulting Technical Editors:

Edward J. Foster, Robert LongContributing Editors:

Paul D. Lehrman, Gary Stock

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

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

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

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

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

James Wierzbicki, John S. Wilson

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

Technical Art: Roy Lindstrom, Nina Wallace

ProductionDirector of Production: Kathleen Davis

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

Production Assistant: Paula Ballan

CirculationVice President, Circulation

Stephen J. Bernard

Circulation Director V.P., Newsstand MarketingDominic Mustello

Circulation Director SubscriptionsLillian Gmitruk

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

Customer Service: Mary Losi

HIGH FIDELITY and HIGH FIDEUTY/MUSICAL AMERICA are pub.lashed monthly by ABC Leisure Magazines, Inc.. a division ofABC Publishing, Inc.. and a subsidiary of American Broadcast-ing Companies. Inc ABC Publishing. Inc.: Robert G. Burton,President; ABC Leisure Magazines, Inc.: Ronald Stuart, Presi-dent; Steven I. Rosenbaum, Vice President, High FidelityGroup; Herbert Keppler, Senior Vice President, PhotographicPublishing Division; Roger Canavan, Controller; Ernest GScarfone. Vice President, Graphics and Production; StephenBernard, Vice President. Circulation: Dominic Mustello. VicePresident. Newsstand Marketing. Member Audit Bureau ofCirculation. Indexed in Reader's Guide to Periodical Literature.Current and back copies of HIGH FIDELITY and HIGH FIDELITYMUSICAL AMERICA are available on microfilm from UniversityMicrofilms, Ann Arbor, Mich. 48106 Microfiche copies 11973forward) are available through Bell & Howell Micro Photo Divi-sion. Old Mansfield Road. Wooster. Ohio 44691.

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

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

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

ing Manager.Los Angeles: ABC Leisure Magazines, Inc., 2020 Ave.

nue of the Stars, Suite 245, Century City, Calif. 90067 Tel..12131 557.6482. Rita Weitzen, Western Advertising Manager.

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

MUSICALThe CARVER C- I Sonh Holography Preampifier:

Appreciated for MusicalityAcclaimed fo' super alive performance, meliculcus

engineerirg, h c h reliebiln/ a -id finest sonic cualiy, the C-1fulfills the r-=ciu re-nelt 3 of .he most ieranding audioohi e.And mcre

The pro,/ des a very afford ab e way to experiencethe sheer mLE cal pleasu-e cf SON C -3LOGRA.P-IY a re-creatior of =he three-dimeisipnal soLnd field of the origina ,

live perfo-mar.Sonic Fiokx has teen acclaimed as a scieitifre and

artistic actieveme, -it of sic nificant rren . Solving tt-e problemsof sonic imager,/ ir heren- in convent': nal stereophonic repro-duction, Sonic: HO ograpf .1 presents lining and phase irfcr-mation that 0, ,clts 1-1 stereo program material but is normal yinaudible.

With Salic Hploc rap 17, this information emerges in hree-dimensic n cp-3ce around the listener who is thus able leestablish tie precise loca-ion of the insTuments and voices.

The Carver C-- is a luality inssu Tent replete wish preci-sion gcld-banc laser -trimmed resist=r3, life -time lubricatedsealed swit:he3 G-10 glIss epoxy boards, and machinedsolid metal pars; the C-1 prpvides moving coil input softtouch c:orlrol 3, ar infrasoi c filter, E. headphone amp ifie-, dualtape monito-s, va- able turnover tole controls, s lent -nuti-ig,and an e>le-ral p-oce,ss)r loop.

Its strait] it-wi-e eng neering assures that a watt of inputleaves with pst 0.000300251 watts cf distort on. 0- less.

If ycu seek new leve s of detai, cpenness and three-dimensiora ity in an aucta Dohile preamolifier we irvite you toauditioi the CARVER C -t

C-1

CARVER CDRP.MA-BON 19210 Avenue West Lynnwood, v10.98036POWERFUL MUSICAL ACCJ RATE

SEPTEMBER 1984 13

DtsInbuted in Canada ty EVOLUTION AUDIO LTD.

AUDIO

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

"C=Illw) -

Sansui's FirstCD PlayerSansui PC -V1000 Compact Disc player, with wirelessremote control. Dimensions: 17 by 4 Inches (frontpanel), 113/4 Inches deep plus clearance forconnections. AC convenience outlet: one unswitched(100 watts max.). Price: 54150. Warranty: "limited,"two years parts and labor. Manufacturer: SansuiElectric Co., Ltd., Japan; U.S. distributor: SansuiElectronics Corp., 1250 Valley Brook Ave., Lyndhurst,N.J. 07071.

AMONG THE KEY ELEMENTS you must Con-sider when buying a Compact Disc playerare its programming and cueing features.The reason they are so important is the totalabsence of any one-on-one manual controlof CD playback comparable to the fingerlift that owners of simple turntables use tocue (and scratch) their LPs. CD cueing is(like everything else about the medium) allby the numbers: band numbers, index num-bers (if the disc was indexed in mastering),elapsed -time numbers, time -remainingnumbers. And much of what determineswhether a given model is a joy or a chore touse centers on how the features that manip-ulate these numbers are conceived and exe-cuted.

We were disappointed at first to findthat Sansui's PC -V1000 is not among thoseincreasingly rare players that support indexcueing-a potentially powerful random-access tool that now appears to be atrophy-ing because of record -company apathy.Sansui can hardly be faulted: If the discsaren't indexed, the cost of the cueing fea-ture can't be justified.

The random-access features on theplayer's front panel (as distinct from theadditional ones on its remote control) con-stitute a spare but workable system. Thereare the usual steppers, forward and back,

that enable you to cue to the beginnings ofbands and to skip a specific number ofbands in either direction according to thenumber of times you tap the appropriatecontrol. You can program a sequence bycueing in this fashion and then pressing SET

to memorize each selection in the sequence.If you're not sure which you want to hear,you can press INTRO SKIP, as Sansui calls it,which samples about ten seconds from thestart of each band.

If the cue point you're looking for isn'tat the beginning of a band, you can use thesearch buttons (one for each direction).When you press one of them, the playbacklevel drops somewhat and you get a quicksuccession of short musical samples as thelaser pickup traverses the disc at abouttwice its normal speed. If you keep yourfinger on either button for more than a fewseconds, the pace quickens, speeding thesearch but presenting the samples at too diz-zying a rate to permit easy identification insome music. (It sounds a little like the out-put of a conventional pickup that has beensent skipping across an LP.) We soonlearned how to control the process byremoving and resuming pressure on the but-ton, which switches to PLAY, then back tothe slower scan speed.

There's one additional front -panel

14 HIGH FIDELITY

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AUDIO New Equipment Reports

DRAWER.OPEN CLOSE

AC POWER

HEADPHONES

SEARCH (FORWARD/BACK)MEMORY SET

"PROGRAM" SELECT. (FORWARD. BACK)

PLAY

PAUSE

STOP/CLEAR

"INTRO SKIP'

REPEAT

"DUAL MEMORY"(START. END)

All data obtained using the Sony YEDS-7, TechnicsSH-CD001, Philips 410 055-2, and Philips 410 056-2 testdiscs.

FREQUENCY RESPONSEce

0

5

.- -.11r

Pc-v,0:9

HZ 20 so

- L chR ch

100 200 500 1K 2K 9( 10K 20K

+<I/4, -V4 dB, 20 Hz to 20 kHz+<1/4, -1/2 dB, 20 Hz to 20 kHz

DE -EMPHASIS ERRORleft channel +0, -<1/4 dB, 1 to 16 kHzright channel +0, --(1/4 dB, 1 to 16 kHz

CHANNEL SEPARATION (at 1 kHz) 881/4 dB

CHANNEL BALANCE (at 1 kHz) ±-<V4dB

SiN RATIO (re 0 dB; A -weighted)without de -emphasiswith de -emphasis

105 dB107 dB

HARMONIC DISTORTION (THD N; 40 Hz to 20 kHz)at 0 dB 5-0.012%at -24 dB -.5-0.049%

IM DISTORTION (70 -Hz difference frequency;300 Hz to 20 kHz)at 0 dBat -10 dBat -20 dBat -30 dB

LINEARITY (at 1 kHz)0 to -50 dBat -60 dBat -70 dBat -80 dBat -90 dB

'0.011%<0.01%.50.028%

0.22%

no measurable error+1h dB+1 dB+43/4 dB+111/2 dB

TRACKING 8 ERROR CORRECTIONmaximum signal -layer gap '900 gmmaximum surface obstruction >800 gm'simulated -fingerprint test pass

MAXIMUM OUTPUT LEVELline outputheadphone output

OUTPUT IMPEDANCEline outputheadphone output

'See text.

2.08 volts7.67 volts'

65 ohms230 ohms

cueing option: the so-called dual memory.It will remember a start and an end, each setby pressing the respective button whenyou're cued to the appropriate spot. Thisfeature can be used for a single run-throughof a particular section or in conjunctionwith the REPEAT (which also can be used onwhole discs or conventionally programmedsequences). In one of our standard listeningtests, we program the Bach E major ViolinConcerto (the second of three on Oiseau-Lyre 400 080-2) for self-contained play-back. With the dual memory, this meansstepping to Band 4 (the first movement),pressing START, stepping to Band 6 (the lastmovement), and pressing END and thenPLAY. (Though the pickup is cued to thebeginning of the last movement at "6," thelogic knows enough to continue playback tothe end of the band.) This is easier than thealternative: stepping to Band 4, pressingSET, stepping to Band 5, pressing SET, step-ping to Band 6, and pressing SET and thenPLAY.

And it becomes even easier when youuse the wireless remote control (powered bytwo AA cells that come with it), which con-tains all of the controls we've mentioned sofar plus STOP/CLEAR and a numeric keypad.The STOP/CLEAR appears on the front panelas well; the keypad doesn't. To play our"problem" concerto, we simply press 4,START, 6, END, and PLAY. The concertothen begins at the first note, plays straightthrough as though it were one continuousperformance occupying a whole disc, andstops after the last cadence has diedaway.

When we tried the same thing with theprogramming controls (which also areaided by the presence of the keypad), therewas a momentary loss of "air" and a veryslight click between movements-presum-ably as the logic registered the fact that ithad finished one task and checked to seewhat the next might be. Such artifacts arenot at all unusual in programmed playbackwith other models and seldom are reallyintrusive (though they do notify the intent

listener that the musical continuity is onlyan illusion), but we were delighted to findthat we could avoid them altogether byusing the dual memory instead.

Further promoting ease of operationare the convenience outlet and the so-calledCompu-Edit jack on the back panel. Thelatter synchronizes an appropriatelyequipped cassette deck to the player forsimultaneous start when you dub from CDto tape. Unfortunately, the PC-V1000'sdisc drawer doesn't continue the theme:The fingerwell at the front forces you eitherto poke the disc up from below with onehand so that you can remove it with theother or to place one finger (if yours areskinny enough) in the center hole while yougrip the rim with another. (Would that theCD's inventors had thought to make thehole bigger-more like that in a 45.)

The PC-V1000's measured perfor-mance ranges from excellent to undistin-guished. For example, frequency response,channel balance and separation, and signal-to-noise (S/N) ratio are all top-notch. Con-verter linearity is not as good as usual, how-ever, with the data showing substantialcompression at very low levels, and distor-tion is somewhat higher than we are accus-tomed to seeing. Still, the harmonic andintermodulation products are a couple oforders of magnitude lower than can beobtained from even the finest analog gear.And when we tried to hear a differencebetween this player and one that tested bet-ter in these respects, we were stymied. Alittle muddiness here, a slight edginessthere-whatever we examined came outsubstantially the same on both players,leaving the studio mikes and our monitorspeakers as the likeliest culprits.

Of more concern are the differenceswe could spot. If you like headphone listen-ing, you should plan on using the jack inyour main stereo system. The one in thePC -V1000 clips before a CD's full 0 -dBlevel is reached with all but headsets ofexceptionally high impedance-at least950 ohms. And the players we received for

16 HIGH FIDELITY

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AUDIO New Equipment Reports

SQUARE -WAVERESPONSE (1 kHz)

IMPULSERESPONSE

test were quite sensitive to external shockand vibration. However, when one of ourstaffers tried to cudgel a store's demo sam-ple into skipping, he failed, which suggeststhat Sansui may already have solved thisproblem.

The tracking and error -correction testsalso raised a question. The player clearedall the hurdles on the Philips evaluation discwithout skipping or clicking-as we mighthave anticipated, given the triple -beampickup system Sansui uses. But DiversifiedScience Laboratories noted some subtlesigns of discomfort on the 600- and 800 -micrometer black dots, and when weapplied a more severe test (a paper"wedge" stuck on the surface of a disc),the results were different for each trial. Ingeneral, though, the PC -V1000 was some-what more plagued by loud clicks, skips,and so on in this test than was one of thebest -tracking players we have reviewed.This is a rather severe comparison, howev-er, and the Sansui's tracking is as good asthat of most models we have examined and

better than that of a fair number.The PC-V1000's square -wave and im-

pulse responses suggest that it employsoversampling and digital filtering (appliedbefore digital -to -analog conversion), there-by allowing the use of a relatively gentleanalog filter at the output, minimizingphase shift and ringing in the audio signal.As with other players we have tested thatuse this approach, there is some very slightrippling at the upper end of the responsecurve, but again, the effect is tiny by com-parison to the peaks and other perturbationswe have come to expect from phono pick-ups and utterly negligible from a listeningpoint of view.

The PC-V1000's most memorablequality is its handling of disc programming.The infrared remote control is handy andattractive, and the relationship between itscontrols and those on the player itself hasbeen subtly worked out for optimum com-promise between flexibility and simplicity.In particular, we expect to see more of its"dual memory" approach.

Big SoundFrom a SmallSuperampSoundcrattsmen PCR-800 power amplifier.Dimensions: 8V2 by 5 Inches (front panel). 13 inchesdeep plus clearance for connections. Price: S450.Warranty: "limited," 90 days parts and labor,automatically extended to two years if warrantyregistration card is returned within ten days ofpurchase. Manufacturer: Soundcraftsmen, Inc.. 2200S. Ritchey St., Santa Ana, Calif. 92705.

ALTHOUGH SOUNDCRAFTSMEN made itsname in signal processing (introducing thefirst really popular consumer graphic equal-izer just over a decade ago), one couldargue that the company's most interestingproducts in recent years have been its poweramplifiers. The last of these that wereviewed was the MA -5002A Class H amp(November 1981). "Class H" is Sound -craftsmen's designation for a type of signal -tracking power supply that improves ampli-fier efficiency by matching the supply volt-age to the input signal. When the input issmall-as it is most of the time-the sup-ply voltage is maintained at a constant lowlevel, minimizing power consumption andheat dissipation. If the signal rises to a levelthat demands an output greater than thebase voltage can support, the power supply

follows it up, returning to the low -voltagemode when the peak has passed.

The PCR-800 also aims at increasingefficiency, and again by means of a smartpower supply, but the path taken is the otherway around. Called "phase control regula-tion," it strives to use as little power aspossible from the AC line to maintain a con-stant power -supply voltage. This isachieved with a servo loop that senses thesupply voltage and feeds that informationback to the silicon controlled rectifiers(SCRs), which convert the alternating cur-rent (AC) from the power transformer intodirect current (DC) for modulation by theamplifier circuitry. Unlike the rectifiers inconventional amps, which are always on,those in the PCR-800 conduct only for asmuch of each AC cycle as is necessary to

SEPTEMBER 1984 19

AUDIO New Equipment ReportsRATED POWER8 -ohm load4 -ohm load2 -ohm load

23 dBW (205 watts)/channel242/4 dBW (300 watts) channel241/4 dBW (275 wafts) channel

OUTPUT AT CLIPPING (at 1 kHz: both channels driven)8 -ohm load 231/4 dBW (215 watts) channel4 -ohm load 25 dBW (325 watts),channel2 -ohm load 241/2 dBW (290 watts) channel

DYNAMIC POWER8 -ohm load4 -ohm load2 -ohm load

23, 4 dBW25 dBW25 dBW

DYNAMIC HEADROOM (re rated power)8 -ohm load r 1/4 dB4 -ohm load 1/4 dB2 -ohm load +3'4 dB

HARMONIC DISTORTION (THD; 20 Hz to 20 kHz)at 23 dBW (205 watts) 5 0.068%at 0 dBW (1 watt) 5- 0.015%

FREQUENCY RESPONSE4 0, -V4 dB, <10 Hz to 29.7 kHz;+0, -3 dB, <10 Hz to 130 kHz

S/N RATIO (re 0 dBW; A -weighted)

SENSITIVITY (re 0 dBW)

INPUT IMPEDANCE

DAMPING FACTOR (at 50 Hz)

CHANNEL SEPARATION (at 1 kHz)

803/4 dB

110 mV

23 8k ohms

260

88 dB

About the dBWWe currently are expressing power interms of dBW-meaning power in dBwith a reference (0 dBW) of 1 watt. Theconversion table will enable you to usethe advantages of dBW in comparingthese products to others for which youhave no dBW figures.

WATTS dBW WATTS dBW1.00 0 32 151 25 1 40 161 6 2 50 172.0 3 63 182.5 4 80 193 2 5 100 204.0 6 125 2150 7 160 226.3 8 200 238.0 9 250 24

10.0 10 320 25125 11 400 2616 12 500 2720 13 630 2825 14 800 29

maintain the desired supply voltage. Thus,the amplifier normally uses just a smallamount of the power available from the ACline. Only when full output is demandeddoes the power supply open up and use thefull swing.

The payoff is higher operating effi-ciency and reduced size and cost. A singlePCR-800 sells for $450, weighs slightlyless than 25 pounds. and can be mountedbeside another PCR-800 in a standard 19-

inch rack-a remarkable achievement foran amplifier rated at more than 200 wattsper channel. Cooling is provided by a two -speed fan that forces air through the chas-sis, from the back (where the fan is

mounted) through the front grille. At its lowspeed, the fan is silent enough to be inau-dible when music is being played, althoughit can be heard faintly from several feetaway in a quiet room. Diversified ScienceLaboratories reports that the only time thefan kicked into its high-speed mode wasduring the measurement of continuouspower into a 2 -ohm load. It remained at thelower speed throughout our listening trials,even at high volume, and the amp neverbecame more than slightly warm to thetouch.

If the amp does somehow begin tooverheat, the power supply automaticallyreduces its output until the temperaturedrops to a safe level. And because the out-put devices are MOS FETs, there is no dan-ger of the self-destructive thermal runawayto which conventional bipolar transistorsare prone when asked to deliver too muchcurrent. Thus, there is no need for current -limiting protection circuits, with their atten-dant problems.

When the PCR-800 is turned on, agreen pilot LED at the bottom of the frontpanel begins blinking slowly (a characteris-tic that some may find distracting); if thefan shifts to its high speed, the LED blinksmore rapidly. In addition, each channel hasa red clipping LED that flickers on when-ever the amp is overloaded. On the backpanel are standard pin -jack inputs and col-or -coded banana -jack output binding posts.The PCR-800 can be strapped for monooperation (with a rated output of 600 watts,or 273/4 dBW, into 8 ohms) by means of anexternal bridging adapter, such as the onebuilt into Soundcraftsmen preamps.

The PCR-800 is one of the few ampli-fiers available that is rated not only into 8ohms but also into 4 and even 2 ohms, soDSL measured its maximum output beforeclipping continuously as well as dynamical-ly into all three loads. As you can see from

the data, the results are impressive. Outputis quite high into 8 ohms (slightly exceed-ing Soundcraftsmen's specification) andincreases by almost another 2 dB into 4ohms. Continuous power into 2 ohms isabout 1/2 dB less than into 4, but the amp'sdynamic power (which more nearly reflectsperformance on music) is the same intoboth. The small difference between thedynamic and continuous power figures (andthe correspondingly low dynamic head-room) is a result of the power supply's verytight regulation.

Although the PCR-800 clearly is capa-ble of delivering plenty of current into low -impedance loads, a slight loss of extremetreble response will occur because of a rap-id rise in the amp's output impedance athigh frequencies. As reflected in the veryhigh damping factor, the output impedanceat 50 Hz is a mere 30 milliohms; at 1 kHz itis still only 48 milliohms, but by 10 kHz itis up to 310 milliohms, and at 20 kHz theoutput impedance is 460 milliohms (almosthalf an ohm). With a 2 -ohm load, this willcause a loss of 13/4 dB at 10 kHz and 2 dB at20 kHz, which is enough to be audible onsome material. The rolloff is not great,however, and it will disappear with moretypical, higher -impedance loads.

The only other less -than -outstandingmeasurement is the signal-to-noise (S/N)ratio, which is lower than we are used toseeing. This is attributable mainly to 60 -Hzpower -line hum and its harmonics. Nonoise was apparent in listening, however.The remaining data are uniformly excel-lent, showing perfectly flat frequencyresponse across the audio band, distortionlevels well below the threshold of audibili-ty, wider than necessary channel separa-tion, and an appropriate input impedanceand sensitivity.

Performance in the listening room isno less satisfying. The weight of the ampli-fier is distributed heavily toward the front,making it somewhat more unwieldy than itssize alone would suggest, and the 41/2 -footpower cord may be a little short for someinstallations, but aside from those minorpoints, setup is a breeze. We were able todrive our loudspeakers to very high vol-umes without overload, and when the ampdoes clip, it does so very gracefully. At lev-els below clipping, it makes no contributionof its own to the sound, which is exactlywhat one would expect of a fine poweramplifier. That, together with compactdimensions, exceptional current capability,and an attractively low price, makes thePCR-800 an excellent value.

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

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

20HIGH FIDELITY

NOW YOU DON'T HAVETO PAYAN ARM AND

A LEG FORYOUR EARS.Becoming an audiophile has always had its price.

We have a way of lowering it.Introducing two of Yamaha's new high -end

separates-the M-40 power amplifier and the C-40pre -amplifier.

Both have the highest state-of-the-art circuitryand features. For the highest quality sound repro-duction possible.

But at a lower price than ever before possiblefrom Yamaha.

For pure sound combined with pure power, theM-40 uses our exclusive Auto Class A circuitry. Itautomatically switches from pure Class A opera-tion to Class AB when music peaks require highpower levels. So purity is never sacrificed for power.

To eliminate crossover distortion duringswitching, as well as transistor non -linearity dis-tortion, the M-40 has our unique Zero DistortionRule circuitry.

*Suggested U.S.A. retail prices

The C-40 uses ZDR in the phono EQ section. Forthe purest phono reproduction possible.

And to effectively capture the quieter passagesthat today's digital sources are capable of, the M-40has a phenomenal 127dB S/N ratio.

The result is excep-tionally pure and accuratemusical reproduction.Which is in keeping withthe C -40's and M -40's

--00 -

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phile-quality sound reproduction-pure and simple.And at $350* for the C-40 and $400* for the

M-40, affordable.So visit your Yamaha dealer. And satisfy your

ears. Without having to sacrifice any other partof your anatomy.

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YAMAHA NATURAL SOUND STEREO CONTROL AMPLIFIER C SO

COW 134-NINC)

YAMAHA NATURAL SOUND STEREO POWER AMPURER 40

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AUDIO New Equipment Reports

MONITOR/DUBTAPE 1. TAPE 2TAPE/SOURCE. 1.2

AC POWER

I 61,1 .$66 1161 1

SPEAKERS(ON/OFF, A, B)

HEADPHONES

1 61

EQUALIZERTUNING MODE (AUTO/MANUAL)

71eml

FM MODE (STEREO. MUTE/MONO. NO MUTE)

ii

SOURCE SELECT(AM/FM/PHONO/

AUX)

VOLUME

TUNING (UP.DOWN: PRESETS:

MEMORY)

mommieneememLOUDNESS (ON/OFF)EQUALIZER ON/OFF

FILTERS (HIGH. INFRASONIC: ON/OFF)

BALANCE

Top Specs atA Scott's PriceScott Model 359RS AM FM receiver. Dimensions: 17by 41/4 inches (front panel), 121/2 Inches deep plusclearance for controls and connections. ACconvenience outlets: one switched, one unswitched(100 watts max. each). Price: $400. Warranty:"limited." three years parts and labor. Manufacturer:made in Korea for H. H. Scott, Inc.. 20 CommerceWay, Woburn, Mass. 01888.

FM tuner section

STEREO RESPONSE & CHANNEL SEPARATIONDB

0

-5- 10- 15- 20

2530

-as- 4o

350PS It

HZ 20 50 100 200

Frequency responseL chR ch

Channel separation

500 1K 2K 5K 10K 20K

+0, -3 dB, 20 Hz to 15 kHz+0, -3 dB, 20 Hz to 15 kHza 38 dB, 70 Hz to 2 kHz;a 291/2 dB, 20 Hz to 15 kHz

FM SENSITIVITY & QUIETINGDB

- 10

20

30

40

so

so

DBF 0 10

vies 121

20 30 40 50

stereo quieting (noise)mono quieting (noise)

80 70 ao 90 100

HERMAN HOSMER SCOTT, who gave hisname to the company, would hardly recog-nize today's international enterprise-aEuropean -owned American corporationthat manufactures its wares in the Orient.But he would recognize the good value rep-resented by the Scott products we've testedrecently: the 558T tuner (November 1982)and now the 359RS receiver, which com-bines medium power and moderate pricewith a five -band equalizer and performancethat in some respects rivals that of the head-iest models around.

Also traditional with Scott is a

thoughtfully prepared owner's manual. Theone for the 359RS is very simple, especiallyin its language, which enhances the pam-phlet's directness. No lavish graphics orslick paper or extra colors, just usefulexplanation. Only the listing of specifica-tions has been carelessly produced: In par-ticular, "IHF sensitivity . . . . 10.3/1.8dBf ' is both equivocal as to the relevantstandard and confused in its units (ii shouldread "10.3 dBf/1.8 pN"). But for neo-phytes-the only ones who will really needthe manual and for whom it obviously wasprepared-this minor shortcoming is per-haps a nonissue.

The front panel is anything but tradi-tional. Its most striking feature is a bank offive equalizer sliders near the center. Inputselectors are ranged above this section, withfurther pushbutton controls below it. Thereadout area near the left end contains apower "meter" (nondefeatable, unfortu-nately) and a lower panel devoted to tunerindicators. The one for signal strength con-sists of six segments, the lowest of whichlights whenever either tuner band is select-ed. This leaves five segments for register-ing progressively higher signal strengthsover a well-chosen range: somewhat moresensitive than average for such indicators(which are rare, in any event, for the AMband) so that they concentrate, appropriate-ly, on solving the problems of receiving rel-atively weak stations.

Tuning proceeds in full -channel steps:200 kHz on FM and 10 kHz on AM. A tapon UP or DOWN advances one step; if youhold the button in, the channels race by.The automatic tuning mode seeks the nextreceivable station in the chosen directionand locks onto it. When you come to oneend of the dial, the tuning automaticallycontinues from the other. The presets pro-vide for seven stations from each band. Aferrite bar AM antenna is attached to theback panel, where there also are the usualscrew terminals for external AM and FMantennas-including 75 -ohm coaxial FMlead-in, though the manual discusses onlythe 300 -ohm twinlead options.

The tuner section's performance ismostly very fine. Among Diversified Sci-ence Laboratories' measurements, the moststriking probably is the capture ratio, whichis remarkably low-as good as the best wecan recall seeing. Pilot and subcarrier sup-pression also are exceptionally good. Leastencouraging is the selectivity, which is nobetter than acceptable. We found that amoderately strong station with a strongerone on the adjacent lower channel had to betuned manually, because the automatic tun-ing would lock onto it only on the adjacentchannel above (resulting in severe distor-tion) or onto the stronger station below.And when the weaker station was correctlytuned, interference from the stronger onewas clearly audible. This is not a situationthat will confront most urban or even sub-urban listeners, however, so it isn't a majorconcern.

Overall, FM reception is clean insound and convenient in operation. Thesame is true of AM, except that its freedomfrom noise seems to have been obtainedwith a sharper than usual high -frequencyrolloff. Incidentally, if you do nonethelessencounter a noisy AM station, the high fil-ter will not help because the AM responseeffectively cuts off before the filter actionbegins, al 7.5 kHz.

For sources that really contain high -

SEPTEMBER 1984 23

AUDIO New Equipment ReportsStereo sensitivity (for 50 -dB noise suppression)

351/2 di31 at 98 MHz, with 0.46% THDIN(361/2 dBf at 90 MHz; 37 dBf at 106 MHz)

Mono sensitivity (for 50 -dB noise suppression)113,4 dBf at 98 MHz

Muting threshold 311/2 dBfStereo threshold 311/2 dBfStereo S/N ratio (at 65 d131) 68 dBMono S/N ratio (at 65 dBf) 711/2 dB

CAPTURE RATIO 3'4 dB

SELECTIVITYalternate -channeladjacent -channel

HARMONIC DISTORTION (THD 1 N)stereo

at 100 Hz 0.20%at 1 kHz 0.08%at 6 kHz 0.20%

521/2 dBVA dB

mono0.070%0.072%0.12%

STEREO PILOT INTERMODULATION 0.15%

IM DISTORTION (mono) 0.026%

AM SUPPRESSION 531/4 dB

PILOT (19 kHz) SUPPRESSION >80 dB

SUBCARRIER (38 kHz) SUPPR. >80 dB

Amplifier section

RATED POWER 161/2 dBW (45 watts)%channel

OUTPUT AT CLIPPING (at 1 kHz; both channels driven)8 -ohm load 1734 dBW (60 watts) channel4 -ohm load 181/2 dBW (71 watts), channel

DYNAMIC POWER (at 1 kHz)8 -ohm loop4 -ohm load2 -ohm load

181/2 dBW191/4 dBW181/4 dBW

DYNAMIC HEADROOM (re rated power, 8 -ohm load)+ 2 dB

HARMONIC DISTORTION (THD; 20 Hz to 20 kHz)at 161/2 dBW (45 watts) 5 0.032%at 0 dBW (1 watt) <0.01%

FREQUENCY RESPONSE+0, -1/2 dB, 11 Hz to 18.1 kHz;+0, -3 dB, <10 Hz to 61 kHz

RIM EQUALIZATION +0, -212 dB, 20 Hz to 20 kHz;-123,4 dB at 5 Hz

SENSITIVITY & NOISE (re 0 dBW; A -weighting)sensitivity S/N ratio

aux input 24 mV 82 dBphono input 0.40 mV 771/2 dB

PHONO OVERLOAD (1 -kHz clipping) 180 mV

INFRASONIC FILTER -3 dB at 17 kHz; 4.15 dB/octave

HIGH FILTER -3 dB at 7.5 kHz; 12 dB/octave

frequency noise, the high filter is reason-ably effective. The infrasonic filter alsodoes its job efficiently, with little effect at20 Hz or above and a steep rolloff below.When records are played, its influence addsto that of a low -frequency rolloff built intothe phono preamp. Phono response is down'1/2 dB at 55 Hz and is still only 21/2 dB downat 20 Hz, but the slope increases to 6 dB orso per octave in the infrasonic range. Thus,the total warp -control factor, so to speak,amounts to a very effective 20 dB or moreper octave. The phono response alsoshelves slightly in the treble, going fromflat at 1 kHz to -3/4 dB at 2 kHz and -3/4 dBfrom 10 kHz up.

The loudness compensation strikes usas distinctly heavy-handed. In our listeningroom, it begins to kick in at what we con-sider to be fairly loud listening levels. Bythe time we're down to moderate levels,where we would expect little compensa-tion, the bass is boosted considerably(about 10 dB at 50 Hz) and the extremetreble is up as well (6 dB at 20 kHz). Andthe boost continues to increase at lower vol-ume settings.

Fortunately, the five -band equalizermakes it easy to roll your own loudnesscompensation. The indicated center fre-quencies-marked 60 and 250 Hz and 1, 4,and 16 kHz-are reasonably accurate in thetwo bottom bands, very accurate in theremaining three. Also quite reliable is thespec for the total adjustment range in eachband: ± 12 dB. The intermediate markingsare not so dependable. In the I -kHz band,

for instance, the " +6" setting barely ekesout a 3 -dB boost. But because such controlsare set by ear, rather than by eye, the dis-parity is of no real practical importance.And if you mistrust all tone controls in yoursearch for sonic purity on signals that don'tneed them, you can cut them out of the cir-cuit altogether.

The 45 -watt power rating, which isquite impressive for a $400 receiver withthis many features, actually is quite conser-vative. Midband sine -wave clipping occursat a level 3/4 dB higher, and the pulsedwaveform used for the dynamic test clips 3/4dB higher still. Thus, on most music, the359RS is capable of the equivalent of about70 watts into 8 -ohm loads and even moreinto 4 ohms. The receiver isn't rated foroperation into 2 ohms, but the lab ran itthrough the dynamic power test with thatload, too. The waveform doesn't hold up aswell as it does into 8 ohms, but it's veryclose, indicating that the 359RS doesn't gointo severe current limiting under suchcircumstances, as some other receiversdo.

If you spend your audio dollar careful-ly, this Scott receiver must be among themodels to consider, particularly if you pre-fer a simple equalizer to conventional tonecontrols. All of its sections are welldesigned, and though the FM receptionstands out, there are no substandard sec-tions that must be put up with in "compen-sation." It is, simply stated, a well-bal-anced, practical receiver that offers goodvalue.

INPUT IMPEDANCEaux input 160k ohmsphono input 50.8k ohms; 115 pF

OUTPUT IMPEDANCE (to tape)from aux inputfrom tuner sectionfrom phono input

DAMPING FACTOR (at 50 Hz)

CHANNEL SEPARATION (at 1 kHz)

EQUALIZER ADJUSTMENT RANGE

DB+10+5

01,000 ohms -5820 ohms560 ohms 10

HZ120

MORS 131

20 50 100 200 500 1K ZK 5K 10K 20K

sliders set at max. and mm.55 dB individual

An "OptimumMatch," fromOrtofonOrtofon OM -30 fixed -coil (moving -iron) phonocartridge, with multiradial diamond stylus. Price:5225. Warranty: -limited." one year replacement.Manufacturer: Ortofon Manufacturing AS, Denmark;U.S. distributor, Orlofon, Inc., 122 Dupont St.,Plainview, N.Y. 11803.

No COMPANY HAS A PROUDER history,where phonographic transducers are con-cerned, than Ortofon. Since shortly afterWorld War II, it has been making profes-sional cutterheads and state-of-the-art pick-ups-including moving -coil models, withwhich its name was virtually synonymousat one time. Its work on the Variable Mag-netic Shunt principle (a type of moving -irondesign) sought to create fixed -coil car-tridges whose reproduction quality wouldrival that of the company's moving -coilmodels without their hand assembly andtherefore increasingly prohibitive manufac-turing costs. The current legatee of this

effort is what Ortofon calls its OptimumMatch (OM) cartridges-so named be-cause they are designed to reproduce opti-mally the behavior of modern record -cut-ting styli.

The series consists of six pickups:three "OM" models with conventionalscrew mounts and three otherwise almostidentical "OMP" models with plug-in P -

Mounts. The progression of stylus optionsin each group is one of decreasing tip massand increasing compliance and sophistica-tion of construction. Model numbers end-ing with "10" denote a conventional ellip-tical diamond tip, those with "20" a nude

24HIGH FIDELITY

TEAC DRIVESTHE REELS

OF INDUSTRY

Not c..x y are there computers inside of many Teacs, there are Teacs insideof many computers.

Teac has built tape transports for some of the foremos: names in thecomputer ir_dustry.

Computer builders come to Teac for a very reasor_. Nobody buildstape components like a company that has specialized single-mindedly in taperecording for thirty years. And because computer downtime can be at the leastexpensive, and at the most disastrous, our reputation Six ruggedness andreliability in the extreme carries a lot of weight.

So when you're in the market for a tape deck, just think.:When the engineers wanted muscles for their brains, they picked Teac.

TEAC. MADE IN JAPAN BY FANATICS.COPYRIGHT 1983 TEAC CORPORATION OF AMERICA 7733 TELEGRAPH ROAD, MOW HELLO, CA *064C

AUDIO

FREQUENCY RESPONSE & CHANNEL SEPARATIONtest record: JVC TRS-1007 Mk. II)

DB

0

-510

- 1520

25

30

41'

OW JD

HZ 20 50 100 MO 500 1K

Frequency responseL chR ch

Channel separation

2K 5K

New Equipment Reportsdiamond of smaller tip mass, and "30" anude multiradial "fine line" diamond.Thus, the OM -30 is at the top of the stan-dard -mount group.

Because the mass of P -Mount pickupsis dictated by the Technics standard, theOMP models all carry some ballast to bringtheir weight up to the specified 6 grams.But standard -mount arms are a very mixedbag, and to accommodate their vagariesOrtofon has built a tiny weight into the topof the OM mounting bracket. If you wantthe full mass (a shade less than 5 grams),you simply leave the weight in place whenyou install the pickup; if you want less, youpop out the weight first and thereby cut themass almost in half.

However, one might challenge on the-oretical grounds Ortofon's instruction thatyou use the weight with heavy arms andomit it with low -mass models. If your tone -

10K 208 arm's effective mass is greater than about15 grams, the additional weight of the insertwill drag the low -frequency arm/cartridgeresonance down below 8 Hz, into the dan-ger region where record warps (which clus-ter around 5 Hz) can disrupt tracking andsend large, power -wasting infrasonic sig-nals through the amplifier to the speakers.In the unlikely event that your arm's mass isless than 4 grams, removing the weightcould pull the resonance too far up towardthe audible range, causing a rise in the deepbass response and perhaps some trackingdifficulty on passages that are heavily mod-ulated at very low frequencies. If you're indoubt, we would suggest that you try thecartridge without the weight first.

But the deciding factor may not liewith theory. In both Diversified ScienceLaboratories' SME 3009 Series 11 Im-proved tonearm (whose effective mass isapproximately 15 grams) and the SME-workalike we used for our listening tests,the counterweight adjustment range was notgreat enough to accommodate the OM -30without the ballast insert. So we carried outall our evaluations with the weight, whichput the resonance on the low side of thedesired range but caused no hint of misbe-havior.

4 1 V2. -1/2 dB, 20 Hz to 20 kHz+3/4, -1/2 dB, 20 Hz to 20 kHz

dB, 100 Hz to 7 kHz;.>18 dB, 100 Hz to 18 kHz

SENSITIVITY (at 1 kHz) 1.09 mV/cm/sec

CHANNEL BALANCE (at 1 kHz) <I/4 dB

VERTICAL TRACKING ANGLE 19°

MAX. TRACKING LEVEL (re RIAA 0 VU; 1.25 grams)lateral > + 18 dBvertical .+12 dB

DYNAMIC COMPLIANCE (vertical)-20 x 10-6 cm/dyne

RECOMMENDED EFFECTIVE TONEARM MASS'optimum acceptable

without weight -10 grams 6 to 17 gramswith weight -8 grams 4 to 15 grams

WEIGHT'without weightwith weight

SQUARE -WAVERESPONSE (1 kHz)

'See text.

2.5 grams4.85 grams

adoEm

':iceon yam

The cartridge successfully negotiatedthe tracking -test bands of the CBS STR-100and STR-120 test records at the Ortofon'sminimum recommended vertical trackingforce of 1 gram and the progressive levelsof STR- 112 at 1.25 grams (the median ofthe recommended VTF range). It alsotracked without difficulty all of the musicrecords we handed it, some with readilyvisible warps.

The vertical tracking angle (VTA)Measures 19 degrees, using the low -fre-quency tones on the DIN test record. This isvirtually spot-on the DIN standard of 20degrees-an unusual feat, in our experi-ence. Here, in particular, the lab dataappear to corroborate Ortfon's claim tomatching cutterhead behavior. However,the test tracks with the higher tones yieldeda reading of 22 degrees, suggesting that thestylus rake angle (SRA) is very slightlyoff.

Perhaps the most impressive aspect ofthe OM -30's performance is its frequencyresponse, which is extraordinarily flat. Thevery mild rise at the extreme top of the audi-ble range (and the accompanying deteriora-tion of channel separation) suggests theapproach to high -frequency resonancesomewhere in the near ultrasonics. (Somecartridges-moving-coils, most often-have resonances close enough to the audiblerange to cause severe high -frequencypeaks, with sonic consequences that we'repleased to note don't apply here.) Separa-tion is excellent up to very high frequen-cies, well beyond the range where it con-tributes materially to localization and,therefore, to stereo imaging.

Earlier we used the phrase "no hint ofmisbehavior." Those four words fullycharacterize our experience of the OM -30.Though that may seem faint praise, it actu-ally is the highest of accolades for a phonopickup, which should be as transparent asmountain air on a fine fall day. Any empha-sis-any special zing or growl or roar orwhisper-though it may lend excitement tothe sound, is by definition misbehavior.And no pickup we know minds its mannersbetter than this one.

A GoodCombination,From Yamaha

MANY AUDIO MANUFACTURERS have a spe-cialty that lends them a sense of identity,even though they may offer products thatfall well outside that realm. Yamaha seemsto have two such areas of specialization:receivers that concentrate on fine musicreproduction first and electronic virtuosityonly as a means to that end, and perfection-ist separates-of which we've tested sever-al superb examples over the years. As anintegrated amplifier, the A-1000 mightappear to fall nearer the first category, but itactually is more like a combination of

Yamaha separates at their very best.Indeed, its control section is very similar tothe C-70 preamp (test report, April 1983),while the power -amp stage harks back topast Yamaha Class A designs.

A totally Class A amplifier rated at120 watts per side would be a real mon-ster-as would your electric bill if you usedone. (Although, the heat generated mightsave a little on the oil bill.) This is becauseClass A circuitry confines the signal swingto the transistors' linear operating region,placing the average (and therefore the no -

26 HIGH FIDELITY

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Acoustic Researchintroduces three essentials

for the ultimate system.1 Our new line of nine different

computer -designed speakers,ranging from the economical, space -savingAR8B bookshelf model to the awesomeAR9Ls with its Dual DomeTM mid -high rangedriver and thunderous Bass Contour Chamber.

2 A new three-point suspension turntable whose predecessor was a

legend among audiophiles ten years ago. Somuch of a legend we decided to bring it backin a totally updated version-re-designedfrom the dustcover on down. With yourchoice of universal tone arm mounting plat-form, or AR's own new medium massstraight arm.

3 Our new AR compact remotecontrol unit employing ultra -

sophisticated microcircuitry. From whereveryou sit or stand, you can control stereo balanceand work a wide range of functions on your

iamp for maximum convenienceand ideal sonic performance.

Hear what you've been missing.leTELEDYIE ACOUSTIC RESEARCH10 American Drive, N.

AUDIO New Equipment Reports

AC POWER

SPEAKERS(ON/OFF: A, B)

- .0111114

Tli- - _

I

BEHIND DOOR HEADPHONE JACK BASS.TREBLE, BASS TURNOVER, TREBLE TURNOVER;LOUDNESS ADJUST.; BALANCE ADJUST.;FILTERS ON/OFF: RECORDING SOURCE SELECT.:PHONO SENSITIVITY & LOADING SELECT.

"DIRECT"(ON/OFF)

MUTING(0/-20 DB)

VOLUME

M NITOR/SELECTOR: TUNER/PHONO/"DAD" (CD PLAYER)/

AUX/TAPE 1/TAPE 2

Yamaha A-1000 integrated amplifier. Dimensions: 17by 5 inches (front panel), 151/4 Inches deep plusclearance for controls and connections. ACconvenience outlets: two switched (200 watts max.total), one unswitched (200 wafts max.). Price: 5590.Warranty: "limited," two years parts and labor.Manufacturer: Nippon Gakki Co., Ltd., Japan; U.S.distributor: Yamaha Electronics Corp., 6660Orangethorpe Ave., Buena Park, Calif. 90620.

RATED POWER 203/4 dBW (120 watts).channel

OUTPUT AT CLIPPING (at 1 kHz; both channels driven)8 -ohm load 22 dBW (160 watts):channel4 -ohm load 224/4 dBW (190 wattsychannel

DYNAMIC POWER8 -ohm load4 -ohm load2 -ohm load

231/4 dBW24 dBW213/4 dBW

DYNAMIC HEADROOM (re rated power, 8 -ohm load)+21/2 dB

HARMONIC DISTORTION (THD; 20 Hz to 20 kHz)at 2041 dBW (120 watts t 0.026%at 0 dBW (1 watt) <0.01%

FREQUENCY RESPONSE+0, -1/4 dB, <10 Hz to 31.2 kHz;+0, -3 dB, <10 Hz to 126 kHz

RIAA EQUALIZATIONfixed -coil phono +1/4, -0 dB, 20 Hz to 20 kHz;

-V4 dB at 5 Hzmoving -coil phono 1,3/4 dB, 20 Hz to 20 kHz;

-84/4 dB at 5 Hz

SENSITIVITY & NOISE (re 0 dBW; A -weighting)sensitivity SIN ratio

aux input 13 mV 87 dBfixed -coil phono 0.21 mV 79 dBmoving -coil phono 13 p.V 78 dB

signal condition) at the midpoint of therange so that the transistors are always con-ducting no matter what the signal is up to.The more efficient Class B circuits alloweach transistor in a push-pull pair to remainquiescent much of the time, conductingonly when presented with its half of thewaveform.

This avoids the major problem inher-ent in high -power Class A amps: dissipatingall the extra heat generated in the outputstage. But there's a catch. At the moment ofturning on or off, the Class B transistorsaren't in their linear operating range. Andthe smaller the audio signal, the more timethey spend outside it and the higher the dis-tortion in the output. Class AB circuitry-which by far dominates audio-patches upClass B by raising the bias to turn on theidling transistors just a little, so that theamplifier behaves like Class A for verysmall signal values. It therefore isn't as effi-cient as Class B (though it's far more sothan A), and it doesn't achieve the ultralowdistortion of Class A (though it comes farcloser than B).

Several companies have devised clev-er ways of building large quasi-Class Aamps that vary the bias current according tothe signal level, thereby minimizing theinefficiency associated with keeping thetransistors operating constantly in their lin-ear region. Yamaha has taken a somewhatdifferent approach in the A-1000. With theClass A option engaged, only the first 10watts of the output are pure Class A. Whenthe signal requires more output (which isvery seldom in most listening) the ampautomatically changes to Class AB opera-tion. When the signal descends to lowerlevels, the amp reverts to Class A.

In effect, Yamaha appears to be rais-ing the amplifier's bias point so that theidling transistors conduct more than "just a

little"-a kind of super Class AB. Thisincreases the heat that must be dissipatedand, as the owner's manual points out(though its intelligibility here and else-where falls short of Yamaha's usual highstandard), makes good ventilation impera-tive. Should this pose a problem, a front -panel switch gives you the option of cuttingback the bias point to a more conventionalvalue for Class AB operation.

Diversified Science Laboratoriesmade most of its measurements in the "autoClass A" mode. The distortion figuresshown in our data column therefore theoret-ically represent Class AB operation at ratedpower and Class A at 0 dBW (1 watt). Asyou can see, they are exceedingly low at 0dBW, only very low at full power. Whenthe lab checked the distortion with the ampin the AB mode, it detected only marginalincreases, and in just a few of the figures.Those for 0 dBW remained below our 0.01 -percent reporting threshold-that is, so lowas to be of absolutely no significance.

In listening, we likewise could discernno unequivocal difference between the twooperating modes, both sounding equallyexcellent. This observation also applies tothe DIRECT option, which bypasses the tone -control, loudness -compensation, and high -filter circuitry altogether for ultrapure lis-tening. (The infrasonic filter, whose use themanual recommends whenever you'replaying LPs, remains active in DIRECT.)

The infrasonic filter has very littleinfluence on the audible frequency range.Its response is down less than 1 dB at 20Hz, and there is some rise (no more thanabout 1/2 dB) in the very deep bass. Belowthe 15 -Hz inflection point, the filter's initialslope is about 14 dB per octave. It deliverseffective warp -signal suppression withfixed -coil phono cartridges (and high-levelsources) and adds substantially to the infra -

SEPTEMBER 1984 29

AUDIO New Equipment Reports

SR

2

I

PHONO OVERLOAD (1 -kHz clipping)fixed -coil phonomoving -coil phono

INPUT IMPEDANCEaux inputfixed -coil phonomoving -coil phono

165 mV10 mV

46k ohms47k ohms; 290 or 390 pF10k or 100 ohms

OUTPUT IMPEDANCE (to tape)from aux input directfrom phono inputs 450 ohms

DAMPING FACTOR (at 50 Hz) 200

CHANNEL SEPARATION (at 1 kHz) 631/4 dB

HIGH FILTER -3 dB at 10.8 kHz; 12 dB/octave

INFRASONIC FILTER -3 dB at 15 Hz; 12 dB/octave

Tonearm/CartridgeMatching Graph

25

20az

15

0

RESONANCE FREQUENCY IN NI

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4.41111SIMIENMMINEMIEINSOMIS 1141111141041411441,IMIRMNI114411111111011EIML MM. 4 01111104,411Ams a11444114444114111.144011144411011116,41. 1111114ININIMI TNINIMISIMENINIIIIMIIIIIILIBLIIII124114 ,0141filit:11111111MMEN1111111111011011111111111111111111111MINUM111111/0110111 'Uri111111111111111111111.111111111111111111111M WM 'MOM1111111111M1111111111111111111110110121111 1011 iiiIIIIIIIIIIIIIIIIIIIIIIIIIIIIOINIIILII . MON1111011111012111111111111111111111121.1131 NOMMISPINIMIMMIMIMilitila\ NilqMMINIMMOOMiiiiiihNi.40. 1Ns ai 111111111M1111 11110111M '

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TOTAL E FECTIVE MASS IN GRAMS

0 40 SO

By means of this nomograph, you can quickly and easilydetermine the compatibility of any cartridge and tonearmwe have tested. Ideally, the arm cartridge resonance fre-quency (indicated by the diagonal lines) should fall at 10Hz. but anywhere between 8 and 12 Hz will assure goodwarp tracking and accurate bass response. (It is usuallyokay to let the resonance rise as high as 15 Hz, althoughwe don't normally recommend this.)

Begin by looking up the weight and dynamic com-pliance shown in the cartridge report and the effectivemass listed in the turntable or tonearm report. Add theweight of the cartridge to the effective mass of the tone -arm to get the total effective mass. Then find the point onthe graph where the vertical line for the total effectivemass intersects the horizontal line for the cartridge's dy-namic compliance. For a good match, this point shouldfall in the white region, between the 8- and 12 -Hz diago-nal lines.

When necessary, you can back -figure compliancesand effective masses for cartridges and tonearms testedbefore we began reporting these figures directly (in Janu-ary 1983). For cartridges, look up the vertical resonancefrequency (measured in the SME 3009 Series II Improvedtonearm) and the cartridge's weight. Add 15 grams (theSME's effective mass) to the cartridge weight to get thetotal effective mass. Then find the intersection of the ver-tical line representing that mass with the diagonal linerepresenting the measured resonance frequency. Nowyou can read off the compliance from the horizontal linepassing through the point of intersection.

For tonearms, look up the vertical resonance fre-quency as measured with the Shure V-15 Type III car-tridge. Find the intersection of the diagonal line for thatfrequency with the horizontal line representing theShure's dynamic compliance of 22.5 x 10-6 cm/dyne.Reading down the vertical line on which the point of inter-section lies will give you the total effective mass of thearm with the Shure V-15 Type III mounted in it. Thensubtract 6.3 grams (the weight of the V-15 Type III) to getthe tonearm's effective mass.

Because of differences in measurement tech-niques. manufacturers' specifications for compliance andeffective mass often differ from our findings and maytherefore yield inconsistent results if used with this graph.

sonic attenuation (almost 9 dB at 5 Hz) builtinto the moving -coil head amp. The highfilter has very little effect because its inflec-tion point is unusually far up (near 11 kHz)and its slope only moderate (initially. 8 dBper octave). It evidently is intended only totake some of the edge off very high hiss,which it does.

The tone controls have dual, switch -able inflection points, which are marked interms of the ±3 -dB points with the boost/cut knobs at maximum rotation. The bassshelves at about ± 10 dB below 100 Hz inits 500 -Hz setting and below 20 Hz in its125 -Hz setting. The treble appears to shelvein the ultrasonic region; in the 2.5 -kHzposition, it just reaches ± 10 dB at 20 kHz,while it manages only about ±7 dB at thatfrequency in the 8 -kHz setting. The calibra-tion of the knobs (-5 to +5) refers to theirclickstops, each of which represents rough-ly 2 dB of additional boost or cut within theshelving portions of the various curves-behavior that is somewhat more symmetri-cal and predictable than usual.

The loudness compensation is quiteout of the ordinary. It has its own knob, so itcan be "calibrated" to your room, listeninghabits, and speakers. With it set to "flat,"you advance the VOLUME until you have fulllistening level. For reduced levels withoutcompensation, you lower the VOLUME onceagain; for compensation, you use the LOUD-NESS, which attenuates the midrange morethan the extremes, following a complex for-mula. Over the first five or so of its tenattenuation settings, maximum cut is ataround 500 Hz; as you rotate the knob far-ther from "flat," the maximum attenuationshifts to about I kHz and amounts to almost22 dB for the ultimate setting (10). Mean-while, attenuation in the extreme bass hasbeen inching upward-by a total of only 6dB at maximum: The highs above 15 kHzare cut by similarly tiny steps at first, thendrop down 3 dB for each of the last twoclickstops, yielding a total maximum atten-uation of about 13 dB.

Viewed with respect to I kHz, thisamounts to whopping boosts of 15 dB in theextreme bass and almost 10 dB in theextreme treble for the lowest setting of theLOUDNESS. Particularly in light of currentresearch, which suggests that no trebleboost whatever is in order, this looks down-right gross on paper. We were startled todiscover, therefore, that the aural effect isunusually convincing. Why this should be,we're not sure; perhaps Yamaha has donesome psychoacoustic homework of whichthe conventional wisdom is as yet unin-formed.

Also distinctive (though quite similarto that of the C-70) is the phono-input set-up. Phono 2 is just for fixed -coil (moving -magnet and moving -iron) pickups that needto be loaded by 47 kilohms and about 230picofarads. Phono 1 (on which the measure-ments shown in the data column weremade) is adjustable. For fixed -coil pickups,

there is a second, somewhat higher, capac-itance option; for high -output moving -coilmodels, there is a setting that introduces noadditional gain but provides a load of about100 ohms; and for low -output moving -coils, there's approximately 25 dB moregain and two terminations-I00 and10,000 (10k) ohms. Except for the shuntcapacitances, which are marginally higherthan the ratings, these numbers are con-firmed exactly by the lab measurements.

Yamaha preamps regularly have twoinput selectors: one for the source to bemonitored and another for the recordingsource. This arrangement enables you tolisten to one while you dub another. Onedifference, however, is that the A -1000'staping switch has no off position to preventa recorder that's not in use from loadingdown the circuit, even though the tape out-put is unbuffered. Most recorders won'tpose any problem in this respect, but theomission is surprising in so perfectionist aproduct. The switch does make possibledubbing in either direction between the twodecks for which switching is provided. Andamong the source options are both aux and"DAD" (the latter specifically for a Com-pact Disc player), so you have somewhereto plug in the audio from a videodisc orHi-Fi VCR-or an audio -video switch-box-without unplugging something else.

Yamaha says that the "less used" con-trols normally are hidden behind the flip -down door along the lower portion of thefront panel. Perhaps Yamaha's segregationcriteria are reasonable, but some of the hid-den controls are not unimportant, and wewish they were more easily visible. Thetiny lettering in gray against a black back-ground might require squinting even if itweren't recessed into the panel-whichalso prevents reading of some lettering alto-gether unless you have the amp at some-thing approaching eye level. The functionsof the controls ("bass." "balance," and soon) are marked along the inner surface ofthe door, however, and are thus visiblefrom above. And as you learn your wayaround the A-1000, you have decreasingneed of the fine print.

For a "Class A" amplifier of anydescription, the power figures are impres-sive. The luxurious dynamic headroom (21/2dB) means that the equivalent of more than200 watts per channel is available on music.Output is somewhat less into 2 -ohm loads,but not by enough to pose difficulty in driv-ing simultaneously the two speaker pairs forwhich there is parallel switching. Indeed, inthis respect the Yamaha is distinctly betterthan average.

We are heartily impressed by the A-1000-as we have been by many of Yama-ha's essays in very high-performanceaudio. And we think it an excellent value,as well, considering the quantity and qual-ity of the sound it makes available and theflexibility and attention to detail with whichit does so.

30 HIGH FIDELITY

MOST PEOPLE WOULD CALL IT OVERKILL.

The new ULTRX'" R100 receiverisn't for everybody.

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

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

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

/11 2/11 eiw

111111111111.

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

Unless you're a nut abort videosound quality, too, you won't havemuch use for the TV/VCR inputsand stereo synthesizer circ-Jit.

The R100 is packed with featuresthat are best appreciated by anaudio perfectionist. It may be thebest -equipped receiver ever built.

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

Some people might call :t over-kill. But you'll call it overwhelming.

Beyond the Ordinary.

arrikonorammooto

'Minimum Contiiuous Average Power per channel, both channels driven into 8 (Alms,from 20-20,000Hz, with no more than 0.009'4 Total Harmonic Distortion.

01984 ULTRX dbx is a trademark of dbx, Inc.

4

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Extraordinarily flat frequency response at zerodB recording levels, combined with remarkablylow noise levels, means music is captured live.

) ' Then Permapass 1," our unique oxide -bonding process,'locks each oxide particle-each musical detail-ontothe tape. So music stays live. Not just the 1st play.,

e / Or the 1000th. But forever. '

We'll guarantee the cassette.We've engineered every facet of our transport mechanismto protect the tape. Our waved -wafer improves tape -wind.Silicone -treated rollers insure precise alignment andsmooth, safe tape movement. To protect the tape andmechanism, we've surrounded them with a remarkablecassette housing made rigid and strong by a molddesign unique to Memorex.

We'll guarantee them forever.If you ever become dissatisfied withMemorex High Bias II, for any reason,simply mail the tape back and we'llreplace it free.

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IS IT tIVE,

OR IS IT

MERIDIEM

DOBBIN

HIGH TECH r,OES

MORE THAN 200 HOT NEW AUDIO AND VIDEO COMPONENTSFROM THE SUMMER CONSUMER ELECTRONICS SHOW

MEYER

"A couple of years ago I read that most people own at least six or seven cassette tape trans-

ports-an absurdly high number, until you count the phone answerer, car deck, home recorder,

headphone -based portable, and so on. After this SCES, I'm covinced that people will soon own

an even larger number of microprocessors-but they won't be aware of them. The era of the

'smart' component is upon us, with microprocessors cropping up in almost every electronic en-

tertainment product. Perhaps that's the real direction of the home computer revolution: appli-

ances with the 'brains' to get the job done."

Peter Dobbin, Electronics Features Editor

"The current wave of audio -video receivers may look as antediluvian in five years as the first, tubed stereo

models do today. Then, as now, the first consideration was simulcast reception-independent AM and FM

tuners with switching to feed each to its own channel. But until the dust starts to settle, the destiny of

network and direct -broadcast stereo TVand the equipment to receive it remain cloudy."

Robert Long, Consulting Technical Editor

"The expansion of the audio business into new places in our lives-the car, the jogging track,the TV room-has until recently entailed the sacrifice of sound quality for convenience andsmall size. The Compact Disc broke this pattern. And now, as experienced audio designerstackle these new markets, even the smallest speakers are sounding good."

E. Brad Meyer, Recording Engineer and Consultant

33

ELECTRONICS

Onkyo's TX 85 receiverrepresents a continuingtrend in audio electronics. A"smart" component, it usesa microprocessor to assessFM signal conditions and tomodify tuning parametersfor best reception. And, inaddition to offering justabout every "standard"receiver feature, it hasbuilt-in DBX circuitry thatenables you to make anddecode DBX recordings aswell as play DBX discs.

IT WAS ONLY ABOUT four yearsago that the first microproces-sor -equipped audio receiver ap-peared. Poorly accepted at thetime, its manufacturer (Eumig

of Germany) eventually retiredit and a similarly equipped cas-sette deck. In retrospect, onemight say that Eumig (whichhas since abandoned the con-sumer audio business entirely)was a couple of years ahead ofits time, for the number ofreceivers displayed at the Sum-mer Consumer ElectronicsShow that depend on micropro-cessors for their conveniencefeatures and basic functions isstaggering.

Surprisingly absent fromeven the top models of manylines are separate CD -playerinputs, separate TV audio in-puts (for videodisc players orHi-Fi VCRs), and stereo AMdecoders. Manufacturers, it ap-pears, are waiting for consumerdemand to grow before buildingsuch "extras" into their prod-ucts. On the other hand, a fewcompanies are jumping into au-dio -video equipment with bothfeet.

Sansui's blockbusters, forinstance, are two receivers thatincorporate the company's newX -Balanced DC amplifier cir-cuitry and include provision forstereo AM and TV audio as wellas conventional audio sources.The S -X1130 ($950), rated at130 watts per channel, has pre-sets for eight radio stations oneach band, an FM IF -band-width selector, a built-in mov-ing -coil head amp, and line/mike mixing-this last, in part,to fill out an extensive array ofvideo dubbing facilities. The

somewhat less elaborate 5-X1100 ($800) is rated at 100watts. Sansui is also selling the55 -watt S -X1070 ($380), withdecoding for all four stereo AMsystems.

Onkyo's TX -85 ($620,rated at 80 watts per side) andTX -65 ($485, 60 watts) are thefirst receivers in the company'sIntegra Series of "affordablehigh -end components." Bothinclude Automatic PrecisionReception (APR), which con-trols key tuning parameters:high blend, RF sensitivity, se-lectivity, reception mode, andDNR (dynamic noise reduc-tion). The TX -85 has built-inDBX encode/decode circuitsthat enables you to play DBX-encoded discs and that convertsany recorder attached to thetape jacks into a DBX model.

Perhaps the most thoroughaudio -video receiver an-nounced at the show is theTechnics SA -850, which incor-porates a VHF TV tuner withbuilt-in multichannel TV audiodecoding. Its Computer DriveNew Class A power circuitry israted at 100 watts per channel.The SA -850 shares "stereop-lex" stereo simulation formono TV soundtracks with twoother receivers, the $450 SA -550 (rated at 70 watts) and the$320 SA -350 (40 watts), eachwith a mono VHF -TV tuner anda New Class A power amp.(Multiplex TV decoders forthese models are available asoptions.) The SA -150 ($180,25 watts, with digital tuning)and the mechanically tuned SA -120 ($160, 35 watts) are audio -only units.

The two top receivers fromJVC have SEA equalizer cir-cuitry based on the digital sig-nal -processing and memory ca-pabilities of the separate SEA -M9 equalizer. (For details onthe SEA -M9, see "Signal Pro-cessors," page 37.) Both the R-X500B ($650, 100 watts perchannel) and the R -X400($500, 70 watts) include seven -band versions with five memo-ries, inverse -response switch-ing, and multiband signal -anal-ysis metering. Both also incor-porate presets for 15 stations oneach tuning band and Quieting

Akai AA -A35 receiver

Sansui S -X1100 receiver

Yamaha R -90B receiver

Slope Control, which automati-cally adjusts the receiver as sig-nal strength varies. The R-X350VB ($370) and R -X350($330) are 55 -watt units withfive -band equalizers; the VBmodel adds three video inputsand switching to receive orrecord simulcasts in stereo.

Marantz's flagship, the$640 SR -940, is rated at 100watts per channel and has built-in decoding for Motorola -for-mat stereo AM broadcasts. Itand the $500 SR -840 (70 watts)come with wireless remote con-trols and include eight presetsper tuning band; the latterachieves stereo -AM decodingwith an optional plug-in mod-ule.

Akai offers what it calls"direct access" volume con-trols in three models: AA -A45($450, rated at 65 watts perchannel), AA -A35 ($350, 48watts), and AA -A25 ($260, 32watts). The system is touch -sensitive, switching directly tothe appropriate volume level,and incorporates a maximum -level memory that preventsturning it higher than the presetvolume.

Adding to its "01" line of"computer -based" compo-

34 HIGH FIDELITY

nents, SAE has introduced theR-102 ($500) receiver, rated at50 watts per side. It has twotone -control memories and al-phanumeric readouts for allfunctions. NAD checks in withthree new models: the 55 -watt7155, 40 -watt 7140, and 25 -watt 7125, each rated for 3 dBof dynamic headroom and fittedwith an impedance switch tohelp you make the most of yourspeakers. Hitachi's entries arethe 60 -watt HTA-6F ($470) and40 -watt HTA-4F ($340), bothwith ten presets per band.

Proton is offering theModel 930 ($360), a 30 -wattreceiver said to be stable with2 -ohm loads and provided withmemory for five stations oneach band and a moving -coilphono-input option. And Sa-nyo's new premium Ultrx lineconsists of five models, headedby the R-100 ($550), which israted at 100 watts. It has DBXencode/decode noise reductioncircuitry and a stereo synthesiz-er for mono TV, plus a moving -coil head amp.

Robert Leag

Amplifiers

PREAMPS AND OTHER high -endaudio separates are usually theprovince of small specialtycompanies, but at this SCES itwas the large, mainline compa-

Luxman M-05 power amp: Class Aand more than 100 watts per side

nies that generated most of theaction. Luxman's C-05($1,800) is about as purist asyou can get, handcrafted withoxygen -free copper wiringthroughout and relatively de-void of convenience features. Ifyou need a bit more controlflexibility, Luxman also sellsthe CX- 100 ($500). It has a

healthy complement of standardpreamp features (including tonecontrols, tape dubbing facili-ties, and fixed- and moving -coilphono inputs), plus a subwoof-er output. Kenwood has ex-panded its Basic Series preampline with the C-2 ($295). Thenew model is designed to matchthe rest of the Basic Series inappearance and offers a full raftof control functions.

Yamaha applies its ZeroDistortion Rule circuitry tothree new preamps. The C-80($750) is its top -of -the -linemodel and comes equippedwith a two -band parametricequalizer, normal and invertingoutputs, and a low -noise mov-ing -coil input stage. The lesscostly C-60 ($500) omits theparametric equalizer and invert-ing outputs, but is otherwisesimilar in design and perfor-mance. Even less expensive isthe C-40 ($350), a unit intendedfor the first-time audio sepa-rates buyer. Kyocera's C-910($1,200) reflects the parentcompany's long history as amanufacturer of fine industrialceramics. A ceramic compoundresin base, a cutless-core ce-ramic power transformer, and afull complement of controlsmake the new Kyocera unit atruly unique item.

The original Apt/Holmanpreamp and power amp set newbenchmarks in audio design,

but financialproblems forcedthe company tohalt productionof these fineproducts and themore recentlyintroduced Apt 2preamp. WayneFriedrichs,Apt's new presi-dent, told methat productionon the entire line

had started up again and dem-onstrated a prototype phono-only preamp that he plans tointroduce shortly. Intended forpeople who are displeased withthe phono sections of theirreceivers or integrated amps,the device delivers a line -levelsignal to an unused set of auxinputs. Built-in calibration me-

ters and controls enable you toadjust input impedance to theexact requirements of the pick-up. It will come with a testrecord and should cost about$250.

According to reports fromseveral manufacturers, integrat-ed amplifiers are getting morepopular in the U.S. market,where receivers have tradition-ally dominated. Interestingly,the shift in preference seems tohave little to do with increasedflexibility or performance: rath-er, say manufacturers, the highvisibility of one -brand rack sys-tems (the majority of whichcontain an integrated amp andseparate tuner) is raising the"component consciousness" ofa huge segment of the market.Be that as it may, if you areshopping for an integrated ampthis year, you'll have lots tochoose from.

On1cyo's Integra Series of"affordable high -end" compo-nents is joined by the 100 -wattA-8019 ($495). Sansui seemsvery intent this year on gainingmore visibility in high -end elec-tronics. Its AU-G99X integrat-ed amp pumps out a heady 160watts and contains an imped-ance -matching step-up trans-former for moving -coil pick-ups. Unusual for amplifiersthese days, the AU-G99X($800) and the less expensiveAU-G77X ($500, 110 watts)have back -panel switching thatenables you to match them toeither 8- or 4 -ohm speaketloads. Sony has brought itsaudio signal processor (ASP)concept to a new line of fairlyinexpensive integrated amps.The ASP, which contains cir-cuitry for microprocessor con-trol of all preamp and switchingfunctions, including tone -con-trol memory and LCD displayfunctions, is responsible for thesleek, knobless faceplates ofthe TA-AX360 ($210, 50watts) and the TA-AX410($290, 50 watts, plus optionalremote).

Two new integrated ampsmake their debut from Technicsthis year. Both the 65 -watt SU-V4X ($300) and the 100 -wattSU-V6X ($390) contain thecompany's Computer Drive

New Class A circuitry and aspecial circuit that Technicssays ensures flat frequency re-sponse into even demandinglow -impedance loads. Last inour discussion of integratedamps, but certainly standouts infeatures and performance, areJVC's three new units: the A-X900B ($550, 120 watts), theA-X500VB with TV audio in-puts and switching ($500, 100watts), and the A -X400 ($300,70 watts).

It's amazing how often BobCarver steals the show at aCES. His hastily called press

Yamaha C-40 primosp

Kenwood C-2 preen"

Kyocera A-910 integrated

conferences have editors dash-ing off to crowded hotel suitesto see the fruits of his fecundimagination. This time it's a180 -watt power amp measuringless than 4 inches wide by 41/2inches deep and weighing only21/2 pounds. Carver says the"Cubelet" actually will pumpout 250 watts per side into 2 -ohm loads, but don't run downto your local hi-fi store just yet:It's still just a prototype and willeventually wind up as the pow-er -amp section in a new receiv-er.

Also extraordinary (thoughpresented with a lot less razzle-dazzle) is Luxman's M-05(built to complement the C-05preamp mentioned earlier). Ifyou think it's easy to build aClass A power amp capable ofproducing 105 watts per chan-

SEPTEMBER 1984 35

nel, then you also might thinkthat the $2,800 price is exces-sive. A bit much in our viewwould be to run a pair of theseamps in a bridged mode, butLuxman says it can be done, fora power output of 300 watts perside. Sansui's contribution tobasic power amps this season isthe B-2101. Said to embodyeverything the company knowsabout amplifier technology, thisbehemoth is rated at 200 wattsand seems rather modestlypriced at $800. Yamaha hasextended the reach of its power -amp line with three new units-the M-80 ($950, 250 watts), theM-60 ($650, 160 watts), andthe M-40 ($400, 120 watts).Each uses Yamaha's Zero Dis-tortion Rule design and AutoClass A circuits. Technics's lat-est brute is the SE -A5 Mk. 2($800). Rated at 150 watts perside, it has separate power sup-plies for each channel, twopairs of switchable speaker ter-minals, and power meters.

Peter Debbie

Tuners

THE CONTINUING improvementsin tuner design still surprise me.A few years ago, it seemed thattuners had reached a plateau ofsorts; frequency -synthesis cir-cuits, adjustable IF bandwidth,and high -blend circuits thatcould rescue noisy stereo recep-

A high -blend noise reducer that "lis-tens" in NAD's 4155 AM/ FM tuner

tion by reducing the "stereo-ness" of the signal were thestate of the art. Then came BobCarver's novel signal -process-ing approach that "recon-structed" the signal, cuttingnoise while preserving the am-bience of stereo.

Larry Schotz's interesting'sensitivity -enhancing circuitalso shook things up for awhile, but problems in aligning

THE LOGIC OF POWER

Receiver and amplifier manufacturers continue to rate (and price) their products on the basis ofpower output, expressed in watts. Though there is nothing inherently wrong about this (suchratings are mandated by the Federal Trade Com-

mission), HF believes that a more useful measure

of power is the dBW (decibel-watt)-a unit based

on a logarithmic scale, with 0 dBW equaling 1watt. Keep in mind that a 10 -dB increase in loud-

ness is heard as a doubling of volume; a 1 -dBchange in loudness is about the smallest percep-

tible increment. Thus, choosing a 125 -watt amp

instead of a 100 -wafter simply on the basis of the

former's higher power rating is wasteful: Aglance at this conversion table will tell you thatyou'd be netting a mere 1 dB of additional loud-

ness from your speakers.

the circuit at the factory finallyforced NAD and Proton (twoSchotz licensees) to abandon it.Instead, the tireless Mr. S hascome up with a dynamic high -blend circuit that responds notjust to the signal strength, butalso to the modulation level ofthe broadcast. Thus, with thenew Dynamic Separation cir-cuit, NAD's Model 4155($350) and Proton's Model 440($270) tuners should reducenoise (and stereo separation)only during quiet musical pas-sages and pauses between se-

lections-theplaces wherenoise is mostbothersome.Less "intelli-gent" dynamicblend circuitssimply "mon-oize" the highfrequencies ofany broadcast

that comes in at less than a pre-set signal strength.

I'm also looking forwardto the first consumer incarna-tion of a tuner subassemblydesigned by Magnum Electron-ics of Canada. Built to extraor-dinarily high standards (prelim-inary specs give it an alternate -channel selectivity of 70 dB),Magnum is offering it to a num-ber of American electronics

WATTS dBW WATTS dBW1.001.25

01

3240

15

16

1.6 2 50 17

2.0 3 63 18

2.5 4 80 19

3.2 5 100 204.0 6 125 21

5.0 7 160 226.3 8 200 238.0 9 250 2410.0 10 320 2512.5 11 400 2616 12 500 2720 13 630 2825 14 800 29

Harman Kardon TU-910

Yamaha T-80

NC T -X90011

MI=Proton 440

companies that lack the facili-ties to design their own tuners.(By the way, if you're in aweak -signal area and you'relooking for an RF amplifier, Iheartily recommend Magnum'snew FM Power Sleuth. In NewYork City, the extra 70 dB ofselectivity I get with it makes abig difference.)

Other tuners that look in-teresting this year include Ya-

maha's T-80 ($400), whichcontains a fine-tuning circuitthat lets you do what other fre-quency -sy nthesis modelsdon't-deliberately mistune in0.01 -MHz steps to help elimi-nate certain types of interfer-ence. Harman Kardon has twonew slim -line tuners, the TU-915 with digital readout for$365 and the TU-910 with ananalog tuning scale for $235.Onkyo's 1-9090 tuner takespride of place in the Integraseries. The $600 unit has anautomatic reception system thatanalyzes an incoming signaland adjusts the tuner to theappropriate settings for five re-ception parameters: local/DX,IF bandwidth, FM feedbacklevel, stereo/mono, and highblend. JVC's T-X900B ($350)also offers computer control ofseveral tuning characteristics.Luxman's T-240 ($230) differsfrom most AM/FM units withmemory presets, allocating 16memory locations for FM fre-quencies and eight for AM.Sansui's TU-D99X ($350) usesa newly designed digital decod-er that is said to make it audiblysuperior in weak -signal areas.And Technics continues tobroaden its offerings with twonew tuners-the $400 ST -G7and the $220 ST -G5.

Peter Debbie

36 HIGH FIDELITY

Signal Processors

JVC STANDS OUT among signal -processor manufacturers thisyear for its $1,200 graphicequalizer. The SEA -M9 uses aNational Semiconductor digital

± 12 dB. JVC's more conven-tional ten -band SEA -66 ($300)also has a built-in pink -noisegenerator and supports threetape decks with dubbing (theSEA -M9 accepts two).

AudioSource has im-proved a popular model, now

called the EQ-One Series II($430). It hasten octave -bandcontrols perchannel and in-

JVC SEA -M9 equalizer: spectralanalysis and automatic contouring

processor chip and otters 12

control bands per channel. Itstores five sets of equalizationdata and, at the touch of a but-ton, generates the reciprocal ofany curve it is set for. Used withits built-in pink -noise genera-tor, the SEA -M9 gives you real-time spectrum analysis (forwhich two decay times andfreeze -display are available). Itwill display the inherent re-sponse of a tape deck or (withthe supplied calibration micro-phone) a room, which can thenbe corrected by equalizationwith the reciprocal of the mea-sured curve. The control rangein each band is divided into 25steps, which can be spreadacross a range of either ±6 or

we decided toappear in these pages next month. Organized by price and features, our analysis of the bur-geoning CD player market should prove an invaluable shopping companion.

eludes a built-inpink -noise gen-erator and a cali-bration micro-phone for use asa real-time ana-lyzer. A similarequalizer, with-

out mike or generator, is avail-able as the EQ-Seven ($250),with dual inputs and an equal-ized -recording option. TheRTA-One ($200) drops the oth-er shoe, so to speak, by supply-ing a real-time analyzer compa-rable to that of the EQ-One butin a battery -portable packagethat contains a mike; optionalaccessories include the PNG-One pink -noise generator($45), the RTA-One remotemike ($25), and an AC adapter($13).

The ten -band Pioneer SG -50M ($260) includes a pink -noise generator, a mike, and areal-time analyzer. Similar indescription, though with sepa-rate controls for each channel,

CD PLAYERS

is the VQ-130 ($270) from Vec-tor Research, which also offersthe ten -band VQ-110 at $110.Yamaha's GE -3 ($150) controlsten octave bands per channeland incorporates tape monitor-ing and equalization.

The complexity of the on-going courtship between audioand video makes computer (orcomputerlike) control of multi-ple functions and processingsparticularly attractive. Mean-while, there's the Sansui AV -77 ($350), which offers severalkinds of switchers and proces-sors in a single unit. It enablesyou to dub in either directionbetween two VCRs or to tapefrom a videodisc or camera, forwhich a ten -pin connector and

Akai EA -A7

NNWAudioSource EQ-One/ II

1111111111

Pioneer SG -50M

SORTING OUT THE RICHES

The Technics SL -P15 (pictured here and on thecover) was the most novel Compact Disc playerintroduced at the SCES. A CD "record changer,"

the 51,500 device can handle 50 discs with adegree of programmability that puts analogjukeboxes to shame. Though the SL -P15 wasthe only CD changer on display, there was nolack of intriguing new models to marvel at. Infact, so diverse is the new crop of players that

forgo a mere cursory description of them in favor of a full buying guide that will

microphone jack are provided.Duplicate VCR B jacks on thefront panel simplify temporaryconnections. You can adjustprocessing to control sharpness,detail, hue, and "solarization"(edge emphasis with reduceddetail within picture areas). Pic-ture and sound can be faded inor out or crossfaded with verti-cal or horizontal wipes. Fur-thermore, stereo can be synthe-sized from mono audio, andDBX noise reduction can beapplied to audio for recording.Whew!

DBX, too, is entering thevideo field with three TV -soundprocessors, each designed tosell for about $150. The SX-10Dynamics Enhancer is an ex-pander that addresses the wholedynamic range-making cre-scendos louder and pianissimossofter. The SX-20 Impact Re-storer expands attacks to refreshthe punch squeezed out bybroadcast limiters, and the SX-30 adds dynamic boost at lowfrequencies.

The company's regular au-dio line has a number of newproducts as well. The DBX120X Subharmonic Synthesizer($250) includes a built-in cross-over and level control for a sub -woofer and is said to restore anoctave in the deep bass that isnormally sacrificed by record-ing processes. Updating previ-ous dynamic -range expanders,the I BX Series III ($230) and3BX Series III ($600) both offerimpact restoration on tran-sients. For simultaneous DBXencoding and decoding plusdisc decoding, there's the rack -mount 224X ($250). (Thoughnot strictly signal processors,two new DBX Program -RouteSelectors are available for re-cordists who have multiple pro-cessors: the 200X ($130) andthe 400X ($230).

Technics, whose audio -video receivers are documentedelsewhere, has introduced anoutboard stereo TV decoder,the SH-4090. Compatible withthe Technics AV receivers orwith TV receivers or tunershaving pin -jack multiplex out-puts, it is fitted with tape -mon-itor jacks.

Robert Long

37

TAPE EQUIPMENT

The Marantz PMD-430 is astandout in cassette decksthis year. A battery -opera-ble portable, it gives youthree -head monitoring,DBX and Dolby B, plus athree -position mike atten-uator control. Line -level in-puts and outputs can makeit part of your home systemas well.

THE BYWORD IN cassette record-ers this year is features-userconveniences that simplify ev-erything from finding a musicalselection to calibrating a deck

for a specific tape. Most decks,for example, now have somesort of SEEK function and aRECORDING MUTE to lay downthe necessary blank interval.You'll also discover that manyhigh -end models, particularlybidirectional ones, are equippedwith BLANK SKIP (handy forgoing from the end of Side 1 tothe beginning of Side 2 no mat-ter how the tape is laid out) orBLANK CUE (to facilitate addingmore material to a partiallyrecorded tape). MEMORY RE-WIND and even MEMORY PLAY

appear on all models in somelines, though you may not findthem in rock -bottom budgetdecks. And REPEAT is only a lit-tle less commonplace.

Dolby B noise reductionappears in every deck that har-bors any pretense to high fidel-ity status, and is assumed in allthe product descriptions thatfollow. The majority of modelsalso include Dolby C, and agrowing number (usually atfairly high prices) have DBXinstead of or in addition to Dol-by C. Before the Summer Con-sumer Electronics Show, Iwould have bet on the DolbyHX Pro headroom -extensionsystem as a hot feature for1985, but it has attracted just afew adherents. Automatic tape -type selection (using the key-ways in the cassette shell)

seems to be supplanting manualselectors, except in models oc-cupying the two price ex-tremes-budget units and per-fectionist decks (in which auto-matic selection is sometimesaccompanied by a manual over-ride to accommodate the in-creasingly rare cassettes thatdon't have the appropriate key-ways).

Dual -transport dubbingdecks continue to multiply.High-speed (usually 33/4-ips)duplication is fairly established,though a few companies aregoing for the better perfor-mance of real-time dubbing.Performance has also become ahot topic with the bidirectionaldecks. Manufacturers seem in-creasingly concerned withmechanisms that assure correct(and therefore consistent) headazimuth in both directions oftape travel and with how quick-ly they turn the tape around (de-termining both how much mu-sic you'll lose in recording andhow big a pause you'll experi-ence in playback). The term"quick reverse" usually speci-fies that the deck senses theleader at the end of the cassetteand changes direction while theheads are still in contact withthe magnetic pigment.

Akai, hands down themost consistent innovator in thefield of automatic -reversedecks, is adding three cassettemodels with quick reverse inboth recording and playback,all with Dolby C. The GX-R66($420) offers DBX noise reduc-tion and Super GX twin -fieldglass -and -crystal -ferrite heads,plus a host of convenience fea-tures. The simpler GX-R55($360) shares the Super GXheads, while the HX-44 ($300)uses a high -density permalloyhead material. For the budget -minded, there are the unidirec-tional HX-A2 ($160), also withDolby C, and the HX-A1($140).

Teac has two new unidi-rectional lines. The ProprietarySeries ranges from the V -518X($340), with Dolby C and DBXnoise reduction, to the V-316($235), with Dolby B only. Inbetween are the V -5 15X($307), with DBX, and the V -

416C ($270), with Dolby C.The same four noise -reductioncombinations are represented inthe Standard Series, whichranges from the V -530X ($350)to the V-330 ($200). There aretwo quick -reverse models inTeac's Audio Specialist Se-ries-the R -999X ($530), withdual direct -drive motors, andthe R -777X ($395). Joiningthem are two consumer open -reel models. Both the X-2000($850), with closed -loop dual -capstan drive, and the bidirec-tional X -2000R ($900) areequipped with DBX I (the pro-fessional version, and thereforelacking disc decoding) as theironly noise reduction system andwith random-access and repeatfunctions.

Tandberg, which is ex-pected to announce a profes-sional open -reel model this fall,is offering two professional ver-sions of the TCD-3014 cassettedeck (see test report, August).Among other things, both haveultra -accurate time indexingand an optional serial comput-er -interface port for use in auto-mated radio stations. The TCD-910 is the recording deck; theTCD-911 is its playback -only

Akai GX-R66

Profess 720

JVC VR9

counterpart.Sony's top two introduc-

tions-the. unidirectional TC-FX705 ($360) and quick -reverse TC-FX7O7R ($430)-include an audio signal proces-sor with automatic attenuatorand a level monitor that sets and

38 HIGH FIDELITY

CONCORD. THE DIFFERENCE IS WORTH THE DIFFERENCE.

Despite the fact that theConcord HPL-532 is ingeniouslydesigned to fit everybody's car,it's definitely not for everybody.As Stereo Review said, Concord"... is truly an audiophile's carstereo!"

makes it so different?

4 -GANG FM TUNER

For extraordinarily clear FMreception, the Concord HPL-532has an exclusive 4 -gang digitaltuner that provides exceptionalstation sensitivity & selectivity.

And to make selecting yourfavorite stations even easier it hasa 10 -station preset memory.

But, as Concord's 22 years ofinnovative stereo design wouldlead you to expect, that is onlythe beginning.

DC SERVO DRIVE MOTOR

We've designed an exclusiveelectronically controlled DC servotape transport drive.

The result? Superior speedaccuracy, lower wow and Putter,and over double the motor life.

AMORPHOUS CORE TAPE HEAD

We've also engineered a newmatch -phasedamorphous coretape head design,which means arevolutionaryimprovement intape frequencyresponse out to 20,000 Hz.

It's an improvement you'll haveto hear to believe.

TWO WAY/FOUR WAY AMPLIFIERS

And wait until you hear theauthentic high fidelity soundreproduction of the HPL-532. Itdelivers an impressive 12 watts perchannel into 4 ohms 30-20,000 Hzwith less than 0.8% THD.

In addition, it can deliver 5 wattsper channel into each speaker ofa four speaker system, because ofan ingenious two way/four wayconfiguration and a front/rear lowlevel fader.

All in all it's the greatest fullbandwidth power at low distortion

you can get in a car stereo withoutadd-on amplifiers.

OTHER IMPORTANTDIFFERENCES

With its exclusive signalprocessor circuitry the HPL-532will easily handle anything youwart to plug into it.

L ke Concord's Dolby* C.Or dbx** adaptors.Even imagers or equalizers.And with lighted switches and

function indicators the ConcordHPL-532 is as easy to play at nightas it is to play in the daytime.

And because of its front loadmechanism, it's even easier to load.

All things considered theConcord HPL-532 is an extra-ordinary car stereo.

Of course at around $600 it'snot inexpensive.

But when you add up all itsfeatures you might say this.The difference is worth the

difference.

*Dolby is the registered trademark of Dolby Labs."dbx is the registered trademark of dbx.

CONCORDAnything else is a compromise.CONCORD. A PENRIL COMPANY.6025 Yolanda Avenue, Tarzana, California 91356(818) 344-9335

SPECIFICATIONS: Tuner Section Sensitivity: 30dB Quieting 1.0 Microvolts 11.2dBf, Stereo separation: min. 35dB, Frequency responses: ± 2dB,30-16,000 Hz Tape Section Frequency response: -±-2dB, Standard tape: 30-15,000 Hz, Metal tape: 30-20,000 Hz, Wow & flutter: 0.08% WRMS AmplifierSection Maximum power: 25 watts/ch, Two-way power: 12 watts min. RMS per channel into 4 ohms, 30-20,000 Hz with 0.8 THD max, Four-way power:5 watts min. RMS per channel into 4 ohms, 30-20,000 Hz with 0.8 THD max ®Concord Systems. Inc.

displays the recording level in1 -dB steps. The Sony decks arealso equipped with Dolby C anda memory system that will storetwo sets of data on five param-eters for each of four tape types.Both Dolby circuits appear aswell in the undirectional TC-F3 I 0 ($190) and in two moder-ate -price bidirectional decks:the $280 TC-FX510R, with aLaser Amorphous head, and the$230 TC-FX410R, with auto-matic reverse in both recordingand playback and switchablereversing before the end of thetape. All three are designed towork with any of several Sonyremote controls.

Aiwa incorporates what itcalls the "world's fastest"quick -reverse mechanism (0.2second for turnaround) into thethree -head AD -R650 ($395)and the two -head AD -R550($300), both with Dolby C andHX Pro headroom -extensioncircuits. Technics's new flag-ship is the $850 RS -13100. Itfeatures a closed -loop dual -cap-stan drive, a separate monitor-ing playback head, and tape cal-ibration with a built-in oscilla-tor, plus Dolby C and DBX.Two inexpensive models alsooffer both noise reducers: theRS -B50 ($230), with Tech-nics's AX amorphous (noncrys-talline) alloy heads, and theautomatic -reverse RS-B48R($260). A dual -drive deck, the$220 RS-B11W, can dub attwice the normal transportspeed.

JVC's introductions focuson its new U -Turn quick auto-matic -reverse system (rated fora turnaround time of less thanhalf a second) and Flip Reversehead assembly. Ceramic -cladSA (Senalloy) heads are used inthe top models-the DD-VR9($800), equipped with the com-pany's B.E.S.T. automatictape -matching system, and theDD-VR7 ($500). Both offerDolby C; so do the KD-V6($350), a three -head unidirec-tional deck, and two inexpen-sive U -Turn models-the KD-V300 ($220) and KD-V200($165). A $130 deck (KD-V 100) and the dual -transportKD-WII0 ($250), with double -speed dubbing, complete the

new JVC line.A feature I hadn't encoun-

tered before is "car equaliza-tion," designed to optimize thebass response of recordings forcar acoustics. It's built intoYamaha's K-600 ($380), alongwith bidirectional recording,the same sendust head used inthe company's top decks, andDolby C. Yamaha's two otherentries are even more modestlypriced. The K-520 ($300) of-fers Dolby C, a sendust head, areal-time counter, and a numberof convenience features. Thesimpler K-320 ($220) has ahard permalloy head.

Onkyo includes Dolby Cin all its new cassette decks.The TA -2090 ($800) in the Eso-teric Separate Series also hasDBX noise reduction and Dol-by HX Pro headroom exten-sion, plus a three -motor direct -drive transport with dual cap-stans and the company's Auto-matic Accubias tape -matchingcircuit. Manual Accubias isbuilt into the TA -2056 ($395), athree -motor, three -head model.The automatic -reverse TA -R33($315) is offered in both blackand silver finishes, as are twounidirectional models-theTA -2036 ($260) and TA -2026($210).

Among the Computer Di-rect Line recorders from SAE isa rack -mount model, the C -I01($650), with three heads and amanual two-tone bias and EQadjustment system. Luxman'stwo additions have both Dolbyoptions. They are the K-240($300), with various conve-nience features and a fine biasadjustment for tape matching,and the K-220 ($200).

Head azimuth can be ad-justed individually for each di-rection of tape travel in twoHitachi automatic -reversedecks. The D -X10 ($660) in-cludes an automatic tape -matching system. a brushless,coreless, slotless DC direct -drive motor, and separate, tita-nium -coated recording andplayback head elements. It andthe simpler D -X6 ($290) haveDolby C. The unidirectional D -E4 ($170) is equipped with Dol-by C, too, and the D -E12($170) is one of the few models

to sport large VU meters.Marantz builds all three

noise -reduction options into itstop model, the automatic -reverse SD -440 ($330). TheDS -340 ($280) also is bidirec-tional but omits DBX, as doesthe SD -242 ($190). A budgetunit, the SD -142, costs $130. Iwas most intrigued, however,by the latest in the Marantzseries of AC/DC three -head ste-reo portables-the PMD-430($495), with DBX and DolbyB, fine bias adjustment, andpitch control. It weighs 31/2

pounds and is about the size of ahardbound book. A NiCad bat-tery pack, RB-430, is availablefor $50.

Dolby Laboratories hasbeen working with NAD on auser -adjustable equalizer totweak the top two octaves ofresponse before Dolby decod-ing in cassette playback. Thisdeck -based tone control willenable you to compensate for avariety of things that can make arecording sound dull-from az-imuth misalignment to whatmight be called "magnetic fa-tigue" of stressed tapes. In themeantime, NAD has introducedthe Model 6050C deck ($240).with Dolby Cand bias adjust-ment.

For a mod-erate -price dub-bing deck, thePioneer CT -1050W ($300) isunusual in offer-ing a pitch con-trol in the play-back transport.It and the CT -501 ($160) haveDolby C. Thesimplest new Pi-oneer is the CT -301 ($135); Sherwood's budgetentry is the S-90 ($150). Newmodels from Fisher are theautomatic -reverse CR-277($250) and the CR-27 ($130),both with Dolby C.

Proton enters the cassettedeck market this year with theDolby C-equipped Model 720($240). A totally revamped linefrom Vector Research includesthe VCX-650 ($450), a three -motor, three -head deck with a

Audio

built-in five -band recording/playback equalizer. The auto-matic -reverse VCX-450 ($330)and the VCX-250 ($190) com-plete the line, which offers Dol-by C throughout. Rotel is back,with the RD -860 ($300) andRD -850 ($200)-both withDolby C. Sanyo's new premi-um line, Ultrx (yes, that'sspelled right!), includes threebidirectional and four unidirec-tional models-the latter rang-ing from the RCD-61 ($270) tothe RDC- I 1 ($150), all withDolby C and all but the 11 withDBX as well. The top reversingdeck is the RDR-81 ($330).with Dolby C and DBX; theother two are the RDR-5 I($220). with Dolby C. and theRDR-3I ($170). A dual -trans-port Ultrx, the $220 RDW-201,also has Dolby C.

Reber, lame

Blank Tape

IN AUDIO CASSETTES, Sony'schanges are the most sweeping.AHF is discontinued, leavingHF and HS -S (which replaceLNX and BHF, respectively) as

tapes for special situationsare becoming popular. Fuji's Type 2"chrome" follows last year's ferric.

Sony's Type I (ferric) offer-ings. In Type 2 ("chrome").UCX and UCX-S have under-gone minor reformulations. butremain basically unaltered. Andmetal C -90s, dropped sometime ago, are again available.Fuji has reformulated FR -11, aType 2 tape that uses the com-pany's Beridox particle. Alto-gether new is GT-II, a Type 2version of the GT cassettes thatFuji has designed specifically

ao HIGH FIDELITY

YOU'RE LOOKING AT MESIX BEST AUTO -REVERSING DECKS

YOU CAN BUY.

THREE HEADS WITH TAPEMONITORING CAPABILITY -

AKA', NAKAMICK JVC

ALAI

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:TUNED DC AMPLIFIER-AKA', NAKAMICH1, SONY TEAL

BI-DIRECTIONAL RECORD/PLAYBACK -AKA]. SONY NC, PIONEEKTEAC

Staying ahead of the competition in auto -reversing cassette decks has been an AKAItradition for the past 14 years. Now we're intro-ducing the all -new GX-R99, a deck that hasso many advanced features you'd have to buysix other auto -reversing decks to get them all.

Features like our Computer Record LevelProcessing System, that sets a tape's bias,equalization and tape sensitivity, measures atape's MOL, then sets the optimum recordinglevel. A Spectrum Analyzer encompassing MOL

SPECTRUM ANALYZERENCOMPASSING MOL DISPLAY-

kKA1

4.1142. "1111MIINIMMINF

AUTO MONITOR-AKAi

COMPUTER RECORD LEVELPROCESSING SYSTEM -

kKAI

TWIN DIRECT -DRIVE CLOSED LOOPDOUBLE CAPSTAN TRANSPORT -

AKA. \AK vo(

display, which displays frequency response withgreater accuracy. AKAI's exclusive Auto Moni-tor. And our super GX heads. So super, they'reguaranteed for 171/2 years of continuous play.

It's easy to see why the GX-R99, just one offour great AKAI auto -reversing decks, is calledthe Dragon Slayer. And to find out why it's gettingmore praise than all theother guys combined, writeto AKA1, P.O. Box 6010, Dept.H9, Compton, CA 90224.

for car stereo use. Both theshells and the magnetic coatingare engineered with high tem-peratures in mind.

TDK's Type 2 metal-atape whose metal alloy "pig-ment" is formulated for usewith chrome and ferricobaltbias and recording EQ, giving itexceptional headroom-hasbeen renamed HX-S. This shiftfrom its original HX designa-tion avoids any confusion withDolby's HX or HX Pro head-room -extension circuits.

Fuji's Super X6

TDK's Type 2 metal

Scotch's camera tape

Nomenclature is also prov-ing problematic with video-tapes. The increasing populari-ty of the HG (High -Grade) des-ignation is making it more diffi-cult than ever to sort out the dif-ferences among premium andsuperpremium formulations. Insome instances, however, thenew labeling has real meaning.Maxell has introduced HGXPro half -inch videocassettesspecifically to be sold throughits Professional/Industrial Divi-

sion for electronic news -gather-ing. HGX Pro takes advantageof the latest and best of Max -ell's magnetic formulations,tape manufacturing techniques,and shell designs.

Another new group of cas-settes is being offered for porta-ble VCRs-separate recordersor integrated camcorders.These blanks presumably usehigh -quality oxide (so you candub tapes with minimum pic-ture -quality loss), long -life tape(so you can reuse the cassettes),and extra means to inhibit theaccumulation of dust and grime(because you'll be taking thetapes into the field). The 3Mpeople say they have addressedall of these factors in ScotchCamera Cassettes, which usethe company's HGX Plus for-mulation, with an antistaticback -coating, wound into high -impact antistatic shells. Thecassettes have red doors andhubs (to identify them as spe-cial) and are packed in a dust -resistant plastic storage "al-bum." (So far, only the mostpopular lengths-T-120s andL-750s-have been an-nounced.) Sony is also takingthis approach with its Betacamcassettes.

Many manufacturers arebranding some tapes with theterm "Hi-Fi" to suggest thatthey are engineered for VHS orBeta Hi-Fi recorders. JVC'snewest Dynarec videotapes, forexample, are called "VHS Hi-Fi" and use a titanium oxidesurface coating that is said to actas an antistatic agent, to aid inkeeping heads clean, and toimprove overall durability ofthe tape. Five lengths are avail-able, from T-30 to T-120. Sim-ilarly, 3M has Scotch HGXPlus Hi-Fi, Fuji has Super HGHi-Fi, and Memtek has Memor-ex HG Master, which is beingmarketed as a Hi-Fi tape. As faras I know, the only major com-pany to introduce a new super -premium videocassette not tiedto a concept of professionalism,portability, or Hi-Fi perfor-mance is Fuji, with Super XG.Undoubtedly a high-perfor-mance formulation, its name atleast bucks the trend.

Robert Leas

RECORD -PLAYING GEAR

Though most Japanesecompanies continue to re-fine direct -drive turn-tables, Yamaha breaks withtradition in the PF-1000. Abelt -drive design with asoftly sprung suspension,the table comes with a two -tube arm-one pipe eachfor the left- and right -chan-nel signal leads.

FOR ALL THE EXCITEMENT it hasgenerated, the Compact Discdoes not yet pose a seriousthreat to the turntable market.Wisely, the manufacturers of

analog reproduction gear (mostof whom also produce CD play-ers) are responding by makingrecord players that are both qui-eter and cheaper than previousdesigns. Some of the same pro-duction techniques and econo-mies of scale that contribute to$500 CD players are helpingbring down the prices of turn-tables with such niceties asquartz -locked drive motors,servo -driven linear -trackingtonearms, and infrared sensorsfor automated cueing and pro-grammed play. Models withsome or all of these features arenow widely available for lessthan $250.

At the very bottom of theprice scale are turntables sellingfor $100 or less-includingcartridge-from Pioneer,ADC, and Parasound. TheADC LT -32 ($100) even sportsa straight -line -tracking tone -arm. Panasonic's "Home 'n'Go" ($80) is a portable belt -drive unit with a built-in RIAAphono preamp for connection toany small portable system.

But most of the turntableaction at the Summer Consumer ui

a

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PAT H E MARCONI- FranceAlbert ROUSSEL:Padmavati/Horne, Ged-da; Toulouse Capitol Orch, Plasson173 1773 (2 Digital LPs) $17.98

DEBUSSY:Piano duets: 6 Epigraphsetc./Michel Beroff, Jean -Phil. Collard2C069 73132 (1 Digital LP) $8.992C269 73132 (1 Cassette) $8.99Vincent D'INDY: 2d Sym-phony/Toulouse Capitol OrchestraMichel Plasson.2C069 73100 (1LP) $8.992C269 73100 (1 Cassette) $8.99D'INDY: Jour d'ete; Foret enchantee;Tableaux/Or. Phil. P.de Loire, Dervaux2C069 16301 (1 LP) $8.99

POULENC: Intermezzi; NazeIles;Villageoises; Valse; etc.fracchino, piano2C069 73101 (1 Digital LP) $8.992C269 73101 (1 Cassette) $8.99

POULENC: Novelets; Nocturnes; FrenchSuite; Presto; etc./Tacchino, piano2C069 73134 (1 LP) $8.992C269 73134 (1 Cassette) $8.99

HYPERION - EnglandCRUSELL: Clarinet Concerti 1 & 3/TheaKing; London Symphony, Alun FrancisA 66055 (1 LP) $8.99KA 66055 (1 Cassette) $8.99Songs of Iona, Skye, Mull, Scots & Irishairs/Philh. Chamber Choir, TempleA 66064 (1 LP) $8.99KA 66064 (1 Cassette) $8.99

MUSSORGSKY: Pictures at an Exhibi-tion/Arthur Wills, Ely Cathedral organA 66006 (1 LP) $8.99Echoes of a Waterfall: 19th c. romanticharp music/Susan DrakeA 66038 (1 LP) $8.99Canticles, anthems, etc/Ely Cathed.Choir, Wills; S. lePrevost, organA 66012 (1 Digital LP) $8.99Abbess Hildegard of BingenHymns/Gothic Voices, E. Kirkby, C. PageA 66039 (1 Digital LP) $8.99

CHANDOS - EnglandHamilton HARTY: Irish Symphony; Com-edy Overture/Ulster Orch, ThomsonABRD 1027 (1 Digital LP) $8.99

MX: 4 Tone Poems/Ulster, ThomsonABRD 1066 (I Digital LP) $8.99ELGAR: Youth Wand Suites 1 & 2;Nursery Suite/Ulster Orch, ThomsonABRD 1079 (1 Digital LP) $8.99

TCHAIKOVSKY: Cello & orch. music/G.Simon; Eng. Chamb. Orch, WallfischABRD 1080 (1 Digital LP) $8.99

CHANDOS - EnglandBARBER, SHOSTAKOVICH: CelloCrti/Simon; Eng. Cham. Or, WallfischABRD 1085 (1 Digital LP) $8.99

Valley of Song/Rossendale Male VoiceChoir, Ernest TomlinsonABR 1023 (1 LP) $8.99ABT 1023 (1 Cassette) $8.99

SHOSTAKOVICH: Piano Trio 2;Quintet/Borodin Trio, Mimi Zweig, HorneABRD 1088 (1 Digital LP) $8.99

BAX: Symph. 4: TINTAGEUUIster Or-chestra, Bryden ThomsonABRD 1091 (1 Digital LP) $8.99

VOCE - U.S.A.DONIZETTI: Emilia di Liverpool/Sutherland; Liverpool Ph, PritchardVOCE 30 (1 Mono LP) $8.99

ROSSINI: La Donna del Lago/Horne, vonStade, Houston Opera, ScimoneVOCE 64 (3 LPs) $26.97

SCHREKER: Die Gezeichneten/No. Ger.Radio, Zillig; Krebs, Lear, CrassVOCE 68 (3 LPs) $26.97

CHRISTOPHORUS -Germany

REUBKE: Psalm 94 Sonata in c; REGER:Op. 52,2/Hubert Meister, organSCGLX 73957 (1 LP) $8.99

Flute & Guitar/Hans Martin Linde fl. &recorder; Konrad Ragossnig, guitarSCGLX 73849 (1 LP) $8.99Spanish Renaissance Music/Ancient Con-sort Singers & Instrumental EnsembleSCGLX 73919 (1 LP) $8.99

HAYDN: Lira Cncrti 2 in G, 4 in F; OrganCncto in C/Hugo Ruf; LehmdorderSCGLX 73894 (1 LP) $8.99

SCHWANN - GermanyMOZART: Magic Flute overture; Pianoduet; Fantasia K608; MENDELSSOHN:2 -piano Sy. 1 in c/A. & J. ParavatoreVMS 1031 (1 LP) $8.99

John GAY: Beggar's Opera/Stevens, Acad.Monteverdi Cho. & Orch., soliVMS 2038 (3 IN) $8.99

Musk of the Bible in the tradition of OldHebrew SongsAMS 1508 (1 Mono LP) $8.99

HAYDN: Time of Day Symphonies, H. 1,6-8 Morn, Noon, Eve/period inst'.VMS 2085 (1 LP) $8.99

ANDREPERRAULTINTERNATIONAL

2425 Bowland ParkwayP.O. Box 8310

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525 St. JosephP.O. Box CP250

St. Hyacinthe, Que.125 5K3 Canada

ACANTA - GermanyORFF: Orpheus/Orff; Prey; Popp; MunchRadio Cho. & Orch, Eichhorn40 23378 (1 LP) $8.99

WOLF -FERRARI: Sly/Bader, Reen;Hanover State Oper. Cho. & Orch.40 23501 (3 Digital IA) $26.97

WERGO - GermanyLIGETI: Requiem; Lontano; Con-tinuum/Poli, Bour, Bavar, Radio Choir,& c.WER 60045 (1 LP) $8.99

DEBUSSY: 6 Epigraphes; Lindaraja; Blanc& Noir/ Kontarsky Piano DuoWER 60 008 (1 LP) $8.99Ravel, deFalla, Bartok, Bialas, Hillersongs/Sakkas, barit; Bern Str. Qrt;piano.WER 60 083 (1 LP) $8.99

ARIOLA - GermanyR. STRAUSS: Songs/Rene Kollo, tenor;Hesse Radio Orchestra, Stalling200 591 (1 LP) $8.99400 591 (1 Cassette) $8.99

J. BAYER: Die Puppenfee ballet/Sta.Philharmonie Rheinland, Eichhorn203 387 (1 Digital LP) $8.99

SUPPE: Die schone Galathee/Motfo;Bavar. Radio Cho. & Orch, Eichhorr87 583 (1 LP) $8.99

GLUCK: Iphigenie in Auiis/DietrichFischer-Dieskau, Anna Moffo; Eichhorn86 271 (2 LPs) $17.98

THOROFON - GermanyRACHMANINOV: Elegiac Trios: 1 in g, 2in d op. 9/Gobel Trio, BerlinMTH 252 (1 DMM LP) $8.99

Volkslieder: Schubert Lindenbaum;Brahms Lullaby; Kein Feuer,. &c. &c.FTH 220 (1 LP) $8.99

Bach, Busoni, Chopin, Milhaud, Poulenc2-piano/Bauer-Bung DuoMTH 206 (1 LP) $8.99

COLOSSEUM - GermanyBRUCKNER: Mass in C; Psalm 146 in4/Nurnberg Sy, Riedelbauch; Sach Ch.SM 548 (1 LP) $8.99

RUBINSTEIN; Piano Crto 5, op.94/Adrian Ruiz; Nurnberg Symp, Z.DeakySM 544 (1 LP) $8.99

Borodin: Sy. 3; Glazunov: StenkaRazin; Tcherepnin: Symphonic PrayerSM 543 (1 LP) $8.99

COLOSSEUM - GermanyREGER: Concerto & Suite in Old Styleop. 123 & 93/Nurnberg Sym, NeidlingerSM 542 (1 LP) $8.99Christmas Music/soprano, piano, organ,Nurnberg Symph., Thom. BaldnerSM 555 (1 LP) $8.99

FONO - GermanyOboe/Harp Rarities: Donizetti, Brod,Bochsa, Pasculli/Lencses, TalitmanFSM 63408 (1 LP) $8.99

FRANCK: Mass in A op. 12/Wiens, Mat-tre, Ingram; Swab. Philh, BeckFSM 63410 (1 LP) $8.99ROSZA: Piano, cello crti op. 31-32/Pennario;Starker;Bay. Radio;MunichPhilFSM 53901 (1 LP) $8.99Bach, Koetsler, Genzmer, Heilmann/Ar-min Rosen, trombone; Lehrndorfer, organFSM 53407 (1 LP) $8.99

CALLIOPE - France12th Cent.: The Play of Daniel; TheClerkes of Oxenford/David WulstanCALLI 1848 (1 LP) $8.99CALLI 4848 (1 Cassette) $8.99

BACH: Goldberg Variations BWV988,1-15/Mireille Lagace, harpsichordCALLI 1652 (1 LP) $8.99BACH: Goldberg Variations BWV98816-30/Mireille Lagace, harpsichordCALLI 1653 (1 LP) $8.99

Damare, Genin, Donjon/Lieaumadier,piccolo; Koerner, piano (Grand Prix)CALLI 1867 (1 LP) $8.99

French 17-c. organ music: Roberday,Bourges etc/Andre Isoir (Grand Prix)CALLI 1903 (1 LP) $8.99BEETHOVEN: Hammerklavier op 106;Bagatelles op 126/Michael Rudy, pianoCALLI 1686 (1 LP) $8.99CAW 4686 (1 Cassette) $8.99

OFFER EXPIRESSEPT. 30, 1984

ALLOW 6-8 WEEKS FOR DELIVERY $1.95 postage & handling

for the first record orcassette, plus .85t for

each additional recordingif shipping U.S. mail

S1.95 postage & handlingfor the first record or

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Electronics Show was in the$100 to $200 bracket. The SonyPS-LX55 Mk. II offers auto-matic disc -size selection for$165. Many new models in thisprice range have linear -trackingarms set into the lid-the so-called "clam -shell" configura-tion first introduced by Techni-cs in 1980. Of these, the Sher-wood ST -900 ($170) includesprogrammable track selectionand infrared disc detection; theAkai AP-M33S ($200) has amicroprocessor -controlled di-rect -drive motor and automaticsize/speed selection; and theTechnics SL -12 ($200) is a 12 -inch -square linear tracker witha scan/search feature that playsthe first few seconds of each cutuntil you find the one youwant.

The P -Mount cartridgebody seems to be gradually tak-ing over in all but the high endof the market. Most new inte-grated turntables, includingunits from Pioneer, Kenwood,Akai, and Yamaha, are eitherbuilt for P -Mount cartridges orcome with an adapter for them.And if the adapter isn't includedwith the turntable, it may besupplied withthe cartridge, asis the case withStanton's newline of P -Mountpickups.

One of thisyear's popularfeatures used tobe availableonly as an after -market accesso-ry-a clamp de-signed to keepthe record in in-timate contactwith the turnta-ble mat. Clamp-ing the record is supposed todeaden both external acousticfeedback and any vibrationsgenerated in the vinyl by thestylus itself as it traces thegroove. Most clamps are sim-ply cylindrical weights that siton the label of the record. In thepast, some heavy ones causedconcern about the possibility ofexcessive platter bearing wear.But when the weight is suppliedby the manufacturer, you can be

sure the turntable is built to takeit.

The most successfulAmerican turntables have al-ways been belt -drive unitsequipped with a softly sprungsubchassis carrying the platterand tonearm. The big Japanesecompanies, on the other hand,have tended to favor direct -drive motors and rather stiffsuspensions. Now from Yama-ha comes a pair of softly sprungbelt -drive models, the PF-800($450) and PF- 1000 ($650).These are strictly manual unitsexcept for an end -of -side armlift. Both include disc clamps, acartridge -alignment gridmolded into the underside of theturntable mat, and a twin -pipetonearm in which each tubecarries the signal leads fromonly one channel.

Harman Kardon's belt -drive models have been upgrad-ed this year. The T -65C ($575)comes with a disc clamp andhas a new tapered tonearm witha weight -and -wire antiskatingmechanism. A control knob en-ables you to add an additional100 or 200 picofarads (pF) tothe signal cables' 70-pF capaci-

The Dewy PS-LX511 Mk.II: lateral-tracking towearm and automatic

tance. Kyocera is adding threebelt -drive tables with softlysprung subchassis. The PL -910has a solid ceramic platter andcosts $2,000 without arm; theothers are the PL -701 and thePL -601 ($450 and $350, re-spectively, including tonearm).Micro-Seiki's BL -61, a belt -drive unit with a four -pointfloating suspension, sells for$500. Walker's CJ -61 ($180without arm, $330 with the

company's own arm) is a verycompact table whose subchas-sis-except for the arm -mount-ing platform-is entirely con-tained within its 12 -inch cylin-drical base.

Some Japanese manufac-turers are still refining direct -drive designs. Denon's DP -61 F($500) has a high -torque AC'motor and a servo -controlledwarp -fighting tonearm. San-sui's "synchrotor" technology,in which a separate rotor andmotor cancel the inertia of thespeed corrections applied to themain platter, once required anunusually deep turntable base.The company's new XP -99 of-fers the synchrotor feature in atable of normal depth at thereduced price of $400. ADS'snew Atelier Series model, theEuropean -designed P-4($500),is a direct -drive unit with threemotors-one for the platter andone each for cueing and hori-zontal arm movement. All con-trols are outside the cover.

Cartridge introductionshave definitely slowed down,though things are still bubblingalong in the upper price brack-et. Linn showed its Karma low -output moving -coil pickup($725). Audioquest has a newline, ranging in price from theAQM- I ($95), a moving -mag-net model, to the AQT-7($500), which has a solid sap-phire cantilever. Mission's newSolitaire cartridge is a moving-magnet design with an ellipticalstylus ($99).

Dynavector has added the17-D2MR (the "MR" denotesa Micro -Ridge stylus) with adiamond cantilever for $480, aswell as a high -output moving -coil model, the DV- I OX4($160). The new Alpha 2 low -output moving -coil pickup fromMonster Cable ($675) is alsoequipped with a Micro -Ridgestylus. ADC's latest is theTRX-3 ($300), a fixed -coil de-sign with tripole armature andtapered beryllium cantilever.And Audio-Technica is bring-ing out the 200 Universal Seriesof cartridges, which are com-patible with either P -Mount orstandard arms, at prices from$50-$135.

L Brod Meyer

Marmots TT -240

JVC 0L-Y66F

tans %NI

Hannan Kardon T -65C

Keeweed KD-7700

Saltsul XP -99

Kyocera PL -910

44 HIGH FIDELITY

Save up to $25 during the Shure60th Anniversary Rebate Sale.

Buy a genuine Shurecartridge or replacement stylusbetween September 1 and October31,1984 and get a hefty cashrebate direct from our factory. Justsupply the information requestedbelow, mail it to Shure and earnup to a $25 rebate on a qualityphono cartridge-up to $10on a stylus.

A Shure cartridge is thebest investment you can make toimprove the sound of yoursystem. And a Shure replacementstylus will reduce record wear,extending record life. Remember,with Shure, you're getting 60years of audio experience. Getall the details on this offer at aShure dealer near you or writeShure Rebate Offer, 222 HartreyAve., Evanston, IL 60204.

Save $10 to $25 on a quality Shure phono cartridge.Cartridge Your rebate

V15 Type V -MR $25

V15 Type V -B $20

ML140HE $15

ML120HE $15

M110HE $10

Save up to $10 on a genuine Shure replacement stylus.Stylusmodel

Compatible with thisShure cartridge

Yourrebate

VN5MR Upgrade for V15 Type V $10

VN5HE Replacement for V15 Type V $10

VN45HE Replacement for V15 Type IV $ 5N97HE Upgrade for M97ED

Replacement for M97HE$ 5

N95HE Upgrade for M95EDReplacement for M9SHE

$ 5

N95ED Replacement for M95ED $ 5N91ED Upgrade for M91E

Replacement for M91ED$ 5

Earn up to a $25 rebate during the Shure 60th Anniversary cartridgeand stylus sale.

To receive your rebate on selected Shure phono cartridges and replacementstyli, send: (1) your dated sales receipt (non -returnable), (2) the complete outer

Icarton from your Shure cartridge or stylus, and (3) this completed request to: IShure Rebate Offer- Dept. 63, 222 Hartrey Avenue, Evanston, Illinois 60204.

Name

Address

City State Zip

Phone (Area Code) (Number)Offer valid only on purchase made between September 1.1964 and October 31.1984 All requests must be postmarked by November 15.1984.Limit of one rebate per household. and/or consumer regardless of number of Shure cartridges or styli purchased. This .s a consumer rebateoffer only Shure dealers. companies and employees of Shire and their advertising agencies. distributors and retailers are not eligible. Thisoffer may not be used in conjunction with any other rebate rom Shure Shure is not responsible for late. lost or misdirected mail. Offer goodonly on purchases made in USA Void where taxed of orolit.ited by law Allow 6-8 weeks for delivery of check

You'll hear more front us. HF 9/84

11.. 1M ME MEI NM

LOUDSPEAKERS

The AC -powered BosoRoomMate speakers arounique for their ability togenerate room -filling lev-els from the headphoneoutput of a personal -porta-ble. A built-in power ampplus E0 and distortion -lim-iting circuitry contribute tothe sound of these littlespeakers.

CHECKING OUT NEW loudspeak-ers at the Summer ConsumerElectronics Show was both in-teresting and frustrating. Thereal surprise (as always) was

how many demonstrations actu-ally sounded good despite thevariable acoustics of hotelrooms and exhibit halls and theoften appallingly high back-ground noise from air condi-tioning equipment-not tomention other speaker manu-facturers in the vicinity.

An obvious trend towardsmaller models derives much ofits impetus from the recentapproval of stereo TV broad-casting. Because most peopledon't have a lot of extra spacenear their television sets, TVspeakers must be small whilemaintaining reasonable bass ex-tension, output, and sensitivity.Satellite/subwoofer systems arewell suited to these require-ments, and new ones are avail-able from Desktop Systems andBozak, whose three-pieceMSS -1000 sells for $950.

To overcome space limita-tions while producing a stereoimage that's comparable in sizeto the picture, many people willwant their TV speakers rightnext to their sets. But the mag-nets in many high -qualityspeakers are strong enough tosmear the color in the picture.One way out of this problemthat doesn't compromise per-formance is to install a supple-

mentary magnet assembly oneach driver, thereby cancelingits external field. Three compa-nies have so far adopted thisapproach: Boston Acoustics,with a magnetically shieldedversion of its A-40; Polk Audio,whose VS models are built tocomplement the dimensions of25-, 19-, and 12 -inch videomonitors; and B&W, whichplaced a monitor between a pairof its new VM-ls ($150), onewith compensating magnets andone without, to show the effec-tiveness of the shielding.

Many other companies in-troduced small speakers not di-rectly oriented to video. FourierSystems' Model 44 ($350 perpair) is reported to deliver "anhonest 67 Hz," a refreshinglyconservative spec. The new30B from Acoustic Research isavailable in bookshelf or floor -standing versions ($215 and$230, respectively). And Tan-noy's smallest system carries anincongruous name, the Titan($260 per pair). But the prizefor the most charmingly eccen-tric monikers goes to Tannoy'snew line of larger speakers: theSurrey Series. Each model isnamed after a city from SurreyCounty in England-Esher,Dorking, Chertsey, Bradley,and Albury. Prices range from$850 to $2,000 per pair.

The nearly universal claimof "digital -readiness" in loud-speakers nowadays refers most-ly to higher sensitivity ("effi-ciency") and greater power -handling capability. To providebetter heat dissipation, Ameri-can Acoustic Laboratories,Sherwood, Mission, Infinity,and B&W-to name but a

few-are using ferrofluid intweeter or midrange magnet as-semblies for the first time.Infinity's EMIM midrangedrivers and EMIT tweeters havelighter diaphragms for greaterefficiency, and the company'snew woofer is equipped with alonger voice coil for greatercontrol at long excursions.

Of course, you can alwaysget additional output by makingthe cabinet bigger and the driv-ers more numerous. Such is thecase with the B&W Model 808,which has a sensitivity of 91 dB

and is said to be capable of pro-ducing an undistorted output ofmore than 120 dB-a capabili-ty the company insisted, withonly mild apology. on demon-strating to the press. The 180 -pound system has two woofers,two midrange drivers, and one

Boston Acoustics A -40V

Ilamaha NS-SOOM

JILL 1-350A (TLX Series)

lhodusles 1111-M1

46 HIGH FIDELITY

SWITCH TOBASF CHROME

AUDIO TAPEBASF

THE WORLD'S QUIETEST TAPEIf you won't settle for anything less than pure music, accept nothingless than BASF Pure Chrome audio tape. Unlike ferric oxide tapes,BASF Pure Chrome is made of perfectly shaped chromium dioxideparticles. And the exclusive Chrome formulation delivers the lowestbackground noise of any tape in the world, as well as outstandingsensitivity in the critical high frequency range. And this extraordinarytape is designed especially for the Type II Chrome Bias position. Somake sure you're hearing all of themusic and none of the tape. Make theswitch today to the world's quietesttape. BASF Chrome. Chrome Audio & Video Tapes

tweeter.If your speakers are limit-

ed by your power amplifier, aseparate amp for the wooferwill help, but it need not be in aseparate cabinet. ADS has apower amp module that fitsinside its 1290 and 1590 towerspeaker systems. And Revoxincludes three 100 -watt (20-dBW) amplifiers and a motion-al -feedback woofer in its newAgora B system ($1,200).

Exotic diaphragm materi-als that combine lightness withrigidity are also in evidence thisyear. The speakers in JBL'snew TLX series (five modelsfrom $100 to $320) have mid-range and low -frequency driverdiaphragms constructed of aplasticized layer laminated topaper. For the tweeter, a layerof titanium replaces the plastic.Sansui's XL -900C has a tweet-er diaphragm of solid titanium,a ceramic midrange dome, anda carbon -fiber woofer cone.Yamaha's NS -500M ($385)also has a carbon -fiber woofer,but the midrange driver usestitanium with an additional lay-er of titanium carbide, while thetweeter diaphragm is beryllium.Pioneer uses ribbon tweetersthat are inherently burnout -resistant in a new series ofspeakers, the largest of which isthe $300 CS -705.

Increasing numbers of Jap-anese speaker systems nowsport flat woofers and midrangedrivers, some of which areround-like those in the Tech-nics SB-M3 ($900) and thesmaller SB-M5 ($400)-whileothers are square, like those inthe new models shown by Sonyand Mitsubishi.

Vivid and precise stereoimaging is one of the hallmarksof a fine speaker system, andseveral manufacturers are pro-moting their designs on thatbasis. Chief among them isDBX, whose Soundfield Onehas 14 drivers per enclosure inan elaborate phased array. Aseparate signal -processing boxcontrols both the frequency re-sponse and the imaging of thesystem, which maintains itstonal balance and stereo imagealmost regardless of where yousit in the listening room. The

DRAMATICALLY D FFERENT FROM KEF

The KEF 104/2 (S800) is an entirely differentspeaker from its immediate predecessor, the104aB. Frequencies above 150 Hz are handledby a vertical array consisting of a small dometweeter mounted between two identical mid-range cones. Their specially contoured anddamped subenclosure is resiliently mounted tothe front of the main cabinet, which containstwo upward -facing bass drivers, each loadedby its own sealed subenclosure-one at thebottom of the cabinet, the other at the top. Thewoofers radiate into a central cavity connectedto the outside world by a 5 -inch tuned circularport, whose dispersion matches that of themidrange drivers. KEF says that this novelarrangement combines the advantages ofacoustic suspension and bass reflex designswhile avoiding their drawbacks, yielding ex-tended bass response with low distortion andhigh efficiency.

The in -line configuration of the bass driv-ers requires that they be driven out of phase with each other, so as to create a sort of bellowseffect within the reflex chamber. (Otherwise, they would move in the same direction at the sametime and there would be no change in air pressure within the enclosure and thus no output.) KEFhas taken further advantage of this aspect of the design by connecting the magnet assemblies ofthe two woofers with a metal bar, so that inertial forces are canceled instead of being transferredto the cabinet and radiated into the room. The company contends that such spurious radiation isthe source of the "boxy" sound associated with most conventional speakers. Another, less obvi-ous innovation is embodied in the crossover, which is designed to present an almost pure, non -reactive 4 -ohm load, making the 104/2 loudspeakers unusually easy for an amplifier todrive.

complete setup sells for $2,500.At $300, the new Ohm Walsh 1offers the smallest and cheapestversion of the company's omni-directional Walsh driver tech-nology, and Polk Audio nowhas a bookshelf model in its lineof separation -enhancing SDAspeakers, the Compact Refer-ence System ($400). Cerwin-Vega's new 2000 Series speak-ers (three models from $400 to$700) have vertical midrangearrays for wide horizontal andnarrow vertical dispersion.

Some high -end companiesare following the trend to small-er speakers, though in the caseof Apogee Acoustics, "small"is strictly relative. Its all -ribbonScintilla stands 57 inches high,

weighs 140 pounds, and costs$1,750 a side. A new companycalled Dynam is importing aseries of speakers using corru-gated flat -panel magnetic driv-ers, named Dynapleats. Pricesrange from $600 to $5,000 forthe pair.

Many speakers can use alittle assistance in the deepbass, and you can add extralow -end capability with a vari-ety of separate subwoofers.This season you can try the newJanis System 3 ($500) or theShahinian Acoustics Diapason($550) on up to the servo -con-trolled Velodyne ($3,850, in-cluding a 350 -watt poweramp).

Dennesen combines bex-

trene bass and midrange driverswith an electrostatic tweeter inits DEI ($1,850 per pair). Dahl-quist has formally introducedthe DQ-20 (about $1,900 perpair), an upgraded version of itshighly regarded DQ-10. Im-provements in Infinity's drivershave been carried over into anew version of the $30,000 -plus IRS system. But theshow's most expensive speakeris from a newcomer-the GussMonitor, which has 31 driversin each main cabinet (includingsix 15 -inch woofers) and two"satellite" cabinets for en-hanced imaging, each with 20drivers. The complete systemssells for an even $50.000

E. Brad Meyer

48 HIGH FIDELITY

THE MOST BEAUTIFULSOUND NEXT 10 SIIENCE

NOW REALIZEDON ECM COMPACT DISCS

Available from ECM Recordson compact disc:

Chick CoreaChildren's Songs

Chick Corea and Gary BurtonIn Concert, Zurich, October 26, 19792,,,2

Charlie HadenBallad Of The Fallen 23749

Keith JarrettKoln Concert2,,,,My Song 2'',FChanges

Pat Metheny80/81Offramp

Pat Metheny & Lyle MaysAs Falls Wichita, So Falls Wichita Falls2.,,,c

OregonOregon 223796

Steve ReichMusic For 18 Musicians; '77,9

*Contains "Addendum," written for piano (Corea), violin(Ida Kavafian) and cello (Fred Sherry). Available only onCD format.

ECMManufactured and Chstrtbuted try Warner Bros Records Incc 1984 ECM Records GmbH

NEWTECHNOLOGIES

VIDEO FOR A NEW AGE

With the success of musicvideos on tape and via ca-ble and network broad-casts, it's not surprising thatPioneer would introduce avideo jukebox.

WHETHER YOU'RE A videophileor just a casual viewer, 1985should prove a very goodyear. That's the inescapableconclusion from my inspection

of the video offerings present-ed by nearly 200 manufactur-ers at the Summer ConsumerElectronics Show. It's impos-sible to mention, much lessdetail, all the goodies intro-duced at the McCormick Placeconvention center in Chicago,but here's a quick rundown ofthe most significant new prod-ucts and trends for this year

and beyond.Most of us covering the

video scene were delighted atthe number of VHS Hi-Fi vid-eocassette recorders on dis-play. Back when Beta Hi-Fistole the headlines with PCM-like audio performance inwhat had been a decidedlylow-fi medium. VHS supplierschurned out a profusion of an-nouncements heralding the im-minent appearance of a rivalversion. Well, it took morethan a year and a half forJVC, Matsushita. ct al., tocatch up, but for VHS fansthe wait was worth it. [For acomplete buying guide to thenew Hi-Fi VCRs, see "SuperStereo VCRs" in last month'sHIGH FIDELITY.]

However, none of thisyear's Hi-Fi VCRs (VHS orBeta) are equipped to decodemultiplex TV audio broad-casts. The FCC's approval ofthe Zenith/DBX system(stereo plus a separate monochannel) came too late for

the appropriate decoders intheir designs. Some decks.however, are equipped withmultiplex output jacks. so itshould be possible to retrofitthem for stereo reception. Anewcomer to the VCR busi-ness, Harman Kardon, wasthe only manufacturer to an-nounce that its VHS Hi-Fideck (scheduled for deliveryin November) will contain amultiplex decoder.

Unfortunately, prere-corded VHS Hi-Fi software isstill scarce. As of this writing,CBS/Fox is the sole majorsupplier of VHS Hi-Fi filmsand concert programs. Rumorsabound as to the reasons.Some contend that the originalduplication equipment sup-plied by Matsushita was de-fective; others claim that du-plicators resisted switching tothe higher -quality tape thatHi-Fi recording demands. Notto worry, though: The soft-ware floodgates are bound toopen with a torrent of new re-leases.

In fact, if you own aBeta Hi-Fi VCR (for whichthere is an abundance of soft-

ware), you'll be happy tolearn that the prices of prere-corded cassettes may take anose dive this year. The rea-son is Sprinter, a high-speedduplication system developedby Sony that enables a full-length feature film to be cop-ied in 11/2 minutes (comparedto the current real-time dub-bing process that forces dupli-cators to operate at numbinglyinefficient rates). The systemgains its speed from a contact"printing" process in which amirror -image master tape isdrawn across a continuous reelof blank tape. The video in-formation is transferred to theblank tape via magnetic induc-tion. After the dubbing iscomplete. all that's left is toload the tape into shells. WillSprinter work for VHS aswell? Sony isn't pushing theidea, but the technology maybe transportable.

Actually. video dubbingisn't the only thing thatSprinter could be used for.It's no secret that Sony is pro-moting the concept of rotary -head digital audio cassettedecks (as opposed to the mul-titrack fixed -head designs fa-vored by some other Japanesecompanies). An adequate sup-ply of prerecorded digital au-dio cassettes would be crucialto the success of the format.Sony's proposed system,which is based on a microcas-sette-size tape capable of stor-ing three hours of digitally en-coded music, would be anightmare for duplicatorsforced to make copies in realtime. Sprinter, however.might cut the dubbing processto a couple of minutes (maybeless).

But back to video-spe-cifically. stereo broadcast TV.which has all the hallmarks ofa typical chicken -and -egg situ-ation. Consider the economicrealities facing the broadcast-ing industry. Both ABC andNBC have announced their in-tention to begin multiplexbroadcasts this year. mainly totake advantage of the third au-dio channel for second -lan-guage soundtracks. But allnetwork fare is relayed to

'ft

a

50 HIGH FIDELITY

your antenna from local affili-ates-most of whom keep aclose eye on expenses. espe-cially in small markets. It'snaive to assume that an affili-ate would invest in the equip-ment to rebroadcast stereo TVprograms unless he were surethere were enough stereo -ready sets out there to receivehis signal.

But the stereo -ready setsintroduced at the SCES are alltop -of -the -line models-typi-cally, 25 -inch monitor/receiv-ers, in which the additionalexpense of a built-in multiplexdecoder accounts for just asmall part of the total cost.Only when decoders startshowing up in mass -market19 -inch receivers will thestage be set for wide -scalestereo -TV broadcasting.

Add-on decoders mightbecome popular accessoriesnext year. and so far GeneralElectric. Zenith. and Sonyhave introduced such devices(which can be used only withreceivers equipped with multi-plex output jacks). LarrySchotz, the FM tuner designerresponsible for groundbreak-ing audio receivers from NADand Proton, has an idea for anoutboard decoder that wouldnot need any direct electricalconnection to a TV receiver.His plan is to make use of thestray IF radiation generated bya typical TV tuner. The de-coder would just have to beplaced close enough to yourTV set to get a strong reradi-ated signal. Will it work?Schotz says that it does, butcompletion of his design willhave to await the start ofstereo broadcasts. Chickenand egg, did you say?

Portable camera -recorders(camcorders) using 8mm-widetape were the big news at lastJanuary's Consumer Electron-ics Show. Kodak garnered thelion's share of publicity thenfor being the first to embracethe new format. RCA and GEwere quick to follow suit, butby this CES the future of8mm video seemed cloudy,indeed. GE and RCA publiclyannounced that they are tem-porarily shelving their plans to

market 8mm camcorders.while Hitachi repeated its oft -heard complaint that the for-mat is confusing and point-less. Polaroid's demonstrationof an 8mm system and Sony'spost-CES statement of itsplans to introduce an 8mmcamcorder only muddy thewaters further. I suspect thesituation will be clarified ifand when Kodak's camcorderscome to market this fall.

One of the marvels ofconsumer electronics this fallwas supposed to be DBS. ordirect broadcasting to thehome from high -power satel-lites. Home satellite receptionhas existed for the past fiveyears. but it requires an in-vestment of several thousanddollars for an antenna as muchas 14 feet in diameter andcomplex receiving equipment.DBS. on the other hand.promised to provide subscrib-ers with five or six satellite -relayed broadcasts receivablewith roof -based dish antennasjust 18 to 36 inches in diame-ter and costing $200 to $300.

A pilot project actuallybegan last fall in Indiana. withRadio Shack stores sellingsmall (in this case. four -foot)dishes to those subscriberswho chose to buy them out-right instead of renting equip-ment from the programmer.United Satellite Communica-ions. USC had hoped to ex-tend its DBS coverage to theentire Northeast by this fall.and last year Toshiba, Pana-sonic, General Electric, andUniden demonstrated DBS re-ceiving gear at the CES.

Alas, at this show onlyToshiba included DBS equip-ment in its exhibit. Uniden,whose two satellite receiverswere said to be capable ofprocessing both DBS and con-ventional satellite signals,didn't mention the topic at all.And General Electric and Pa-nasonic quietly dropped itfrom their high-tech productdisplays.

Less than two months be-fore the SCES, RCA pulledthe plug on its CED videodiscsystem. Though several soft-ware companies say they will

continue to supply CED titles.CBS announced that it wouldno longer support the format.Laserdisc video, on the otherhand, was very much in evi-dence.

Pioneer introduced a se-ries of eight -inch discs intended primarily for music videoprograms. The eight-incherswill be offered through tradi-tional music outlets and asfodder for a new generation ofvideo jukeboxes. And specula-tion is rampant that the nextgeneration of optical videodischardware will be capable ofhandling both sizes of videod-iscs, as well as audio -onlyCompact Discs. Such comboplayers may be available nextyear.

Still too early to speak ofas a trend, but interestingnonetheless, is the appearanceof one -brand audio -video sys-tems. Among these are JVC'sXM-900AV Crossmedia andPioneer Video's Foresight700. each containing a videomonitor and associated videoand audio components in asingle rack setup. Prices forsuch integrated systems can beas high as $2,500, dependingon the ingredients. Fully load-ed, Pioneer's Foresight 700includes a 25 -inch color moni-tor, a 50 -watt stereo amplifier.a TV tuner, a pair of three-way loudspeakers, an AM/FMstereo tuner, a Laserdisc play-er, an audio cassette deck, asurround -sound processor. anda rack to hold the whole thingtogether. And it's all remotecontrollable.

Finally, as if to provethat bad ideas sometimes arethe only constants, Pioneerhas resurrected the Bodysonicconcept. You may rememberits earlier incarnation as a carstereo seat -and -back cushionequipped with little speakersthat caused your bones to vi-brate along with the music.Now it's in a lounge chair(with matching ottoman) thatenables you to experiencetelevision viscerally as well asvisually. Price is a not inconsiderable $800.

Williams Meaner

High-speed videotape du-plication has been the holygrail of the video industryfor years. Now Sony saysthat its Sprinter machine,which uses a magnetic ver-sion of contact printing,can copy a full-lengthmovie in 1'/2 minutes. Theproduction economiesbrought by such a systemcould mean lower pricesfor prerecorded fare in'85.

SEPTEMBER 1984 51

VIDEOEQUIPMENTREPORTS

RCA VKT-650VHS HI -Fl VCR

RCA Selectavision VKT-650 VHS videocassette recorder, with one-year/eight-eventtuner/timer, on -screen programming, wireless remote control, and VHS Hi-Fi stereoaudio. Dimensions: 17 by 4'/2 inches (front panel), 143/4 inches deep plus clearancefor connections. AC convenience outlets: one unswitched (300 watts max.). Price:$1,295. Warranty: "limited," one year parts, 90 days labor. Manufacturer: made inJapan for RCA Consumer Electronics, 600 N. Sherman Dr., Indianapolis, Ind. 46201.

AUDIO DUBBING(ON/OFF)

TRANSPORT CONTROLSTIMER ON/OFFAC POWER

EJECT I

VCR/TVVIDEO DUBBING (ON/OFF)INDEX -CODE RECORDING (ON/OFF)MEMORY REWIND (ON/OFF)

IUCRT COUNTER

DISPLAY ON/OFF

COUNTER RESET

AUDIO LEVEL

1.1%

DISPLAY TIME

BEHIND DOOR: HEADPHONE: OUTPUT LEVEL

EJXUPSRTE S S RECORDING -

REMAINING

AUDIO LEVEL AD.

ADJUST.; SPEED (SP/LP/EP). TRACKING.SHARPNESS ADJUST.. INPUT. AUDIO MODESELECT HIGH FILTER, 8 -HR. MODE. ALC.DIMMER ON/OFF; CHANNEL PRESET ADJUST.

DISPLAY ON/OFFDISPLAY

ICLOCK/COUNTER)

RCA'S TOP -OF -THE -LINE, front -loader is the most feature -ladenVCR we've reviewed to date. To

start with, there's VHS Hi-Fi recording(in stereo, of course) as well as edge -track (linear) recording for compatibilitywith older decks. Although the edgetrack records only in mono, RCA saysthat the VKT-650 reproduces stereoedge -track recordings in stereo, sonothing is lost if you have a libraryof Dolby -encoded VHS stereo tapes.

It records and plays at all three52

VHS speeds (SP, LP, and EP) with afull complement of special effects thatwork best in the EP mode but functionreasonably well in SP and are by andlarge useful even in the intermediateLP mode (although RCA makes noclaim to this virtue). Besides AUDIODUB, which enables you to overlay theaudio edge track with a new recording,there's VIDEO DUB, which permits youto rerecord the video without affectingthe audio edge track. (Because theVHS Hi-Fi information is recorded on

HIGH FIDELIT

1111 111111111111111111 111111111111111111111111111111111111111111111111111111111111

NEW TECHNOLOGIES

S

the video track, it's not possible torerecord video information withoutremoving the Hi-Fi audio or to rerecordHi-Fi audio without erasing thepicture.)

brU CAN SEARCH forward orbackward for a particular programy pressing FAST FORWARD or

REWIND from PLAY, or, if you had theindex feature on during recording,proceed to the beginning of the next(or current) program at even higherspeed by pressing FAST FORWARD orREWIND from STOP. This feature worksby recording a special cue signal at thestart of each recording session. Whenthe cue signal is detected, the deckenters FORWARD SEARCH for about tenseconds so you can check the program,then races to the next one. When youfind the selection you want, you canstop the search by pressing PLAY. Forthe less adventurous, there's also aMEMORY REWIND that returns to counter"9999" and stops.

You'll search in vain for aconventional tape counter, however:the VKT-650 has its ownmicroprocessor and video displaysystem that presents such informationon the monitor. There is a front -panelclock, but even this information ispresented on the monitor as well. Infact, you set the clock and programtimer with the infrared remote controlrather than with front -panel buttons.(The VKT-650 comes with its ownremote, but RCA says that the DigitalCommand Center included with itsColorTrak 2000 monitor/receivers canserve the same purpose, so if you havean all -RCA system, you need juggleonly one controller.) Pressing PROGRAMdisplays a computer -like "menu" onthe screen. It gives you five choices:clock set, normal program, dailyprogram, weekly program, or programreview. Press the appropriate numberon the ten -key pad, and you're inbusiness.

For example, pressing "1" (clockset) changes the display to "CLOCKSET TIME - -." Enter the currenttime via the keypad, and the displayindicates the time and asks whether itis AM (1) or PM (2). Tell it, and itasks for "DATE -/-/-." Enter themonth, day, and year in numericfashion, and the VCR figures out whatday of the week it is and displays thatas well! To end the clock -settingsequence, you press PROGRAM again.EPTEMBER 1984

You program the VKT-650 forunattended recording in a similarmanner, guided by a series of on-screen prompts. Selecting "2" fromthe main menu displays "NORMALPROGRAM-PROGRAM 1 2 3 4 5 67 8" followed by the instruction"SELECT PROG NUMBER." Whenyou have done this, the machine goeson to ask for the channel number, thestart and end times, and finally the dateof the program. It can store as many aseight selections over a period as greatas a year. (If you program a date priorto the current date, the year willchange automatically to the followingone.) DAILY PROGRAM enables you torecord the same program each day ofthe week (except Saturday andSunday), while WEEKLY PROGRAMenables you to record the sameprogram on a specific day of eachweek (including Saturday and Sunday)with a single entry. PROGRAM REVIEWdisplays each of your commands(starting with the lowest programnumber) for ten seconds, after which itsteps on to the next. CLEAR enablesyou to correct an error or change theprogramming while TIMER sets thesystem for automatic turn -on; thesystem retains its memory for as longas 60 minutes in case of a powerfailure.

Whenever you press DISPLAY, themode, channel number, and tapeposition are superimposed on the top ofthe screen, while the date, day of theweek, and time appear along thebottom for about ten seconds. In fact,whenever you press a major modebutton, the new mode and tape positionappear momentarily on the screen. Youhave several choices of how the tapeposition is displayed: by elapsed timefrom the beginning of the tape, timeremaining, or counter number. Whichwill be displayed depends on howyou've programmed the VCR.COUNTER switches the display fromtime to counter and vice versa.(MEMORY REWIND functions only in thecounter mode.) TIME REMAIN puts upthe time remaining on the tape.Topping off all this automation is afront -panel button labeled "XPR" thatwill turn off the VCR at a preselectedtime. Each press of the XPR buttonadds 30 minutes to the time remainingbefore turnoff, up to a maximum offour hours.

In addition to programming, theremote governs recording, playback,

VCR SECTIONExcept where otherwise indicated, data are for all speeds-SP.LP and EP MP) All measurements were made at the directaudio and video outputs. with test signals applied to the directaudio and need inputs For VHS Hi -Fr. the 0 -dB reference inputlevel is the voltage required to produce 3 percent third -harmonicdistortion at 315 Hz. for the standard audio recording mode. it is10 dB above the voltage at which the automatic level controlIALCI produces 3 dB compression at 315 Hz The 0 -dB referenceoutput level is the output voltage from a 0 -dB input

VHS HI-FI RECORD/PLAY RESPONSE (-20 dB; stereo)ce

5VNT81) (1,

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

+ <V4, -2 dB. 20 Hz to 20 kHz

S TANDARD RECORD/PLAY RESPONSE (-211 M; mipm)De

5

vp17.10r

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

SP +0.-3 dB, 80 Hz to 9.3 kHzLP 1/4, -3 c113, 70 Hz to 5.8 kHz

- - - EP 44. -3 dB. 66 Hz to 3.1 kHz

AUDIO S,N RATIO (re 0 -dB output; R/P; A -weighted)standard VHS Hi-ff

SP 4747 dB 843/4 dB

LP 43 dB 841/4 d13

EP 463/4 dB It dB

INDICATOR CALIBRATION (315 Hz; VHS Hi -F)

for 0 -dB input >+8 dBtor -10-dB input +3 dB

DISTORTION (THD at -10-dB input, 50 Hz to 5 kHzLstandard VHS Hi -14

SP lc 2.10% ' 00%

LP < 2.70%' < 098%EP 5 3.09%* S 0.98%

CHANNEL SEPARATION (315 Hz; VHS Hi-Fi)69 dB

'Not reliably measurable above 3 kHz in LP or 1 kHz in EP

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

53

111111111111111111111111111111[11111111111111 11111 1111 111111111111 1111111j11 111111111111I1J111111 11111

1111 1 1 1 11 11 11 11 11 1 1 1 1 1 1 1 1

NEW TECHNOLOGIESINDICATOR "BALUSTICS"Response time 4.2 msecDecay time +.1E13 msec

Overshoot +3 dB

FLUTTER (ANSI weighted peek; R 'P)standard VHS Hi-fi

SP 0 17% avg 0 01%1 -0.20% avg <±-0.01%EP 0 25% avg -001%

SENSITIVITY (for 0 -dB output; 315 Hz)

VHS Hi-Fistandard

mikeNA

hne

TAT

mT/

AUDIO OUTPUT LEVEL from 0 -dB input, 315 Hz)VHS Hi-Fi I 75 voltsstandard 0.42 volt

AUDIO INPUT IMPEDANCEline (VHS Hi-Fi) 68k ohmsmike - 34k ohms

MIKE INPUT OVERLOAD (1 -kHz clipping) 38 mV

VIDEO RECORD/PLAY RESPONSE

e t 500 kNz

at 1.5 MHze t 2.0 MHz

et 3.0 MHze t 3.51 MHz

et 42 MHz

SP U EP-1V4 dB -11/4 dB -1 dB- 53/4 dB -6 dB -53/4 dB-8 dB -8 dB -744 dB-13 dB -16 dB -14 dB- 20 dB -21 dB -31/7 dOtto rt it

SHARPNESS CONTROL RANGEat 500 kHz + 144, -11/4 dB

at 1.5 MHz 4 33/4. -3 dBet 2.0 MHz s CA -93/4 dB30 to 42 MHz no measurable effect

LUMINANCE LEVELSP

LP

EP

GRAY -SCALE NONLINEARITV (worst Lase

CHROMA LEVELSP

LP

EP

CHROMA DIFFERENTIAL GAIN

2% nign

3% high

high

CIS

dB low

--VA dB low

-10%

CHROMA DIFFERENTIAL PHASE +4°

MEDIAN CHROMA PHASE ERRORSP

LP

EP

+4°+6°4 5*

'Uocay time for peak -hold cursor is approximately 1,000milliseconds lone second)

tUnstable. This is a peak reading

ttToo low to measure

54

COLOR CONSISTENCY for the VKT-650's recorder section running at the SP speed(left) and for its TV tuner (right). (The results for the VCR in LP and EP are virtuallyidentical to those in SP, so we have omitted the vectorscope photos for the slowerspeeds.) In each case, the ideal world be for the cluster of dots toward the left edgeof the grid to be a single dot at the intersection of the nine -o'clock axis with thecircumference. The radial spread of the dots indicates chroma differential gain,which is a measure of how much chroma level (color saturation) varies withchanges in scene brightness (luminance). The angular spread shows the chromadifferential phase, which tells how much chroma phase (hue) shifts with changes inbrightness. Both the tuner and the VCR perform well in this test although the formershows a large differential gain at the highest luminance level.

pause, stop, fast -wind, and search.From PAUSE, you can advance the tapea frame at a time or enter slow motion,with up and down buttons to vary thespeed. You can also view at double -speed or in reverse. There are eventracking control buttons on the remote,as well as a button that enables you toswitch between antenna and VCRoutput to your TV tuner or receiver'sVHF terminals.

The VKT-650's built-in tunerscans the VHF and UHF bands and asmany as 63 cable channels. As manyas 80 of them can be programmed intomemory for sequential access via theup/down channel switch on the frontpanel or the remote. Or you can tuneany channel directly via the remote'skeypad.

Behind a front -panel door are anumber of secondary controls and aheadphone jack (with its own VOLUME)for private listening. Among these area recording speed switch (which wewould have preferred outside thedoor-a quibble considering thatplayback speed is selectedautomatically) and tracking andsharpness wheels. The latteraccentuates or softens picture detail,but only in playback-not recording. Arecording mode switch chooses thecamera input, the built-in TV tuner, ora special mode in which the VKT-650

generates its own video synchronizationsignal, enabling you to take advantageof VHS Hi-Fi's wide dynamic rangeand smooth frequency response foraudio -only recording. In playback, youcan choose to listen to the VHS Hi-Fitrack (FM), the edge track (line), or amix of the two for sound -on -sound.

A novel and well -consideredfeature is a switchable high filter thatworks only on the edge track, tosuppress tape hiss, and there is an ALCthat sets recording level automaticallyon both the edge and VHS Hi-Fisoundtracks when it is invoked. Sixbuttons are used to program the desiredchannels into the 80 -station tunermemory. A dimmer switch tones down(rather too much, in our opinion) thelighted displays.

The back panel is comparativelysimple. There are the normal coax Fconnectors for VHF antenna input andoutput to a conventional TV, twinleadscrew connectors for 300 -ohm UHFinput and output, pin jacks for directaudio and video inputs and outputs, astandard mono phone jack formicrophone input, and a miniaturephone jack for remote camera pause.Two switches select between the VKT-650's own remote unit and the unifiedRCA Digital Command Center remote-

control system and between broadcastand cable RF input.

HIGH FIDELITY

111 11 1 111 11111 1 11 111 111 11 11I11 1111111111111111111111 1111111111111111111111111111111111111

NEW TECHNOLOGIESConsidering the VKT-650's wide

range of features, the owner's manualleaves something to be desired.Although it's well written and in goodEnglish, it fails to explain some of theunit's eccentricities. (But perhaps we'rebeing unduly critical, for thepeculiarities we found seem calculatedto simplify operation for the averageuser.) Only by contacting RCA couldwe confirm some of DiversifiedScience Laboratories' findings: that thesharpness control affects onlyplayback, that the microphone input ismonophonic and always is controlledby the ALC independent of the ALCswitch setting, that the microphoneinput records only on the edge track,that the high filter affects only edge -track playback, that the recording levelcontrols must be advanced to get signalfrom the direct audio outputs (unlessthe ALC is activated), and that cablesmust be connected to both left andright audio inputs and outputs if thesystem is to record and play in stereo.(If only one input cable is connected,the same information is recorded onboth channels; if only one output cableis connected, the L+R sum is fed tothe stereo system.)

THEVKT-650's measured

performance is quite good. Tunervideo response holds up within

23/4 dB to the color -burst frequency(3.58 MHz) and shows substantialdropoff only at the resolution limit ofthe NTSC system (4.2 MHz). Chromadifferential gain and phase arenegligible except for some loss of colorsaturation at the highest luminance(brightness) level. Chroma level (colorsaturation) is a trifle low to begin with,and chroma phase (hue) accuracy alsois slightly off the mark, but both canbe corrected with a monitor's tint andcolor controls, so that the final result isexcellent. Luminance level is only atrifle high-again, easily corrected-and gray -scale linearity is very good.

The tuner's audio performance isnot quite up to its video prowess, butit's adequate. There's a gradual rolloffbelow 100 Hz, and though the signal-to-noise (S/N) ratio is good, it'scertainly not in the "excellent" range.The horizontal -scan component isreasonably well suppressed, anddistortion is a bit lower than average.Output impedance is low enough andthe level high enough that there shouldbe no problems mating the unit to other

VCR COLOR ACCURACY is very good and nearly the same at all three speeds. (Thevectorscope photos shown here are for SP, which is tie fastest.) The left-hand photoshows the uncorrected color. A .-dB increase in chroma gain and a 4 -degreeclockwise phase rotation puts all six color vectors ( he small white blobs near thecircum'erence of the grid) onto or very near their targets, as shown in the right-handphoto. This simulates the best results one could ootain using the color and tintcontrols on a monitor. The diffuseness of the color vectors is caused by chromanoise, which would show up in a video image as fl 3cks of colored snow. Chromanoise is lowest in SP and considerably grewer in EP, which is the slowest speed.This is the usual pattern, and in no case is the noise worse than average for avideocassette recorder

components. One caution, however: Ifyou turn the recording level controls allthe way up when listening to abroadcast with ALC off, the outputcircuit will clip on fully modulatedsignals. Keep the recording levelindicator on scale, and you'll havenothing to worry about.

The VCR's video performance isabout par. Response holds upreasonably well to 2 MHz at all threespeeds, implying a horizontal pictureresolution of about 160 to 200 lines. Inthe EP (SLP) mode, response rises at3.58 MHz, but the output at thatfrequency is too unstable to be reliable.The SHARPNESS has maximum effect at2 MHz, although there is measurableeffect at lower frequencies as well. Infact, advancing the SHARPNESS makesthe response quite uniform all the wayto 2 MHz, a feat few VCRs can match.This makes a noticeable improvementin picture detail, albeit at the cost ofsome increase in noise (snow). Gray -scale linearity is perfect at all threespeeds, chroma differential gain andphase are negligible, and chroma leveland phase accuracy are notably good.

Except for some improvement inchroma noise, there's no reason tochoose SP or LP recording over thetape -saving EP mode-especially sincethe VKT-650's special features workbest at that speed. VHS Hi-Fi

SEPT E MBER 1 9 84 55

NEW TECHNOLOGIESTV TUNER SECTIONAll measure Irrect audio and videooutputs

AUDIO FREQUENCY RESPONSE

08

0

5

HZ 20 50 100 200 500 18 211 511 10K 2015

+0. -3 dB. 110 Hz to 20 kHz

AUDIO S N RATIO (A -weighted)best case Ino video signnll 49 dBworst case dominance staircase) 33 dB

VICT460

RESIDUAL HORIZONTAL SCAN COMPONENT (15.7 kHz)

-37 dB

MAXIMUM AUDIO OUTPUT (100% modulation)ALC off 1 78 voltsALC on 041 volt

AUDIO OUTPUT IMPEDANCE 350 ohms

VIDEO FREQUENCY RESPONSE

et 500 kHz

al 1.5 MHzall 2.0 MHzat 3.0 MHzat 3.58 MHz

at 42 MHz

LUMINANCE LEVEL

-1/2 d8

-1 dB-11/2 dB

-2 dB- 244 dB

-153/4 dB

17% high

GUY -SCALE NONLINEARITY (worst case) 11%

CHROMA LEVEL

CHROMA DIFFERENTIAL GAIN

ce low

40%

CHROMA DIFFERENTIAL PHASE +5"

CHROMA PHASE ERRORred

magentablue

cyangreen

median erroruncorrectable error

56

+ 6°

+ 6°

+4°

+9°+7°+6+61/2°

)+2W

TUNER COLOR ACCURACY is very good. The vectorscope photo at left indicates lowcolor saturation (chroma level) and a small amount of hue (chroma phase) error. Thephoto at right made with 21/4 dB additional chroma gain and approximately 6' 7

degrees of clockwise phase rotaticn -simulates the best results one could obtainusing the color and tint controls on a monitor. This adjustment brings all six colorvectors (the small white dots near the circumference of the grid) onto or very neartheir targets, which is excellent performance. Indeed, the actual spread is TL -2'

degrees or less.

performance is virtually identical in allthree modes, with unmeasurably lowflutter, almost perfectly flat frequencyresponse across the audio band, signal-to-noise ratios of more than 80 dB, anddistortion that is quite low at our"standard" test level, remaining at orbelow 1 percent from 50 Hz to 6.3kHz and only just nudging 21/2 percentat 10 kHz. To check the trackingaccuracy of the VHS Hi-Fi noisereduction system, DSL measured thefrequency response at a number ofrecording levels, ranging from 10 to 40dB below the midrange 3 -percent THD(total harmonic distortion) point.Although not perfect, the trackingaccuracy is well within the realm ofacceptability.

DSL also measured the audioperformance of the standard edge track,although it's rare that you'd resort to itwith VHS Hi-Fi available. Comparedwith that of other VHS decks, theVKT-650's edge track audio issomewhat better than average,especially in the SP mode, whereresponse holds up quite well to 10 kHzand the noise and flutter are not toohigh. The noise figures are almost asgood for EP recording, but flutter isabout 50 percent worse and the high -frequency response is cut in half. Atboth speeds, engaging the high filter(which is about 3 dB down at 6 kHz)improves the signal-to-noise ratio by 4to 5 dB.

Inexplicably, LP recording

provides the least dynamic range, but itcan be brought almost up to parity withthe others with the high filter.Frequency response and flutter are onlya trifle better in LP than in EP, and thespecial features work least well in theLP mode, so there's little reason tochoose it.

Our hands-on evaluation confirmedthe bench tests in all essentials. Audioperformance with VHS Hi-Fi recordingis about all you could ask for-a giantstep above "linear" recording, whichis better than average on this deck. Thetuner proved to be reasonably sensitivein our fringe area, especially on theupper VHF channels. Chroma noise islowest with SP recording, but exceptfor this, we'd adopt the longer -runningEP mode for all normal use. There'slittle discernible difference in pictureresolution between EP and SPrecording and none in sound qualitywith VHS Hi-Fi, yet EP is moreeconomical and provides better (almostperfect) special effects. The VIDEO pusworked well during our trials, but wefound it somewhat difficult to useaccurately. Undoubtedly, practicemakes perfect, and if we'd had longerto work with the deck, it might havebecome second nature.

We're impressed with the RCAVKT-650, and in light of its vast arrayof features (the on -screenprogramming, especially), we think it'sa steal. Certainly it deserves yourcareful scrutiny.

HIGHHF

FIDELITY

POPULAR VIDEO

A NIGHT WITH LOU REED.Boggs Baker Productions, Inc. RCA, L ME VIDEO BE

91090 18,' f. 92. VH 91090 IVHSI. $29.95

ANight with Lou Reed" is exactly that.A few dark shots down these mean

streets support a two -sentence voiceoverintroduction claiming Reed is "the singlemost pervasive influence on the new waveand rock music of today." I certainly can'targue, though it's not my justification ofchoice for watching this videotape.

Almost immediately we are backstagein Manhattan's sold -out Bottom Line, April1983. Reed, founder of the VelvetUnderground and a rock and roll demi-legend for nearly two decades, paces themirrored dressing room blowing smoke. Notexactly the average guy of "The BlueMask," but close. Lou heads for the door.and the tape cuts to the stage, where anenthusiastic crowd greets the best bandReed has ever assembled: Robert Quine, theonly "scientific" guitarist I care about,wears a sport jacket, button-down shirt,shades, and no discernible expression;fretless bassist and fusion sessionmanFernando Saunders and Material drummerFred Maher are cuter, though not exactlydressed to kill. Lou strides out in a shortblack -leather jacket and jeans, dressed forwork, and kicks right into Sweet Jane. Forthe next hour, one of America's mostimportant songwriters showcases much ofhis best music with a superb andsympathetic band. The legion of people hehas influenced is entirely beside the pointthis night. Lou Reed is as vital, ascommanding, as he has ever been..

And oh, the chords! Complex vocalphrasing and elisions compensate for Reed'sloss of range and make Sweet Jane as livelyand clear as I remember it from theVelvets' vaunted last stand at Max's Kansas

REEL His legendary status was beside Vie point at this histor c 1983 ccncert.

City in the summer of 1970. Neither overlydramatic nor obviously self-conscious, heconcentrates on presenting a great song as ifit were just that, not a revered ruin, a fossilfreighted with lurid imaginary history. Andoh, the chords! I'm Waiting for My Man,also from the Velvets, follows, and I'mtransfixed by my TV. Somehow singingheads are riveting after a year of dwarfs andgarter belts, the false pregnancy of MTV.Quine's solo builds the tension as the bandleaps from the mid -Sixties to the mid -Eighties on Martial Law, with expressivefacial grimaces and string -bending solo -lessdrone, and a speedy Don't Talk to MeAbout Work (both from last year's"Legendary Hearts.") AR internalized butpalpable intensity continues to grow out ofthe material, the playing, and the singing.

And oh, the chords!Women, sung for maximum

suggestibility and graced by a slow, regalfeedback solo from Reed, and Waves ofFear, with enormous chords and an extremeQuine-Reed exchange. precede astraightforward and respectful Walk on theWild Side. Lou's postmodern blues guitaron Turn Out the Light surfaces from acrystalline place somewhere between CrazyElephant (remember Gimme Gimme GoodLovin'?) and the Bobby Fuller Four. Then.in an exalted New Age, Reed demonstratesthe extraordinary power and beauty ofbarely singing. I can see him thirty years onin a grand armchair on a stage somewhere.huskily talk -singing his way through hisremarkable repertoire: the Mabel Mercer ofrock and roll. Kill Your Sons, with an

SEPTEMBER 1984

11 I

11 11 11 111 11 11 11 11 11 11 11

NEW TECHNOLOGIESappropriately threatening Quine-Reed droneduel, gives way to "Transformer" 'sSatellite of Love taken as a tender ballad.which it actually is. The Velvets' finale.White Light/White Heat, and the anthemicRock and Roll are prime examples of chordworship at its most transcendent. The crowdis exhausted. Lou is chipper. "I thoughtthat was short and delicious," he crows atthe dressing room camera. Me too.

"A Night with Lou Reed" is aremarkable tape. Consider it a companionpiece to his import LP, "Lou Reed Live inItaly," recorded a few months after theBottom Line shows. Add his latest,somewhat poppier studio product, "NewSensations," and a summer tour with hiswonderful band, and you've got a majorartist at mid -career, buoyed by the best ofhis earlier songs and building memorablyfrom there. This is a great concert thatcomes home intact. No posture, just stature.See for yourself. -JEFF NESIN

READY, STEADY, GO! (Vol. 1).Dave Clark, producer. DAVE CLARA INTERNATIONAI PRODUCTIONS/PICTURF

Ters/TuonN E.M.I. Vora TXF 2195 (Beta). $29.95: NE 2195 (VHS).$29.95

Ready, Steady, Go! (Vol. 1)" is adelightful hour-long collage of

performances by 14 charter -member BritishInvasion bands who appeared on this mid -Sixties English teen television showmodeled after American Bandstand. What'smost striking about watching the programtoday is that the excitement these actsgenerate is barely diminished by the factthat almost all of them lip-synched theirsongs. Because most groups were presentedthat way on television 20 years ago, theperformances seem perfectly natural for thetime frame involved.

The video is expertly assembled byDave Clark Productions (yes, as in theDave Clark Five, who sneak into this tapefor two non -Ready, Steady, Go! songs thatare innocuous enough to be easily digestedamidst the bountiful surroundings). It beginswith 1964 carefree, fresh -faced Beatles,climaxes with 1966 borderline -psychedelicRolling Stones, and rarely allows one roomto breathe in between-what withappearances by Dusty Springfield, the Who,Georgie Fame, the Searchers, the Animals,Lulu, Van Morrison and Them, and evencomedians Peter Cook and Dudley Moore.

Especially engaging are the show'soften hysterical interviews: George Harrisondeadpanning that his "favorite girl filmstar" is Margaret Rutherford ("A realMod!" yells John Lennon), and EricBurdon explaining that his band got itsname because "we look like animals." Allin all, "Ready. Steady, Go!" is a greattreat, and well worth the money you'll besaving by not buying "That Was Rock (TheTAMI/TNT Show)" (see review, July].

-BILLY ALIA; \58

POPULARCOMPACT DISC

SHADOWFAX:

Shadowdance.Chuck Greenberg, producer. Vas .n' Hat WD 1029 (analog record-ing. digital Compact Disc) LP WH 1022

While this fusion sextet shares thereflective mood of most Windham

Hill artists, its merger of folk and jazz is

STITT: ideal CD circumstances

quite a departure from the music of theacoustic soloists who dominate that roster.Coleaders Chuck Greenberg on lyricon, sax,and flute and G. E. Stinson on guitars givethe group a lot of its charm.

The label's high -quality analogversions are already solidly produced, sothis Compact Disc falls short of spectacularrevelations. There are refinements.however: The exotic spectrum ofpercussion, played by Stuart Nevitt and fourguests who appear on different songs, iseven more delicately realized here.especially in quiet passages. Greenberg'spiquant reeds and Jamii Szmadzinski'svarious acoustic and amplified violins areimmaculately rendered; Stinson's chiming12 -string chords ring with added presence.

Analog tape hiss is moot, given boththe superanalog quality of the master and

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

the moderate volume levels dictated by themusic, which is only slightly more forcefulthan the ambient Windham Hill standard.

-SAM SUTHERLAND

SONNY STITT:Moonlight in Vermont,

K. Yoshimura, producer. Divas 38C38 7046 (fully digital CompactDisc) LP 1? 135

The most eloquent examples of earlyI stereo recording were straightforward

live performances-not, ironically enough,the spectacular demonstration pieces usuallyemployed to dramatize stereo imaging. Byreproducing a soloist or small ensemblewith a realistic spatial perspective,producers offered a more practical andenduring argument for the new technologythan their knob -twirling peers.

That's proving to be true of digitalaudio, too, if the first true digital CDs byjazz artists arc any indication. This 1978session by Sonny Stitt utilizes vividpresence, lifelike imaging, and immaculatedetail: In short. "Moonlight in Vermont" isa best -case scenario for the format.

Although he's supported solidly bydrummer Tony Williams, bassist ReggieWorkman, and pianists Barry Harris andWalter Davis, Stitt doesn't carve out anynew terrain stylistically here. The programof standards tends to emphasize his kinshipwith other pop -bop tenor saxophonistsrather than distinguish him from them. Buteveryone's playing is enhanced by thenuances of digital sonics anyway. As withDenon's classical CDs, acoustic characterretains warmth while gaining clarity,particularly in regard to Stitt's own ratherdry timbre and his alternately angular andbuoyant phrasing. Williams's drumming ispredictably fluent, and the piano sound isopen and well realized.

American labels may soon be changingtheir minds about offering jazz on CompactDisc. Programs such as this one can onlyencourage them to do so quickly. -s s

CLASSICALCOMPACT DISC

PUCCINI:Turandot.

PRINCIPAL CAS;Turandot Kama Ricciarelli is)Lib Barbara Hendricks 141Calaf Placido Domingo (t)

Vienna State Opera Chorus, Vienna Choir Boys, Vienna Philhar-monic Orchestra, Herbert von KarMan, cond. [Michel Glou andGunther [Freest. prods 1 DEUTSCHE GRAVISIOPHON CD 410 096-2 (fully digitalCompact Disc) LP 2741 013 (three discs) reviewed 6/83 Cassettes 13)3382 013

U erbert von Karajan's Turandot (as oneI I is forced to call it), which reveled inthe lush exoticism of Puccini's luxuriantorchestration (three kinds of gong!), wouldseem to be a natural for Compact Disc. So,more or less, it proves.

HIGH FIDELITY

In his recent operatic efforts. Karajanhas paid far less attention to the voicesthemselves. Singers have sometimes seemedcuriously irrelevant to his palette: A showyprofligacy in filling the minor roles-AgnesBaltsa as the Zauberflate second lady. KatiaRicciarelli as the Aida priestess-is oddlymatched by an undercasting of the leads. Inan apparent attempt to escape stale operahouse conventions, Karajan has oftenchosen to work with younger singers.unseasoned in a given role. Sometimes thisleads to genuine discovery (HildegardBehrens, his Salome). more often tostretching younger voices (Jose Carreras inAida) or lighter ones (Mirella Freni in thesame) up to and even beyond their limits.

So it is with Ricciarelli, leavingKarajan's production as headless as most ofthe icy Turandot's other suitors. Atemptingly lyrical opening to "hi questareggia" seduces, only to turn edgy, butnever powerful. never thrilling, neverterrifying. The final surrender is built-in:This voice encodes from the start its ownlack of conviction at imperial utterance. ButRicciarelli's shortcomings have beenanatomized superbly by MatthewGurewitsch in the June '83 HIGH FIDELITY,so I will not belabor.

Elsewhere, better luck, down to thebest (most Gozzi-like) trio of councillors onrecord. Placido Domingo, who hasoccasionally seemed like more tenor than isstrictly necessary for Puccini, a Radamesrather than a Rodolfo, trumpets a power farstronger than anything thrown in his pathhere. In this role the steel in his voice iswelcome. There's genuine fury in his"Prineipessa di Bela" response to Liirsdeath, but also a seductive warmth, almostteasing, in his challenge to Turandot to"Dimmi ii mio name," and an abundantlyrical energy in "Nessun donna." BarbaraHendricks, she of the lambent highs, offersa Liu of tempting plangency andvulnerability. Her exchanges with Calaf areloving but deferential, her suicide a slave'spledge of a love otherwise unattainable.

That suicide is one of the production'sfinest moments, the shocked crowd moresaddened than angered, its pianissimo grief(played off against solo violin) a surpriseafter its earlier unslakable thirst for blood.Perhaps that surprise is misplaced. however.for this is a score in which Puccini reallyseems to deny himself nothing: organ. boys'chorus, enough percussion to keep a wholeunion happy-you imagine the composer'sdisappointment at merely simulating thatfirst -act choir of departed spirits. Sometimesthe Orientalism does get a bit back -lotMGM, the effect more Chun -King thanbone china, but isn't that the nature ofmusical impressionism? In intent. thecanned Chinoiserie is really no different

For additional reviews of classical recordings, seeClassical Reviews.

EMBERMBE R 1984

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is to letprofessionals do it.

The professicnals at Toshioa VVi-h their incredibleSysten 55.

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the conductor's Berlin venue than of itsown playing under more genial masters.

Deutsche Grammophon captures theorchestra's sonic splendors with cunningtransparency. Between CD and LP thedifferences are subtle, and they could beobscured by the idiosyncrasies of an LPfront end. As so often, the Compact Discwill seem like a more astonishing successwhen counterposed against a garden-varietyturntable, arm, and cartridge, less so againstbetter. The CD does offer an apparently

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wider range of color, particularly on thoseethereal choruses, but seems to lose a hair'sworth of detail on the brass climaxes. Asalways, CD offers a rock -solid bass, whileboth formats have a hint of that edge thedigit -bashers find unbearable (but less of itthan in many previous DeutscheGrammophon releases). Overall, first-timepurchasers would probably prefer theCompact Disc, while owners of the albummight as well hang on to what they've got.

DG's fold -out plastic box, completewith legible CD -size libretto, is the mostelegant solution I've seen to packaging thesilver saucers. -THOMAS W. RUSSELL III

RACHMANINOFF:

Symphony No. 2, in E minor, Op. 27.Amsterdam Concertgebouw Orchestra, Vladimir Ashkenazy,cond. 'Andrew Cordall. prod I LONDON 400 081 2 LH (fully digital CompactDrscl LP LIN 71063

Vladimir Ashkenazyis recording all ofRachmaninoff s orchestral works with

the Concertgebouw Orchestra, and, with theexception of the concertos and PaganiniRhapsody, the task is virtually complete,with only a few of the relatively minorworks not yet available. As of this writing.however, only the three numberedsymphonies and the Youth Symphonyfragment are available on Compact Disc.

This recording of the Second was thefirst to be issued on LP, and it has beengenerally well received in that format.While there are many admirable qualities toit. the engineers surely have not capturedthe true sound of the ConcertgebouwOrchestra. Decca/London's old monophonicLPs of the orchestra with Eduard vanBeinum conducting-particularly the discsof Sibelius's En Saga and Tapiola,Schubert's Rosamunde, and Mendelssohn'sMidsummer Night's Dream-were far betterbalanced and sound superior to this newdigital effort. (Of the later recordings in thepresent cycle, those of the First and ThirdSymphonies offer a more satisfactory sonicperspective of the orchestra, although they.too, are not all they could be.)

The digital mastering provides a verywide dynamic range, but the string tone issurprisingly thin, the distant pickup isunflattering to the woodwinds, and the brasslacks that unique Concertgebouw "bite"that distinguishes most of its recordings.There is also considerable evidence of "dialtwiddling."

Unfortunately, Ashkenazy is a grunter.as Glenn Gould was, and his audible vocalcontributions to this recording are annoying,particularly at the beginning of the Scherzo.There are many felicities of orchestralperformance to enjoy here (curiously, asurprising trumpet mishap at the end of theScherzo that should have been remade forthe LP is barely noticeable on the CD), butthis is hardly a definitive recording ofRachmaninoff s most romantic symphony.

-ROBERT E. BENSON

HIGH FIDELITY

11111111111111111111111111111111111111

A Rubinstein FeastReissues of recordings by this grandest of20th -century pianists will delight you whetheryou're a gourmet or a first-time sampler.Reviewed by Thomas L. Dixon

Life means living, not escaping.People go to doctors and ask, "Whatvitamins shall I take?" What goodare vitamins, I ask you? Eat four lob-sters and a pound of caviar. Live!

-Artur Rubinstein

WHAT A SPREAD! What a feast ofRubinstein in ten new reissues from

virtually every period of his amazingly fer-tile career as a recording artist. But also,what a formidable subject for review. Thesolution? Why even bother to review (atleast in the narrow sense of that term) thesemagnificent, gilt-edged musical securities?Why not provide what may be more suit-able to the occasion . . . a joyous medita-tion on this portion of Rubinstein's greatlegacy.

Let us begin with the Chopin. The fourSeraphim reissues have been available forquite some time as German Electrolaimports. An examination of each recordreveals little difference between the importsand the new domestic pressings; the trans-fers and surfaces sound extremely close inquality. (However, a comparison betweenthis latest edition of the 1936-37 Nocturnesand an HMV reissue from the mid -1950ssuggests that not as much progress has beenmade in 78 rpm transferring as is commonlysupposed.) When one passes beyond suchmundane matters to consider which Rubin-stein performance of any work stands outmost, one had better be prepared to write abook, not a review. Case in point: Rubin-stein recorded the Chopin F minor Concertofour times. (There is yet a fifth version tocome, a 1960 Polish performance of whichRubinstein himself was said to have beenvery fond.) Each of the four has its merits,but how can anyone really choose betweenRubinstein and Sir John Barbirolli, or Wil-liam Steinberg, or Alfred Wallenstein, orEugene Ormandy?

With that much said, let us welcomethese samples of pre-World War II Rubin-stein as the fine recordings they all are,without exception. They may not be hisgreatest Chopin discs, but again, who is todecide which ones are? Unlike Samuel Lip-man-who in a recent, warped assessmentof Rubinstein's career in Commentary (inquite severe contrast to his normally acutesense of pianists) maintained that it was

iY

It was hot work if you could get it; Rubinstein got it year after year.

almost all downhill after the 1930s-Iwould suggest that Rubinstein's careerpasied through several interesting phases,none of which I could place above the oth-er. Curiously, listening to these earlier per-formances convinces me of the validity ofRubinstein's pioneering Chopin interpreta-tions as against, say, the interpretations ofAlfred Cortot and others. But the musicalreactionaries of those days apparentlyregarded Rubinstein's playing with muchthe same prissy horror as do the reactionar-ies of today when Chopin's music is played

as provocatively as it is by such a re -cre-ative artist as Alexis Weissenberg.

RCA's digitally remastered recordingof the Nocturnes and Waltzes, the first vol-ume in a projected long series, presents anyRubinstein addict with two problems, oneminor. the other quite major. First, theminor issue: Is the cost of this new digitalversion justified, especially to those collec-tors who already own the original mid -1960s discs? Absolutely! To my ears thesenewly remastered performances sound sim-ply marvelous. If this volume is a faithful

SEPTEMBER 1984 61

preview of what we may expect, no trueRubinstein collector can possibly be with-out them.

However, this thought leads directly tothe major problem: A recent statement fromRCA suggested that the label plans to carryits Rubinstein series only as far back as1950. One must take great exception to thatand urge the powers -that -be to move theirdate yet further back, to 1940. Now thatEMI Electrola has almost exhausted itsholdings. RCA remains the only source forcertain Rubinstein treasures, many ofwhich have never seen the light of LP. Forinstance, what about the great 1942 GriegConcerto with Ormandy? What about aprime Rubinstein rarity, namely the single45 rpm disc entitled "Artur] RubinsteinPlays [Anton] Rubinstein" (RCA 45 EP,ERA 205)? One might ask even more: Whynot combine those two items with hisuniquely flamboyant 1947 Liszt E flat Con-certo, done in Dallas with Antal Dorati(long unavailable on LP)? What a specialissue that would make! How about it. RCA. . . as long as you're at it. in heaven'sname, why not dig deeper?

While on the subject of such old gold.one may as well examine the EMI issues,beginning with the disc of Rubinsteinencore performances and the two -record setof various piano works. Obviously, whatappears on these German discs should alsobe made available in the U.S. on Seraphim:meanwhile, for those unafraid of importprices (actually quite reasonable), here isthe story. The three records present the wid-est possible view of the expanse of Rubin -stein's sympathies, yet something more:testimony to the fact that he. more than anyother pianist who comes to mind, nevermade a dull record. The same observationmight just as easily be made of the two -discElectrola set of chamber music, whichreturns to active circulation (at last!) theBrahms Piano Quartet and Rubinstein'sonly collaboration with the lamented PaulKochanski. Incidentally, the sound on allthese EMI transfers is wonderful. They car-ry the same musical message to these carsthat fine, restored antique furniture conveysto the hands and eyes: the honored past isonce again made useful and vibrantly effec-tive. The Brahms Cello Sonata certainlyneeds no further recommendation, and theincandescent Franck Sonata with JaschaHeifetz makes one regret that this was theironly duo collaboration. (The reason why isrevealed on page 541 of the second volumeof Rubinstein's memoirs.)

The highlight among all these EMIreissues is the set of concertos. Whatdelights await anyone buying this three -disctreasure trove -but first, a word of caution.The orchestral collaborations are notalways what we assume these days: in fact.there is a rather rough-and-ready qualityabout some that may well annoy inexperi-enced collectors. The cooperation betweenRubinstein and Albert Coates in the Brahms

B flat, for example, falls far short of per-fection. Still, what vitality is present in this1929 effort (and what a startling contrast tothe recent Vladimir Ashkenazy /BernardHaitink performance. so finished, so pol-ished, so poetic. so dull).

Indeed, this set is welcome almostbeyond measure because it finally restoresthe legendary Rubinstein/Barbirolli collab-oration in the Tchaikovsky Concerto, per-haps the one major performance that bearsout what Rubinstein himself said in hisbook about his recordings: " . . . I madeseveral recordings of each. every link' try-

ing to play them better. But the first ver-sions remained the best" (page 499 of MMany Years). The Beethoven Fourth is alsoa wonder, if for no other reason thanbecause Rubinstein and Sir Thomas Bee-cham present us with a refreshing view ofthis refined work, so different from someponderous Germanic efforts. One is almosttempted to second the conclusion of LionelSalter, who first reviewed this performancein the October 1949 Gramophone: ". .

nobody need bother to record this concertoagain"!(Continued on page 87)

A Selection of Rubinstein ReissuesCompiled by Mildred Camacho-Castillo

CHOPIN: Polonaises (7) and Scherzos (4).Amur Rubinstein. piano. )Recorded 1932 -35.1

SERAPHIM IB 6131 (two discs). Cassettes (21: 4X2G6131. (Distributed by Angel Records. 1750 Vine St..Hollywood. Calif. 90028.)

Polonaises: Op. 26. in C sharp minor and E flatminor: Op. 40. in A and C minor: Op. 44. in F sharpminor; Op. 53. in A flat: Grande polonaise. Op. 22. in Eflat. Scherzos: Op. 20, in B minor; Op. 31. in B flatminor: Op. 39. in C sharp minor: Op. 54, in E. Polo-naise-fantasie. Op. 61, in A flat: Andante spianato. Op.22. in G.

CHOPIN: Mazurkas (51).Artur Rubinstein. piano. [Recorded 1938-39.1

SERAPHIM IB 6132 (two discs). Cassettes (2): 4X2G6132.

Op. 6, Nos. 1-4: Op. 7. Nos. 1-5: Op. 17. Nos.I -4;0p. 24. Nos. 1-4; Op. 30. Nos. I -4; Op. 33. Nos.1-4:0p. 41, Nos. 1-4: Op. 50. Nos. 1- 3: Op. 56. Nos.1-3: Op. 59. Nos 1-3: Op. 63, Nos. 1-3; Op. 67, Nos.1-4: Op. 68. Nos. 1-4; Mazurka in A minor. Op.Posth.: Mazurka in A minor C 'Notre temps'').

CHOPIN: Nocturnes (19).Artur Rubinstein. piano. 'Recorded 1936-37.1

SERAPHIM IB 6133 (two discs). Cassettes (2): 4X2G6133.

Op. 9. Nos. 1-3: Op. 15. Nos. 1-3:0p. 27. Nos.1.2: Op. 32. Nos. 1.2: Op. 37. Nos. I. 2; Op. 48. Nos.1, 2: Op. 55, Nos. I.2; Op. 62. Nos. I . 2:0p. 72. No. I(Posth.).

CHOPIN: Concertos for Piano and Orchestra:No. 1, in E minor. Op. 11; No. 2, in F minor,Op. 21.

Artur Rubinstein. piano: London Symphony.Orchestra. John Barbirolli. cond. [Recorded 1937 and1931.1 SERAPHIM 60381. Cassette: 4X6 60381.

CHOPIN: Nocturnes (19) and Waltzes (14).Artur Rubinstein. piano. 'Recorded 1965 and

1963; Max Wilcox. prod.' RCA RED SEAL ARL 3 5018(three discs, digital remaster). Cassettes (2): CRK5018.

Nocturnes: Op. 9. Nos. 1-3; Op. IS. Nos. 1-3:Op. 27, Nos. I, 2:Op. 32. Nos. I. 2:Op. 37. Nos. 1, 2:Op. 48, Nos. I. 2; Op. 55. Nos. I. 2: Op. 62. Nos. 1.2:Op. 72. No. 1 (Posth.). Waltzes: Op. IS, in E flat; Op.34, Nos. 1-3: Op. 42, in A flat: Op. 64. Nos. 1-3: Op.69 (Posth.), Nos. I. 2; Op. 7(1 (Posth.). Nos. 1-3:Waltz in E minor (Posth.).

ARTUR RUBINSTEIN: Encores ( II).Artur Rubinstein. piano. 'Recorded 1928-34.1

EMI Electrola IC 027 1435551. (German News Co..220 E. 86th St.. New York. N.Y. 10028.)

ALBENIZ: Suite Iberia. Bk. I: "Evocacion":Suite Iberia, Bk. 2: "Triana"; Cantos de Esparia. Op.232: "Cordoba." BACH: Toccata. Adagio. and Fugue.in C, B.W.V. 564. CHOPIN: Mazurkas: Op. 56, No. 3.

in C minor: Op. 63, No. I. in B: Op. 33. No. 2. in D:Berceuse in D flat. Op. 57. GRANADOS: Goyescas.No. 4 ("La Maya y el nsisenor"). VILLA -LOBOS:Prole do bebe. No. I: "Moreninha.- "A Probesinha.""0 Polichinello."

ARTUR RUBINSTEIN: Piano Works (22).Artur Rubinstein. piano. (Recorded 1928-47.1

EMI ELEcntor A IC 151-03 244/45 51 (two discs) (dis-tributed by German News Co.).

ALBENIZ: Suite espatiola. Op. 47. No. 3 ("Se-villa"): Navarra. BRAHMS: Capriccio in B minor. Op.76. No. 2: Rhapsody in G minor. Op. 79. No. 2: Wie-genlied, Op. 49. No. 4. CHOPIN: Waltz in A flat. Op.34. No. I. DEBUSSY: Prelude. Bk. I. No. 10 ("LiCathddralc engloutie'); Suite: Pour Ic piano: Prelude.FALLA: El amor brujo: -Danse rituelle du feu.""Danse de la frayeur." LISZT: Liebestraum in A. No.3. Op. 62: Hungarian Rhapsody in E. No. 10: Conso-lation No. 3. in D. RACHMANINOFF: Morceaus defantasie: Prelude in C sharp minor. Op. 3. RAVE'.: l.eTombeau de Couperin: Forlane. ANTON RUBIN-STEIN: Valse-caprice in E flat. SCHUBERT: Sonata inG. D. 894: Menuetto: Impromptu in A flat. I). 899. No.4. SCHUMANN: Romanzen in F sharp. Op. 28, No. 2:Myrthen, Op. 25. No. I ("Widmung"); Kinderszenen.Op. 15, No. 7 ("Traumerei"); Arabeske in C. Op.18.

BRAHMS; FRANCK: Chamber Music.Artur Rubinstein, piano; members of the Pro Arte

Quartet*: Paul Kochainski. violint: Gregor Piatigorsky,violoncello: Jascha Heifetz, violin **. [Recorded 1932-37.1 EMI ELECTROLA IC 137 1544553 (two discs).

BRAHMS: Quartet for Piano, Violin. Viola. andVioloncello, No. I, in G minor, Op. 25*: Sonata forPiano and Violin, No. 3, in D minor. Op. 108t: Sonatafor violoncello and piano. No. I, in E minor, Op. 38'.FRANCK: Sonata for violin and piano, in A**.

ARTUR RUBINSTEIN: Concertos for Piamand Orchestra (5).

Artur Rubinstein. piano; London SymphomOrchestra. John Barbirolli* and Albert Coatest. conds.Royal Philharmonic Orchestra. Thomas Beechamcond.': Philharmonia Orchestra. Walter Susskindcond.** (Recorded 1929-47.1 EMI Electrola IC 1371544273 (three discs).

BEETHOVEN: No. 4. in G major. Op. 58°BRAHMS: No. 2. in B flat. Op. 83t. MOZART: No23. in A, K. 488*. RACHMANINOFF: Rhapsody on iTheme of Paganini. Op. 43 *'. TCHAIKOVSKY: No1. in B flat minor. Op. 23*.

RACHMANINOFF: Concerto for Piano andOrchestra, No. 2, in C minor, Op. 18; Rhap.sody on a Theme of Paganini, Op. 43.

Artur Rubinstein, piano: Chicago Symphon'Orchestra, Fritz Reiner. cond. 'Recorded 1956: JoinPfeiffer. remaster prod.) RCA ARP 1-4934 (halt -spewremaster). Cassette: ARK 4934.

62HIGH FIDELITY

Preview of the ForthcomingYear's Recordings, Part 1: LPsBecause of the enormous volume of CompactDiscs slated for release during the coming year,HIGH FIDELITY has decided to spread its annualpreview of forthcoming recordings over severalissues beginning this month with the first of ourLP listings. In October, we will devote this spaceto CDs.

As always, we have tried to be as accurateas our industry sources and our own good senseallow. The fact that a recording is listed here doesnot, however, guarantee that it will be released inthe coming months-only that as of press time,

this was the intention of the issuing label or dis-tributor. Nor can we claim that our preview is acomplete accounting of all recordings to bereleased by the companies represented here.Plans change, and there will always be that veryspecial album or CD that we weren't told about.(Beginning in November, HIGH FIDELITY listsnew domestic CD releases as they appear.)

Please note the following use of abbrevia-tions, alone or in combination. For performingforces: P (Philharmonic), R (Radio), S (Sympho-ny), 0 (Orchestra), C (Chamber), Ch (Chorus,

Choir), St (State), Op (Opera), Ac (Academy), E(Ensemble), Qr (Quartet), Qn (Quintet), Fest(Festival), or their foreign -language equivalents.For voice ranges: lower-case letters withoutparentheses. For production and packaging:Where knowri, number of records in multidiscsets is given in parentheses at end of listing; otherparenthetical symbols include s (single discrather than set), r (domestic reissue), h (histori-cal), d (digital recording), m (mono), I (liverecording). Initials and first names appear only asneeded.

ACl 1-.7%. I (Belgium(distributed by AudioSource)

Bach: Complete Works for Lute. Junghanel (2).Beethoven: Symphony No. 7 (arr. wind nonet).

Dombrecht. Octophoros.Corelli: Violin Sonatas. S. Kuijken, W. Kuijken,

Kohnen.Leclair: Complete Sonatas for Transverse Flute

and Continua. B. Kuijken, W. Kuijken, Kohnen(2).

ANGEL

Auber: Fra Diavolo. Mespld, Berbie, Gedda; Mon-te Carlo Op, Soustrot (*).

Bach: Violin Concertos; Concerto for Violin andOboe. Perlman, Still; Israel PO (*).

Beethoven: Overtures. London PO, Tennstedt (1.Brahms: Violin Sonatas. Perlman, Ashkenazy (*).Donizetti: Lucia di Lammermoor. Gruberova,

Kraus; Royal PO, Rescigno (*).Dvot4k: Symphony No. 9. Berlin PO, Tennstedt

(*).Gershwin: An American in Paris (world premiere).

K. and M. Labeque.Gounod: Romeo and Juliet. Mahan°. Kraus; Tou-

louse 0, Plasson (1.Gounod: Saint Cecilia Mass. Hendricks, Dale, La -

font; Nouvelle OP, Pretre (*).Handel: Water Music. Linde Consort (*).Handel: Fireworks Music. Linde Consort (P),Khachaturian: Suites: Spartacus, Gayneh. Royal PO.

Temirkanov (.).Mahler: Das klagende Lied. Hodgson, Tear,

Doese, Rae; City of Birmingham SO&Ch, Rattle(*).

Mendelssohn; Bruch: Violin Concertos. Perlman;Concertgebouw 0, Haitink (*).

Monteverdi: Vespers (1610). Taverner Consort.Parrott (*).

Prokofiev: Peter and the Wolf. Perlman (narrator).Rachmaninoff: Piano Works. Gavrilov (*).Rachmaninoff: Piano Concerto No. 2; Rhapsody

on a Theme of Paganini. Ousset; City of Bir-mingham SO, Rattle (*).

Rachmaninoff: Symphony No. 2. Los Angeles P.Rattle (*).

Ravel: Shiherazade. Duparc: Songs with Orches-tra. Te Kanawa; Brussels Op 0. Pritchard (*).

Saint-Saens: Carnival of the Animals. K. and M.Labeque; Israel PO, Mehta.

Wagner: The Flying Dutchman. Van Dam, Moll,Vejzovic, Hoffman; Berlin PO, Karajan (*).

Walton: Shakespearean Film Scores. Royal Liver-pool PO, Groves (*).

Music of 16th Century Rome. King's College Ch,Cambridge (*).

Popular Schubert Lieder. Popp (*).Popular Mozart Arias. Allen; Scottish CO. Arm-

strong (*).Sousa Marches, Vol. IL Royal Marines Band.

Hopkins.

Angel Records, 1750 North Vine Street, Holly-wood, Calif. 90028

(*) indicates that the recording uses Direct MetalMastering (DMM) and is pressed in WestGermany.

Trevor Pinnock conducts Handel organconcertos on Archie.

ARCHIV(released by Deutsche Grammophon)

Bach: The Art of The Fugue; Goldberg Canons.Musica Antique Köln (d).

Bach: Concertos (3): after BWV 1060. 1055, 1044.English Concert, Pinnock (d).

Bach: The Well -tempered Klavier. Gilbert (dl.Handel: Concerti grossi, Op. 3. English Concert,

Pinnock (dl.Handel: Organ Concertos, Opp. 4, 7. Preston; En-

glish Concert, Pinnock (d).Mozart: Piano Concertos 12-15. Bilson, Gardiner:

English Baroque Soloists (d).Vivaldi: Concertos. English Concert. Pinnock (d).Trevor Pinnock: The Harmonious Blacksmith and

Other Harpsichord Works (d).

ARGO(released by London Records)

Franck: Organ Music. Hurford (d).Mozart: Coronation Mass; Missa Solemnis. Mar-

shall. Murray, Covey -Crump. Wilson -Johnson:

King's College Ch, Cambridge; English CO,Cleobury Id).

Christmas at King's. King's College Ch, Cam-bridge; Cleobury (d).

ASTREE (France)(distributed by AudioSource)

Schubert: Goethe Lieder. Soderstrom, Badura-Skoda Id).

AUDIOSOURCE

See Accent, Astree (France), Denon, TR Records.AudioSource, 1185 Chess Dr., Foster City, Calif94404.

CAMBRIA

The Crown Years: The Historical Recordings ofConcert Pianist John Crown, 1940-1953.

The Songs of Mary Carr Moore. De La Rosa. Ru-dat, Lenz.

Cambria Records and Publishing. Box 2163, PalosVerdes, Calif. 90274.

CONSORTIUM RECORDINGS

See GSC Recordings and Laurel Record. Consor-tium Recordings, 2451 Nichols Canyon, Los An-geles, Calif. 90046-1798.

DENON (Japan)(distributed by AudioSource)

Strauss, R.: Ein Heldenleben. Dresden StO, Blom-stedt (d).

DEUTSCHE GRAMMOPHON

Bach: Lute Suites. Sollscher (d).Bach: Mass in B minor. Monteverdi Ch; English

Baroque Soloists. Gardiner (d).Bach: Violin Sonatas and Partitas. Mintz (d).Beethoven: Piano Sonaas, Vols. 1, 2. Barenboim

(dl.Beethoven:Violin Sonatas, Nos. 4, 5. Kremer, Ar-

gerich (d).Bernstein: West Side Story. Cast to be announced

(d).Brahms: Double Concerto; Academic Festival

Overture. Kremer, Maisky; Vienna PO, Bern-stein (d).

Brahms: Lieder. Norman, Barenboim (d).Brahms: Piano Concerto No. 2. Zimerman; Vienna

PO, Bernstein (d).Bruckner: Symphony No. 8. Vienna PO, Giulini

(d).

SEPTEMBER 1984 63

Haydn: Symphonies Nos. 88,92. Vienna PO. Bern-stein Id).

Mahler: Symphony No. 7. Chicago SO, AbbadoId).

Mahler: Das klagende Lied. Popp, Fassbaender,Araiza, Allen; London Philharmonia, SinopoliId).

Mendelssohn: A Midsummer Night's Dream. Schu-bert: Rosamunde (excerpts). Chicago SO, Le-vine (d).

Mozart: Divertimento K. 563. Amadeus Qr (d).Mozart: Kegelstatt Trio; Duos. Kremer, Kashka-

shian, Afanassiev (d).Mozart: Piano Concertos (continuing cycle). Bil-

son; English Baroque Soloists. Gardiner (d).Mozart: Sinfonia Concertante; Violin Concerto

No. /. Kremer, Kashkashian; Vienna PO, Har-noncourt (d).

Mozart: Symphonies 38, 39. Vienna PO, Bernstein(d).

Mozart: Symphonies 40, 41. Vienna PO, BernsteinId).

Mozart: Violin Sonatas. Perlman. Barenboim (d).Mozart: Violin Concerto No. I; Rondos. Perlman:

Vienna PO, Levine (d).Mozart: Violin Concertos Nos. 2, 4. Perlman, Vi-

enna PO, Levine (d).OrIf: Carmina Burana. Anderson, Creech, Weikl;

Chicago SCh; Glen Ellyn Children's Ch; ChicagoSO, Levine (d).

Pergolesi: Stabat Mater. Marshall, Valentini-Ter-rani; London SO, Abbado (d).

Puccini: Manon Lescaut. Freni, Domingo. Bruson;London Philharmonia, Sinopoli (d).

Rachmaninoff: Piano Concerto No. 3. Argerich;Boston SO, Ozawa (d).

Rachmaninoff: Symphony No. 1; 'Fantasy', Op. 7.Berlin PO, Maazel (d).

Ravel: Daphnis et Chloe. Vienna PO, Levine (d).Ravel: Piano Concertos. Argerich, London SO,

Abbado (d).Scarlatt(: Guitar Recital. Yepes (d).Schubert: Symphony No. 9. Chicago SO, Levine

Id).Schumann: Symphonies. Vienna PO, Bernstein (d).Sibelius: Finlandia, Op. 26; Valse Triste, Op. 44;

Swan of Tuonela; Tapiola. Berlin PO, Karajan(d).

Strauss: Lieder. Fischer-Dieskau, Sawallisch (d).Strauss: Der Rosenkavalier. Tomowa-Sintow,

Baltsa, Moll, Perry, Hornik; Vienna StOCh&O,Karajan.

Strauss: Sinfonia Domestica. Vienna PO, MaazelId).

Stravinsky: Suites: Firebird; Pulcinella. Israel PO,Bernstein (d).

Stravinsky: Symphony in 3 Movements; Symphonyin C. Israel PO, Bernstein (d).

Tchaikovsky: Capriccio italien; Marche slave:Waltz and Polonaise from 'Eugen Onegin' ;Hamlet Overture. Israel PO, Bernstein (d).

Tchaikovsky: Symphonies Nos. 4, 5, 6. Vienna PO,Karajan (d).

Verdi: Arias. Domingo; Sinopoli, Orchestra to beannounced (d).

Verdi: Don Carlos. Domingo, Ricciarelli, Nucci,Raimondi, Valentini-Terrani; Ch&O of La Scala.Abbado (d).

Verdi: 11 Trovatore. Plowright, Fassbaender, Do-mingo; Santa Cecilia, Giulini (d).

Verdi: Requiem. Vienna PO, Karajan (d).Vivaldi: Recorder Concertos. Copley, Camerata

Bern (d).Wagner: Orchestral music from 'The Ring'. Or-

chestre de Paris, Barenboim (d).Wagner: Operatic Overtures. Berlin PO, Karajan

Id).Widor: Symphony No. 5. Vienne: Carillon de West-

minster. Preston.Placido Domingo: Arias from Aida. Nabucco, Tur-

andot, Manon Lescaut, 1l Trovatore, Don Ca-los. al).

Gdran Sollscher: Cavatina and other popularpieces. (d).

Christmas Carols. Westminster Abbey Ch, Pres-ton (d).

Released by Polygram Classics, Inc., 810 7th Ave..

New York. N.Y. 10019.

DISCOCORP

Bruckner: Symphony No. 9. Berlin PO, Knapperts-busch (I, 1950).

Chopin: Piano Sonatas Nos. 2, 3; Encores. Cortot(h).

Schubert: Lieder Recital. Hotter. Raucheisen (2: h,1942-44).

Wagner: Gotterdammerung excerpts. Flagstad,Melchior, Janssen, Thorborg, Weber: CoventGarden Royal OpCh&O, Furtwangler (2. I.1937).

Wagner: Die Walkiire. Act ///. Flagstad, Bockel-mann, Muller: Covent Garden Royal OpCh&O,Furtwangler (I, 1937).

Raymond Leppard conducts Haydn andMozart on Erato/RCA.

The Art of Lotte Lehmann. Songs and arias byMozart, Beethoven. Schubert, Schumann, Wolf,Wagner, with pianists Bruno Walter and P. Ulan-owsky (I, 1938-50).

Discocorp, Inc., P.O. Box 771. Berkeley, Calif.94701.

ERATO/RCA (France)

Albinoni: Le Triomphe de L'Aurore. Anderson,Zimmermann, Browne, Klare, Yoshihisa; I So-listi Veneti, Scimone (2. d).

Bach: Christmas Oratorio. Equiluz. Watkinson,Schlick, Brodard; Lausanne Vocal E&ChO.Corboz (3. d).

Bach: Suites for Orchestra. English Baroque Solo-ists, Gardiner (2. d).

Berio: Sinfonia. Orchestre National de France,Boulez (d).

Bizet: Carmen (highlights). Migenes-Johnson, Do-mingo, Raimondi, Esham; Orchestre National deFrance, Maazel (d).

Chabrier: Le Roi malgre lui. Eda-Pierre, Hen-dricks, Quilico, Raffali, Lafont: French NationalR&TCh; Nouvel Orchestre Philharmonique, Du-toit (d).

Charpentier: Medee. Norman; Orchestre de L'O-pera de Lyon, Corboz (d).

Chopin: Sonatas Nos. 2, 3. Duchable (d).Corelli: Christmas Concerto. I Solisti Veneti, Sci-

mone (d).Dukas: Orchestral Works (complete). Orchestre

National de France and Orchestre de la SuisseRomande, Jordan (5, d).

Enesco: 2 Rhapsodies roumaines; Poeme roumain.Monte Carlo PO, Foster (d).

Handel: Organ Concertos (complete). Koopman(5. d).

Handel: Messiah. Amsterdam Baroque 0, Koop-man (3, d).

Haydn: Symphonies Nos. 94, 98. Scottish ChO.

Leppard (d).Janitek: Dances for Orchestra; Symphonic ex-

cerpts from opera. Rotterdam PO, Conlon (d).Liszt: Faust Symphony. Aler; Rotterdam PO, Con-

lon (d).Liszt: Dante Symphony. Rotterdam PO, Conlon

Id).Liszt: Sonata in B minor; Ligendes (2). Duchable

(d).Mahler; Strauss: Quatuors avec Piano. Quatuor

Ivaldi 1d).Mendelssohn: Elijah. Wiens, Watkinson, Lewis,

Luzon; O&Ch de la Fondation Gulbenkian deLisbonne, Corboz (3. dl.

Mozart: Arias. Baker; Scottish ChO, Leppard (d).Mozart: Symphonies Nos. 25, 40. Scottish ChO,

Conlon (d).Mozart: Symphonies Nos. 38, 39. Scottish ChO,

Conlon (d).Poulenc: Concertos (complete). Duchable, Collard,

Alain, Koopman; Rotterdam PO, Conlon (2. d).Purcell: King Arthur. Smith, Fisher, Priday, Staf-

ford, Elliott, Varcoe: Monteverdi Ch: EnglishBaroque Soloists, Gardiner (2. d).

Scarlatti: Stabat Mater. Monteverdi Ch; EnglishBaroque Soloists, Gardinei (d).

Tosti: Songs. Raimondi; I Solisti Veneti. Scimone(d).

Vivaldi: Catone in Utica. Gasdia, Zimmermann; ISolisti Veneti, Scimone (2, d).

Vivaldi: Motets (complete). Gasdia; I Solisti Vene-ti, Scimone (3. dl.

GSC RECORDINGS(distributed by Consortium)

Paul Hindemith Anthology, Vol. 8: Quartet forClarinet, Violin, Cello, Piano; Oboe Sonata;Eight Pieces for Flute; Canonic Sonatine for 2Flutes; Concertpiece for 2 Alto Saxophones.Gray, Kamei, Solow, Smith, Ellis, Stevens.Stokes, Warkenton, Pittel, Rotter.

Paul Hindemith Anthology, Vol. 9: String QuartetsNos. 1, 2. Los Angeles Qr.

Paul Hindemith Anthology, Vol. II: String Quar-tets Nos. 5, 6. Los Angeles Qr.

Paul Hindemith Anthology, Vol. 12: Septet; Trom-bone Sonata. Peebles, Carno.

HARMONIA MUNDI GERMANY(distributed by Intersound)

Bach, C.P.E.: Symphonies. Collegium Aureum (d).Handel: Alessandro. La Petite Bande, Kuijken (3,

dl.Handel: Judas Maccabaeus. Gonnenwein; Lud-

wigsburger Festival 0 of Germany (3, d).Mayonne: Organ Works. Stanbridge (d).Schubert: Symphonies Nos. 3, 6. Cologne RSO,

Wand (d).Schutz: Sacred Choral Music. Hannover (3, d).Schatz; Ward: Sacred Works. Consort of Musicke

(d).Victoria: Responsories and Lamentations. Esco-

lama Montserrat (2, d).Von Bingen: Symphonae. Sequentia E (d).Contemporary German Music, Vols. 8-10. (9, d).Cupid and Death. Masque Consert of Musicke (d).Musikwettbewerb. Works by F.P.Zimmermann, T.

Zimmermann, A. Schmitt. (5, d).Passionsspiel. Aus der Carmina Burana. Schola

Cantorum Basiliensis (d).Pastoral Masses. Augsburg Cathedral Boys Ch (d).Wedding Music from Danzig. Works by Biber, et.

al. Institute for Eastern German Music (3. d).

INTERSOUND

See Harmonia Mundi Germany, Pro Arte, Sinfo-nia, Supraphon, Teldec. Intersound, Inc., 1402523rd Ave. N., Minneapolis, Minn. 55441.

64 HIGH FIDELITY

LAUREL RECORD(distributed by Consortium)

Adler, S.: Piano Trio No.2 (world premiere). West-ern Arts Tr.

Baker, D.N.: Cello Concerto; RSVP; Struttin'(world premiere). Starker; David Baker's 21stCentury Bebop Band.

Bart6k: Rhapsody No. I for Violin and Orchestra.Lefkowitz; London PO, Freeman.

Bloch: Piano Quintet No. 2 (world premiere).Karp, Pro Arte Qr.

Bloch: Violin Concerto. Leflcowitz; London PO,Freeman.

Bloch: String Quartets Nos. 3. 4, 5. Pro Arte Qr.Cave, M.: Ecclesiastes for 2 Sopranos, String

Quartet, Oboe, Horn, Piano.Lab: Piano Trio No. 3. Western Arts Tr.Lazarof: Chamber Works. Stokes, Winter, Gray,

Thomas, Camo, Schwarz, Vasa Qr.Mkhelet: Piano Trio No. 2 (world premiere). West-

ern Arts Tr.Muczynski: Chamber Works (world premiere).

Lurie, J. Baker, Muczynski.Rirnsky-Korsakov: Piano Trio in C sharp minor.

Western Arts Tr.Rubinstein, A.: Piano Concerto No. 4. Syme; Lon-

don PO, Freeman.Smart: Piano Trio "The Encantadas" (world pre-

miere). Western Arts Tr.Szymanowski: Symphonic Concertante for Piano

and Orchestra (Symphony No. 4). Syme; Lon-don PO, Freeman.

Van Dieren: String Quartets Nos. 1, 2 (world pre-miere). Pro Arte Qr.

Villa -Lobos: String Quartet No. 6. Pro Arte Qr.Western Arts Trio, Vols. 8, 9, 10. World premiere

recordings of trios by Borroff, Castillo, Harris,Scharf, Ding Shande.

All Laurel Record recordings are analog.

LONDON

Bach: Cantatas Nos. 80, 140. Fontana, Hamari,Winbergh, Krause; Hymnus Cliorkpaben Stutt-gart, Stuttgart CO, MUnchinger (d).

Bach: Cello Suites. Harrell (2, d).Bach: Two- and Three-part Inventions. Schiff (d).Bach: Partitas. Schiff (2, d).Bart6k: Violin Concerto No. I. Berg: Violin Con-

certo. Chung; Chicago SO, Solti (d).Bartok: Miraculous Mandarin (Complete); Music

for Strings, Percussion and Celesta. Detroit SO,Dorati (d).

Beethoven: Piano Concertos (5). Ashkenazy; Vien-na PO. Mehta (4, d).

Beethoven: Quartet, Op. 132. Fitzwilliam Qr (d).Beethoven: Quartet, Op. 130, Grosse Fuge. Fitz-

william Qr (d).Beethoven: Symphony No. 7; Egmont and Coriolan

Overtures. Philharmonia 0. Ashkenazy (d).Berlioz: Nuits d'ete. Ravel: Sheherazade. Behrens;

Vienna S, Travis (d).Canteloube: Songs of the Auvergne, Vol. 2. Te

Kanawa; English CO, Tate (d).Chopin: Piano Works (conclusion of series). Ash-

kenazy (d).Dvotik: Slavonic Dances, Opp. 46, 72; American

Suite. Royal PO, Dorati (2, d).Giordano: Andrea Chenier. Pavarotti, Caballd,

Nucci; National PO, Chailly (3, d).Granados: Seis piezas sobre cantos populaces

espatioles; Escenas Ramanticas; Allegro deConcierto. De Larrocha (d).

Haydn: Symphonies Nos. 94, 100. LPO, Solti (d).HErold (arr. Lanchbery): La Fille Mal Gardie. Co-

vent Garden Royal Op 0, Lanchbery (d).Lecocq: Mamzelle Angot. Weber (orch. Berlioz):

Invitation to the Dance. Berlioz: Ballet musicfrom Les Troyens. National PO, Bonynge (d).

Liszt: Piano Works (continuation of series). Bolet(d).

Liszt: Fantasia on Hungarian Folk Themes; Toten-tanz; Malediction. Bolet; London SO, Fischer(d).

Mahler: Symphony No. 1. Chicago SO, Solti (d).

Mozart: Piano Concertos (continuation of series).Ashkenazy (d).

Mozart: ldomeneo. Pavarotti, Baltsa, Popp, Gru-berova, Nucci; Vienna PO, Pritchard (4, d).

Mozart: Piano Sonatas, Vols. 4, 5. Schiff (d).Pachelbel: Kanon. Albinoni: Adagio. Bach; Handel;

Gluck; Boccherkii; Haydn. Instrumental Works.Stuttgart CO, MUnchinger (d).

Puccini: Tosca. Te Kanawa, Aragall, Nucci; Solti(2, d).

Ravel: Ma Mere L'Oye; Pavane pour une infantedefunte; Le Tombeau de Couperin; Valses No-bles et Sentimentales. Montreal SO, Dutoit (d).

Ravel: Gaspard de la Nuit; Valses Nobles et Senti-mentales; Pavane pour une infante defunte.Ashkenazy (d).

Rodrigo: Concierto de Aranjuez. Moreno-Buendia:Harp Concerto. Robles; Philharmonia 0, Dutoit(d).

Schoenberg: Moses and Aron. Mazura, Langridge,Haugland; Chicago SO, Solti (2. d).

Schubert: "Trout" Quintet. Schiff; members of Ha-gen Qr (d).

Schumann: Piano Concerto. Chopin: Piano Con-certo No. 2. Schiff; Concertgebouw 0, Dorati(dl.

Shostakovich: Cello Concerto No. 1. Bloch: Sche-lomo. Harrell; Concertgebouw 0, Haitink (d).

Shostakovich: Piano Quintet; Seven Poems of Alex-under Blok. Soderstrom, Ashkenazy; Fitzwil-liam Qr (d).

Shostakovich: Symphonies Nos. 6, I 1 . Concertge-bouw 0, Haitink (2, d).

Sibelius: Symphonies Nos. 3, 6. Philharmonia 0,Ashkenazy (di.

Strauss, R.: Rosenkavalier Suite; Die Frau OhneSchatten Fantasie. Detroit SO, Dorati (d).

Stravinsky: The Rake's Progress. Dean, Pope,Langridge, Ramey, Walker, Dobson; LondonSinfonietta, Chailly (3, d).

Stravinsky: Symphony of Psalms; Chant du Ros-signol: Fireworks; Zvezdoliki. Berlin RCh&SO,

Chailly (di.Tchaikovsky: Romeo and Juliet; Francesca da Rimi-

ni. Cleveland 0, Chailly (d).Tchaikovsky: Symphony No. 4. Chicago SO, Solti

(d).Verdi: Un Ballo in Maschera. Pavarotti, Price,

Bruson, Ludwig. Battle; National PO, Solti (d).Wagner for Military Band. Philip Jones E.

Howarth (di.

Released by Polygram Classics, Inc., 810 SeventhAvenue, New York, NY 10019.

The digitally remastered Solti Ring will be reissuedon 16 records. It will also appear on CD. TheSolti Mahler Symphonies will be issued in onebox. Two recordings by the guitarist Eduard Fer-nandez, one consisting of works by Legnani,Guiliani, Diabelli, Paganini, and Sor, the other ofworks by Rodrigo, Falla, Albeniz, Turina, Gra-nados, and Torroba. Also, historical CDs: Fer-rier's Das Lied von der Erde, a Backhaus/BohmBrahms 2nd, BOhm's Bruckner 4th, and Anser-met's Scheherazade and La Mer. CD compila-tions wil include such titles as Immortal Clas-sics, Pomp and Circumstance, Brass Splendor,Famous Waltzes, and Ode to Joy.

MMG(released by Moss Music Group)

Encores. Music by Poulenc, Doppler, Saint-Sainsand others. Baxtresser, flute. A. Davis, piano(d).

A Festival of Folksongs, Vol. 2. Gregg Smith Sing-ers, Srrith.

Gershwin: Fascinatin' Rhythm. Baxtresser, flute,Baker,flute, A Davis, piano; Toronto CE (d).

MOSS MUSIC GROUP

See MMG, Vox/Turnabout, Vox Cum Laude.

LISTENTO WHAT50 YEARS OFEXPERIENCECAN SOUNDLIKE....

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SEPTEMBER 1984 65

Moss Music Group, Inc., 48 W. 38th St., NewYork, N.Y. 10018.

NEW WORLD

Barber: Antony and Cleopatra. Hinds, Wells,Grayson, Halfvarson; Wettminster College Ch;Spoleto Fest. 0, Badea (3).

Carpenter: The Collected Works for Piano. Old-ham (2).

Crumb: A Haunted Landscape*. Schuman: ThreeColloquies for Horn and Orchestra. Myers; NewYork P, Weisberg*, Mehta (d).

Lieberson: Piano Concerto. P. Serkin; Boston SO,Ozawa (d).

Martino: Fantasies and Impromptus. Sessions:Second Sonata. Hodgkinson.

Henry Herford: Song Recital. (works by Corig-liano, Shepherd, B. Weber, Suss).

The Albany Symphony Orchestra. (works by Car-penter, Hadley, Mason, Q. Porter). Hegyi (d).

The New Music Consort. (works by Cage, Foss.Soilberger).

New World Records, 701 Seventh Avenue, NewYork, N.Y. 10036.

NONESUCH

Brahms: Clarinet Quintet. Mozart: Clarinet Quin-tet, Allegro, K. 516c. Zukovsky; Sequoia Qr. (d).

Brahms: Trio Works. Boston SC Players (d).Debussy; Ravel: Songs. DeGaetani, Kalish.Faure; Messiaen: Songs. Shelton, Orkis (d).Herbert: Serenade for Strings; Suite for Cello and

Chamber Orchestra; Three Pieces for Strings.Los Angeles CO, Schwarz (d).

Jantieek: Lachian Dances. Dvotik: Suite, Op. 98b,Festival March. Rochester P, Zinman (d).

Kodaly: Sonata for Unaccompanied Cello; Duo forViolin and Cello. Grossman, Phillips (d).

La Barbara: Vlissingen Harbor; October Music;Solar Wind.

Subotnick: Last Dream of the Beast. La Barbara;California E.A.R. Group, Mosko.

Mozart: Wind Serenades in Eflat and C minor. LosAngeles CO Winds (d).

Mussorgsky; Tchaikovsky: Songs. DeGaetani,Kalish.

Schrecker: Chamber Symphony. Hindemith: Kam-mermusik No. I. Smoak Concertino for Clarinetand Orchestra. Shifrin; Los Angeles CO,Schwarz (d).

Schubert: Piano Works. Goode (r).Schwantner: Magabunda. Schuman: American

Hymn. Shelton; St. Louis SO, Slatkin (d).Scriabin: Complete Piano Sonatas. Laredo (3, r).

String Quartet in B minor; String QuartetNo. I. Sequoia String Qr. (d).

American Flute Project. Wincenc, Sanders (d).Early American Vocal Music, Vol. II. Western

Wind (d).Spanish Golden Age Music for Trumpet and Or-

gan. Tarr, Kruger.

EXPLORER SERIES

Drums of Korea. Samul-Nori.

Nonesuch Records, 9229 Sunset Blvd., Los Ange-les. Calif., 90069; 665 5th Ave.. New York, N.Y.10022.

OISEAU-LYRE(released by London Records)

Bach: Brandenburg Concertos. Ac of Ancient Mu-sic, Hogwood (2, d).

Bach: French Suites. Hogwood (2, d).Handel: Concerti a due cori. Ac of Ancient Music,

Hogwood (d).Haydn: Symphonies Nos. 100. 104. Ac of Ancient

Music, Hogwood (d).Ampico Piano Rolls: Sergei Rachmaninoff. Vol. 1;

Josef Lhevinne, Vol. 2; Moriz Rosenthal.

OWL

Eakin: Frames. Parmalee.Persichetti: Tenth Piano Sonata; Eleventh Piano

Sonata; Serenade No. 7. Burmeister.New Music for Clarinet. Works by Subotnick, Os-

borne, Miller, Toensing, Olan. Kireilis.

Owl Recordings. Inc., P.O. Box 4536. Boulder,Colo. 80306.

PHILIPS

Bach: Three Concertos after Vivaldi; Fugue in Bminor (on a theme of Corelli). Chorzempa (d).

Bach: Organ Works. Chorzempa (d).Bach: Magnificat, Motet "Jauchzet Gott in Allen

Landen". Kirkby; Monteverdi Ch; English Ba-

Neville Marriner conducts Saint -Sans' sDanse macabre on Philips.

rogue Soloists, Gardiner (d).Beethoven: Piano Sonatas, Opp. 10 No. 3; III.

Arrau (d).Beethoven: Piano Sonata, Op. 111. Gulda: Winter -

meditation. Gulda (d).Berlioz: Rakoczy March. Chabrier: Joyeuse

marche. Debussy: Prelude d l'apres-midi d unfaune. Dukas: Sorcerer's Apprentice. Ravel: Pa-vane pour une infante defunte. Saint-Ssens:Danse macabre. Loveday; St. Martins' Ac, Mar-riner (d).

Brahms: Four Ballades; Pieces, Op. 76. Bishop-Kovacevich (d).

Brahms: Piano Works, Opp. 116, 117, 119; ScherzoOp. 4. Bishop-Kovacevich (d).

Bruch: Swedish Dances; Symphony No. 2.Gewandhaus 0, Masur (d).

Chausson;, Ravel: Piano Trios. Beaux Arts (d).Debussy: Piano Works. Koscis (d).Dvotik: Piano Quintets, Opp. 5, 81. Richter; Boro-

din Qr (2, d).Lanner; Strauss, Johann Sr.; Klauser: Waltzes;

Polkas. Kremer, Guth, Kashkashian, Flortnafel(d).

Liszt: Piano Works. Brendel (4, r).Mahler: Symphony No. 4. Alexander; Concertge-

bouw 0. Haitink (d).Mendelssohn: Violin Concerto; Octet. Zukerman,

St. Paul ChO (d).Mozart: Piano Works. Uchida (d).Mozart: Divertimentos, K. 136, 137, 138; Sere-

nade, K. 239. I Musici (d).Mozart: Piano Quartets. K. 478, 493. Beaux Arts,

Giuranna (d).Mozart: String Quartets K. 575, 589. Orlando Qr

(d).Mozart: The Magic Flute. Price. Schreier, Serra,

Moll, Melbye, Adam; Dresden State 0, Davis (3,d).

Mozart: Piano Sonatas; Rondo, K. 511. Uchida(d).

Mozart: Piano Concertos Nos. 8, 26. Brendel; St.

Martin's Ac, Marriner (d).Mussorgsky: Boris Godunov. Vedernikov, Ma-

torin, Piavko, Arkhipova, Masurok, Sokolov;USSR TV&Radio Large SO, Fedoseyev (4).

Ravel: Daphnis et Chloe. Netherlands CCh, Neth-erlands Vocal E, Concertgebouw 0. Kondrashin(I).

Reich: Variations for Winds, Strings, and Key-boards. Adams: Shaker Loops. San FranciscoSO, de Waart (d, first recordings).

Rossini: Maometto Secondo. Anderson, Zimmer-mann, Palacio, Ramey, Dale; Ambrosian OpCh,Philharmonia 0, Scimone (3, d).

Rossini: Petite Messe Solennelle. Ricciarelli, Zim-mermann, Carreras, Ramey; Ambrosian Sing-ers, Sheppard, Berkowitz, Nunn, Scimone (2,d).

Schnittke: Concerto No. 2 for Violin and ChamberOrchestra*: Piano Quintet. Kremer, Basler SO,Holliger*; Bashkirova, Kremer, Rabus, Causse,Iwasaki (d).

Schubert: Symphonies (10). St. Martin's Ac, Mar-riner (7, d).

Schubert: String Quartet "Death and the Maiden".Orlando Qr (d).

Schubert: Sonata for Arpeggione. Schumann: Fan-tasiestacke, Op. 73. Argerich, Maisky (d).

Schubert: Winterreise; Lieder (8). Fischer-Dies-kau, Brendel (2. d).

Schubert: Rosamunde. Ameling; Gewandhaus 0,Masur (d).

Schumann: Fantasiestiicke, Op. 12; Liederkreis,Op. 39. Anders, Gulda (d).

Strauss, R.: Horn Concertos Nos. 1, 2. Weber:Concertino for Horn. Baumann; Gewandhaus 0,Masur (d).

Stravinsky: Petrouchka. Gershwin: An American inParis. Concertgebouw 0. Kondrashin (I).

Tekmann: Violin Concertos. Brown; St. Martin'sAc (d).

Telemann: Horn Concertos. Baumann, T. Brown.Hill, I. Brown; St. Martin's Ac (d).

Verdi: Macbeth. Zampieri, Bruson, Lloyd, Ali-berti, Shicoff, Ahnsjo, Salomaa, Nikolic,Schmidt, Neubert; Deutsche Op Berlin, Sinopoli(3,

Verdi: Overtures. Vienna PO, Sinopoli (d).Wagner: Scenes and Arias. Estes. Bundschuh,

Reeh; Berlin State Op 0, Fricke.Famous Overtures -works by J. Strauss, von

Suppe, Auber, Smetana, Offenbach, Sullivan.St. Martin's Ac, Marriner (d).

Gulda Plays Gulda (d)."Sentimental Me -music of Gershwin, Ellington,

Porter. Ameling, Clayton, Van Dijk (d)."Serenata". Ameling. Jansen (d).

Released by Polygram Classics, Inc., 810 SeventhAvenue, New York. N.Y. 10019.

PRO ARTE(released by Intersound)

Bach: Magnifica: in D. Hoffmann (attrib. Tele.mann): German Magnificat. Bryden, Baird.Gall. Hoffmeister, Opalach; Bach E, Rifkin (d).

Bach: Brandenburg Concertos. Bach E, Rifkin (2,d).

Bach: Brandenburg Concertos. Leonhardt E (2. r).Bach: Mass in B minor. La Petite Bande, Kuijken

(2. d).Bach: Suites for Unaccompanied Cello. Bylsma (3,

r).Barber: Violin Concerto; Overture to The School

for Scandal; Essay for Orchestra No. 2; Preludeand Intermezzo from Vanessa. Utah SO, Silver-stein (d).

Has: Fantasy on Five Polish Carols. Hoist: FourCarols. Rutter: Carols. Vaughan Williams: Fan-tasia on Greensleeves. Bel Canto Voices; Plym-outh Fest O&CH, Brunelle (d).

Beethoven: Symphony No. 3. Collegium Aureum(r).

Beethoven; Ries: Sonatas for Horn. Baumann,Sanders (d).

Beethoven: Piano Concertos (5). Sherman: CzechP. Neumann (5. d).

66HIGH FIDELITY

Beethoven: Piano Sonata, Op. 106. P. Serkin (d).Beethoven: Piano Sonatas, Opp. 109, 110. P. Ser-

kin (d).Beethoven: Piano Sonata, Op. III: Bagatelles. P.

Serkin (d).Chabrier; Debussy; Satie: Piano Works. Varsano

(dl.Chopin: Preludes; Barcarolle. Sherman (d).Chopin: Piano Works. P. Serkin (d).Dvairk: Bagatelles (arr. D.R. Davies)*; Bagatelles

(original version for 2 vin, ve. harmonium). St.Paul Chamber 0, Davies; Suk, PavIlk,Chuchro, Hala (d).

Janatek: Glagolitic Mass. SoderstrOm, Drobkovk,Livora, Novak; Prague P Ch; Czech P, Macker-ras (d).

Mahler: Symphony No. 6. Cologne RSO, Bertini(2, d).

Mozart; Vanhal: Concertos for Bassoon. Miller; St.Mary's Chamber Players, Marriner (d).

Prokofiev: Peter and the Wolf. L. Mozart: ToySymphony. Buckley; Luxembourg RTO, Hager(d).

Schubert: Dances, Vol. 2. P. Serkin (d).Stravinsky: Petrouchka. Cologne Radio SO, Ber-

tini (d).Suk: Asrael Symphony; Fantasy for Violin. Suk;

Czech P, Neumann (2, d).Vivaldi: Four Seasons. La Petite Bande, Kuijken

(r).Argentine Tangos. I Salonisti (d).Brazilian Streetside Waltzes and Tangos. Lima (d).Corno da Caccia. Giittler; New Bach Collegium

Musicum, Pommer (d).Dances for Guitar. Isbin (d).New York, New York-selections from Broadway.

NY City Gay Men's Ch&E, Miller (d).Pachelbel Canon and other Baroque Favorites.

Collegium Aureum (d).

PROTONE

Kraft: Music of William Kraft. New Music E.Constance Keene Plays Rare and Familiar Pi-

ano Sonatas.Judith Pearce Sings Irish Classics.

Protone Records. 970 Bel Air Rd., Los Angeles,Calif. 90077.

RCA GOLD SEAL

Bach: Goldberg Variations. Landowska (r, m).Bach: Great Organ Works. Fox (r).Beethoven: 'Eroica' Symphony. London SO, Sto-

kowski (r).Bizet: Carmen Suites 1,2; L'Arlesienne Suite No.

2. Philadelphia 0, Ormandy (r).Brahma: Piano Concerto No 1. Rubinstein; Chica-

go SO, Reiner (r).Enesco; Liszt; Smetana: RCA SO, Stokowski (r).Orff: Carmina Burana. Mandac, Kolk, Manes;

Boston SO,Ozawa (r).Mahler: Symphony No. 4. Della Casa; Chicago SO,

Reiner (r).Mahler: Das Lied Von Der Erde. Forrester, Lewis;

Chicago SO, Reiner (r).Mozart: Violin Concertos Nos. 4, 5. Heifetz (r).Schubert: Symphony No. 9. NBC S, Toscanini (r,

m).Strauss: Also Sprach Zarathustra. Chicago SO,

Reiner (r).Tchaikovsky: 'Pathetique' Symphony. Chicago

SO, Reiner (r).Tchaikovsky: Symphony No. 4. Boston SO, Mon-

teux (r).He(fetz: Violin Showpieces. RCA SO (r, m).

All recordings are digitally remastered.RCA Records, 1133 Avenue of the Americas, New

York, N.Y. 10036.

RCA RED SEAL

Beethoven: Sonata in F minor, Op. 57; Sonata, Op.31 No.3. Adelman.

Brahms: Sonatas for Cello and Piano. Ma, Ax (d).

Brahms: Violin Concerto. Ughi; Philharmonia 0,Sawallisch (d).

Chopin: Piano Works. Adelman.Dvotak: Symphony No. 7. Chicago SO. Levine (d).Mozart: Six Viola Quintets. I. Kavafian, Tenen-

bom, Kashkashian; Guarneri Qr (d).Prokoflev: Cinderella (excerpts). Saint Louis SO,

Slatkin (d).Prokoflev: Love for Three Oranges Suite; Lieuten-

ant Kije Suite. Stravinsky: Suites Nos. 1, 2 forSmall Orchestra. Dallas SO, Mata (d).

Schubert: Schwanengesang. Hagegard, Ax (d).Schubert: Trout Quintet. Mozart: Eine Kleine

Nachtmusik. Ax, J. Levine, Guarneri Qr (d).Sondheim: Selections from his collected works.Strauss, R.: Death and Transfiguration; Metamor-

phosen. Philadelphia 0, Ormandy.Tchaikovsky: Symphony No. 6. Chicago SO, Le -

Eva Marton sings scenes and ariasfrom works of Wagner on Sefel.

vine (d).Verdi; Tchaikovsky: String Quartets. Guarneri Qr.Wolf; Strauss, R.: Songs. HagegArd, Schuback (d).A Hundred Artists at the Met-A Centennial Cele-

bration (8, h, m).Artur Rubinstein: The Chopin Collection, Vol. 2:

Mazurkas; Vol. 3: Scherzos, Ballades. Sonatas;Vol. 4: Polonaises, Impromptus, Barcarolle;Vol. 5: Works for Piano and Orchestra. New SOof London, Skrowaczewski; S of the Air, Wal-lenstein; Philadelphia 0, Ormandy. (12, r). Digi-tally remastered.

Enrico Caruso: The Complete Caruso, Vol. 16 (r).Digitally remastered.

Isao Tomita: two releases: one an adaptation ofStravinsky's Rite of Spring.

James Galway: two releases: works by Schubert,and a classic pop LP with Henry Mancini.

Julian Bream: Music of Spain, Vol. 7: The Spirit ofSegovia. Two more volumes to be issued in 1985.

Richard Stolzman: Clarinet Concerto by Copland;Bach Chromatic Fantasy. Also, a jazz LP withEddie Gomez.

William Kapell: Works by Khachaturian, Prokof-icy, Liszt, Chopin (r).

SEFEL (Canada)

Bach: Suites for Unaccompanied Cello. Starker (3,d).

Bach (arr. Bused); Scarlatti; Brahms: PianoWorks. Saarinen (d).

Beethoven: Middle Quartets. Orford Qr (2, d).Brahms: Double Concerto. Starker, Verhey; Am-

sterdam PO. Joo (d).Brahms; Chopin: Piano Works. Hai-Kyung Suh (d).Dvornic: Symphonies Nos. 7, 9. Amsterdam PO,

Joo (2, d).Dvotitk: Violin Concerto. Verhey; Amsterdam PO,

Joo (d)

Elgar: Cello Concerto. Saint -Satins: Cello Concertoin .4 minor. Rolston; Philharmonia 0, Joo (d).

Handel: Water Music. English CO, Malcom (d).Liszt- The Legend of St. Elizabeth. Marton; Buda-

pest SO. Joo (d).Mahler: Symphony No. I. Amsterdam PO. Joo (d).Mahler: Symphony No. 8. Budapest SO, Joo (2, d).Mendeissohn: A Midsummer Night's Dream-inci-

dental music. King's College Junior School Ch,Philharmonia 0, Joo (d).

Mozart: Piano Concertos. Nemecz; Budapest SO,Joo (d).

Mozart: Piano Concertos. Nemecz; Budapest SO,Vasary (ch.

Rachmaninoff: Piano Concerto No. 3. Hai-KyungSuh; Philharmonia 0, Joo (d)

Respighi: The Birds. Liu;Mao: Dance of the YaoPeople. Huang: The Sword. Fort Worth Ch0,Giordano (d).

Schubert: Piano Works. Nemecz (d).Schumann: Piano Works. Nemecz (d).Strauss, R.: EM Heldenleben. Philharmonia 0, Joo

(dl.Strauss, R.: Die Frau Ohne Schatten Fantasie; Der

Rosenkavalier Suite. Philharmonia 0, Joo (d).Wagner: Scenes and Arias. Marton; Philharmonia

0, Joo (dl.Early Cello Concertos. Starker; Santa Fe 0,

Kirschke (2, d).Gloria Saarinen: Piano Recital. (d).Italian Operatic Arias. Marton (d).The Romantic Cello. Rolston, Moore (d).

Sefel Records Ltd., International Marketing Dept.,12 Maple Leaf Dr., Park Ridge, N.J. 07656.

SINFONIA(released by Intersound)

Bach: Organ Works. Brunelle (d).Beethoven: Symphony No. 4; Leonore Overture

No. 2. Dresden PO, Kegel (d).Beethoven: Symphony No. 9 ('Choral'). Hargan,

Walther. Buchner, Kovats; Berlin Ch; LeipzigRCh; Dresden PO, Kegel (2, d).

Brahms: Symphony No. 2; Tragic Overture. NorthGerman RSO, Wand (d).

Brahms: Symphony No. 3. North German RSO,Wand (d).

Brahms: Symphony No. 4. North German RSO,Wand (d).

Gabrieli: Renaissance Music for Brass. Chicago CBrass (d).

Gershwin: Rhapsody in Blue; 3 Preludes; Songs.Schoenfield, piano (d).

College Fight Songs and Military Themes. U ofMinnesota S Band, Bencriscutto (d).

SUPRAPHON (Czechoslovakia)(distributed by Intersound)

Beethoven: Piano Concerto No. 1, Op. 15; SonataNo. 14. Op. 27, No. 2. Kamenfkova, Prague CO(d).

Bruckner, A.: String Quintet. Malt, Kocian Qr (d).Dvotik: String Quartet Opp. 106, 108. Panocha Qr

(d).Dvorak: Requiem. Czech PO&Ch, Sawallisch (d).Mich: Symphony No. 1. St Philharmony, Vronsky

(d).Jamtiek: Amarus. Martino: Field Mass. Czech

PO&C1, Sawallisch (d).Jan:reek: Operatic Suites. Czech PO, Jflek (d).Martino: Czech Rhapsody. Prague SO, Belohlavek

Martina: Halftime; La Bagarre; The Rock. BrnoSip. Jklek (d).

Martino. Piano Concerto No. 4. Leichner, CzechPO, Neumann (d).

Martina.. Piano Quintet. Palenicek, Smetana Qr (d).MysliveCek; Stamitz, A.K.: Sonatas. Ars Redivia,

Munciinger (d).MysliveCek; Benda: Harpsichord Sonatas and Di-

vertimenti. Bala (d).Myslivetek: Violin Concertos in C, E. F. Dvorak

CO, Petek (d).

SEPTEMBER 1984 67

Novak: Slovak Suite; South Bohemian Suite.Czech PO, Vajnar (d).

Poulenc: Stabat Mater. Honegger: Christmas Can-tata. Czech Ch&O, Petek (d).

Rejcha: Grand Quintet for French Horn and StringQuartet. Klasnka, Panocha Qr (d).

Suk; Dvotik: String Serenades. Czech PO, Petek(d).

Suk: Summer Tale. Czech PO, Neumann (d).Suk: Ripening. Czech PO, Neumann (d).Tomitek: Sacred Works. Prague CO, Sawallisch

(d).Vent: Trans. Marriage of Figaro. Collegium Musi-

cum Praguense, Vajnar (d).Zelenka: Works for Chorus and Orchestra. Mail:

Czech PO&Ch, Neumann (d).Zemlinsky: String Quartet. Webern: Five Move-

ments for String Quartet. Berg: String Quartet.Kroft Qr (d).

Beriaclortl: Operatic recital II.Pipers in the West Bohemia: Traditional Piper's

Band (d).Treasures from the Citoliby Castle. Prague CO;

Czech Broadcast Ch Soloists (di.

TELDEC(released by Intersound)

Bach: Vol 35: Cantatas BWV 140, 143-145. Vol. 6:Cantatas BWV 21-24. Concentus Musicus Wien.Harnoncourt; Leonhardt Consort, Leonhardt(d).

Bach: Magnificat in D, BWV 243. Handel: TeDeum. Concentus Musicus Wien. Harnoncourt(d).

Bach: Overtures Nos. 1, 2. Concentus MusicusWien, Harnoncourt (d).

Bach: Violin and Cello Suites Nos. 5, 6. Baumann(d).

Bart6k: String Quartets Nos. 2, 3. Eder Quartet(d).

Beethoven: Piano Sonatas Opp. 109, 110, I 1 .

Buchbinder (d).Beethoven: Piano Trios Opp. 97, 121a. Haydn Trio

of Vienna (d).Beethoven: Quartet, Op. 130; Grosse Fugue, Op.

133.

Bruckner: Symphony No. 8. Frankfurt RSO, Inbal(d).

Chopin: 4 Ballads; 4 Scherzos. Katsaris (d).Haydn: Quartets Opp. 75-80, Op. 76, No. 1, 3. Eder

Quartet Id).Mendelssohn: Concertos: For Violin and Strings in

D minor; For Piano and Strings in A minor. Ze-hetmair, Katsaris, Franz Liszt CO (d).

Monteverdi: 11 Combattimento di Tancredi e Clo-rinda; Madrigals, Hollweg, Schmidt; ConcentusMusicus, Harnoncourt (d).

Mozart: Clarinet Quintet. Klocker; Eder Quartet(d).

Mozart: Piano Concertos Nos. 23, 26. Gulda; Con-certgebouw 0, Harnoncourt (d).

Mozart: Serenade No. 9. KV 320. Dresden StO,Harnoncourt (d).

Mozart: Symphonies: Nos. 39, 32. ConcertgebouwO. Harnoncourt (d).

Mozart: Symphonies: Nos. 40, 4/. Concertgebouw0, Harnoncourt (d).

Rossini: String Sonatas and Serenades. FranzLiszt CO (dl.

Pachebel Canon and Gigue, et. al. Franz Liszt CO(d).

Werner Hollweg, tenor. Arias from Idomeneo:Jephtha and Messiah. Consentus Musicus, Har-noncourt (d).

TOWERHILL

Chopin: Piano Works, Vol. 1. Richner.Mozart: Piano Works, Vol. 3. Richner.Ravel: Transcriptions for Guitar. De Chiaro."Cathedrales"--organ music of Sibelius, Liszt,Vierne, Dupre, Brahms, Mendelssohn. Organ at

Music in the round.With B.E.S. speakers,center stageis everywhere.

The computer -designed dia-phragm of every B.E.S. speakerradiates sound in a near -perfectspherical pattern, not in a narrowbeam like ordinary cone -and -boxspeakers.

So wherever you decide to placeyour B.E.S. speakers-andwherever you sit-the musicalimage is three-dimensional andlifelike, as in a concert hall.

Suddenly, center stage iswherever you are.

B.E.S.Music in the round. SM 275

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

Cathedral of St. John the Divine, Rose (d).

Towerhill Records, 6000 Sunset Blvd., Holly-wood, Calif. 90028.

TR RECORDS (U.S.A.)(distributed by AudioSource)

Britten: Song Cycles. Michael Sells, tenor; EvanSolomon, piano (d).

Piano Trios. David Ashley White, Henry Cowell,Paul Reale (d).

VOX/TURNABOUT(released by Moss Music Group)

Bach: Brandenburg Concertos, performed on origi-nal instruments. Mainz CO, Kehr (2).

Bart6k: Transcriptions of Italian Baroque music byDella Ciaia, Frescobaldi, Marcello, Rossi, andZipoli. Sandor. piano.

Beethoven: Sonata No. 27 in E minor, Op. 90.Brahms: Intermezzi, Opp. 117, 118, No. 2.Franck: Prelude, Chorale and Fugue. Moravec.

Chopin: Nocturnes. Simon.Handel: Orlando (highlights). Solists, Ch&O of Vi-

enna Volksoper, S. Simon.Mozart: Songs. Fischer-Dieskau, Barenboim.Verdi: Arias. Tomova-Sintow; Sofia St Philhar-

monia, Raychev.Jussi Bjorling alias Erik Odde. Popular songs re-

corded 1932-33.La Guerre Comme a la Guerre. Battle music by

Byrd, Dandrieu, F. Couperin, Balbastre. Prefon-taine, harpsichord.

Love's Old Sweet Songs. Arrangements of lovesongs from Rennaisance to modern times. NewYork Vocal Arts E, Beegle.

VOX CUM LAUDE(released by Moss Music Group)

Bach, J.C.; Graupner; Vivaldi: Bassoon Concer-tos. Smith; English CO,Ledger.

Beethoven: "Archduke" Trio. Zukerman, Du PM,Barenboim (r).

Beethoven: String Quartet in A minor, Op. 132.Concord Qr.

Beethoven: Symphony No.6. Cincinnati SO, Gielen(d).

Brahms: Sonata No. 3 for Violin and Piano. Bloch:Baal Shem. Bartok: Romanian Folk Dances. Oli-veira, McDonald (d).

Brahms: Secular Choral Works. Indiana Universi-ty Singers. Harrington.

Brahms: Piano Trios. Kalichstein-Laredo-Robin-son Tr (2, d).

Brahms: String Quartets. Tokyo Qr (2).Braluns: Variations on a Theme by Haydn.Elgar:

Enigma Variations. London SO, Mata (d).Busoni: Turandot Suite; Sarabande and Cortege

from "Doktor Faustus". Cincinnati SO, Gielen(d).

Chopin: Scherzos (4). Moravec (d).Dvotik: Symphony No. 7. London SO, Mata (d).Kodily: Miry Jdnos Suite. Enescu: Romanian

Rhapsody No. 2. Alfven: Swedish Rhapsody.Baltimore SO, Comissiona (d).

Liszt: Transcendental Etudes. J. Rose (d).Schubert: Songs. Opalda, Vallecillo.Schubert; Mendelssohn; Chopin: Piano Fantasies.

Schub (d).Strauss, R.: Metamorphosen; Death and Transfig-

uration. Cincinnati SO, Gielen (d).Vaughan Williams: Mass in G. Kodily: Missa Bre-

vis. New York Ch Society, De Cormier.Vivaldi: Sonatas for Cello and Harpsichord. Rob-

inson. Newman.An International Salute. Cincinnati Pops, Kunzel

(d).Bach's Leipzig. Carroll, Brewer; NY Trumpet E

(d).

Future issues on Vox Cum Laude include MadeiraBach Festival, Avery Fisher Prize, and Van Cli-burn International Piano CoMpetitionrecordings.

68 HIGH FIDELITY

CLASSICAL

Haitink: His concert performances of Mahler's Seventh had more intensity (page 70).

BACH: The French Suites (6), B.W.V.812-817.

Ton Koopman. harpsichord. [Hans H. Till-manns, prod.] CALIG VERLAG CAL 30 442/43(digital recording; two discs) (distributed byOrgan Literature Foundation, 45 Norfolk Rd.,Braintree, Mass. 02184).

In recent years the Dutch harpsichordistTon Koopman has emerged as one ofEurope's most authoritative early musicspecialists, and his position will only bestrengthened by his readings of Bach'sFrench Suites. For this superbly producedGerman album he uses a copy (by MartinSassmann) of a 1728 Christian Zell instru-ment currently housed at the Museum ofArt and Industry in Hamburg. Its crispsound complements the articulate playing,and its tuning system (based on one ofWerckmeister's unequal but nonethelesswell -tempered formulas) is ideally suited tothe open sonorities that characterize theleft-hand figures of so many of the Suites'dance movements. There's a wonderfulfeeling of spontaneity in this recording;Koopman's flawless technique and elegantflair for ornamentation are accompanied bya bounty of rhythmic energy, and becausethe silences between movements are sopure. one gets the impression that he tossedoff these tasteful virtuoso performances insingle takes. JAMES WIERZBICK1

BRAHMS: A German Requiem, Op. 45;Variations on a Theme by Haydn, Op.56a.

Margaret Price, soprano; Thomas Allen.baritone; Munich Hochschule fiir Musik Cham-ber Chorus; Bavarian Radio Symphony Orches-tra and Chorus. Wolfgang Sawallisch, cond. IF.

For additional reviews of classical musicon Compact Disc and videodisc, see NEWTECHNOLOGIES.

Axel Nehrle, Dieter Sinn, and Diether G. War -neck, prods. ] ORFEO S 039842 H (digital record-ing, two discs) (distributed by Harmonia Mundi,U.S.A., 2351 Westwood Blvd.. Los Angeles,Calif. 900641.BRAHMS: A German Requiem, Op. 45;Songs (8).

Kathleen Battle, soprano*; Hfikan Ha-gegard. baritonet: James Levine, piano': Chica-go Symphony Orchestra and Chorus, James Lev-ine. cond. [Thomas Z. Shepard. and J. DavidSaks. prods.] RCA ARC 2-5002 (digital record-ing, two discs). Cassettes (2): ARE 2-5002.

Songs: Op. 6, No. 4*°: Op. 107, No. 3*°;Op. 63. No. 5*°: Op. 96, No. 2*°: Op. 49, No.41', Op. 63. No. 8t°: Op. 43, No. It°; Op. 86,No. 3t°.

A comparison of these two quite differentinterpretations requires consideration fromthe standpoint not only of music but also ofsemantics, psycholinguistics, and phenom-enology. It all starts with the word as spo-ken-or, in this case, sung. Brahms desig-nated this work as "German" not for anynationalistic reasons (he told Karl Rhein-thaler, director of music at the cathedral inBremen, that he would have gladly dis-pensed with "German" and called it simplyA Human Requiem), but to make it clear hehad turned away from the petrified, alienLatin liturgy in favor of the vernacular.

Little has changed in spoken Germansince Martin Luther made the translation ofthe Bible that is still standard today; forGerman ears, Brahms's text, selected fromthat translation, has an immediacy-anunaffected folksiness, if you will-forwhich we Anglo-Saxons. accustomed forgenerations to all those thee, thou, ye, dost,and canst archaisms, have no real Biblicalequivalent. German-speaking audienceshear, in this work, the same language theyhear in the Supermarkt; other audiences-and musicians-have to deal with a foreignidiom that, imperfectly mastered, inevita-

bly affects performance. I believe all thisexplains the disparities between these twosets. The Munichers perform it en famine;the Chicagoans approach it as they mightNew York's outsized Cathedral of St. Johnthe Divine.

Anyone familiar with James Levine'swork knows that, for all his manifold bril-liance, some sort of black spell seems todescend upon him whenever tempo mark-ings drop below andante; the last movementof his Mahler Third. for instance, markedsimply "slowly," gets unnervingly close tostationary, and a visitor to Bayreuth reportsthat Levine's Parsifal there lasted evenlonger than Hans Knappertsbusch's, whichhardly seems humanly possible. This samemisfortune touches, and sometimes afflicts,five of the seven Requiem movements-particularly the second ("All flesh isgrass"). which he turns into a dirge, a deadmarch. with two climaxes so melodramati-cally overwrought that one expects, next,nothing less than the crack of doom. (Thelast trump-in Luther's German, "the lasttrombone" -does in fact turn up, but notuntil four movements later.)

Wolfgang Sawallisch, for valid musi-cal reasons, takes his opening and closingmovements somewhat slower than Levine,but nowhere even in them does the musiclapse into the lugubrious; his pacing in allthe other five movements adheres to a muchmore vital tempo, which lends the entirework a cohesive strength the Chicago setlacks. In all important details Sawallischshows respect for the score. However, atbar 172 in the third movement (where thatendless pedal -point on D begins), Solo-mon's statement that "The souls of therighteous are in the hands of God" sudden-ly, from one bar to the next and with noindication whatsoever in the score, gooseshim into a wildly accelerated tempo. Inspite of this single, truly inexcusable lapse,Sawallisch keeps more closely than Levineto Brahms's explicit published intentions,winning his interpretation preference here.In addition, the Munich acoustics make thechoral voice -leading more pronounced andtransparent, and-an important point-therecorded level of the Munich chorus neverswamps the orchestra, as frequently hap-pens in the Chicago set.

As for the soloists, Kathleen Battleand Margaret Price both have heavenlyvoices, the former light and ethereal, thelatter more substantial without ever becom-ing heavy. Between the two admirable bari-tones, it seems to me a toss-up.

In both sets, the fourth side offersunusual attractions. With Levine a prodi-gious (at times almost authoritarian) partnerat the piano, Battle and Halm Hagegardeach sing four Brahms Lieder in a mannerclose to perfection. In the other set, Sawal-lisch and his hometown band provide aboutas good a performance of the (we nowknow) misnamed Haydn Variations as youcan expect to hear. PAUL MOOR

SEPTEMBER 1984 69

CLASSICAL ReviewsHAYDN: String Quartets: in F, Op. 3,No. 5; in D minor, Op. 76, No. 2; in C,Op. 76, No. 3.

Philharmonia Quartet Berlin. IToru Yuki.prod.! DENON OF 7094 ND (digital recording)(distributed by Audio Source. 1185 Chess Dr..Foster City. Calif. 94404).

For years authorities have agreed that thefamous "Haydn Serenade." and the quartetin which it's imbedded, is the work not ofHaydn but of his neighbor and admirerRoman Hoffstetter ( 1742-18 15), and inThe New Grove Dictionary of Music andMusicians the beloved F major Quartet-once known as Haydn's Op. 3. No. 5.H. 111:7-is consigned to the appendix of

spurious compositions. Its curious genesisnotwithstanding. the quartet is still a charm-ing piece, and since there is no other con-venient pigeonhole in which to drop it, per-formers as well as record companies contin-ue to group it with certified Haydn prod-ucts.

Here it shares vinyl space with the Op.76. No. 2 Quinten Quartet (so calledbecause of the prominent descending fifthsin the first movement) and the Op. 76, No.3 Kaiser Quartet (so called because its NeLand movement is a set of variations onHaydn's Gott erlzalte Franz den Kaiser, ahymn that 20th -century listeners know asthe German national anthem). Perhaps

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that's all explained in the liner notes-they're in Japanese, which is Greek to me.In any case, these are dashing performancesthat hold firmly to the mainstream interpre-tive tradition, with most of the grace notesplayed before the beat and most of the well -

blended sonorities coated with a moderateveneer of vibrato. The Philharmonia Quar-tet has a rich bottom sound. excellentlyprojected on this very clean pressing.

JAMES WIERZBICKI

11:t 11I,ER: Symphony No. 7, in Eminor.

Amsterdam Concertgebouw Orchestra,Bernard Haitink, cond. PHILIPS 410 398-I (digi-tal recording, two discs). Cassettes (2): 410 398-4. CDs (2): 410 398-2.

The Mahler tradition in Amsterdam is longand lustrous. Willem Mengelberg and theConcertgebouw Orchestra eagerly champi-oned Mahler's music, playing every newsymphony as it appeared, scheduling regu-lar Mahler festivals. There was even oneoccasion in October 1904 when SymphonyNo. 4 was presented twice on the same pro-gram, with Mahler himself conducting, thebetter to acquaint the Dutch audience withthe wonderful "new" music. Some collec-tors may have heard the incredible Mengel -berg -led concert recording of this sympho-ny made in 1939, once available on Philips(PHM 500 040).

The Mahler tradition was carried on byEduard van Beinum, and by Bernard Hai-tink, who has recorded all of the sympho-nies except the last, apparently neveraccepting the Deryck Cooke or other ver-sions of the incomplete Tenth. With theexception of Symphony No. 8. those earlierPhilips recordings were generally of excel-lent sonic quality, fairly well capturing therich sounds of this orchestra playing in itsown hall. Now, with the advent of the dig-ital age, there is talk of Haitink and the Con-certgebouw rerecording many or all of theMahler symphonies.

This first release in what may becomea digital cycle offers the Symphony No. 7,in E minor. In the fall of 1982, Haitink andthe Concertgebouw toured the UnitedStates with the Seventh as one of their fea-tured works. Those who were fortunateenough to attend the Kennedy Center con-cert in Washington or the one at CarnegieHall in New York heard a positively stun-ning. incandescent performance of thisrather mysterious symphony. impeccablyplayed, with a quiet kind of orchestral bra-vura that one seldom encounters in the con-cert hall. I wish I could say that the newPhilips release conveys the magic of thoseperformances, but it does not. Haitink isalways at his best in live concerts; his Dutchreserve usually appears when microphonesare present with no audience, which is whathas happened here. That is not to suggestthat this is not a fine performance. It is note -

perfect. but that extra touch of concert -hallexcitement just isn't there.

70 HIGH FIDELITY

Philips's digital recording is disap-pointing. The dynamic range is wide, butthe famed Concertgebouw strings soundthin here (they surely didn't that night inWashington!), and the bells at the conclu-sion of the symphony, which in the hallwere the tintinnabulation of heavy metal,sound tinny. My dissatisfaction with thisrecording does not diminish my admirationfor Haitink's earlier analog account, whichto me remains the finest recorded statementof the work. The reproduction of the earlierset is highly acceptable and conveys theConcertgebouw sound more accuratelythan the new digital version. Fortunately.even though most of Haitink's first Mahlercycle has been deleted, that earlier record-ing of the symphony is still in the catalog(Philips 6700 0036, two discs). It is worthsearching for. ROBERT E. BENSON

MOZART: Divertimento in I). Is. 334:March in D. K. 445.

Academy of St. Marlin -in -the -FieldsChamber Ensemble. PHILIPS 411 102-I (digitalrecording). Cassette: 411 102-4.

In the Divertimento in D, K. 334 (1779-80). recorded on this disc together with itsintroductory March. the first violin carriesthe melodic weight of almost the entirework and is entrusted with concerto -likepyrotechnics, from arpeggios and rapidscales to the use of high positions. Yet,Mozart being Mozart. even this "light"

music is infused with countless moments ofgreat originality and poignancy. The sec-ond movement, a gorgeous set of variationsin D minor, is especially startling, beingunusual for a divertimento both in its modeand in its sinuous chromaticism.

It is hard to imagine a better perfor-mance than this one by the Academy of St.Martin -in -the -Fields Chamber Ensemble.unless you insist on an original -instrumentapproach. The listener is immediately cap-tivated by the spirit of the playing-viva-cious, energetic, never imposing a trace ofundue Romanticism. But there is more thanmere spirit here. The ensemble is precise.the intonation perfect, and the performancestudded with jewel-like interpretivetouches: once a slight cadential hesitation,another time an added dynamic inflection ora spontaneous manipulation of the phras-ing.

Obviously, in a work of this sort thesuccess of the performance depends to agreat extent on the talent of the principalviolinist. Kenneth Sillito proves to be anexcellent player, ably handling the concer-tante elements, avoiding sentimental slidesand shifts, and possessing great interpretiveinsight.

Philips has outdone itself yet again:This is one of the most silent pressings Ihave ever encountered on a conventionaldisc, and the digital sound is both faithfuland crystal-clear. There is simply no finer

performance available of this sparkling.sunny music. K. ROBERT SCHWARZ

STRAUSS, R.: Orchestral Songs (12).Siegfried Jerusalem. tenor. Leipzig Ge-

wandhaus Orchestra. Kurt Masur, cond. PHILIPS

6514 321. Cassette: 7337 321.Heimliche Aufforderung: Traum durch die

Diimmerung: Liebeshymnus; Frcundliche Vi-sion; Waldseligkeit; Verfiihrung: Standchen:Morgen!; Zueignung: Ich trace meine Minne:Das Rosenband; Des Dichiers Abendgang.

Some famous, case-hardened English critic(Ernest Newman?) summed up one aspectof a long, taxing life of concert- and opera -going tribulation with the melancholy theo-rem. "The higher the voice, the smaller thebrain." In mentioning it in connection withthis impressive recording, let me stress thatit definitely does not apply to the Germantenor Siegfried Jerusalem. The jacket tellsus nothing about him at all, but I once readin a Berlin concert program that he hadbegun a successful career as a bassoonistbefore musical colleagues encouraged himto risk the professional plunge as a singer.In these admirable interpretations, the solidmusicianship so necessary for the sym-phonic instrumentalist completely displacesthe aural narcissism that makes many sing-ers with a beautiful organ and little else somuch of a bore. Jerusalem does indeed havea rich, vibrant voice, but he also showsuncommon musicality and intelligence. In

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CLASSICAL Re\

Critics' ChoiceThe most noteworthy releases reviewed recently

BARBER: Concerto for Cello and Orchestra.SHOSTAKOVICH: Concerto for Cello andOrchestra. Wallfisch; English Chamber Orches-tra, Simon. CHANDOS ABRD 1085. June.BLOCH: String Quartet No. 1*. String Quar-tet No. 2; Prelude; Night; Two Pieces forString Quartett. Pro Arte Quartet. LAUREL LR120*. LR 126t. Aug.BRAHMS: Liebeslieder Waltzes (18), Op. 52;Neue Liebeslieder Waltzes (151, Op. 65; ThreeQuarteLs, Op. 64*. Sixteen Waltzes, Op. 39;Variations on a Theme by Schumann in E flat.Op. 23; Souvenir de Russlet. Mathis, Fass-baender. Schreier. Fischer-Dieskau. Engel, Sa-v.allisch*. Alfons Kontarsky, Aloys Kontar-skyt. DG 2532 094*. 410 714 -It. Aug.BRAHMS: Songs and Romances. MusicsSacra, Wcstenbcrg. RCA RFD SEAL. ARC )-4916, Aug.BUSONI: Fantasia contrappuntistica for TwoPianos. BEETHOVEN: Grosse Fuge for Pia-no, Four Hands. Op. 134. MOZART: Fanta-sia for a Musical Clock. K. 608. Jacobs,Oppens. NoNEsucti 79061-I. July.CHAUSSON: Songs. Norman. Dalberto; Monte

Carlo Philharmonic, Jordan. ERATO NUM75059, June.CHOPIN: Mazurkas, Waltzes, and Polo-naises. Moravec. Vox Ci.M LAUDE D-VCL9059, July.DUNSTABLE: Motets. Hilliard Ensemble.Hillier. ANGEL. S 38082, Aug.HAYDN: Symphonies: No. 91, in E flat, Hob.1:91: No. 92, in C, Hob. 1:92. ConcertgebouwOrchestra. Davis. Minim 410 390-1, July.HAYDN, NI.: Symphonies: No. 19 in C, No.23 in 135; No. 21 in C, No. 37 in B flat. No. 41in Ft. Bournemouth Sinfonietta. Farberman.TURNABOUT D -TV 34902*; D -TV 34903+.June.

LUTOSLAWSKI: Variations on a Theme byPaganini. RACHMANINOFF: Suite No. 2.Op. 17. RAVEL: La Valse (arr. two pianos).Argerich, Freire. PHILIPS 6514 369. July.MOZART: Concertos for Violin and Orches-tra: No. 1, in B flat, K. 207; No. 5, in A, K. t219. Brown; Academy of St. Martin -in -the -1Melds. LONDON JUBILEE 411 707-1. July.RENAISSANCE MUSIC IN NAPLES. Hes-p&ion XX, Savall. ANGEL S 38083, Aug.

conjunction with Kurt Masur and Leipzig'sgreat old Gewandhaus Orchestra, he pro-vides us with some memorable Strauss.

He runs quite a gamut. In the almosttoo familiar Serenade, he sidles in close tothe mike, mezza, almost sotto voce, con-vincingly evoking (for once) the pickle ofthe glandularly ardent midnight swain try-ing to wake up his girl but not her old man.He easily encompasses the ecstatic excite-ment of the Secret Invitation, the exaltationof the Hymn of Love, and the quiet, survi-vor's will to pick up the pieces and go onthat so movingly infuses Tomorrow.

This recorded selection strikes me as ajudicious balance between more and lessfamiliar songs. Among the latter, I particu-larly call your attention to the forthrightlyentitled Seduction, Op. 33, No. I -at 7:02the longest on this record. Ever since hear-ing Evelyn Lear. some years ago, sing thespots off the demanding, imposing Song ofthe Apollo Priestess (Op. 33, No. 2) withthe Hannover Radio Symphony, I havelonged for some label to excavate, revive.and record all four big songs comprisingthat opus number-conceived for largeorchestra, unperformable with piano, andas a result virtually unknown today. Oneinconvenience: The poems make two ofthem women's songs, the other two men's.I herewith nominate, in collaboration withMasur and the Leipzigers, Jessye Normanand Siegfried Jerusalem, all of them Philipsartists. Well? PAUL MOOR

STRAVINSKY: Symphony in E flat,Op. 1.

Royal Philharmonic Orchestra. Dalia At-

las, cond. 'Brian Culverhouse. prod.] JustLEM ATD 8306 (digital recording).

This clearly compelling performance is thethird and newest recording of a work thatStravinsky undertook in 1905 yet did notfinish until 1907-and then overhauledseven years later. His own indifferent, evendessicated recording of 1966 with a CBSsession -orchestra has been missing fromSCHWANN for some time; but no loss. SirAlexander Gibson's of 1981 with the Scot-tish National Orchestra is part of a Chandosalbum issued in honor of the Stravinskycentenary that year, which also includes theOde, Symphony in C, and the Symphony inThree Movements. SCHWANN continues toignore its existence, as well as a domesticcounterpart from Musical Heritage Society.But again, no loss-especially now. Al-though Gibson goes everywhere faster thanDalia Atlas, with afive-minute difference inthe Largo movement alone, he doesn'tmake Stravinsky's Opus I sound any betterthan scraps from Tchaikovsky's table withcrumbs from Glazunov's mixed in.

Atlas not only has the best orchestra.but a respect for the work far beyond thecomposer's own at age eighty. If nothing inthe piece is preparation for The Firebirdjust two years later, its timid conservatismand trivial invention don't deter the Israelimaestra from imprinting her strong person-ality on the Royal Philharmonic musicians.They play passionately in response. Whilethe recording, technically, sounds a shadeless vivid than its recent date of 1982 (or itsdigital encoding) prepares one to hear, thiscould very well be remedied on a CompactDisc in the future. ROGER DETTMER

Recitals andMiscellanyBENNETT LERNER: American PianoMusic.

Bennett Lerner. piano. [Klaas A. Posthu-Illa, prod.] ETCETERA ETC 1019 (digital record-ing). Cassette: XTC 1019. (Distributed by Qual-iton Imports, 3928 Crescent St.. Long IslandCity. N.Y. 11101.)

BARBER: Ballade for Piano. Op. 46.BERNSTEIN: Touches. BOWLES: Six Preludesfor Piano; Six Latin-American Pieces: HuapangoNo. I. El Bejuco. Tierra Mojada, Orosi. LaCuelga, Huapango No. 2. COPLAND: Procla-mation for Piano; Midday Thoughts. RAMEY:Piano Fantasy. THOMSON: Two SentimentalTangos; Two Portraits: Bennett Lerner (Senzaespressione), Phillip Ramey Thinking.

Barber's 1977 Ballade and Bernstein's1980 Touches were written for the fifth andsixth installments of the Van Cliburn Inter-national Piano Competition, respectively,but almost everything else on this Dutchrecording owes either its creation or itsresuscitation to Bennett Lerner. Copland.tor example, completed the sketches forboth the Proclamation (begun in 1973) andMidday Thoughts (begun in 1944) in 1982at Lerner's urging. Thomson's Two Senti-mental Tangos (1923) had gathered dust fordecades before Lerner discovered them,and shortly after he performed them in Car-negie Hall in September of 1983, the pianistposed for one of Thomson's ongoing seriesof musical portraits. At least four of PaulBowles's Six Latin-American Pieces(1937-48) were given their world pre-mieres by Lerner last year; one of Lerner's1983 recitals also featured thc first perfor-mance of the Piano Fantasy (1969-72) ofPhillip Ramey, the composer -critic who satfor a Thomson portrait just a few daysbefore Lerner's recording sessions tookplace.

Thomson's portrait of Lerner is subti-tled "Senza espressione." That may de-scribe the pianist's personality, but it hardlyapplies to his musicianship. These are verycolorful performances: engagingly jauntyand jazzy in the Bernstein Touches and thedance pieces by Bowles and Thomson,expansively lyrical in the Copland worksand the Bowles Preludes (1934-45). ele-gant and wistful in the Barber Ballade,forcefully declamatory in the Ramey Fan-tasy. The last-mentioned is the only one ofthese pieces that comes close to profundity,and that's more because of the music'sbracing harmonic language and aggressivegestures than because of its structure orworking -out of materials. For the most partthis is deliberately charming repertoire, andLerner handles it well. The recorded soundis slightly bass -heavy, but otherwise thisrelease is a smoothy produced showcase forsome fine piano playing.

JAMES WI ERZB ICK I

72HIGH FIDELITY

CLASSICAL

The Tape DeckCritiques of new cassette and open -reel releases by R. D. Darrell

Timbre!MUCH OF MUSICS FASCINATION Comes fromdiverse, vividly "present" personalities-not only those of performers and compos-ers, but those of particular instruments.Individual compositional idioms and exec-utant styles help shape our sense of musical"personality," but so (perhaps even morepowerfully) do the sonic qualities usuallyclassified as timbre-or in German. moreaccurately, as Kianglathe.

It may be easiest to evaluate timbraleffects by listening to varicolored perfor-mances of abstract music or by comparingdifferent instrumentations of the same com-position. Both approaches are possible withthe latest recording of Bach's Well-Tern-pered Clavier, Bk. I, a work best known inpiano versions. but which (since clavier =keyboard) is equally if not more suited tothe clavichord, harpsichord. or organ.We've had earlier recorded examples of thefirst two, but the American expatriateorganist Daniel Chorzempa is the first I'veheard to utilize all three (Philips prestige -box digital/chrome 7654 106). JSee review,August. I The choice for each prelude/fuguepair is arbitrary but usually justified: ten forclavichord, nine for harpsichord, five fororgan-true period instruments as beautifulvisually (in booklet illustrations) as they arefascinating aurally. Chorzempa's readingsrange from gloriously invigorating to me-chanically routine, but what matters mostare the magical sounds-and the freshstimulation they give the however -familiarmusic itself.

The bitter-sweet double-reeds. Of all tim-bres. few are more distinctive or appetizingthan the spicy piquancies of the oboe and itssiblings: oboe d'amore, English horn, andbassoon. Present tapings are dominated, asusual, by the matchless Heinz Holliger. Intwo Philips digital/chrome releases, he'sideally accompanied by the Academy of St.Martin -in -the -Fields. The first (7337 304)offers the same three Bach oboe and oboed'amore concertos recorded last March (inslightly different Joshua Rifkin reconstruc-tions) by Stephen Hammer for Pro Arte. Onthe second (7337 311). Holliger takes overfrom lona Brown as conductor, while vio-linist Gidon Kremer solos in Vivaldi's R.582 Concerto and costars with the oboist inBach's S. 1060 and Vivaldi's R. 576.Then, with Michael Gielen's Cincinnatians(Vox Cum Laude D -VCS 9064). Holligercouples a remake of his memorable inter-

pretation of Richard Strauss's Oboe Con-certo with the recorded debut of Lutostaw-ski's rhapsodic, provocatively (rather thanrepellently) avant-garde Double Concerto,in which harpist Ursula Holliger is the co-star. (The work was specifically composedfor them.) [See review. July MUSICAL.

AMERICA edition.]After Heinz Holliger, Bernhard

Glaetzner may seem a bit small -toned atfirst, but his distinctive personality anduncommon agility soon hold one spell-bound in a brightly recorded, musicallydelectable oboe concerto program withHartmut Haenchen's Berlin Chamber Or-chestra (Spectrum SC 275). Although Tele-mann's great F minor Concerto and Vival-di's fine R. 448 and 461 have been recordedbefore, these new versions are a joy inthemselves, and one's delight is redoubledin the less familiar E minor and C minorconcertos that so eloquently belie those whowould demean Telemann as no more than aprolific routinier.

But even Telemann's imaginative ex-ploitations of timbre were anticipated byVivaldi-as can be heard in the inspiredaccounts of six double concertos starringvarious St. Martin Academy soloists underNeville Marriner (Philips digital/chrome7337 379). Those for paired flutes, horns,mandolins, and oboes, also R. 545 for oboeand bassoon, have been recorded before,but rarely as well, and the R. 563 for twotrumpets and violin is a welcome changefrom the popular R. 537.

Our own young West Coast "MusicalOffering" ensemble also uses moderninstruments, but has yet to acquire theBritish Academicians' Baroquian exper-tise. Yet the players are so aurally bewitch-ing and radiate such infectious feeling thateven a crotchety purist like me can delightin their novel Vivaldi program (Nonesuchdigital/ferric 79067-4) of three orchestra -less chamber "concertos"-R. 94.95, and107. all new to me-plus two occasionallyrecorded sonatas: R. 53 for oboe. R. 83 forviolin and cello, both with continuo. Thealmost tangibly "present" players all aredeft, but bassoonist Kenneth Munday andharpsichordist Owen Burdick project espe-cially engaging tonal personalities.

Open Reels. Audio technology at anextreme stretch can achieve a kind ofsuper-realism-sound in excelsis, as it

were-of awesomely palpable presence.For the specialized study of timbres, noth-ing can be more illuminating than some ofthe astounding programs (boasting real-

time duplication and available in variouslyencoded cassette and reel formats) fromDirect -to -Tape Recordings (14 StationAve., Haddon Heights, N.J. 08035). I'venever heard "realer" harp tones than in thedigitally recorded "Concert Harp" recital(DTR 8381, $12) by Jude Mollenhaur, apupil of the late great Carlos Salzedo. Sheplays (on a Salzedo instrument) mostly hislittle pieces and arrangements, of scantmusical interest but inexhaustible tonalcharm. Eileen Grycky's and ChristiaanTaggart's "Romantic Music for Flute andGuitar" DTR 8315, $13) is slightly lessappealing, but its mostly novel works (byLuigi Legnani, Marinus de Jong, and Ben-jamin Godard) are enhanced by a sparkling-ly "live" acoustical ambience. The oneanalog recording here-Thomas Murray'sTrinity Church (Boston) organ derange-ments of pops -orchestral favorites-is, ifanything. even more stupendous technolog-ically, and thus all the more an aesthetictravesty (SK 277, $13).

Titillating as these audiodisiacs maybe, I soon yearn for more substantial musi-cal satisfactions, such as those in the firstreel -taping in many years of Smetana's MdVlast (Musical Heritage/Barclay-Crockerdouble -play MHS 4495, $16.95) and thelatest volume in the Fitzwilliam ensemble'sseries of complete Shostakovich StringQuartets (Oiseau Lyre/B-C LOL 28,$9.95). Zdenek Kotler is no Vaclav Talich,and his Slovak Philharmonic not the mostrefined orchestra, but their Czech cycle hasthe right accents and its 1977 Opus record-ing is gleamingly clear. Furthermore, Sho-stakovich's Quartets Nos. 3 and 11 are asprofoundly moving as those in the four ear-lier reel issues (two more are still tocome).

Other current reels from Barclay -Crocker (313 Mill St., Poughkeepsie, N.Y.12601) are programs I've praised earlier incassette editions: Pro Arte's digitallyrecorded Odeon Trio versions of the Dvot-

Second and Fourth (Dumky) Trios (PRO0130, $9.95) and the two great SchubertPiano Trios (PRO 0202 double -play,$18.95). Also Vols. I and II of the incom-parable Academy of Ancient Music periodinstrument Mozart Symphonies and Sinfo-nias (Oiseau Lyre/B-C LOL D 167D-3 andD 168D-3, $27.95 each).

Hard as it may be for nonreelists tobelieve, all these sound better than ever inreel format, which also eliminates some ofthe inconvenient turnovers in the two Schu-bert cassettes and the three -cassette Mozartcollections. NF

SEPTEMBER 1984 73

A Musician for LifeT -Bone Burnett was The Next Big Thing in1983. Then, suddenly, no record contract.

by Samuel Graham

"THIS IS A NEW KIND of interview," saysT -Bone Burnett. "I'm only gonna use twowords: swingin' and cool. So if you ask mewhat I've been doing, I'll say I've just beenswingin'." Burnett is a little tired of talking

Samuel Graham is a free-lance writerbased in Los Angeles.

to the press, and he has a right to feel thatway. Three excellent releases in three yearsearned this musician the Songwriter of theYear award in the national Rolling StoneCritics' Poll last winter. The same weekthat news appeared, Warner Bros. coinci-dentally failed to renew his recording con-tract. Bonnie Raitt and Jonathan Richman

have also been dropped by the label recent-ly, though in T -Bone's case the decisionwas particularly incongruous.

But Joseph Henry "T -Bone" Burnetthas been doing a good deal more lately thanswingin' and being cool. He has touredalmost incessantly as a solo act, includingseveral dates with Elvis Costello. As a pro-ducer, Burnett is working with Los Lobos,a superb Mexican -American band from LosAngeles, on their second album together.He's also writing songs and developing afilm score.

So far, however, T -Bone's adventuresas a recording artist have not been the stuffof which dreams are made. At thirty-six,Burnett has been playing the record gamefor nearly 20 years. A native of Fort Worth,Texas, he grew up on a diet of local countryand r&b, from Willie Nelson to JimmyReed. He learned to play guitar when hewas ten years old, worked in various bands,and by the time he was seventeen co -ownedClifford Herring Sound, a Fort Worth stu-dio noted for such pop classics as Hey Pau-la and The Last Kiss. "I pimped to buy it,"he deadpans. "Actually, you didn't needthat much money to buy a studio. And youdidn't need much experience to be an engi-neer-it was just at the beginning of thetechnological boom. I went in there andstarted plugging things in. I spent days anddays experimenting, making horriblerecords."

Burnett kept on producing and engi-neering in Fort Worth,bert McClinton, Lou Ann Barton, BettyBuckley, and others; he also had his ownB-52 Band (no, not those B -52's). But bythe mid -Seventies, he'd left Texas far

o behind for the greener pastures of LosAngeles and New York. In '76, Burnettwas playing with longtime Bob Dylancohort Bobby Neuwirth when Dylan him-self showed up and invited the band to joinhis Rolling Thunder Revue. "It was myfirst weekly paycheck," says T -Bone,"and the first time I'd ever gone out on theroad for six or eight weeks at a stretch." Itwas also the period of Dylan's much -publi-cized conversion to Christianity, an event inwhich Burnett was said to have played asignificant part.

With two other Rolling Thunder mem-bers, Steven Soles and David Mansfield,Burnett went on to form the Alpha Bandand signed with Arista, an arrangement helater called "a marriage made in ForestLawn." Sometimes brilliant, sometimesmerely obscure, their three albums for thelabel failed to sell, despite considerablecritical acclaim.

That same pattern has continued intoBurnett's solo career. "Truth Decay" is arare combination of brains and brawn, witand insight-smart music that also rocks.But the album suffered from poor distribu-tion. That wasn't a problem for "TrapDoor" or "Proof Through the Night," butdespite some fine songs, guest appearances

74 HIGH FIDELITY

by Pete Townshend, Richard Thompson,Ry Cooder, and others, those records didn'tsell much either. Somewhat bloodied butunbowed. Burnett is now laying low, plot-ting his next move in the vinyl wars.

Backbeat: How's life without an albumcontract?Burnett: Well, there're a few offers. I'mlistening to everybody . . . I've learned alot. I have some idea now of what I'vedone, and what I've failed to do. I'm learn-ing how to be generous and humorousonstage; my records come off very seriousand severe, and I'm not really like that.Backbeat: You're not in a hurry to recordagain.Burnett: I don't think there is any hurry.Backbeat: Is that a change in attitude?Burnett: Not really. I've been that way mywhole life. At first I was terrified of record-ing, so I wasn't in a hurry. Now I'm justtrying to take considered action.Backbeat: It was ironic that you werenamed Rolling Stone's top songwriter thesame week your contract came to an end.Burnett: That's the publicity genius ofWarner Bros., you know. . . . I really lovetheir people. they're decent. There is atouch of irony in what I just said, but I thinkthey want to see me do well. Leaving waspretty much a mutual decision.Backbeat: Perhaps you didn't sec eye. toeye.Burnett: They helped me tremendously.But they need a different record right nowthan I'm prepared to make.Backbeat: What do you think of "TrapDoor" and "Proof Through the Night"?Burnett: The production on "Proof' gotoverblown. Live, Hefner and Disney isvery funny; on the record it sounds a littleMoody Blues-ish.Backbeat: I agree. The demos I heard ofPressure and Baby Fall Down had moreimpact stripped -down, almost like rocka-billy; they reminded me of "TruthDecay."Burnett: Yeah, they got overproduced. It'smy fault, ultimately, for letting it get pastme. But at the time, I was preoccupied withsinging well.Backbeat: Who's Jeff Eyrich?Burnett: I don't know.Backbeat: Didn't he produce "Proof"?Burnett: Yeah. . . . Uh, he did MillionMiles Away by the Plimsouls. He's okay.Backbeat: Why didn't you act as produc-er?Burnett: The deal we had with Glyn Johnsfell through, but we already had the musi-cians booked in England, and if I hadn'tgone into the studio, the record wouldn'thave come out until this year. So Eyrichwas there, and my managers said, "Try thisguy." I wasn't happy about it, but it wasn'tanyone's fault.Backbeat: Did you want to be on yourown?Burnett: No, I wanted a producer, really

bad, so I could just play and sing. But that'sa hard person to find, especially since pro-ducing is primarily what I do.Backbeat: Do you like "Trap Door" betterthan "Proof"?Burnett: I don't know. . . . I listened to"Truth Decay" two or three weeks ago; Ilike that. I think the next one will be simi-lar, in that I'm gonna try to do it inexpen-sively and quickly, with few musicians.

There's probably one really good songon every record-Shut It Tight (on "ProofThrough the Night"); Power of Love andI'm Coming Home (both on "TruthDecay"); and Trap Door. There isn't areally bad song in the lot. But those threerecords were pretty much written at thesame time, and they're all about the samething. The new songs area lot more positiveand funny, and they also have a lot to dowith what I've learned about communicat-ing from the last couple of years of perform-ing. The studio's such an insular place.Backbeat: When "Proof' came out, youwere called "the quintessential artist of theEighties"; another quote from the presssaid you were like Dylan in his "John Wes -

Selected DiscographyT-BONE BURNETTTruth Decay. Takoma TAK 7080; 1980.Trap Door. Warner Bros. 23691-I; 1982

(EP).Proof Throigh the Night. Warner Bros.

23921-I: 1983.

With BOB DYLANHard Rain. Columbia 34349; 1976.

With THE ALPHA BANDThe Alpha Band. Arista AB 4102; 1976.Spark in the Dark. Arista AB 4145;

1977

Statue Makers of Hollywood. Arista AB4179; 1978.

Icy Harding" period. Those claims musthave been pretty hard to live up to.Burnett: I don't think all that stuff mattersmuch. What makes a difference is if themusic is really good and generous.Backbeat: Why do you suppose yourrecords failed to connect with a larger pub-lic?Burnett: What I'm doing and talking aboutis not part of a trend. It's not mass -popular-ity music. There aren't a lot of eight -year -olds who are gonna understand what I'mtalking about in Trap Door. The audience isgrowing, but slowly, person to person.Backbeat: Is it also possible that, to thepeople who did understand, you were a bitpreachy, because you wrote so many point-ed, sarcastic commentaries?Burnett: Maybe. I don't think of them thatway, but people probably have some pre-conceptions about me. 1 know that any dis-cussion of morality begins with oneself-that's about all I'll say.

Backbeat: Well, let me put it this way. On"Truth Decay," you had House of Mirrors.a talking blues in which you identified whatyou thought were basic falsehoods aboutthe way some people live, the sheep men-tality and all.Burnett: That song's very funny, too.Backbeat: It is, but two records later. TheSixties says the same sort of thing. Hefnerand Disney is also fairly high-minded. As alistener, I got tired of that.Burnett: As I said, they're all basically thesame album, starting with Quicksand andending with Shut It Tight. I know their spiritis benevolent. They're for the individual;their goal is to encourage the individual togo on. It is a lot to swallow. I do agree withwhat you're saying; I wrote Shut It Tightbecause I knew it was time to end that chap-ter. The new songs are more obviouslyaffirmative; one's called Let's Clean UpThis City.Backbeat: What about the music?Burnett: It's simpler, and more melodic.Backbeat: I hear you've written somethingwith the band U2 called Having a Wonder-ful Time, Wish You Were Her. That's anunusual collaboration. How did it hap-pen?Burnett: We were staying in the same hoteland we ran into each other in the bar. 1U2vocalist! Bono is a great guy, and an amaz-ing rock and roll singer. I don't knowwho'll record that, although it's on a realstandard subject-pretty broken-hearted.It's supposed to be funny, too, but you haveto be careful with humor; you start writingnovelty songs if you don't watch it. Part ofthe failure of "Proof Through the Night"was that some of the funny songs were tak-en too seriously.Backbeat: Such as?Burnett: Hefner and Disney. primarily. Itis an allegory, but I didn't mean it as anepic. It's just a little song. The MurderWeapon is about the tongue: "It can killfrom any distance, but you never see itstrike/There isn't any warning, no blindingflash of light. . . ." On the record, peoplethink it's about nuclear weapons or some-thing.Backbeat: How has playing solo helpedyou focus yourself?Burnett: It has forced me to get down to theheart of what I'm doing.Backbeat: Not to be cynical, but playingsolo has its financial benefits.Burnett: That's not cynical, just practical.A lot of people can make money for a yearor a few years, but it's the very rare personwho can actually be a musician for life.That's what you have to come to grips with.If you are, what's it gonna be? What are youwilling to do?Backtseat: What are you willing to do?Burnett: I think I can continue what I'vebeen doing this year.Backbeat: Playing solo, and writing?Burnett: Yeah, if worst comes to worst.

HF

SEPTEMBER 1984 75

BAC K BEAT

Reviews

Make MineMonk

Various Artists:That's the Way I Feel NowHal Willner, producerA&M SP 660 (two discs)

Thelonious Monk died in 1982. Memorialconcerts and LPs quickly and rightfullycanonized this modern jazz titan as a found-ing father; but along with Duke Ellington,Charlie Parker. and Miles Davis, Monkdeeply affected all postwar pop. Delicatelyspare melodies that toyed with dissonanceand densely clustered, highly emotionalharmonic voicings were just two startlingrevelations of his musical personality; healso incorporated shifting dynamics in hisrhythms as effectively as any 20th -centurycomposer.

"That's the Way I Feel Now" (theoriginal working title of the famous Monk'sMood) is a lovingly constructed, generallybrilliant two -disc set that brings together awide spectrum of rock and jazz players andarrangers, who grew up in the '50s and '60sand felt Monk's influence strongly. Twoyears ago producer Hal Willner (who hasbeen Saturday Night Live's musical coordi-nator for the past four seasons) was respon-sible for the success of a similar conceptLP, "Amarcord Nino Rota," a tribute toFellini's longtime musical collaborator byartists ranging from Blondie's Chris Steinto jazz heavy Carla Bley. Willner, a Monkfan since childhood, felt that the tributeconcerts he attended "lacked a diversity ofmusicians," so he decided to record somehimself. Donald Fagen, Joe Jackson, gui-tarist Chris Spedding (who quickly enlistedhis friend Peter Frampton), and NRBQwere interested immediately.

Stylistic variation is the album'stheme, starting with a short, chiming cho-rus of trombones arranged by Bruce Fowleron Thelonious, followed by a train wreck

For additional reviews of Pop and Jazzmusic on videodisc and Compact Disc,see New TECHNOLOGIES.

Thelonious Monk inspired everyone from Carla Bley to Joe Jackson to NRBQ (above).

that segues into NRBQ's roadhouse versionof Little Rootie Tootie. Pianist Terry Adamsis a devout Monk aficionado, and his per-formances here and on In Walked Bud (withtrombonist Roswell Rudd and Monk'slongtime rhythm section of bassist John Oreand drummer Frankie Dunlop) alternateclose attention to detail with the boogie-

down abandon that is NRBQ's stock -in -

trade. The duo of guitarist Steve Kahn andFagen on synthesizer turns in a pretty. mut-ed performance on Reflections. Fagen'slong, thoughtful solo is the kind you alwayswish he'd take on his own albums but neverdoes. In contrast, Dr. John's rolling, unac-companied Blue Monk is unadulteratedNew Orleans funk. Soprano saxophonistSteve Lacy, also a former Monk sideman,is featured on four cuts, but his specialaffinity for the music, and differencesbetween settings here, justifies his frequen-cy; his duets with both Elvin Jones and vet-eran Monk tenor saxophonist Charlie Rouseare spontaneously telepathic.

The two big -band arrangements areparticularly stunning-each in its ownway, of course. Jackson's approach to'Round Midnight is lush and impressionist-ic; strings and woodwinds swirl around hislean, dramatic piano lines. Oliver Nelsonappears to be an influence, if Jackson'sstark reed voicings and cinematic approachto tone color are any indication. Bley's takeon Misterioso is a virtual tour -de -force ofeffects; behind Johnny Griffin's jam-packed tenor solo she alternates stop -timepassages with leisurely singing horns.

The album's more left -field, rock -ori-

ented collaborations may not go down wellwith bebop purists; indeed, some cuts arebetter than others. Spedding's restructuringof Work into a hard -rock stomp sets upFrampton's ersatz -flamenco solo nicely;one suspects that Spedding's discovery ofhis own resonant inner harmonies wouldhave made Monk smile in approval. ToddRundgren, hearing Four in One as a delib-erately cheesy, drum -machine shuffle beat,stuffs a sound effects barrage in betweenthe notes of Gary Windo's lurching altosolo, with hilarious results.

Shockabilly, led by New York Cityavant-garde guitarist Eugene Chadbourne,contributes the controversial Criss Cross,which features caterwauling distortion,feedback, and the barest hint of melody.Ba-Lue-Bolivar-Ba-Lues-Are, as reshapedby the Detroit production team Was (NotWas), slightly less iconoclastic, revolvesaround a space-age New Orleans funeralmarch beat and Sheila Jordan's wafting,ethereal scat -singing.

But if one accepts Willner's premisethat "Monk and Miles Davis, as jazz musi-cians, have had the most far-reaching effecton rock," then even the more bizarrearrangements here can be heard as revealingtestaments. "This kind of album allows oneto hear such a different aspect of a pop/rockmusician," Willner says. "There's just notthat pressure to sell a million records."Because he encouraged these pros to payhomage to Monk in their own idioms,"That's the Way I Feel Now" succeedswonderfully as an album, and as a tribute.

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Alive!: City LifeHelen Keane. producerAlive! 543 (1000 Navarro Bluff Rd..Albion. Calif. 95410)

Toss together heavy doses of scat singing.feminist lyrics rarely heard in the jazzworld, and mix into a base of African andLatin polyrhythms. That's Alive!, the BayArea's jazz collective, whose "City Life."its third offering in seven years, maintainsthe quintet's claims to eclecticism. Butunlike its performances and previous livealbum, the too -brief cuts on "City Life,"all averaging around four minutes, don'tpermit the instrumentalists to take creativesolos, and too often their energetic ensem-ble playing starts cooking as the song ends.

Despite the group's "politically cor-rect" workstyle of collective arranging andequality for all five core members-JanetSmall (keyboards), rhiannon (lead vocals).Barbara Borden (drums), Carolyn Brandy(congas and percussion), Susanne Vincen-za (bass and cello)-rhiannon is highlight-ed here, as exemplified on the winning titletrack. Her frenetic scatting spree. accelerat-ed by the percussion section. lists the hecticschedule of a modern mother who rushesthe kids to school, dashes onto the freeway,puts in a busy day at the office, but stillfinds time to make love, take a sauna, andlisten to Amazons calling. Small's bouncyWhat Lt Life hops along on Borden's scnsi-

Small, rhiannon, Borden, Vincenza, and Brandy of Alive!: a collective that works

tive cymbals and a saxophone solo fromguest artist Mary Fettig: rhiannon's punchyphrasings against Small's piano accent theupbeat philosophical lyrics.

The Brazilian beats of Skindo Le Leare a perfect vehicle for Brandy's and Bor-den's explosive jamming. But Fettig almoststeak the show from them on the instru-

mental Afreaka. And while Small hasemerged as a first-rate writer, the etherealarrangements on her Happy Ending resem-ble meditation music rather than jazz.Anouman-Lazy Afternoon, the album'sother ballad, also suffers from a draggymelody and overly spaced -out vocals. OnDiamonds Are Where You Find Them, the

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BACKBEAT Reviewscollective displays its knack at slidingthrough a grab bag of styles; this Brandy -

Small composition starts with an airykalimba and classical cello and ends with afunky sax riff.

For those unfamiliar with Alive!,"Call It Jazz," the group's live secondalbum, with its longer instrumental solosand consistently stronger lyrics, might be abetter place to begin. But for those alreadyconverted to these five musicians. "CityLife" is just fine. KATE WALTER

John HicksJohn Hicks. producerTheresa TR 119 (1300 Solano Ave.,Albany, Calif. 94706)

Pianist John Hicks, a perennial sideman, isbeginning to think like a leader. His new LPmay not be his first foray on his own, but itsunexpected delights make it come off like anew start. This success is attributable asmuch to what Hicks doesn't do as to whathe does.

It's the rare mainstream second -string.er who will opt for more than the standardhorns plus rhythm lineup in the studio. Thechosen material is usually as predictable: afew standards, a couple of blues, and ifwe're lucky an original or two. Such afamiliar setup is no reflection of the finalproduct; the playing can be quite inspired ina comfortable, no -risk sort of way. Butwhen the rules have been deliberately bro-

ken, there is a certain payoff.Through imaginative and thoughtful

production. Hicks has been able to trans-form what could well have been anotherprofessional blowing session into a modestevent. He avoids both horns and the basicpiano -bass -drums rhythm section. Fourtracks feature the unusual grouping of pianowith vibes (Bobby Hutcherson) and bass(Walter Booker), one tune is a piano duetwith wife Olympia Hicks, and the remain-ing cuts are solo performances. This mate-rial avoids the obvious. The Hicks originalsand tunes by Hutcherson, Walter Davis.and composer Paul Arslanian complementthe selection of a little -played Billy Stray -

horn gem, The Star Crossed Lovers. andone standard, That Ole Devil Called Love,which are usually not associated withinstrumentalists of Hicks's generation. Thenovelty of the material generates swingingaggressiveness in everyone's playing; thisis chamber jazz that has meat on itsbones.

Hicks is not an innovative pianist. Hisinfluences -a little McCoy Tyner. a bit ofDuke Ellington. a lot of Bill Evans -arealways apparent in his playing. But hisstraightforward. unpretentious style setshim apart. He lets the music reveal itself,stating beautiful melodies with an ease thatis free of affectation or cluttered embellish-ments. His ruthlessly driving improvisa-tions are never independent of the compo-sitions: tunes are never mere excuses for

virtuosic display.Because he is so dependable and

adaptable, we tend to take Hicks for grant-ed. Now is the perfect time for that tochange; "John Hicks" is the sleeper of thisyear's ten best jazz albums.

STEVE FUTTERMAN

Don Sebesky: Full CycleDon Sebesky, producerGNP Crescendo 2164 (8400 SunsetBlvd., Los Angeles, Calif. 90069)

Along with those of Slide Hampton andWillie Maiden, the compositions andarrangements of trombonist Don Sebeskygave Maynard Ferguson's late '50s band astrong identity. After a year there, howev-er. Sebesky gave up the trombone to devotehimself to writing and conducting. Withproducer Creed Taylor he created "the CTIsound," providing classical and jazz -inspired settings for many performers,including Wes Montgomery and GeorgeBenson.

Now, at the age of forty-seven. Sebes-ky is finally fronting a band. His arrange-ments derive from Gil Evans, but he'smuch more disciplined -less inclined to leta soloist ramble on into eternity and moreconcerned with involving the whole ensem-ble. As a result, he consistently achievesthe kind of personal interpretation thatEvans's overly laidback attitude tends todissipate. Sebesky, who now plays electric

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PercussionSweet andBitterReviewed bySteve Futterman

Max Roach: Standard TimeJim Fishel, producerPolygram EmArcy Jazz Series 814 190-1(two discs)

FEW MAJOR BANDLEADERS have been givenmore lip service from critics and less archi-val support from the record industry thandrummer Max Roach, who formed two ofthe most exciting and innovative bandsaround during that most fertile of jazz erasfrom 1954 to 1960. Brown -Roach Inc., thecooperative unit he co -led with trumpeterClifford Brown from 1954 to '56. was thegreatest of all hard bop bands; Roach's1958-60 association with another brillianttrumpeter, Booker Little, produced musicthat can stand with the post -bop explora-tions of Miles Davis and Ornette Coleman.Want to hear this stuff? The BRI material isavailable in this country only through Japa-nese imports, and Roach's work with Littleis either on obscure independent labels ortotally out of print.

So my feelings about "StandardTime" are ambivalent. This grab bag ofstudio outtakes and random selections frompreviously released but now unavailablealbums is a tease-or at best a mixed bless-ing. Hearing such assorted gems from agolden age only reminds us that the bulk ofthese treasures, and the most importantones, are out of reach. Finding a lost trackfrom BRI while the "Jordu" LP is stillunobtainable on an American label is likediscovering a forgotten Chaplin short whileThe Gold Rush is out of circulation.

This neglect only adds to the obsessivefolklore that feeds jazz record buying."Sure," the rabid collector sneers, "if youthink that's great, you should have heardthe one that got away." I usually bristle atthat cliquish attitude, but in Roach's caseit's perfectly justified. Nearly everything hedid in the last half -decade of the Fifties isgreat, and all of it deserves to be heard.

By hooking up with Brown, Roachformed a classic band on his first try.

Steve Futterman is a free-lance writer whocontributes regularly to Musician andRecord.

Trumpeter Booker Little (left) with bandleader %hi in 5.\ r ,npered radicalism

Brown had it all: gorgeous tone, effortlessexecution, and singingly melodic ideas. Hisplaying leaves you with a rush of elation-everything seems to be within his grasp. Nomusician since Armstrong has been able tocoax such radiant joy out of his instrument.Brown was an Olympian talent untouchedby hubris. His was the sound of pure con-fidence.

Playing the hardest hard bop, BRI'sfavorite and most comfortable tempo wasup, way up. Roach took the band's monikerseriously; his drums were part of the frontline right alongside the horns. When themusic got hot, as it does on Blues Walk (thisalbum's only Brown entry and a previouslyunreleased outtake), the pace was just ridic-ulous. But the musicians maintained aninward repose; at full throttle, Brown -Roach Inc. were lyric poetry delivered withthe collective force of a Mack truck.

When Brown was killed in a car acci-dent in 1956, the group sound he had helpedmold hardened into formula. Certain de-vices of the original unit-pitting twohorns together for climactic effect, occa-sional forays into waltz time, uptempo ren-ditions of standards and Ellington num-bers-all these were retained for Brown'sreplacement, Kenny Dorham. "StandardTime" devotes the greatest amount of spaceto this transitional band, whose primaryrecordings are (need I say it), for the mostpart, unavailable.

One of jazz's great underdogs, Dor-ham did an admirable job of coping with ano -win deal, ultimately emerging as one ofthe finest stylists of his generation. "Stan-dard Time" helps chart this development.Knowing he couldn't touch Brown's chops,Dorham concentrated on the more impor-tant lesson of the master-form and sub-stance. His solos on Mr. X, Minor Trouble,and Valse Hot, while never approaching themagnificent architecture of Brown's, arestill ingeniously crafted. Dorham's playingis always lean, crisp, and convincing, traits

that remain a high premium in the genre.The Brown mold was finally broken in

1958 when Roach put together a new bandwhose tempered radicalism mirrored thechanges that were taking place as the Fiftiesended. Although this music is now no morethan a historical footnote, it incorporatedsome of the most cogent aspects of the pia-no -less freedom and tonal experimentationof Coleman, and the modal expansions ofDavis. By hiring young musicians like Lit-tle and changing the instrumentation (hereplaced the piano with a tuba, for exam-ple), Roach was able to completely revamphis group's sound and identity. Of the twocuts presented here, only Monk's BemshaSwing gives an indication of the inventive-ness of this band. Principal soloist andoccasional composer/arranger, Little is agiant whose best music still goes unheard.He took Brown's bop technique and driveand brought it into the post -bop era. His useof tonal manipulation, off -center time, anddissonant orchestral voicings-as a playerand a composer-sounds daring even today(that is, if you can locate his records). Butwhat immediately and irrevocably sets himapart from Brown is his profound sorrow.Even at his most effusive moments, Little'ssound is disturbing in its dire intensity.With hindsight it could be called foreshad-owing: Three years after joining Roach,Little died of uremia at age twenty-four.

"Standard Time" hints at these vari-ous bands, which is reason enough to buyit. For the Roach novice, the album makes afine introduction to great music that,because of its unavailability, has alreadyacquired iconic status. For collectors, theoddities (an entire side of intense but over-long jamming) and randomness of theselections (the drummers' battle Rich ver-sus Roach) are anything but a drawback.Still, the whole thing seems a bit self-defeating. Without access to this album'ssources, "Standard Time" is like an adden-dum to nothing. HF

SEPTEMBER 1984 79

BAC K B EAT Reviewspiano, uses the instrument judiciously, foradded color.

On this debut he has chosen a half-

dozen standards by six stars: Miles Davis'sAll Blues, John Lewis's Django, Bud Pow-ell's Un Poco Loco, Bill Evans's Waltz forDebbie, Freddie Hubbard's Intrepid Far,and John Coltrane's Naima-managing,miraculously, to improve on even the bestof these in their original form. All Bluesbecomes an even more compelling moodpiece; various instrumental lines drift andfloat like smoke rings, sometimes resolvingin solos. Sebesky hears Django as a mourn-ful Spanish theme, using Lew Soloff s

trumpet, Alex Foster's flute, and a dolefulguitar played by his son, Ken, to bring outthe full sense of sadness. On the other hand,Un Poco Loco, a crisply tumultuous seriesof solos and challenges accented by JimmyMadison's drumming. enlarges on Powell'sfamiliar solo. JOHN. S. WILSON

PopMarcia Ball: Soulful DressDenny Bruce, producerRounder 3078

What makes Marcia Ball so atypical as asoul woman is her Texas roadhouse -bredmatter-of-factness. She works in saloonssinging the blues. r&b, her own songs and

others', and she does this very well. But herstyle is loping, not charging; even at herbeltingest she retains a softened, laidback,hot -night laziness. Without obvious dia-phragmatic pressure. her hardest notes arcmiles away from the Sturm-und-Drang ofblues -rocker Janis Joplin. though Ball'scrooners arc punchier and more energetic(and more believable) than the light andfeathery insinuations of Bonnie Raitt, towhom she bears a slight vocal resemblance.On "Soulful Dress," which treads the fineline between hot and harmless, we find sen-suality (Souffill 'Dress, Soul on Fire),betrayal (Jailbird, Made Your More TooSoon), and promises (My Mind's MadeUp) -a more than satisfactory blend for adebut blues LP.

But something is missing. It's not thegenre's sexy blues undercurrent. Wheremany women aim for the coy and arch to getsexuality across. Ball's deft phrasing andmidrange soprano convey credible passion.And it's not a lack of originality. Ball's ver-sion of Jailbird, with its promise "I'll nev-er hit another man." and her decision tochoose only one lover in the self -penned MyMind's Made Up, arc inventive twists.What makes this singer utterly real, andwhat will probably undo her, is her straight-forward simplicity. Joplin succeeded ascaricature. Raitt succeeds as nice -girl -goes -naughty. Marcia Ball sings and plays full-fledged blues -articulate, thoughtful. And

heartfelt. She's no fantasy. And she justmay be too honest to stick.

LESLIE BERMAN

Detroit Gold. Vols. I and 2011ie McLaughlin & others, producersSolid Smoke SS 8021 & 8022 (P.O. Box22372, San Francisco, Calif. 94122)

In any city that supports an active localscene, there will be artists not quite consis-tent enough to make it onto the chief label,but capable of delivering a few strongrecords. They usually wind up with a small-er company. Thus, Memphis rockabillysunwanted by Sun went to Meteor; a decadelater, soul artists who couldn't cut it withStax-Volt usually worked for Goldwax. InDetroit, during the Sixties heyday ofMotown, they went to three labels run by011ie McLaughlin: Karen, Carla, and Moi-ra. The two volumes of "Detroit Gold"gather the best of their efforts. There'senough here for one dynamite set (a laMeteor's "Hillbilly Bop, MemphisStyle"), but spread over two albums, thepickings are slimmer.

What's immediately obvious is theclout Motown itself exerted, inevitably.over any recording artist. Though some ofthese sides also show the influence of CurtisMayfield's Chicago soul sound, a cut likeBelita Woods's My Magic Corner (Vol. 1),with its rumbling bass intro set against

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horns playing a generic Motown chart,gives away the record's origins immediate-ly. So does the tambourine underpinning ofthe Firestones' Buy Now and Pay Later(Vol. I) or the Marvin Gaye homage ofJimmy Delphis's Almost (Vol. 2). Still oth-er cuts bear a resemblance to non -MotownDetroit artists, such as Little Willie John(the Volumes' Ain't Gonna Give You Up,Vol. 2) and Wilson Pickett (Delphis's Mrs.Percy, Vol. 2). Overall, the arrangementstend to be sparser than Motown's-proba-bly as much a matter of economics as aes-thetic choice -and more rhythmically var-iegated.

Volume I gets the nod chiefly by vir-tue of Barbara Lewis's Hello Stranger, themost wistful girl -group ballad by a solosinger this side of Carla Thomas's GeeWhiz, and Deon Jackson's Love Makes theWorld Go 'Round, a sweet Sam Cooke -

meets -Motown derivative. Jackson alsoreveals a marked debt to Smokey Robinsonon Ooh Baby, while Woods's three cutsshow off an unfettered gospel voice.

Too much material from Delphis, asinger somewhere between Gaye and Jr.Walker who had no idea what to do with hisown raw voice, weakens Vol. 2, and thebelabored M -C Twine by Matt Lucas, thesole white artist represented, doesn't help,either. But it's partially redeemed by theinclusion of the Capitols' Cool Jerk, atrash -dance classic. "Detroit Gold" maynot offer the constant revelations of a com-parable Motown anthology, but the twoalbums have their share of small and sus-taining pleasures. It's just a matter of weed-ing them out. JOHN MORTHLAND

The Dream Syndicate: Medicine ShowSandy Pearlman, producerA&M SP 6-4990

This can't be the same Dream Syndicatethat emerged a couple years back playingobvious Velvet Underground derivationswith drive, abandon, and guilelessnesswhile bands all around them were failingwith the same ploy. "Medicine Show"sounds more like a studio band shaped byan outsider, producer Sandy Pearlman. Andif their version of bargain -basement L.A.psychedelia is still harsher than most, thisalbum remains very much a corporate prod-uct, with the urge for radio airplay subsum-ing the music.

Telltale signs are everywhere. BassistKendra Smith, whose murky undertow hadmore to do with the group's sound than abass line usually does, is gone, replaced bythe more precise timekeeper David Provost.This cuts deeply into the momentum DreamSyndicate always built up in the studio aswell as live, which not only diminishes oursense of them as a group, but puts too muchpressure on lead guitarist Karl Precoda. Histhree basic solos sound as though they'vebeen dropped in almost at random to fillspace, because most of these tunes go on

way too long. The nadir comes on the 8:48John Coltrane Stereo Blues, which is full offalse buildups and crescendos intended tomanufacture excitement not inherent in thesong or arrangement. Session keyboardman Tom Zvoncheck, primarily a noodlingtechnician, is also called on for solos; hisbreak on Armed With an Empty Gun actu-ally takes the meat out of the music. Thebackground vocals add nothing to lead sing-er Steve Wynn's patented Lou Reed, MickJagger, or Jim Morrison imitations (whichdidn't used to seem such self -parody).

The band doesn't exactly help itself,either. Burn and Merritville are portentousmumbo -jumbo, and Dream Syndicate'spreoccupation with gun lore and other sym-bols of rural American life seems contrived.Only Still Holding On to You and Daddy'sGirl survive as songs. But these guysweren't great songwriters to begin with;they got by on energy and commitment,qualities that appear to have been muffledby business pressures. JOHN MORTHLAND

Linton Kwesi Johnson never forgets.

Linton Kwesi Johnson: Making HistoryLinton Kwesi Johnson & Dennis Bovell,producers. Mango MLPS 9770(14 E. 4th St., New York, N.Y. 10012)

What with the conventions and the stump-ing, this is shaping up as the Summer ofTalk. How opportune, then, that LintonKwesi Johnson's "Making History"should come out now: An album of mono-logues that never feel like speeches, it's allunforgettable talk. A second -generationJamaican journalist and activist in England,Johnson is, distantly, reggae's Studs Ter-kel. He grew up working-class and then hechanged, but he has never forgotten-orstopped reminding anyone who'll listen-about working-class problems. Johnsondoesn't theorize -so much as mobilize. Thenhe jams on it, repeatedly, to skewed reggaebackings as muscular as the street tussles hewrites about.

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ing his militant, piercing "Dread Beat an'Blood," released in the States in 1982. Butthere's not a weak cut on "Making Histo-ry"-he talks with more feeling, morerhythm, and more sense than most singersknow about. He never raises his boggy.impersonal voice; it has the gravity (thoughnot the deceptive clarity) of a BBCannouncer. Johnson's broadcasts are thekind of current events that BBC declines tocover; the title cut, for instance, reveals thelie of the official British explanation forrecent black and Asian riots. Di Eagle an'Di Bear concerns the plight of Third Worldpeople too busy worrying about food tofight against the arms race.

The band behind Johnson usually sup-ports its leader, reggae crooner DennisBoveII, but Johnson takes it places Bovellhas never seen. And he takes it places reg-gae rarely goes: There's up -front blues onWat About Di Workin' Class?, even a ref-erence to Italian movie music in Reggae FiRodni.

There has been a tsunami of good talklately, none of it generating from the cam-paign trail: the slick-schmooze of the NewYork rappers on these shores and a wave ofdub poets revolutionizing reggae in Jamai-ca. But the original is still the best. John-son's too much of a left scholar, and toodamned good a poet, to claim he's justanother face in the street. And yet, there ishis voice: deliberate and burdened, as unin-dividual as a complaint from a crowd. Thathardened, resolute voice is "Making Histo-ry" 's greatest success. RJ SMITH

Bruce Springsteen: Born in the U.S.A.Bruce Springsteen, Jon Landau,Chuck Plotkin. & Steve Van Zandt,producers. Columbia QC 38653

On "Nebraska," his recorded -at-home1982 solo LP, Bruce Springsteen strippedaway both myth and melody to make analbum that was stark and unremittingly sad.While it didn't quite succeed on its ownterms-his bare -bones narratives weremore depressing than cathartic-"Nebras-ka" marked a crucial break from Spring-steen's pop -operatic past. He seemed tohave grown weary of his rock -as -redemp-tion fables and larger -than -life image;unlike the average star, he tried to be self-effacing. a demigod wanting only to be aregular guy. He jumped off his pedestal byflinging his version of life in the face of hisfans as if it were a bucket of cold water.

As "Born in the U.S.A." proves, thatalbum was a turning point, not merely apause. in his career. No longer the romanticrenegade, Springsteen reapproaches rockwith a folksinger's storytelling power andjust the right distance from the glory days ofhis long-term adolescence. What links hiswork old and new is the well -muscled play-ing of the E Street Band, which transformsthese hard -luck tales of blue-collar life intobracing, full-blown drama that is grand

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USA vs The OrientThere's an amp from the Orient with an American soundingname that received a high rating from a West Coast audiomagazine. As a response from the U.S. we offer the Belles Oneamp. All you need do is compare the sound quality.

The Orient is well known for making good reliable audioproducts. But if you wanted high quality, high performanceU.S. components you had to pay more-up till now. The abovementioned amplifier from the Orient sells for about $900 -the Belles One is substantially less expensive. Isn't that a wel-come change of events. Superior U.S. quality at a lower price.

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BAC K BEAT Reviewsinstead of grandiose. Springsteen's anger isstinging (on the thunderous title track). hishumor rollicking (on Darlington County),his sense of personal regret palpable (onBobby Jean, a poignant. veiled message toex -band member Steve Van Zandt)-andthe pain accumulated here is ultimatelyexorcised. As Springsteen points out, danc-ing in the dark has its therapeutic effects.

Ironically, now that he has capturedthe voice of the common man, the renewedvigor of "Born in the U.S.A." might turnthe Boss into an across-the-board pop star.No sweat, though. Think of it this way: oneof us made good. MICHAEL HILL

Little Steven: Big Bruce wasn't enough.

Little Steven: Voice of AmericaLittle Steven, producerEMI America ST 17120

On "Voice of America," Little Steven-a.k.a. "Miami" Steve Van Zandt-movesoff the streets and into the jungle. "MenWithout Women" was an elegiac ode to hisurban roots and the redemptive qualities ofrock and roll; "Voice" is a political call toarms. Unlike his former boss, BruceSpringsteen, Van Zandt writes aboutgroups rather than individuals, direct issuesinstead of metaphorical situations. "Amer-ica" for Van Zandt spans both Latin andNorthern regions; his new songs are explicitattacks on threats of fascism, terrorism, andimpending war that know no boundaries.

With its ten sober, anthemic flag-wavers, whose titles include Justice,Among the Believers, and I Am a Patriot,"Voice of America" may bring to mind theranting pontifications of the Clash at theirworst. Fear not, "Voice" is no "Sandinis-ta!" Van Zandt escapes self-righteousness(Continued on page 87)

84 HIGH FIDELITY

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86111)11 111

BACKBEAT REVIEWS(Continued from page 84)and diffuse humanism by exposing his soul.not some book of slogans. An unembar-rassed idealist who, at the same time, isfilled with self-doubt and failed expecta-tions, Van Zandt is a revolutionary whohasn't lost touch with his frailty and human-ity. "If you are a fighter." he asks hisrebellious lover in Out of the Darkness,"hold me a little bit tighter."

The sound also reflects Van Zandt'snew defensive stance. "Men WithoutWomen" was the apotheosis of the toughbut elegant r&b that he crafted for South -side Johnny and the Jukes: "Voice" isloud, bolting hard rock. He has dropped thehorns and put new emphasis on guitars andpercussion, having memories of both theJukes and Springsteen far behind. If hissound is reminiscent of anyone, it's theRolling Stones of last year's "Undercov-er." Besides their similar themes, bothalbums share a metallic chordal texturemeshed with cutting Latin -funk rhythms.Because of the thrust of his band's attack,Van Zandt is able to turn his serviceablevoice into a real means of expression.matching their roar with his own unbridledpassion.

With the concurrent release of Spring-steen's "Born in the U.S.A.," "Voice"might get buried, which would be too bad.In any of his incarnations, Van Zandt is acompelling individualist who demands tobe taken seriously. This albumsage arc to be avoided at your own risk.

STEVE FUTTERMAN

Johnny Winter: Guitar SlingerJohnny Winter, Bruce Iglauer.& Dick Shulman, producersAlligator AL 4735(Box 60234, Chicago, III. 60660)

On the aptly titled "Guitar Slinger," John-ny Winter comes out looking for a fight.laying down guitar solos like rows ofbarbed wire and daring anybody to cross

them. "It's my life, baby/Let me live it likeI please." he announces in a defiant growl.Now on an independent Chicago label andbacked by some of the Windy City's finestplayers. Winter is completely in his ele-ment.

Of all the blues -influenced guitaristswho emerged as rock stars in the late '60sand early '70s. Winter stuck closest to thefoundations: to Delta. Texas. and Chicagoblues. Although he made some rowdy,abrasive rock, he never came up with his"Layla." his "Electric Ladyland." analbum that took off from the blues but spunin a personal orbit. In a spotty career, hismost notable achievement was probably hiswork as producer of the late MuddyWaters's final batch of LPs, beginning with"Hard Again."

"Guitar Slinger" may have beeninspired by the success of Stevie RayVaughan's 1983 "Texas Flood." whichrevitalized the blues trio format. Of theseten unfamiliar but classically styled songs,Earl King's Trick Bag, a sly commentaryon domestic one-upmanship. may be thebest known, but Kiss Tomorrow Goodbye isthe real find. with a chord progression thathas graced countless soul numbers. Thealbum is designed as a guitar handbook:some Elmore Jamesian slide playing, someTexas shuffle, some dirty Chicago howl-ing' and tumblin'. (It's missing Delta blues,but there's plenty of that on the LP Winterrecently produced for harmonica player

Although thematically "Guitar Sling-er" treads on reactionary ground when itcomes to male -female, um, relationships(murder is actually threatened on Boot Hill.for example). the album has the cut -loosespontaneity of a jam session without a jamsession's haphazardness; bassist Johnny B.Gayden and drummer Casey Jones knowhow to keep things anchored. Adhering tothe axioms of the blues is a smart move forWinter: Its boundaries prove liberating forhim, because this music goes to his core.

MITCHELL COHEN

Peter Wolf: Lights OutMichael Jonzun & Peter Wolf,producers. EMI America SJ 17121

The name of the game in pop culture thesedays is Mix and Match the Genres. Whetherit's movies like Gremlins, or a record likethe Style Council's "My Ever ChangingMoods," all past styles are open for useand/or abuse, thrown together to createnew and often startling syntheses. This Cui-sinart approach may not have seemed theeasiest way for Peter Wolf, onetime singer/focal point/ wildman for a little band knownas J. Geils, to step out into the spotlight as asolo act. No one would have blamed theguy if he had played it safe after being cutloose.

Yet "Lights Out" works so wellbecause it never retreats and hides behindthe old forms. The key is the chemistrybetween Wolf and his coproducer, JonzunCrew honcho and fellow Bostonian Mi-chael Jonzun. This producer and songwrit-er/musician challenges Wolf s intuitivefeel for most black pop of the postwar years(including the last crucial half -decade) bycreating the hottest tracks for the man tohowl on. Whether Wolf and Jonzun arescratching behind a flute solo, as in thescorching 0o-Ee-Diddley-Bop. or follow-ing that with a heavily synth -texturedattempt at Billie Holiday's Gloomy Sunday,the songs use the past to illuminate thepresent and vice versa; the best numbers-the title track,Billy Bigtime, Baby Please Don't Let MeGo-almost seem a culmination of whatr&b has been pointing to for years.

It should be noted that, with 11 songstotaling over 40 minutes, "Lights Out"loses some of its overall impact: Side 2 doesmeander a bit. But just imagining how Wolfwill reproduce its vibrant quality in concertproves how little he needs Geils to make agreat record. "Great Googa-Mooga," criesWolf in Crazy. "I'm crazy, crazy, that'swhat I am." We hear you. Pete-go get'em. WAYNE KING

RUBINSTEIN FEAST(Continued from page 62)

The performance with Walter Suss -kind of Rachmaninoff s Rhapsody on aTheme of Paganini also presents a fascinat-ing contrast when compared to the collabo-ration less than a decade later with FritzReiner, newly reissued by RCA in its .5series. The first is an extremely effectivevirtuoso run-through, and quite satisfyingon its own terms. But hearing the Chicagoversion, one realizes afresh just how muchRubinstein must have thought and matured,all at an age when most pianists are only toocontent to relax and repeat (if possible)former glories. If there is any performancethat contradicts the oft repeated charge thatthe great "Artoor" was slightly superficial

(especially when compared to . . .), try thison for size-and enjoyment. (The playingof the Second Concerto is also fine, if noton the same level as the Rhapsody.) RCA'shalf -speed remastering contributes greatlyto making these wonderful past perfor-mances seem alive and present. and to mak-ing them sound superior to records madedecades later.

If your interest has been piqued by anyof this, there is something else to anticipate:the publication in the current issue of theBeecham Society magazine, Le Grand Bat-on, of a complete Rubinstein discographyby Donald Manildi. If nothing else, itshould reveal to any doubters the full extentof Rubinstein's contribution to our musicallife. One looks forward to seeing it and to

finding out in detail what might yet remainto be reissued.

To conclude, the best thing one couldsay about all these discs (and everythingelse Rubinstein recorded, for that matter)would be to endorse what was expressed bya few of Rubinstein's own words from a1977 PBS telecast: "There is a certain thing. . . which goes out from my emotions-'from the feeling'-if you like to call it,soul. . . ." To that I would add an invita-tion, again echoing Rubinstein himself:Come and feast, or, as you will, come andsample . . . but, in any case, certainly docome-to a supreme pianistic celebration,all graciously presided over for our lastingpleasure by the grandest pianist of ourtime. HF

SEPTEMBER 1984 87

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READER -ACTION PAGE

Acoustic Research,10 American Dr., Norwood, MA 07066, Att:Dept. HF 984

AIWA America, Inc.,35 Oxford Drive, Moonachie, New Jersey,07074, Att: Dept. HF 984

Audia,5500 Rosecrans, Lawndale, CA 90640, Att:Dept. HF 984

Audiofon,P.O. Box 37, Brooklyn, N.Y. 11204, Att: Dept.HF 984

Alpine. Luxman,19145 Gramercy PI. Torrance, CA 90509, Att:Dept. HF 984

Audio Video Center Inc.,4128 South Florida Ave., Lakeland, FL. 33803,An: Dept. HF 984

BASF,10 Crosby Drive, Bedford, MA 01730, 617-271-4000, Dept. HF 984

Belles Research Corp.875 Merrick Ave., Westbury, NY 11590, Att:Dept. HF 984

BES,

345 Fisher Ave., Costa Mesa, CA 92626, Att:Dept. HF 984

Concord Electronics,6025 Yolanda Ave., Tarzana, CA. 91356, Att:Dept. HF 984

Discwasher,1407 North Providence Rd., P.O. Box 6021,Columbia, MO. 65205, 314-449-0941, An: Dept.HF 984

East 33rd Typewriter and Electronics,42nd East 33rd St., New York, N.Y., 10016,Att: Dept. HF 984

Hitachi Sales Corporation,401 West Artesia Blvd., Compton, CA 90220,Att Advertising Dept. HF 984

Illinois Audio,12 E. Delaware Place, Chicago, III 60611, 800-621-8042, Att Dept. HF 984

International Book & Record Distributors,40-11 24th Street, Long Island City, NY 11011,212-784-3929, Att: Dept. HF 984

J&R Music World,23 Park Row, New York, NY 10038, CustomerService Dept. HF 984

Kyocera International Inc.,7 Powder Horn Drive, P.O. Box 4227, Warren,NJ 07060, Att: Dept. HF 984

Many manufacturers who advertise in HIGH FIDELITY offer additional literature on theirproducts free of charge to our readers. For more information on specific productsadvertised in this issue, drop a postcard, care of Dept. HF-984 unless otherwise noted,to the addresses listed below. If an address does not appear, literature is availablethrough the company's dealers only

LaBelle Camera & Stereo of Maine,155 Main St., Biddeford, MA. 04005, 800-3410783, In ME, HI, Alaska 207-281-1401, Att:Dept. HF 984

McIntosh Laboratory Inc.,East Side Station, P.O. Box 96, Binghamton,NY 13904, Dept. HF 984

Polk Audio Inc.,1915 Annapolis Rd., Baltimore, MD 21230,301-837-4300, Att: Dept. HF 984

Sansui Electronics Corp.,Lyndhurst, NJ 07071, 201-604-7300, Att: Dept.HF 984

Sherwood,17107 Kingsview Ave., Carson, CA 90746, Att:Dept. HF 984

Shure Brothers Inc.,222 Hartrey Ave., Evanston, III., 60204, Att:Dept. HF 984 -Customer Service Dept.

Signet,4701 Hudson Dr., Stow, OH 44224, 216-688-9400, Att. Dept. HF 984

Sony Corp. of America,Sony Drive, Park Ridge, New Jersey, 07656,Att: Dept. HF 984

Stereo Corporation of America,1629 Flatbush Ave., Brooklyn, NY 11210, 212-338-8555, Att: Dept. HF 984

Tandberg of America, Inc.,1 Labriola Court, Armonk, N.Y 10504, Att:Dept. HF 984

TDK Electronics Corp.,12 Harbor Park Dr., Port Washington, NY10050, Att: Dept. HF 984

TEAC Corporation of America,7733 Telegraph Rd., Montebello, CA 90640,Att: Dept HF 984

Toshiba,82 Totawa Rd., Wayne, N.J. 07470, 201-628-8000, Att: Dept. HF 984

Ultrx/Sanyo,1200 West Artesia Blvd., Compton, CA. 90220,An: Dept. HF 984

Wisconsin Discount Stereo,2417 W. Badger Rd., Madison, WI 53713, 800-356-9514, Att. Dept. HF 984

Yamaha Electronics Corp. USA,6660 Orangethorpe Ave., Buena Park, CA.90620, An: Dept. HF 984

Advertising Offices

New UN: ABC Le sure Magarines Inc . 875 7th Ave 7th floor. New York. N Y10019 Tel 17171265 8360 James A Casella Advenrsang Director. Richard J Marano.N.111011.11 Air mans Manager. Michael Goldberg Eastern Advertising Manager James

R McCallum Record Advertising Manager Cecelia M Grunta Classified AdvertisingManager Kathleen Sacs Director ut Produchon Janet Cemak Advertising ProduchonManager

Midwest high Fidelity Ratchcock Building. Wtieuieri belie! Tiii nRl 55.18078 Starr lane Midwest Advertising Manager

In Aageler ABC Leasure Magazines. Inc 2070 Avenue of the Stars. Suite 245Century City Calif 90067 Tel 12131 5516482 Rita WerIzen. Western AdvertisingManager

Naas! In.: Kathleen Charla Kathleen G Ghana Associates 21000 W our-teen.Mrle Road Bornangnam Mach 48010 Tel 13131 6473182 hank LaVerne franklaVerne Associates 977 Crenshaw Blvd Los Angeles. Calif 90019 12131 932-1747

Tea w Japan Advertising Communrcahons Inc New Gull° Bldg. 7-3-13 GirvaChuo-ku Tokyo 104 Japan Tel 1031 571-8748 Stegeru Kobayashi President

Advertising Index

Page 'o.

28

27

41

18

22

Acoustic Research

Aiwa America, Inc.

Akai America, LTD.

Alpine/Luxman

Audia

84 Audio Video Center

82 Audiofon

47 BASF

83 Belles Research Corp.

68 BES

7 Bose Corp.

13 Carver Corp.

39 Concord Electronics

Cover IV Discwasher, Inc.

82 East 33rd Typewriter &

Electronics

Hitachi Sales Corp.

Illinois Audio

Intl Book & Record Dist.

J&R Music World

JVC Co. of America

Kyocera International Inc.

LaBelle Camera & Stereo

Maxell Corp.

McIntosh Laboratory Inc.

MEMTEK

Polk Audio Inc.

Sansui Electronics Corp.

Signet

Sherwood

Shure Brothers

Sony Corp. of America

Stereo Corp. of America

Tandberg of America, Inc.

TDK Electronics Corp.

Teac Corp. of America

Technics

Toshiba

Ultrx Sanyo

Warner Brothers ECM

Wisconsin Discount

Yamaha

Cover III

78

71

80

Cover II, 1

15,17

81

9

84

32

60

6

70

2

45

11

77

65

12

25

5

59

31

49

83

21

...like Captain Brooke Knapp, is dedicated tonothing less than excellence in its performance.Capta n Brooke Knapp is soaring to new heights, DreakTigevery flight record in the books-currently 103 records b hercredit, including the fastest time ever around the world-andchampioning the worldwide UNICEF charity for the world'schildren. That's what being the best is all about. It means out-performing the competition. Going above and beyond theexpected. And knowing that "goodenough" never is. That philosophy isbehind every Hitachi product. Which iswhy it was no surprise we were thefirst to introduce a consumer colorcamera with no tubes. Powered byan MOS image sensor chip, we rev-olutionized video camera performance forever. Our color televisions are

among the finest in the world, due in great part to "Signal TrackerControl," another Hitachi exclusive. For better video recording, wedeveloped our 5 -head PORTADECK VCR, Hitachi's smallest, lightest,most advanced ever. It's a portable VCR that truly is one. And our Com-pact Disc Player is a technological breakthrough in audio history. Virtualperfection in sound reproduction This is just the beginning. We're settinga new standard in quality home electronics. And it's all up from here.

20th Anniversaryin America

HITACHIA Worlc _eader ii Technology

Hitachi Sales Corporation of America 401 W. Artesia Blvd., Compton CA 90220 (2131 537-8383

(v) "Year ofthe Champion's

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