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MARCH 1968 M


Amplified Instruments, Music or Noise?

How to Judge an Amplifier
Boulez: Composer into Conductor
Budget Your Stereo Dollar Wisely

,,,,,,,,,o, 00 90_ 92. 94 96 90 100 102 104 106 101 100

lE '10 00 i:-9 - 140 160

The new Fisher 550-T.

The 550-T has both AM and FM.
The 550 -T AM/FM-stereo re- microvolts- weaksignalscansound Ir
ceiver pulls in twice as many sta- like strong local stations.
A seventh IC is used for muting Mail this coupon
tions as the 500 -T. Because it has for your free copy
twice as many bands. Which means and for controlling the d'Arsonval of The Fisher Hand-
you can at last listen to your favor- tuning meter. And Fisher's pat- book 1968. This
ite news, sports, or AM -music ented Stereo Beacon* signals the 80 -page reference
station without distortion. presence of a stereo station and guide to hi -fi and
The AM -tuner section of the a utcmatica ly switches to the stereo
I stereoalso includes
550 -T is really special. Unlike most mode. detailed informa-
commercial AM -tuner sections, this A word about the amplifier sec- tion on all Fisher components.
new Fisher receiver has two (not tion, identical in both the 550 -T
just one) transistors in both the RF and 500 -T receivers. With 90 watts Fisher Radio Corporation
and mixer stages. These extra tran- music power (IHF), the 550 -T can 11 -3545th Road
sistors permit reception, without drive even the most inefficient Long Island City, N.Y. 11101
overload or distortion, of a wide speaker systems. Distortion, hum
range of signal strengths. and noise are virtually unmeasur- Name
We wouldn't want you to think able. And the receiver includes
that in improving the AM section jacks, switches and controls for Address
we've slighted the FM section. every imaginable function.
Actually, the 550 -T has a more ad- So stop at any hi -fi shop or at City State Zip
vanced FM -tuner section than any the audio department of your 010368

other receiver under$450. favorite store. Compare the Fisher

To perform the functions of IF 550 -T ($449.95**) with the Fisher
amplification and of limiting, the 500 -T ($399.50 * *). (Other Fisher
550 -T has 6 separate IC's and 2
FET's. IHF sensitivity on FM is 1.8
receivers from $299.95 to
$499.50.) The Fisher


The new Fisher 550-T
and the famous Fisher 500-T
are equally sensitive.
So why does the 550-T
pull in twice as many stations?

The famous Fisher 500-T.
The X factor in the new Pickering XV15.

The X in the new Pickering XV -15 stands for the the egg, the end result can be presented quite simply.
numerical solution for correct "Engineered Appli- So can the superior performance of the XV -15 series.
cation." We call it the Dynamic Coupling Factor Its linear response assures 100% music power at all
(DCF).'" frequencies.
DCF is an index of maximum stylus performance Lab measurements aside, this means all your favor-
when a cartridge is related to a particular type of ite records, not just test records, will sound much
playback equipment. This resultant number is de- cleaner and more open than ever before.
rived from a Dimensional Analysis of all the param- All five DCF -rated XV -15 models include the pat-
eters involved. ented V -Guard stylus assembly and the Dustamatic
For an ordinary record changer, the DCF is 100. brush.
For a transcription quality tonearm the DCF is 400. For free literature, write to Pickering & Co., Plain.
Like other complex engineering problems, such as view, L.I., N.Y.
S" Dynamic Coupling Factor and DCF are service marks of Pickering á Co.






Electronic musical instruments finally snake it big 46
Once an esoteric, avant -garde composer, he's now a box -office draw as a maestro 58

MUSIC FROM CANADA Alfred Frankenstein

The best is yet to come 86
Electronics and musicianship have created the most original big band since Sauter- Finnegan 114


NEWS & VIEWS Is FM replacing discs in the home? ... H-K adds tape recorders 38

EQUIPMENT IN THE NEWS The latest in quality components 40

VTR TOPICS Norman Eisenberg Among the new video machines: cartridges 44
The beginning of a two -part article 52


Some rules of thumb for all pocketbooks 63
Sherwood S -7800 A receiver with extra hook -up possibilities
Jensen I200 -XLC The company's largest speaker system
ADC I0E -Mk II An updated pickup
Compass Triphonic 75 An unusually designed mod rig


REPEAT PERFORMANCE Everest reactivates the Ricordi opera catalogue 34

The delicious nonsense of Ponchielli's La Gioconda
Busoni's gigantic Piano Concerto

THE LIGHTER SIDE The Beatles . . . Frank and Nancy Sinatra . . Jani.s Ian I I7

JAZZ Duke Ellington . . . Intercollegiate Music Festival 111

FOLK Judy Collins ... Flats and Scruggs 124

THEATRE AND FILM Michel Legrand . . . Hair . Hello Dolly 125

THE TAPE DECK R. D. Darrell The cassette repertoire expands Three -hour (open) reels 129

Published at Great Barrington, Mass. 01230 by Billboard Publications, Inc. Copyright O 1968 by Billboard Publications, Inc. The design and contents of Nigh Fidelity Magazine are fully protected
by copyright and must not be reproduced in any manner. Second-class postage paid at Great Barrington and at additional mailing offices. Authorized as second -class mail by the Post Office
Department, Ottawa and for payment of postage in cash. High Fidelity /Musical America Edition is published monthly. Subscription in the U.S.A. and its Possessions, $12; elsewhere, $13. Subscription
including Concert Artiss Directory published in December, $17, in the U.S.A. and its Possessions; elsewhere, $18. Regular issues 755 a copy. National and other editions published monthly. Subscription
M the U.S.A. and its Possessions, $7; elsewhere, 511. Regular issues 605 a copy. Indexed in the Reader's Guide to Periodical literature. Change of address eatkes and eedelieered copies (Farms
3371) should he addressed to Nigh Fidelity, Sebocriptiee Department. 2160 Pattersan S , Cincinnati, Ohio 45214. Please both old and new addresses when requesting a change.

MARCH 1968
Coming Next Month In

Cover by
Milton Glaser

look out, Mahler, here comes

Editor and Associate Publisher
Is Liszt the next composer to be awakened by the kiss of
performers and record companies? Is there anything to LEONARD MARCUS

value in the output of the Old Charlatan, who could have Managing Editor
shown Barnum a few tricks as a showman, who could JOAN GRIFFITHS
have made Don Juan envious as a lover (yet lived in sin Senior Editor
with one of Europe's ugliest women for thirteen years),
who could have given Richelieu some hints as a high -living NORMAN EISENBERG

cleric-yet whose music takes almost as much space to Audio Video Editor

list in Grove's Dictionary as that of Bach, Mozart, and PETER G. DAVIS

Beethoven combined? Is there more than bombast behind Music Editor
the bombast? Yes, writes pianist David Bar- Illan, who in- SHIRLEY FLEMING
dicates that among his fellow concert artists a Liszt revival Editor
is starting to boil. Yes, says Bernard Jacobson, who Musical America Section
rates the available discs. No, argues Herbert Russcol, in
the first psychoanalytic approach to Liszt in literature. You
Art Director
won't want to miss our big Liszt Issue coming next month.
Production Editor


Part II: Preamplification GENE LEES


The second half of Ed Foster's article, which begins this Contributing Editors

month, will be presented in April. It tells you the scientific, CLAIRE N. EDDINGS
no- holds- barred methods HIGH FIDELITY and CBS Labs Director of Advertising Sales
employ in rating the control functions of all amplification
units: preamplifiers, integrated amplifiers, and receivers.
Circulation Director

Sam, the latest addition to our family, may be ugly, A D V E R T I S I N G
but he proved indispensable in helping us to put out
Main Office: Cloire N. Eddings, The Publishing
the first equipment report on headphones we have i'.ousc, Great Barrington, Moss. 01230. Tele-
phone:413- 528 -1300
ever run. Invented by CBS Labs for NASA's space
program, this Simulated Acoustical Mannekin- hence, New York: 165 W. 46th St., New York, N. Y.
10036. Telephone: 212 -757 -2800. Seymour
Sam -not only hears, but can speak. Read what Resnick, Carl Yanowitz
he has to say about the Beyer DT 48 headphones. Chicago: Billboard Publications Inc., 188 W.
Rondolph St., Chicago, Ill. 606ÓI. Telephone:
312- 236 -9818. Clossified Adv. Dept.: same
address. Richard Wilson, Allan Nolon

Los Angeles: Billboord Publications, Inc., 9000

RECORDING WITHOUT MIKES Sunset Blvd., Suite 710, Los Angeles, Calif.
90069. Telephone: 213 -273 -1555. William
Wardlow, Andrew Spanberger
There is a record company that specializes in recording its
Nashville: Billboard Publications, Inc., Baker
sessions without using microphones. Instead, the instru- Building, Room 710, 110 21st Avenue S., Nash-
ville, Tenn. 37203. Telephone: 615- 244 -1836.
ments are wired and plugged directly into the console. Robert Kendall
Both traditional and specially made instruments are
London: 7 Welbeck St., London W.1. Telephone:
used, and both classical and popular music is taped Hunter 5971. Andre de Vekey
in this manner. And see how they manage with voices! Tokyo: Japon Trade Service, Ltd., 2 -1 -408,
3 -Chome Otsuko, Bunkyo -ku, Tokyo, Japan.
Telephone: 944 -0805. Kanji Suzuki


Sliding counterweight is infinitely
adjustable, makes precise dynamic
balancing practical; locks into place,
solated in rubber from the arm.

skating force
'atented anti -skating control, of
spring -free sliding we ght
design, has ' /z gram
calibration to nullify
side pressure
on stylus and
groove walls.

For any
first class
Insert trio. mcst critical, most sensíkive stylus
cartridge in The Garrard SL 35, and be sure
assu-ec :ravel the intricate corvo- tjreading s .

lu -ions 01 he grooves easily anc flaw- gauge

amure sc.
lessly. The acvanced, ultra-low rrass, -racking force preci,
gyrosccp cally gimballed torea-n Fy3- with audible; visible
tem has just three controls, tc b =lance it click stops atv' gran
exac -ly to t-le weight of the c rriog -3, rvals.
ad ust i precisely to the recorr mar ded
stylas force. and counteract the ratural
skating terdercy, providing Derfact
rack ng, dtartion -free reprodcaior.
The SL gives your reccrds a pe--
:ect r de, to:. The synchronous S /nc-ra-
Lao fno-or' ". matched kinetically -o he
oversized, :alarced turntable, gua -ar-
tees absolutely constant speed, u1w3\-
erilg pitci, freedom frorr runple.
Simplified c..eirc and pause con --cl, and
the a clusive safety record platform, p-c-
tect your recores both in man_al and
automatic pla,', making the SL Au :o-
vatic Tress. ripdon Turntable the a ti-
nate in :ertorrrance and depen :ability.
Pri:e: $129 less base and ca-tricge.
Other Garrard models as low as $37.50.
For a complinertary Comparator Guile
to all "rode s write Garrard. Dept. AC-1.
Wes ±urv, N'! 11590.

HR:)- Lna New cartridge
clip guarantees
safe, convenient
mounting. in perfect
alignment. Tone -arm
and "shell" are of rigic,
resonance -free, one piece
Columbia Record Club's special offer to lovers of Classical Music-

Enjoy the Classical Records

You Want-at Savings of
Symphony No.
r. .rderle,
This Deluxe
Cantala on the Death
of Emperor

IM PhArrOp1.e O.A

4.11 CVHN
- ORCHESTRA 3- record set WOW SONITNIN Gnaw*,
p E Deer counts as
5648 5898-5899 5569 2 selections! 5617 5407
OU COe Er.E t.rut en

5647 3864 BERNSTEIN CONDUCTS THE 3258 5411


TO THE VICTIMS 2911-2912. Leonard Bernstein conducts the New York Phil-
String Deanel In L Minor
OVERTURE OF HIROSHIMA harmonic in masterful recordings of Franck's Symphony in RAVEL COLIN DAVIS I

LEONARD BERNSTEIN SaleNO D Minor; Dvoták's Symphony Number 5 in E Minor ( "From Smog Deane in I LONDON
the New World "); Mendelssohn's Symphony Number 4 in SYMPHONY
PHILHARMONIC A Major ( "Italian "); and Schubert's Symphony Number 8
7 RECORD TET Oi.r ^wry in B Minor ( "Unfinished "). ow s a

3436 3137 5900-5901 5531 3343 -3344

Spellbound TWO- RECORDS
Claw de Lune
Warsaw '
This Deluxe Sabre Dance MORE
7- record set fell' NOW 01 IMFEISES 3

ILE Ní1)1 o Rom .

counts as only
4 selections! 5097 -5098 1090 3628 3527

1 °OIí WORnS
ChopinLiszt Leonard Ber.nlem FAVORITES
Rachmaninoff SI FALLA
h Inhn Garigliano
Reliano RAVEL
Schumann vmI'N CRASH IER
Nee fern Phnharnennr

1067 3782 1325 2213 2214

2203 -2204- 2205 -2206. All nine of Beethoven's Symphonies
are included in this deluxe package of seven records (but
which count as only 4 selections)! George Szell conducts the
World of Flamenco


Cleveland Orchestra in inspired interpretations of these im- FAVORITES

portant works which deserve a prominent position in your N E Philharmonic
library of fine recordings. ilin". 7.RECOROSET 'BUR .._.__t!'
4647 -4648 5318 2509 2704


No 3

Pllehar ro,.

CI eland FivTre
Orchestra DRIL.,

5236 2955 -2956 3455 3595- 3596-3597

The fibapNla Beauty
STmpnonalNn JI
PN1laapnra 010 Drmmd, March of Me Ioreads , OFFER
American Salute
DANCES I Iii Swan Lake TWO -RECORDS These two records
FOR JOE IMMppwR - COUNT AS ONE Stars and Stripes Forever
PIANO ! 41 [RIIQB[w SE L Ef:T ION Meadowlands count as only one
Ahem SRIID11111 9 more selection!
de Lar rocha. ,.. r E .0 WE áelccs j PNIIAD(LINIA °RCN

3889 3890 1076 1083



A Golden Treasury
of Concert Favorites
B BERNSTEIN cludes: Waltz from "The Merry Widow "; Schoen Rosmarin;
WILLIAMS jeer K Y. PlldhaTlnanN - -ImIuRr ELLNI
The Blue Danube; Love's Sorrow; Perpetual Motion; Sabre
GOULD GlpOmt CMraN OVERTURES Dance; June Barcarolle; Pas de Deux and Marche Miniature
ORMANDYa'r r. ur' T

Phndelphr OrrlleSlra 1 2 RECORD SR ¡7 Record Seri from "The Nutcracker "; The Maid With The Flaxen Hair; 23
melodic favorites in all!
2471 1264 2348 -2349 2285
V 1968 CBS Direct Marketing Services 567/S68


and Song
You are incited to take

No. 4
Ceed..,er A
/ITALIAN-) Condon..


^_Gould ORCH
yNAemM ORf

5883 5437 4387 5372 \ 5532


Almost 50°/o
if you begin a short trial membership by buying
just one record now, and agree to purchase an
additional five records during the coming year
(you will have up to 300 records a month to
choose from)

PPS this

-..E,T 5e in o nun.
Sp co., e.tn WON Conatos Nos. IA
EUGENE ORMANDV JANACEK: S.nlen,.IM Zit's* Isaac Stern
GEORGE SZELL IIfor Oran holds
ULEEN Ormindy ro
h feI
? This brass-finished
FARRELL www osLu.
n Tho convenient
Philadelphia i J
ables yo o
Orche the want ED seconds:
ot when not In use:
2018 5234 2479 1605 1695


TELL The Fourth
of July
du Soldat
OFFER [,r .cn Nail Con. e.lL and
MAHOA0 see, 4- record set LEONARD BERNSTEIN
counts as
5839 5320-5321 only 3767 -3768 2267 2881
3 selections!
The POMMINEhM OrcheMrs Bernstern lionganan
NY \Rhapsody
God Bless Amence P1919armonM 1No 2
; i1 ,MORE Ph,ladelph,a Orch.

3780 1645 3760 2640 2652

Vienna. My city DIM TCHAIKOVSKY:
Holiday foe
Harpsichord of Dreams PIANO CONCERTOS Russian Sailors'

BIGGS TUCKER 2463.2464 -2465. A monumental collection of the New York TWO -RECORDS
Philharmonic COUNT AS ONE
five Beethoven Piano Co'lcertos as performed by ,.

rt An'e world- renowned Rudolf Serkin backed by Leonard SELECTION
of fro Vie.. Bernstein and the New York Philharmonic and
Favorites 11 MORI
Eugene Ormandy and the Philadelphia Orchestra.

2887 1606 2875 3773



peer GTM
your name and address in the spaces
provided at the right.

2Write in the numbers of your 6 free records

then choose another record as your first selec-
- Name
SABRE Beethoven: ,Please Print) First Name Initial Last Steam
DANCE inn.. ~ROM Ne tion, for which you will be billed $4.98 (stereo
STELL. c1e.Rbnd o,11
or regular high -fidelity), plus postage and han-
EUGENE dling. You will also receive a record rack FREE!
Ph. [ad.I ,, whether you want your 7 records (and Address
o heslra `3Check
all future selections) in stereo or regular.
HOW THE CLUB OPERATES. Each month you will receive,
3792 1172 free, the Club's music magazine -
which describes all Eity
forthcoming selections. You may accept the monthly
BERNSTEIN Classical selection, or take any of the other records
reh,Ln.ILL offered, or take NO record in any particular month.
TP.. w n
Or,. a L
Your only membership obligation is to purchase as few State Tip Code
as five more records during the coming year. In short, Do You Have a Telephone? (Check One) YES NO
within a year you'll have at least twelve brand -new al-
rum bums of your choice -
but you'll have paid for only six. SEND ME THESE SIX RECORDS SEND THIS
MLLADItreM 010NEf10 The records you want are mailed and billed to you at - FREE (fill in numbers below) RECORD AS MY
the regular Club price of $5.98 (occasional Original Cast
2880 2244 recordings and other special albums somewhat higher; SELECTION
Ure: Popular $4.98), plus a small mailing and handling charge.
t1ONAe0111151111 plete your enrollment agreement, you continue to re-
It's the best bonus plan in existence today, because you SEND MY RECORDS AND ALL FUTURE
pay as little as $2.84 a record (including all shipping SELECTIONS IN (check one bea)
Venn. Blood
Ans UA, ,HooPs. charges)... and you need buy only four records a year (l Stereo Regular High -Fidelity
to remain a member in good standing.
234 -3/G2
5529 2245 L J
MARCH 1968 7
A Sound
The 711B FM Receiver. For real music to
your ears. Every touch of sound from FM,
tape or record player, arrives with Success Has Spoiled Rock
distortion -free reproduction whether it's
the softest whisper of a muted guitar or SIR:
Your so- called "Rock" issue [November
the rolling crescendos of tympani. 1967] was purely pathetic. Might I sug-
gest, in the future, that you leave such
100 watt power rating (IHF) with fre- articles to people who know what they're
quency response of ±1dB, 15 to 30,000 Hz, writing about-preferably to individuals
under fifty.
the 711B is fully silicon transistorized, has Glenn Gould's professorial put -down
of the Beatles in his article "The Search
the latest FET front end, integrated circuits, for Petula Clark" serves only to show
automatic reset circuit breakers. Between - his own severe limitations. He is clearly
the kind who parses a Shakespearian son-
station noise is completely eliminated by net and finds it lacking. Was his descrip-
Altec's new muting circuit. tion of Strawberry Fields meant to be
witty? Or does he suffer from the com-
The professional look. Certainly the pro- mon dog -in- the -manger hang -up of the
technician toward the creative? Too bad
fessional touch. (Professional sound engi- Mr. Gould couldn't have done the article
neers have installed Altec quality in on Simon and Garfunkel. Those old -hat
English majors turned song-writers would
broadcast and recording studios for over surely be his cup of tea. They are as
three decades.) That's why it's the very much "today" as your beloved Cole
Porter and Lorenz Hart: overly cute,
sound buy at $399.50. See your Altec dealer. overly (tough guy) sentimental. and with
such divinely clever rhyming dictionary
Or send for our 1968 Hi -Fi Catalog. lyrics.
In many ways, this lamentable issue
topped itself in Gene Lees's article. With
brilliant insight he compares Hart's Too
Good for the Average Man to the Beatles'
satire. This is truly a master stroke!
That oh- so- witty, oh-so- well -and -neatly-
rhymed, oh- so-metrical attack on the
dead horses of the time has as much re-
lation, say, to A Day in the Life as a
Walt Disney drawing to a Marc Chagall.
Well, what's the use? You'll clearly
never get the point. Just don't put out
any more issues under misleading titles
like "rock." You draw readers, like me,
who don't know whether to laugh or cry
at your patronizing. dear-old -days igno-
Dee Boyle
Penny Lane. Wis.
Mr. Lees replies: "Normally I can't be
bothered answering idiotic letters. But
I anticipated that this one would come.
If Mr. Boyle hadn't written il, some other
walking, conditioned reflex would have.
So I think it requires a reply.
"Nobody writing for that issue is even
approaching fifty. 1'nt thirty -fire, Glenn
is thirty -four. and though I have not
asked Miss Ames her age (since she's a
lady). I know it's under thirty. She grew
up on rock -and -roll, in (act.
"Í am becoming vastly bored with the
current arrogance of the very young. who
mistake ignorance for originality, lack
A division of Ling Altec, Inc., 1515 S. Manchester Ave., Anaheim, Calif. 92803
Continued on page 10
oÌ mbia Stereo Tape Club now offers you
`''` -111.

NY 5 97

if you join the Club now, and agree to purchase as few as five additional selections
during the coming year, from the more than 300 to be offered 5787. ANDY WILLIAMS -
Love Andy. What Now, My
Love, The More I See You,

If You an Believe ROGER

Your Erres and Ears
PACK California f ref
A Day In The Life. Cali.
Counts As Dreamm'
Barn tornia Nights, Windy, more.
Only ONE Monday. M, Love
Selection! Monday

FREE- If you login now

5874. Here en one Twin Pack tape are 2595. Also. Do You 5553. Plus: Maria,
Wanna dance, Span- Moon River, Yester- TAKE -UP REEL
all their greatest hits! Yet this counts
as only one selection! ish Harlem, etc. day, Dominique, etc.
PHILADELPHIA IN CONCERT lust drop the end of the tape over this reel, start Like. 12 songs in all!
lilt wolle ') ORCHESTRA'S
Big Swing Face At, n.ded L,e alhs 1966
your ecorder, and watch it thread itself! Unique
We knew elms Scotch *' process automatically threads up tape of
Ions aM Oyer) n, GREATEST HITS TM Beat any thickness, releases freely on rewind.
SoiReMln' Clair de Lune Goes On
(boa h Sab'e Dance
lei 112
of these superb pre -recorded stereo tapes would you like to add to your
5486. Plus: This 3628. Also: Cancan. 5614. Also Love for 3767 -3768. Twin - own collection? The famous Columbia Stereo Tape Club, which sells
Sale, Wick Wack, 9
Born Free, Pack counts two
more 4 -track stereo tapes than any store in the country, now offers you
Town, Cree nsle eves. Blue as
This Is My Song, etc. Danube Waltz, etc. in all selections
a remarkable opportunity to take any five of these tapes...ALL
FOR ONLY $2.97! That's right, 5 STEREO TAPES FOR $2.97, and
all you
need do is agree to purchase as few as five more tapes during the
TWIN - coming year.
PACK HOW THE CLUB OPERATES: Each month you'll receive your free copy of
Counts As
Only ONE the Club's magazine which describes and displays tapes for many dif-
Selection! ferent listening interests and from many different manufacturers. You
may accept the regular selection for the field of music in which you
are primarily interested, or take any of the scores of other tapes of-
5840. "An all.time 5593.5594. Twin 3335. This special Twin -Pack contains fered you, or take no tape at all that month.
great screen nisi- Pack Counts as Two two fatulous Ray Conniff albums on one
cal! " -Variety Selections tope...23 great songs in all TAPES SENT ON CREDIT. Upon enrollment, the Club will open a charge
account in your name... and that means that you'll pay for the tapes you
THE 4 SEASONS ERSHWIN want only after you've received them and are enjoying them. The tapes
TWIN - you want will be mailed and billed to you at the regular Club price of
Spellbound PACK $7.95 (occasional Original Cast recordings somewhat higher), plus a
Counts As small mailing and handling charge.
FREE TAPES GIVEN REGULARLY! Once you've completed your enrollment
Concerto Only ONE
Tell It to the Ria 3 MORE Selection! agreement, you'll get a stereo tape of your choice FREE for every two
Beggin" e MDAL W,tPH HCeee Li o1 tapes you purchase!
A bargain for lovers of I'ght clas. 5588. Also: Learn SEND NO MONEY NOW! Just fill in and mail the coupon today! Your free
5376. Plus: Le's 3527.
Ride Again, C'mon sits! This special TwinPick tape counts How To Fly, Poor take-up reel and your five tapes will soon be in your home for you to
Marianne, 6 more as only one selection! Side Of Town, etc. enjoy for years to come!

BERNSTEIN'S PERCY FAITH -track stereo equipment.

All tape= offered by lee Club muet be played hark on 4
GREATEST HITS Today's Themes For INote

41fp J
Young Lovers APO. FPO addressees: Write for special offer
PIaIM is Can 'Take My
starring , Eyes On You COLUMBIA STEREO TAPE CLUB Terre Haute, Indiana
JAI lack Bert
Haworth Word Windy
4785. Plus: Mame; 3675. "Stunning mu- 5236. EspaBa, On The 5420. Plus: Mary In COLUMBIA STEREO TAPE CLUB SEND ME THESE
What Now My bore; sical. Brilliantly con - Trail, Waltz Of The The Morning, Re- 5 TAPES
Sunrise, Sunset; etc. ceived. " -N.Y. Times lease Me, etc. Terre Haute, Indiana 47808
Flowers, etc. (fill in numbers
[KAPPI MARTY Please enroll me as a member of the Club. I've below)
BEETHOVEN ANTONIO indicated at the right the five tapes I wish to
Moonlight CARLOS an of ROBBINS
Tonight Carmen
receive for $2.97 plus postage and handling.
Appassionata JOBIM
Kandis Include the self -threading take -up reel FREE.
WAVE Bound for My main musical interest is (check one):
Pathétique Old Mexico
Glenn Gould
piano 1 H IGUo
O,, lino) Cast
Waning ln Reno

I agree to purchase five selections at the regular
Club price from the more than 300 to be offered
2639. "The best mu
in the coming year...and I may cancel member-
5883. A sensitive and 580e. Also: Mojave, 5489. Also: Chapel ship at any time thereafter. If I continue, I am
illuminating per- Captain Bacardi. sical SEIre of '65." Bells Chime, Don't
-An. Record Guide to receive a stereo tape of my choice FREE for
formance. Look To The Sky, etc. Go Away Senor, etc.
every two additional selections I accept.
Barbra Streisand THE MORMON
People IRE LOOK Nome
(Please Print) Initial Last Name

Th. End of
Fine fOm World Address
And Dandy Tne Philadelphia Orchestra
IO MOIL God !Moss America 4 i Inssn00tera Zip
Icnr, Mniol is moat sMORE City State Code

420 -6/08
1646. Also: Love Is 3780. Also: Bless 5805. Also: Man In 5515. Capturing mo-
A Bore, My Lord And This House, The A Raincoat, Good meets of a fondly
remembered film
Master, Autumn, etc. Lord's Prayer, etc. Day Sunshine, etc.
C)1968 CBS Direct Marketing Services T82/568 CIRCLE 15 ON READER -SERVICE CARD

MARCH 1968
Continued from page 8
of experience for perception, and a
your money sullen, pointless intransigence for revolu-
back if you don't tionary courage. My comparison between
agree! the Beatles and Kart (1 did point out
that the lyric in question was dated,
pertinent to its time and not ours) was
indeed apt. It is Mr. Boyle's lack of
range that makes it impossible for him
to see this.
"Finally, anybody who can call Glenn
Gould, one of the great revolutionaries
in 'classical' music and one of the great
creative minds of our time, a 'technician,'
indicates nothing but the poverty of his
own aesthetic sensitivities. Mr. Boyle is,
in other words, a square, and quite
bloody assertive about it.
"1 once had high hopes for this gen-
Viking, first and largest tape cartridge eration of the young, but I am losing it
equipment maker, introduces three new
solid state 8 -track stereo tape players
MODEL 811 - Table top unit in walnut cabinet
with built-in pre -amp for use with existing stereo
quite quickly. I thought they might avoid
the terrifying errors of the generation
ahead of nie, the generation I am still
that rival the richness of a component
hi -fi system. We're so proud of these
equipment . .

under $100
Table top unit in walnut cab-
inet, with power amplifier; two speakers; volume,
fighting, the generation entrenched in
power. 1 at least have tried to under-
new 811 models . . . so confident of balance á tone controls: 10 watts IHF music stand tetrai makes that generation tick.
their superior sound ... that we'll give
MODEL 811P -
power; stereo headphone Jack under $150
. . .

Portable unit; all features of

But the approach to history by the likes
you your money back if you can find
811W, plus detachable speakers. attractive two -
of Mr. Boyle (and by all too many kids
another that sounds better! tone vinyl covered case ...
under $150 from his generation) is to ignore it. And,
as has been pointed out, he who ignores
Features: Full fidelity playback of 8 -track
stereo cartridges; automatic and push- history is doomed tó repeat it. What the
young want today is to be told how great,
button track selection; 45- 15,000 HZ
frequency response; 0.3% rms flutter VIKING tape recorders brilliant, humanitarian, and creative they
are, when all too many of them are
& wow; numerical track indicator. 9600 ALDRICH AVE., SOUKH, MINNEAPOLIS, MINN. 55420
merely phony. I ant increasingly main-
pressed by the posturings of pipsqueaks.

Gold or Brass?

Bravo C.L.O.! His appraisal of "golden
age" vocalism [ "A Plain Case for the
Golden Age," October 19671 was quite
accurate and fair. I would like to put in
19 Transistor 7 Band Shortwave /FM/
a good word for Giangiacomo Guelfi-
AM 2 -in -1. Newest for the portable
a very impressive baritone in the theatre
Grab an earful people! A solid state masterpiece
in genuine teak with chrome ac-
cents. World wide coverage. LW,
even if he is not another Ruffo.
Ronald Kuenzel
of the world! 150 -400 kc. SW1, 1.6 -4 mc. SW2,
4.10 mc. SW3,' 10-20 mc. SW.,
20-30 mc. Receives international
Milwaukee, Wis.

shortwave plus FAA weather/ I read with interest Mr. Osborne's
navigation reports, CAP, ship-to- article on "Golden Age" singers. He cites
ship and ship -to -shore communi- the superiority of that period by choosing
cations. a handful of baritones rather than ex-
Toshiba Navigational MGC ploring all vocal ranges. As a result,
(Manual Gain Control) allows re- Mr. Osborne's argument becomes as
ceiver to operate as sensitive absurd as if he had said romantic music
direction -finding / homing device. 4
world- scanning antennas plus 2 is better than baroque, and then pro-
external antenna connections. ceeded to select a few works of Brahms
7 keyboard band selectors. as examples.
Electronic tuning meter. Switch - Mr. Osborne ignores the fact that many
able Automatic Frequency Con- of his colleagues feel the "Golden Age"
trol. Pilot lamp. 1-8 watt output. to be a period of little more than con -
2 speakers. cert-in- costume. As a member of the
Full 1 year parts and labor war- younger generation, i am grateful to live
ranty. The Toshiba Global Model in an age where opera is often regarded
19L -825F. $180.00' as a theatrical experience rather than a
mere concert. I am quite certain that
a Zeffirelli Falstaff or a Wieland Wag-
ner Parsi /al would not have been possible
THE INTERNATIONAL ONE in the "Golden Age."
Michael Mark
Minneapolis, Minn.
To:n,ba llrnenca, Inc New York, N Y M1e. S led Pelee Vnce Continued on page 14
1IrI.k1. AMIMIY CO \ FS Oh O al


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MARcH 1968
The way box speaker
even lime music wouldn't
Until the unlikely day that an orchestra divides it- This 'sonic arc' -the very essence of living per-
self into two rectangular groups, one at either formance sound -can't be duplicated by connect-
proscenium, a pair of boxes ing a pair of old- fashioned boxes to a two -channel
isn't likely to duplicate live amplifier.
concert sound in your liv- It can be duplicated by Grenadiers -the unique
ing room. speaker systems expressly created for true stereo-
The way the orchestra phonic sound reproduction. Because they were de-
does sit is like this ... for signed for stereo-not merely adapted to it-each
several sound reasons. element in Grenadiers provides a no- compromise,
First, the deep tones of bass viols and tympani, true stereo function.
tubas and trombones, are non -directional. Their
sound waves disperse in circles. Without the re-
flecting surface of an enclosed stage close behind
The cylindrical shape, for instance, does two
things. First, it permits the superb 15" woofer
with its unparalleled 18 -lb. magnetic structure
them, half their sound would fade away. face downward. As it delivers full, faithful bass
Violins, on the other hand, derive their characteris- tones, they reflect directly from the floor. You get
tic sound from high, delicate overtones that 'beam' the same natural acoustic reinforcement that bass
on a straight line. Spread completely across the notes receive in the concert hall. And this cylinder,
front of the orchestral arc, they can project their with its superior strength and rigidity, gives Grena-
narrow -axis tones into, across, and throughout the diers a freedom from vibration and extraneous
auditorium. resonances that no box can duplicate.
Bass or soprano, tenor or baritone, each instru- Next, there is the patented acoustic lens. As music
mental voice has its place in the stage -wide arc moves into the upper reaches of the treble range,
that gives the concert orchestra its full- bodied, per- where essential harmonics become inaudible ex-
fectly- balanced sound. cept on the line of an ever -narrowing axis, this lens


systems renroduce it,
be stereoponic.
restores the full musical dispersion of the orchestra If you would like to experience true stereophonic
in the concert hall. The tight, 'beaming' highs of music -music reproduced with such life, depth
conventional speakers let you hear the total har- and uncolored fidelity that you seem to listen
monics of violins, oboes, flutes and violas in only through the speakers to a living concert-ask your
dealer to demonstrate a pair of Grenadiers for you.
Then decide for yourself whether you can ever
again settle for Iess.TFIE GRENADIER 9000
Incomparable Stereo Speaker Systems, $599 90 the pair

one place-a kind of 'stereo spot' where these axes

intersect. But a pair of Grenadiers, each distribut-
ing even the highest frequencies through a 140°
arc, spead this total sound throughout the room.
Without 'aiming' or special placement, wherever
you position your Grenadiers, you hear all the
music, everywhere in the room.
This total stereo design, with its floor -reflecting,
full -circle woofer and broad -dispersal acoustic
lens, recreates the sonic arc of the concert orches-
Complete technical specifications on request from
tra as no other system can. Empire Scientific Corp., 845 Stewart Ave., Garden City, N.Y., 11530


MARCH 1968
Continued from page 10

Haggin Heard From

I had an opportunity to talk with the
engineer who worked for the editor of
the Toscanini Victrola reissues that I
reviewed in the August issue; and I
learned from him that he had, under the
editor's instructions, put in treble boosts
but not bass cuts. He suggested a pos-
sible explanation of the bass cuts that
I had heard: the new playback head in
the machine on which he had played the
tapes probably had a characteristic dif-
ferent from that of the original head,
and that the difference included the re-
duced bass 1 had heard.
B. H. Haggin
New York, N.Y.

Where There's Life

Would you know a great new sound if you heard it? SIR:
In addition to cheers, huzzahs. and gen-
Test yourself: at your dealer's turn on these new Grundig solid state stereo components. eral congratulations, 1 should like to
Peak 'em ...cool 'em to a whisper or listen anywhere in between. Plug in tape or phono extend my personal thanks to you and
and put them through the most torturous tests your ear can conjure. Their unparalleled
to David Hamilton for his article, "Time -
distortion free performance might shatter any previous standards you may have set.
Grundig SV 80 U Stereo Amplifier, $289.95
Life's 'Story of Great Music' -A
tionary Tale" [December 1967]. I had
Grundig RT 40 U Stereo Multiplex FM /AM /SW /LW Tuner, $239.95 nearly recovered from the music "appre-
Grundig Speaker Systems from $80.00 to $165.00
ciation" farce of college days when the
Time -Life series came along to remind
C-GRUnDIG) GRUNDIG ELECTRONIC SALES, INC. me just how much ponderous drivel
355 Lexington Avenue, New York, New York 10017 about music is being distributed.
If no more, Mr. Hamilton deserves
CIRCLE 29 ON READER -SERVICE CARD the Purple Heart for continuing to sub-
mit to the kindly ministrations of Time -
People who built their own Life; I returned the first two albums, and
have since been spared further disap-

Schober Organs wrote this ad

Here's vi hat they say about the pleasure of assembling the Schober Electronic Organ from
pointments. Lest anyone berate Mr.
Hamilton for being too critical of the
great service Time -Life is rendering to
kits .. and enjoying the magnificent sound of an instrument they've created in their spare time.
. the cause of serious music, let me assure
Building was fun Most cherished possession' him that there are many like me who
"Building it was at least as much "My spinet has become the welcome this well- administered blast at
Jun as playing it!" most cherished possession in an all- too -common substitution of ver-
Mr. Lester F. Schwartz, our home -fabulous, indeed."
Somerset, N. J. Mr. Frank J. Marion, biage and decoration for enlightenment.
So proud I could pop North Bergen, N. J. Allen Watson 111
"I've done over 90 per cent of the San Leandro, Calif.
work on this organ myself -and ¡'m
so proud I could about pop!" Tremendous sound
Mrs. V. P. Allbert, "The sound is conservatively, Sir:
Topeka, Kansas tremendous."
Nothing as fine under $5,000 Mr. Paul DeForest Wren, For two months I looked forward to
. I could not find any organ that Westbrook, Conn. David Hamilton's article on Time- Life's
sounded as fine as the Schober "Story of Great Music." As a subscriber
under $5,000."
Mr. Jerome J. Fraenkel, Unbelievably easy to build to HIGH FIDELITY for several years, I
Franklin Square, N. Y. "When we ran out of have been hoping for guidance in the
Proud to own instruction, the organ was
"l am proud to own such a valuable finished ... To me it was enjoyment of classical music without
instrument." unbelievable!" success. In desperation, I subscribed to
Mr. Jean J. Juteau, The NEW Schob., THEATRE ORGAN - Mr. Ted Sowinski,
Montreal, Canada ono of four models available Chicago, Illinois the Time -Life series only to learn that I
have not been listening to the history of
Thousands of music lovers in every walk of pleasure and enjoy the satisfaction of doing music, but to arbitrary musical ages rep-
life from teen -agers to grandmothers, from it yourself?
resented by questionable selections.
people who are "all thumbs" to electronic Free Information and Demonstration Recording
engineers have enjoyed the pleasure of as- Mr. Hamilton claims that Time -Life
sembling, playing and hearing the magnificent Send today for your free copy of Schober's 16- provides the untrained listener with very
sound of the Schober organ. Whether you fa- page, full color booklet, plus 7" free recording. little help in getting closer to the music.
vor Bach or Bop, there is a Schober organ 1 Since I prefer writers who build rather
that gives you full range of expressional and The Schober Organ Corp., Dept. HF -28
tonal quality so like a fine pipe organ that 43 West 61st Street, New York, N. Y. 10023 than tear down, I have an assignment for
many listeners can't tell the difference. You Please send me Schober Organ Catalog and
Mr. Hamilton -a two -year series in
can build a Schober organ for as little as $645. free 7 -inch "sample" record. HIGH FIDELITY entitled "How to Ap-
And even if you've never played a note before preciate Good Music" with a limited list-
Schober's self-teaching courses give you Q Enclosed please find $1.00 for I2 -inch L.P.
immediate musical results. record of Schober Organ music. ing of suggested discs. Perhaps he will be
Over 50% of Schober Organ owners never able to succeed where others have failed.
handled an electronic job before and didn't NAME
LeRoy W. Van Kleeck
play a note, yet assembled some of the best ADDRESS
organs ever designed and get a daily thrill from Avon, Conn.
making their own music. Isn't it time for you
to take this cost -saving road to greater musical I_
CITY STATE /IP_ J Continued on page 16
This suggestion is made only to those who divides the audio- frequency spectrum into ment to discover the audible effects of vary-
have top-flight integrated amplifiers with an three ranges, and sends each range to a ing crossover points. The points provided
electrically separate preamp and power am- separate amplifier: your existing power am- are 150, 250, 400 or 600 Hz between woofer
plifier, or individual preamp and power am- p'ifier, plus the two Sony TA- 3120's. Each and mid -range, and 3, 4, 5, or 6.5 kHz be-
plifier components. It involves your present amplifier feeds a speaker expressly de- tween mid -range and tweeter. A bass turn-
equipment and three Sony components: the signed to handle that particular part of the over cont-ol fits the system's response to
TA -4300 electronic crossover and two TA- audio spectrum. By not forcing a s ngle am- the characteristics of the woofer, and a bass -
3120 stereo power amplifiers. It's for those plifier to handle the full range of fre- boost control lets you experiment with ex-
venturesome enough to break away from quencies, IM distortion is reduced. By elimi- tending the woofer's bass response.
conventional approaches to sound reproduc- nating the inductor -capacitor- resistor cross- The Sony TA -4300 solid -state electronic
tion. If we've described you, then these over networks built into ordinary speaker
crossover costs $199.50; the two TA -3120
Sony components can bring you just that systems, speaker damping is not distrubed.
solid-state amplifiers $249.50 each. Sound
one iota closer to realism in home music. The speakers' motions are always fully con -
extravagart? Maybe just a bit. But so are
Here's why. trolled by the amplifiers. Speaker impedance the results. Interested? Write for literature
variations have less effect on the amplifiers.
The electronic crossover goes between the on how to upgrade your system. Sony Cor-
preamplifier and the power- amplifier por- Aiso, you can select crossover frequencies poration cf America, 47-47 Van Dam St.,
tions of your present stereo amplifier. It to suit the speakers of your choice, or experi- Long Islard City, N.Y. 11101.

Get drunk with power


cROa0= 1

_-,({1 Mn w.r .i

ti ()NI .
_ fON°--.'.°t----

o V r wPh4
Continued from page 14


May I suggest that you stop lending your
authority to bogus -foreign -language titles
of Russian operas? I refer to Le Coq
d'or and Pique Dame (which many sup-
pose to be French: it is German, the
French equivalent being La Dame de
Pique). Why not The Golden Cockerel
and The Queen of Spades, if you do not
like Zolotoy Petushok and Pikovaya
Mr. Conrad L. Osborne gets into a
terrible tangle with his recent review of
Limited offer: the latter work [November 19671. mostly
using the German form, but once in
English shorn of its definite article.
Buya Norelco portable There being no definite or indefinite
article in Russian. it must he supplied

tape recorder in translation. As for "Ghermann,"

which Mr. Osborne supposes to be the
hero's name. there is only one "N" in

get a $12.95 extension speaker the Russian form. and the "G" is only
the Russian way of replacing the "H,"
nonexistent in Russian.
May we expect to read Mr. Osborné s
for $3.95 review of some future Soviet political
opera on the subject of Adolf Ghitler-
or of a Soviet musicological study of the
Itfuzika Feierverka by Georg Fridrikh
Arthur Jacobs
London, England
When you buy the Carry- Corder" '150' or Now you can take advantage of this ex-
the Norelco '175', mail the warranty card tra power and signal quality. You'll get
for either machine, with a check or money even greater sound along with the conven- China Devil
order, to North American Philips Company, ience of a cassette machine. And with a
Inc., Dept. T, 3010 Review Ave., Long cassette machine you don't have to thread SIR:
Island City, New York 11101. And we'll the tape at all. Just snap in the cassette and I've been a subscriber to HIGH FIDULITY
send you the extension speaker direct. you're ready to record or playback -for up for years -and I was about to resub-
scribe until I read the article by Bengt
Just plug it in. And you'll see that we to 90 minutes.
This offer lasts from now until March
Hager ["The Shackled Muse: Music in
build more sound into our portables than a
China Today," October 1967]. Sure, let's
portable -sized speaker can do justice to. 15. So, see your Norelco dealer right away.
be sophisticated and let's not "be beastly"
to Mao Tse Tung: but comparing that
butcher to India's holy men and talking
about his "radiance," etc., is a bit too
Christopher Serge'
n.n.unn NH" nnnn..nnnn
onnm. Fairfield, Conn.
Inn nn..onn vixen n..u..rn
nnntu.onnnnrim.ru..... Lin
.onnnn .u.n
nnnn Mann nn..nn.. ..0 High I'idelily, March 1968. Vol. 18. No.
inn n Published monthly by Billboard Publica-
n.nnm.nnn.f.0 u..u.t. 3.
tions, Inc., publisher of Billboard. Vend,
Amusement Business. Merchandising Week,
r.. American Artist. and Modern Photography.
n.rnn.aannnn.nufling High Fidelity /Musical America Edition
ana published monthly. Member Audit Bureau
of Circulations.
Mina uuuaaMMMUa Editorial correspondence should be ad-
inn Inn Inn uuanf
.aM.n dressed to The Editor. High Fidelity, Great
Stanaual.Win U Barrington, Mass. 01230. Editorial con-
Mnallgten tributions will be welcomed. Payment for
MY a`uMÑsm articles accepted will be arranged prior to
17.7-7 -
publication. Unsolicited manuscripts should
be accompanied by return postage.
Subscriptions should be addressed to High
Fidelity, 2160 Patterson St., Cincinnati. O.
45214. Subscription rates: High Fidelity/
Musical America: in the U.S.A. and its
Possessions, I year $12; elsewhere, 1 year
$13. National and other editions published
monthly: In the U.S.A. and its Possessions,
year $7: elsewhere. I year $8.
/l'oPe/co' 1

Change of address notices and undelivered

copies (Form 3579) should be addressed to
the re- inventor of tape recording High Fidelity, Subscription Fulfillment
North American Philips Company, Inc., High Fidelity Products Department, Dept., 2160 Patterson St., Cincinnati, O.
100 East 42nd Street, New York, N.Y. 10017 45214.



The more
music system.
The SC -2520 is a compact It would take a small receptacle on the front
novel to outline all of the panel for personal listen-
stereo music system that
does everything but fly. possible functions of the ing.
SC -2520. So suffice it to nd a center of channel
It plays monaural and
stereo records. say if it has anything to do tuning meter so you can
It plays monaural and
locate FM stations quickly
and accurately.
stereo FM broadcasts.
In short, here is a total
And it will record and
play back monaural and music system that is really
stereo tapes. total.
Stated simply, it will pro- And beautiful.
And easy to use.
duce more music, in more
ways, than any compact
And sensibly priced.
The SC -2520 is at your
music system ever made.
For example: The New Harman -Kardon dealer
York Philharmonic Orches- now. He will be happy to
tra is presenting a special give you a complete dem-
program on FM stereo onstration.
radio. You not only want to with sound, you can cap- Visit him soon.
hear it, but wish to record ture it and faithfully repro-
it for posterity. Simply in- duce it with this amazing
sert a tape cartridge (cas- music system.
sette) into the SC -2520, The SC -2520 has solid-
tune to the station, acti- state electronics through-
vate the tape mechanism out, including newly
and enjoy the program developed integrated
while your music system micro -circuits.
records it for future listen- It has a defeatable con-
ing. tour switch that restores
For example: Your bass frequencies at low We want you to hear
friend has an extraordi- volume levels. more music.
nary recording that is out It has a unique speaker For more information
of print. You want to record selector switch that allows write to Harman -Kardon,
it. All you do is start the you to connect stereo Inc., 55 Ames Court, Plain-
tape cassette player and speaker systems in two view, N.Y., Box HF -32
play the record on the auto- rooms and select between
matic turntable. In min- them. Or use them all
utes, that rare recording simultaneously. harman kardon
is part of your collection. It also has a headphone A subsidiary of Jervis Corporation


1968 19
(Continuing KLH's Inquiry

A) (B)
Audio Systems Are Better than E
ACCORDING TO OLD advertisements, Now, twenty years later, advertisements
audio has always been better than ever. They speak in terms of integrated circuits and field -
were saying so even in the days before compo- effect transistors instead of "nice tone ", but
nents, when everything came in the one big the message is the same: Everything is
box called a console. ( See A.) Better than Ever.
Yet some people couldn't see it. Or maybe Is there a lesson in all this? Let's see:
they saw it all right but couldn't hear it. In
any event they stopped buying consoles and 1) How do you feel about today's better-
started buying public address equipment than-ever equipment?
instead : Ugly stuff that looked as if it belonged 2) The latest components (see B) are cer-
in a gym -which it did. tainly different from consoles. For that matter
Soon, however, the bulkhead connectors and they are different from last year's components.
battleship gray enamel of public address But do you think all the differences are impor-
equipment began to give way to homier tant ones?
touches, and the rest is history. The Compo- If not, name some changes that you consider
nent Industry was born. trivial. (Also, any important ones you can


into the State-of-the-Bag)

r! Better than Ever! Better than Ev
think of which should have been made but take a fancy to, we will send you a Component
haven't. ) Bag (see above) measuring 20" x 28" overall,
3) A carefully selected component system in Cerulean and Old Brick on Plain, and suit-
will sound better than an old console. It can able for putting things in. Also, we may use
sound better than another component system, your answers in these pages later on.
up to a point. But selected how ? -by consider- Having any KLH equipment (such as our
ing the manufacturers' reputations, reading all Models Five, Six, Nine, Twelve, Seventeen or
their specifications, listening, or paying more Twenty -Two Loudspeakers, Model Eighteen
money? Tuner, Model Twenty -Seven Receiver, Models
4) Finally, since we've mentioned paying Eleven, Twenty or Twenty -Four three -piece
more, what are your thoughts on Price vs. systems) , or indeed even wanting any, will not
Sound Quality, or the Cost -of- Hearing Index? affect the decision of the judges one way or
Eh? the other. However, if you do want some, don't
Please send your answers to us at the address hold back; ask and we'll send you all about it,
below. If they are among the fifty the judges including who sells it in your neighborhood.
KLH Research and Development Corp., 30 Cross Street, Cambridge, Mass. 02139

MARCH 1968 21


At left, Seiji Ozawa

of the Toronto Symphony and

recording in progress -
composer Messiaen; below,

Yvonne Loriod (Mme. Messaien)

at the piano.

RCA, Messiaen, and Ozawa

Meet to Sing a Songof Love
"Don't worry. The naître is much more satisfied than he pretends
to be!" As a French -speaking observer, I thus took the liberty of re-
TORONTO assuring Seiji Ozawa, conductor of the Toronto Symphony, and Peter
Dellheim, RCA Victor recording producer, after they'd finished the
first day's taping of Olivier Messiaen's Turangalîla -Symphonie. The
composer, who speaks no English, was himself on the scene, as were,
as usual, the two Loriod sisters -Yvonne (his wife and most faithful interpreter) at the
piano and Jeanne at the seraphic Ondes Martenot.
In a strenuous four hours, the orchestra had recorded the first five of the ten move-
ments of this monumental ninety-minute -long work. Turangalîla -which Messiaen
describes as "a song of love, a hymn to joy" -is written for a very large orchestra that
includes an unusual "Oriental" percussion section requiring seven performers. The
recording sessions (there were three altogether) took place in Massey Hall, an old
Victorian structure in downtown Toronto whose acoustical qualities had led Stravinsky
to choose it for several of his recordings. In the same hall the Toronto Symphony had
played the work in concert on the two evenings preceding the start of recording -a kind
of "Messiaen week" (which, incidentally, coincided with the composer's fifty -ninth
birthday, December 10). Concerts and recording were a joint TSO -RCA project spon-
sored by the Canadian Centennial Commission. The record is expected to be available in
April, a two -disc album with the fourth side devoted to Toru Takemitsu's November
Steps. The latter work, commissioned by the New York Philharmonic for its current
125th anniversary season, was also recently played Continued on page 24


When Stanton engineers get together,theydraw the line.
The frequency response curve of the new Stanton 681 erence to approve test pressings. They must hear exactly
Calibration Standard is virtually a straight line From what has been cut into the grooves. No more. No less.
10. 20.000 Hz. But you don't have to be a professional to hear the
That's a guarantee. difference a Stanton 681 Calibration Standard will make,
In addition. channel separation must be 35 dB or especially with the "Longhair" brush which provides the
greater at 1,000 Hz. Output must be 0.8 my /cm /sec mini- clean grooves so essential for clear reproduction. The im-
mum. provement in performance is immediately audible, even
If a 681 doesn't match these specifications when first to the unpracticed ear.
tested, it's meticulously adjusted until it does. The 681 is completely new, from its slim-line config-
Each 681 includes handenlered specifications that uration to the incredibly low -mass moving ss s-
verify that your 681 matches the original laboratory stand- tem. The 681A with conical stylus is 555.00, the
ard in every respect. 681EE with elliptical stylus, $60.00.
Nothing less would meet the needs of the professional For free literature, write to Stanton Mag-
studio engineers who use Stanton cartridges as their ref- netics. Inc.. Plainview, L. I., N. Y.

Ini Ili re 11 I IIV

Continued from page 22

FABULOUS by the Toronto Symphony-the joke

here is that since Seiji's arrival in the
city the Japanese population has doubled.
HALF-PRICE The RCA set will be the second re-
cording of Turungallia. Written twenty
On these years ago on commission from the Boston
Symphony, it was first recorded in Paris
SALE! outstanding books by the ORTF Orchestra under Maurice
Le Roux, that time too with the Loriod
for music collectors sisters and under Messiaen's supervision;
the Véga album can be obtained on
special order.
and stereo bugs
A Thousand Sounds and a Side Drum.
The Toronto sessions involved fairly long
takes, each followed by a playback at-
tended by the conductor, the first -desk
players, and a few visitors. Messiaen
remained in the control room throughout,
THE FIRST HIGH FIDELITY TREASURY seated between two large specially de-
Designed for anyone who has ever thought of owning audio equip- signed RCA loudspeakers. his large score
ment any anyone who wishes to get the greatest enjoyment from on his knees (though he told me he
his present system, this book explains the principles of recording knows it almost by heart). Every other
minute (or thirty seconds) during play-
system to suit your needs -
(including stereo) and shows you how to plan a new reproducing
and your pocketbook. 31 contributions
by experts cover everything, from techniques of recording to the
backs he would approach Dellheim and
Ozawa with comments and demands,
art of listening. 128 pp. 6' x 9'2. Soft Cover. Regularly, 52.50. Now,
more comments and more demands. In
S 1.25. spite of the language barrier, the com-
poser made himself very clearly under-
stood by gestures and by pointing out
passages in the score. "Too much trumpet
RECORDS IN REVIEW: 1963 Edition here ... not enough second violins there
Hundreds of reviews of records -
stereo and mono, classical and
semi -classical. Specialists such as Nathan Broder, Alfred Franken-
the oboe's breath is too anxious...."
Slight details interested him enormous-
ly, and sometimes it seemed that his
stein, Paul Affelder, Robert C. Marsh, and Conrad L. Osborne dis- superprecision was carried a bit too far.
cuss composition, performance. fidelity; compare new recordings For instance, he noticed that he could
with earlier releases. Organized alphabetically by composer and not hear the side drum in the fourth
subdivided by categories. Over 500 pages. 5;2 x 81/4. Hardbound movement. Dellheim checked the score
Regularly, 55.95. Now, 52.97. (429 pages) and observed that the in-
strument was played during a very loud
passage by the whole orchestra and
furthermore that it was marked pianis-
TAPES IN REVIEW: 1963 Edition, by R. D. Darrell simo. But Messiaen insisted. With what
R. D. Darrell, author of two popular books on music appreciation is called in French une patience angé-
and Contributing Editor to High Fidelity offers you sound advice lique, Dellheim and Ozawa consented to
on how to select pre- recorded tapes to build a complete library of another take, as they had done all eve-
fine music. Contains nearly 500 tape reviews which appeared in ning.
High Fidelity in 1961 and 1962. 84 pages. 61/2 x 9'/z. Soft Cover. By the time the fifth movement was
Regularly, 52.50. Now, 51.25. completed (and twenty takes had been
made) everybody was exhausted-except
Messiaen and his wife, who remained in
the room playing and singing Strauss
waltzes on an upright piano. I asked the
Dept. 1406 composer if he expected the listener
Watson -Guptill Publications actually to hear all of the thousands of
2160 Patterson St., Cincinnati, Ohio 45214 sounds he had assembled in his Turang-
alila. He answered, very solemnly: "It
Iwish to take advantage of your special, half -price sale. is to be hoped. Each detail has its im-
Please send me the following book(s): portance. Take away one sound of
maracas, and you will notice its absence."
The First High Fidelity Treasury: $1.25 The composer had been nervous
Records in Review: 1963 Edition: $2.97 throughout the session -"I always am
Tapes in Review: 1963 Edition: $1.25
every time one of my works is played,
especially when a recording is made"
but he told me that all in all he was
I enclose S (check or M.O. only. Add sales tax where necessary). "very satisfied" with the recording, as
he had been with the two concerts and
with the performance by Ozawa in Japan
five years ago. Of the conductor he spoke
Street without reservations: "He is a real genius.
Toronto people have a treasure!"

- -.
State Zip
L J Continued on page 26



Three countries helped engineer

these stereo component systems

The Benjamin 1050 and 11110 compacts wire created pretty mach 50 automatic with 3ynamical_y- 1 aadance1, 12" die -cast turntable;
as you would create your own stereo system: selecting the best dynarr-ically- balancai tone=_rm, 3 ac 244 mono- stereo cartridge,
available components. cnd intermatching :hem for the best rbt :in- anti -skate compensaticn, ct_eing, sad 4 -pole indiction motor. Con-
able results. trolled inputs for microph :ne ail musical instt.rmemt pickups,
Benjamin drew upon the engineering cf three countries: West with facilities for m xir.g permit "p:ay-along" wi :h recaarded music.
Germany, for the Miracord turntables with their "ligit- -ouch" Other, features: AIv/Fv1 mater toning, tape monitor ng, speaker
push buttons, the easiest of all automat cs to use and operate, switching and stereo ieadpb.nr_e jack.
equipped with gentle, smooth- tracking, Elac 244 magr.eti car- Two EMI 92 speal-ers are lurnishad in matching walnut cabinets,
tridges, and Great Britn!r. for the EMI high- efficiency speaker employing elliptical woofers with alumdr_um cane centers, com-
systems, known for their distinctive "nat iral-sound" quality. pliant PVC edge suspensior and ccne tweeters.
U.S. engineering proviced the AM/FLf receiver electronics, The Benjamin 1030. at $339.50, spares most o: the attributes of
exploiting the latest advances in solid-s:ate circuitry. A fokrth the model 1050. It »s an impressive power output of 50 watts
country, the Netherlands contributed the add -on, optional extra (IHF: and is furnished with _wo matching EMI 81'. speaker systems.
-a Philips -type cassette tape recorder/playback unit that n'ounts Has a Miracord 6211 clang =r with pressure -formed, non -ferrous
3n drawer slides under the compact to iorm a comple ely inte- turntable, 4 -pole motor anc Elac 1'44 cartridge.
grated home music system. The Philips-type ccssette :ape recorder is $133.5). (optional)
The Benjamin 1050, at $499.50, .s probably the finest compact See and hear the taw Benjamin Compacts at ycur high fidelity
available today, certain y the most powerful with 85 watts (IHF) dealer. For further ceteils, trite direct to: Benjamin Sound Corp.,
D Farmingcale, Ne. York 11735.
audio output. Its features include: delude Miracord
NOTES FROM ing. "It's simple," he explained. "If I have an excess of everything. If you
OUR CORRESPONDENTS were playing the cello, that's how I'd haven't an excess, what are you going
do it myself!" And let it be remembered to pare off as the years go by ?"
Continued from page 24 that Barbirolli, like Toscanini, was him- We in the recording studio, like televi-
self originally a cellist. sion viewers, saw the emotion vividly
The recording came as one of the enough during performances, but in both
Jacqueline climaxes of what was something of a circumstances the astonishing thing was
LONDON Du Pre week in England. Not only had the quick transmutation back and forth
And Sir John she given a concert performance of the from great artist to lighthearted girl. The
work with Sir John (a program identical very opening of the film showed her on
to his very first one with the London a train, thrumming her Stradivarius
'How do you follow her ?" That was Symphony, forty years earlier to the like a jazz bass and singing a French
the question put to Sir John Barbirolli day) but she had been the subject of a pop song, then cut dramatically to the
during rehearsals for EMI's recording of televised hour -long BBC film entitled fierce -eyed queen of the cello grappling
Haydn's D major Cello Concerto. Jac- Jacqueline. "You know," Sir John had majestically with the Saint -Saëns Con-
queline Du Pré was the soloist, and said in the film, "she's sometimes now certo. Her husband Daniel Barenboim,
Barbirolli had in fact done wonders in accused of excessive emotion, but I love before conducting a languorously beauti-
following even her most expansive phras- it. Because when you're young you should ful account of the Elgar concerto with
her, explained how they had met, most
unromantically, in part through EMI's
arrangements for recording them to-
gether (excellent matchmaking) and
partly through sharing the after- effects

DON'T JOIN CLUBS ! of glandular fever. The actual meeting

took place at the home of the Chinese
pianist Fou Ts'ong, at Christmas 1966,
when in Barenboim's words "instead of
saying good evening, we played Brahms.
Now YOU can buy ANY This is how we got to know each other."
Barenboim was in Los Angeles when
the Haydn was recorded, but Jacqueline
(the Christian name is almost obligatory.
RECORD OR TAPE as the film makers acknowledged) was in
characteristic form -jolly girl, great art-
ist, now one, now the other. After a
101 heart -searing take of the Haydn slow
movement, she returned to the control
room. "Can't you do something about
those plastic chairs ?" she asked of Allen
Stagg who was at the controls for these
sessions. "They stick to you," she added,
Ihru KING KAROL'S World Famous MAIL ORDER SERVICE! laughing: "All through that slow move-
ment I had prickly heat in my bottom!"
IMMEMBERSHIP! Stagg offered a new chair or, alternative-
COLUMBIA FUTURE ly, talcum powder.
to70o 1COlOS
RECORDS PURCHASE Seating Plans and Special Effects. As in
OBLIGATIONS! the recording of the Haydn C major
SHIPPING OR Concerto (with Barenboim conducting the
English Chamber Orchestra) Jacqueline
HANDLING CHARGES was sitting, not apart, but in the center
ANYWHERE IN THE U.S.A.! of the orchestra. As she had explained
(APO L FPO addresses - positively no charge on the film: "I don't really like recording
RECORDS 118EHIY for postage and handling )

ONLY SPEEDY SERVICE studios; they feel like lonely places. And
AT LOWEST PRICES! stuck out in front of the players I just
RCA ORDERS PROCESSED DAY RECEIVED didn't feel very happy, especially as
there weren't any people in front to
Schwann Catalog Your Discount
VICTOR L,st Priers
BI.Mta to 1.ON
play to. So we suddenly thought it
would be nice for me if I could sit in
2.39 to 2.50 1.65
2.70 to 2.98
the middle of the players."
:1.79 to
1.79 to
2.50 So it was again for the Haydn D
5.711 to
0.79 to
.40 major. Allen Stagg, long experienced in
his own recording studios, has just re-
cently joined EMI and it looks as if he
IT FOR YOU! may be bringing some new ideas with
YOU NAME IT -WE'LL GET (Add 15 °.for Foreign Shipments-Minimum Charge
$1.50) him. In the Haydn he was especially
Dept. HF -3
concerned about conveying the right
KING KAROL RECORDS scale of sound for something that is
rWe have the most complete FREE
P.O. Boo 629, Times Sq. Sta., New York, N.Y. 10036
selection of records and tapes
virtually a chamber work. Suvi Raj
SCHWANN Enclosed find S -- -- for order below.
Grubb, the recording manager in charge
order ano we ship immediate- with of the sessions, is also quite a technician,
ly! No waiting! Our deal is Initial and preliminaries took very little time
simple. The price of the item Orders. indeed. At the first session the whole
is all you ever pay. Buy only lne comDle1t
rylde te
of the first movement and most of the
what and when you want. We every
second were completed. I noted a little
have everything ready to go. NAME _ .5, Y. State scribble on Grubb's score here and there:
Send your order now! residents please
"Sir John sings," it said. Sir John's un-
- -__.
include local
_ _ _
Sales Tares. scripted vocal contributions sometimes
Continued on page 28

INC. '



Studio at WTFM in New York, one of
the world's pioneer radio stations in
FM stereo. AR -3 speakers monitor
the audio quality throughout WTFM's
studios and control rooms, as they
do at many other broadcast stations.
WTFM cannot afford to use speakers
that provide false information.

Library in the home of Virgil
Thomson, distinguished American
composer and dean of music critics.
The speakers over the bookcases
are AR -3's, chosen for their non-
electronic, musical sound. Reflection
in the mirror is Mr. Thomson
watching the photographer.

AR speakers are $51 to $250. A catalog of AR products - speakers, turntables, and the AR amplifier -will be sent free on request.

ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141


\H( ii 1968 27
NOTES FROM Kinloch Anderson, EMI's producer. for Television film of the work just a year
OUR CORRESPONDENTS the Brahms. Barbirolli seems to be one before. That film has been universally
of those whom the years have not at all recognized in Britain as the finest opera
Continued from page 26 led to "pare off" the emotions. presentation yet seen on television here,
and there was no doubt that the earlier
have to be left on the finished tape, and Culshaw, Britten, and Billy Budd. Links preparation helped to ensure a smooth
maybe some of Jacqueline's expressive between the recording world and televi- run during the Kingsway Hall sessions.
sniffs will be too. sion also played their part in another For this, his Decca /London swan
Sir John had come to London from major recording event. Signs of the times song, Culshaw decided to adopt a new
Vienna specifically for the anniversary perhaps? John Culshaw, now, as every- technique. By design, the takes were
concert and recording session. He was body knows, head of music programs longer than ever before, sometimes as
then going back immediately to complete for BBC Television, returned to his old long as thirty -eight minutes. Culshaw
a whole series of Brahms sessions with haunts by special arrangement to act had agreed on this policy with Britten
the Vienna Philharmonic-all four sym- as Decca /London's recording manager beforehand, and so the sessions were
phonies and the two overtures to be for Benjamin Britten's opera Billy Budd. divided specifically between rehearsals
issued as a four -disc album within the The composer-who was also conducting and recordings. The first two were whol-
year. "We enjoy his passion," explained -had chosen a cast almost identical ly taken up with rehearsing Act I, and
one of the musicians in the orchestra to with that which took part in a BBC the next three for recording it. Then
again, two rehearsal sessions were de.
voted to Act II and three to recording it.
The strain was considerable, Culshaw
admits, but he feels the results came off.

saves you more
Britten has always hated being inter-
rupted during performances in the re-
cording studio, and the new conditions
this time were a step towards the ideal
for him. There was a crisis just before
on more of what you want! the tenth and final session, when he
sprained his back, but after a rest he
manfully coped with the last session and
the last twenty minutes of music.
RECORDS TAPES STEREO GEAR BOOKS Culshaw's reactions at the end were
bathed in his admiration for Billy Budd
itself. "The most powerful of all Brit-
IN I ten's operas," he pronounced, and the
recorded version could go a long way
to convincing music listeners generally.
Here are 10 facts about uniCLUB. uniCLUB supplies hi- fidelity equ'pment of vir- The revised two-act version is used in-
They are 10 reasons to clip the cou- tually every manufacturer at tremendous sav- stead of the original four -act scheme.
pon and join now! ings. This month's "Hi-Fi Special ' is a Garrard As Culshaw says, some wonderful things
Lab 80 turntable; List $100.00 to members are lost, but the drama is made tauter,
only $59.95.
9. BOOKS OF ALL PUBLISHERS the thread more closely followed. In a
1. Any LP or tape on every U.S. or foreign The Book Division -only uniCLUB has it -of- recording, he points out, the emotions
label available. Columbia Capitol -RCA-
London & 350 more. No exceptions.
fers members at least 25% off on any book in
print.* You get only original publishers' edi-
of central characters can be conveyed in
close -up, just as they can in television.
2. You save a minimum of 35% on LP's; 33% tions. uniGUIDE lists best -sellers, just -pub- Billy Budd has its large -scale effects, but
on tapes and 25`'4 on books. lished works and book "Specials."
*Texts are reduced 10 %. intimate emotions are also vital.
10. FOUR CLUBS IN ONE On the question of stereo staging Cul-
1P's LIST UniCLUB uniCLUB is really a time -saver. It makes join- shaw has again worked closely with
51.98 $1.23 ing many clubs unnecessary. Now you can buy Britten himself. Broadly, the layout
2.98 1 .85 all your records, tapes, auto -cartridges, books agreed on put the quarter -deck to the
3.79/98 2.39 and stereo -gear from one convenient source.
4.79/98 We hope you'll join today! right and the main deck to the left; most
2.99 of the production followed from that.
MEMBERSHIP FEE But when the scene changed to Captain
Give gift memberships with full lifetime privi- Starry Vere's cabin, there was no ques-
3. You can save even more by taking advan- leges for only $2.50 each. Splitting the cost with
tage of the regular extra discount "Specials." one other person lowers cost to $3.75; enrolling tion of limiting the stereo spectrum. The
Save up to 80% off list price. Right now, for five at a time brings cost down to only $3 each. whole "stage" was used from left to
example, the entire RCA Red -Seal catalog is right. On the more controversial ques-
$2.75 mono; $3.25 stereo. The Vox $4.98 series tion of sound effects, Culshaw has de-
is $1.75 mono and stereo. [-Send my Free Schwann catalog, order,
blanks & uniGUIDE by return mall. liberately limited himself. You may get
4. Never a requirement to buy. No monthly $5 enclosed guarantees me:
"stop- order" forms to return. You receive just the scampering noises of powder- monkeys
what you order. 1. LIFETIME MEMBERSHIP in uni- rushing to action- stations; but, as he
3. LIFETIME MEMBERSHIP CLUB says, there is no need for the sound of
2. 35 % -80% savings on LP albums, 1/2 off
The club membership fee is $5. This is for life- on tapes, 25% on books. men marching about in the scene before
time privileges which are increasing all the time. 3. No requirements ever to buy anything. Billy's execution because Britten's music
6. FREE CLUB MAGAZINE Nothing will ever be sent until I order it. tells the whole story.
Members regularly receive " uniGUIDE" advis- I must be delighted with unICLUB or within The cast is, naturally, headed by Peter
ing them of the latest releases, recommended 30 days I will let you know and receive a
best -buys and extra discount "Specials." When tun refund. Pears as Starry Vere. As in the televi-
you join you receive a free 300 -page Schwann
record catalog listing every available record
and its price. You receive a free Harrison tape
catalog if you specify.
uniCLllB /nc_
255 West 42nd Street
sion film, Peter Glossop sings the name
part, and others include Michael Lang -
don as Claggart; John Shirley-Quirk,
New York, N. Y. 10036 Bryan Drake, and David Kelly as the
Your orders are not only processed but shipped principal officers; and Gregory Dempsey,
the same day we receive them. This unique serv- NAME David Bowman, Owen Brannigan, and
ice is possible because your orders are picked ADDRESS Robert Tear as members of the crew.
from an inventory of over 250,000 LP's & tapes. The orchestra is the London Symphony.
You get factory-new sealed albums and tapes CITY STATE ZIP
only. Defects are fully returnable at no charge. With any luck the album will be appear-
Send gift memberships at 52.50 each to names ing later this year. EDWARD GREENFIELD
8. SAVE UP TO 50% ON and addresses listed on attached sheet.
STEREO GEAR LE I am also interested in prerecorded tapes. f

Individual ronnlu nests or complete systems- Continued on page 30


The AR amplifier delivers 60 watts per channel continuous

output at less than 0.5 °/o harmonic distortion, 20 to 20,000
Hz, both channels operating simultaneously into 4 ohms;
50 watts per channel into 8 ohms.

One of the most important specifications of an amplifier is its power output. In

view of this, consumers might expect this measurement to be presented clearly
and accurately in amplifier advertising. This has not been the case. In recent
years, a variety of vague or irrelevant terms has been used by manufacturers to
describe power output: music power, solid -state power, stereo power, audio
power, transient power, transistor power, IHF power and others. The list includes
terms invented by manufacturers and applied to their products alone, as well
as standards of measurement known only to advertising copy writers.
Acoustic Research uses the definition of a watt given in physics texts: work done
at the rate of 0.7375 ft. -Ib., second. We know of no "transient watt" or "music
watt" which science recognizes. AR amplifiers are rated exactly as we
measure them, with both channels continuously delivering at least the rated
power without exceeding our harmonic distortion limit of 0.5 ° /o, or the I.M.
distortion limit of 0.25 ° /o. The laws of physics and the nature of music require that
power measurements, if they are to be meaningful, be made with a steady, un-
interrupted tone, similar to the purest sound of a pipe organ. AR amplifiers
must deliver their rated power at all frequencies to which the ear responds,
not just at 1,000 Hz, where most amplifiers can deliver much more power than at
the extremes of the range of hearing. Distortion measurements are made through
the AR amplifier's phonograph input because music must go through the
amplifier this way -even though performance might be better without the
preamplifier in the circuit.
is true for
It is for these reasons that the power output rating of the AR amplifier
any kind of musical tone, not just those easy for an amplifier to reproduce.
The AR amplifier is covered by a guarantee unmatched in the industry. If an
AR amplifier fails to operate as advertised within 2 years of its purchase
AR provides parts, labor, freight to and from the factory or nearest authorized
service station, and a carton if necessary -all with no charge for factory defects.

ACOUSTIC RESEARCH, INC., 24 Thorndike St., Cambridge, Mass. 02141


MARCH 1968


as Fricka, Simone Mangelsdorff as

Rheingold Freia, Oralia Domínguez as Erda, and
BERLIN Helen Donath, Edda Moser, and Anna
From Karajan Reynolds as the Rhine maidens. As in
Walkiire, the Berlin Philharmonic backs
them up.
The evening I drove back from the Ruhr
through snow, sleet, and heavy fog to Harps and Homework. At the risk of
attend a final recording session here for causing the DGG authorities possibly to
Deutsche Grammophon's new Rheingold, bar me from future sessions, I shall here
I heard en route that the Düsseldorf air- reveal one trifling departure from Wag-
port, along with several others, had been nerian purism. Last year in Salzburg,
closed tight for three days. I speculated when I noticed four harps in the
on what effect, in these jet -age days of Walkiire pit, it occurred to me to won-
here today, Guam tomorrow, the wretched der whether Karajan had doubled the
weather all through Germany had had number required by the score. When I
on DGG's schedule, for Herbert von found four harps present for the Rhein -
Karajan had assembled his stellar cast gold sessions, I sneaked a look at the
from among singers of various nationali- conductor's score, and discovered Wag-
ties whose multitudinous engagements in ner himself had called for six, plus a
fee? You one place after another force them to rely seventh to accompany the Rhine maid-
a membership ens. When I taxed Gerdes with this,
Why pay
a on air travel.
from Chesterfield he said wearily, "Just you try to round
can buy direct ail - Sure enough, the morning I arrived at
up seven harpists all at one time who
the Jesus-Christus -Kirche in the Dahlem
the world's recors meet the maestro's standards." Fair
l eSf
d section of Berlin, the DGG representa-
enough (although London /Decca did
order distributor tives showed signs of having gone through
manage to produce the required seven
..and get TO
something of an ordeal. Everyone had
eventually turned up on time, although harps for Georg Solti). When the Rhine
in some instances this had meant flying maidens mounted the stairs to the choir
DISCOUNTS loft to record their trio, one of the harps
to an unplanned intermediary destina-
tion and then taking a train. This in it- and harpists hiked along with them.
IMMEDIATE self involves certain problems, for any Between now and Easter, the singers
RATES non -German traveling to isolated Berlin can literally memorize Karajan's inter-
MINIMUM POSTAGE by surface routes has to get out at the pretation, thanks to little battery -pow-

border and get himself an East Ger- ered tape recorders equipped with cas-
folk, tau, spoken,
man transit visa. On top of the meteoro- settes of the DGG recording especially
logical harassment, Dietrich Fischer- prepared for the purpose. When they
(mono &
Dieskau, the recording's Wotan, had arrive in Salzburg, they will have the
ALL LABELS broken a bone in his foot and had to Karajan conception so thoroughly in their
face the microphones with that extremity memories that far fewer musical re-
in a cast. I must say the injury seemed to hearsals will be necessary. PAUL MOOR
have no effect on his performance!
Ten years ago, the London /Decca
Rheingold from Vienna, with Solti and
New Lip-Tempo
Flagstad and a lot of other top names,
became a sort of phonographic mile- TOKYO
stone, thanks to John Culshaw's imagi- In Nippon
native and at that time quite novel
Complete record catalog employment of stereo possibilities. I had The sudden upsurge in the Japanese rec-
record, excerpts
LP assumed that the DGG team -Karajan ord business that began last May flour-
greatest regulars Otto Gerdes, Gunter Hermanns,
from the world's and Wolfgang Lohse-would have stud-
ished unabated at the year's end -and
masterpieces shows every sign of continuing through-
ied that recording to the extent of com- out the current year.
Record cleaner mitting it to memory. Either I labored
guide compiled
It all began when Kawade Shobo, a
Basic record under a misapprehension, or the Deutsche Tokyo book publisher, brought out a
of Schwann
by the publishers Grammophon people did an excellent biography of Beethoven accompanied by
catalog. job of dissembling: I was told simply two five-inch LPs containing the Fifth
e and that they had gone about this recording
to cover postage Symphony and Coriolan Overture and
Send $1.00 strictly according to the dictates of their priced at only 680 yen ($1.88). About
own independent artistic consciences, with 400,000 sets were snapped up. In June,
no extraneous influences or compari- Kawade followed up with a similar
sons. Herr Gerdes, in fact, said that Schubert release. Although the price for
with the exception of a few specific ef-
Chesterfield fects, they had striven for a very direct,
forthright recording, with no particular
the Schubert was raised to 980 yen
($2.72), 310.000 sets were sold to avid
MUSIC SHOPS, INC. purchasers. The Kawade Musical Library
exploitation of stereophonic legerdemain. has now stabilized its monthly release at
12 Warren St., New York, N.Y. 10007 As in the case of last year's recording 200.000, with plans to continue the series
Please send me at no obligation FREE of Walkiire, the singers will also form the until May 1969.
Stereo Starter Kit. enclose $1.00 to
cast at the premiere of Karajan's stage
cover postage and handling. production to be given at this year's The Commercial Front. For many years
Easter Festival in Salzburg. Aside from record collecting in this country was an
Name Fischer -Dieskau, the cast includes Rob- expensive hobby. When the first Japanese
ert Kerns as Donner, Donald Grobe as full -size mono LP was released in 1951
Address Froh, Gerhard Stolze as Loge, Zoltán at an equivalent of $7.50, the man- in -the-
City Keleman as Alberich, Erwin Wohlfahrt street who earned an average of $40
as Mime, Martti Talvela as Fasolt, Karl
State Zip Ridderbusch as Fafner, Josephine Veasey Continued on page 32
For those exacting high fidelity enthusiasts who want the best in
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Stepped tone controls, 2.5 dB per step
Voltage regulated and shielded power supply
Low and High input circuits completely separated
-5 low level inputs (phono, tape head)
-3 high level inputs (tuner, etc.)
3 phono inputs, one with a 3- position impedance matching switch
Distortion is 0.0490 at full rated output of 2 volts (RMS)
Frequency response: 5 Hz to 50,000 Hz It
1 dB Rear View
Extremely low output impedance, below 130 ohms Finally, a component with an
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Twin 45 -watt (RMS) solid -state power amplifiers and an electronic
A 12 -inch heavy acoustic suspension woofer coupled with a specially
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an en enclosure measuring only 281/2" x 16" x 121"
The electronic crossover uses negative feedback to eliminate distortion.
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MARCH 1968 31

NOTES FROM Collectors here attach such value to their production of 100 million copies of some
OUR CORRESPONDENTS hobby that they consider it almost a 10,000 releases.
sacrilege to buy records at a discount, More than 90 per cent of the Occident-
Continued from page 30 and to many people 'discounted' is al music released represented Japanese
synonymous with 'defective.' " Again, a pressings of American and European
a month had to skip a good many lunches representative of the Japan Phonograph recordings; of the some 700,000 imported
to buy it. The price for 12 -inch mono Record Association says: "The cheaper discs (1966 figures), the vast majority
discs has since fallen to $4.00 and that the record, the slower the sales-that were language- teaching sets. Japan ex-
for stereo from the initial $7.88 to $5.00; has long been a maxim in the industry ports some domestic records, mainly of
during the same period the average here. The success of Kawade is simply light and popular music, but it is known
monthly income has risen to $100. Even the proverbial exception." Actually, that export figures fall considerably
so, records are not items that most Kawade seems to have tapped a market short of the amounts paid out to foreign
Japanese can afford to acquire casually. new to classical discs, although the Jap- firms for recording rights. (This imbal-
Yet-oddly from an American point of anese record business in general has been ance, however, is more than offset by
view-neither record clubs nor discount growing at a rapid pace for some time. the export of electronic equipment: in
houses are part of the record scene. As There are now about five thousand rec- 1967, Japan exported, for example, about
a spokesman for Japan Columbia put it: ord stores (more than 800 in Tokyo one million record players alone, worth
"The mental climate is a curious one. alone), and figures for 1967 indicate a approximately $80,000,000.)
About a century ago Japan imported
German music teachers along with Euro-
pean music, and these instructors con-
tinued to dominate Japanese conserva-
tories and music academies for many
years. Partly as a result, most Western
music heard here is dominated by the
German classics. Though the Japanese
are often regarded as a particularly con-
temporary- minded people, Beethoven is
always a best -seller. Last year Japan
Columbia's two top items were the Bee-
thoven Fifth and Sixth Symphonies, both
by Bruno Walter and the CBS Orchestra.
Of best- sellers released by Japan Gram -
mophon and Toshiba (which presses
Angel recordings) eight were Karajan
discs, mainly of Beethoven. And Japan
Columbia found a strong Furtwängler
revival, even in spite of the outdated
sonics of the latter's discs.

The Creative Face. The Japanese re-

cording of European music is not exactly
new. From the late 1920s through the
30s quite a few such albums were made,
including, in 1929, the first recording
anywhere of Mahler's Fourth Symphony.
However, neither the recordings nor the
performances in those days were of high
quality. After the war, the idea of re-
cording performances of European music
by Japanese artists was dropped, and it
is only in the last few years that it is
again gaining currency. The catalogue of
Japan Columbia presently lists twenty-
eight Japanese -made recordings by native
performers; Toshiba, twenty -nine; King,
fifteen; and Japan Victor, sixteen. These
THE LEADER figures include some works by Japanese
composers of serious music as well as
The Tandberg Model 64X four. and two-track Western classics. A few records by visit-
stereo tape deck is unsurpassed as the world's ing foreign artists are also being made,
standard of tape recording excellence. It offers as Japan Columbia's discs with flutist
new styling- improved frequency response at Jean -Pierre Rampal and King Records'
all three speeds (for example: © 7/8 ips, recital by guitarist Narciso Yepes. At the
it's 30.11,000 cps) and improved moment, few Japanese recordings of
serious music are exported (the complete
signal-to noise ratio.
Sibelius Symphonies by Akeo Watanabe
The Model 64X also has playback equalization and the Japan Philharmonic released in
conforming to the new IEC standards. For better America on Epic is one notable excep-
clerarer, more natural sound hear the new tion), but efforts in this direction are on
the increase.
Model 64X at your Tandberg dealer soon.
For example. the Japanese affiliate of
America Columbia has already taped the
Juilliard Quartet in Schubert's Tod and


das Mädchen and the Venice Ensemble
in Vivaldi's Four Seasons. Japan, in other
words, is on the way to becoming a
PELHAM, NEW YORK 10803 competitor of some importance on the
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FREE! APPARENTLY feeling far from nonplused
by its massive relaunching of the Cetra
performance that has yet to be bettered.
The scrupulous Fasano presides in both
opera catalogue last spring, Everest has these recordings.
The new McIntosh 36 page cat- now gained access to the operatic re- Medea is Maria Callas' show and she
alog gives you all the details cordings produced by the Italian music brings to it her usual blend of highly
publishing firm of Ricordi in the late charged dramatic excitement and uneven
on the new McIntosh solid state
Fifties. The five performances just re- vocalism. Scotto's touchingly sung Glauce
equipment. In addition, you'll re- issued- Donizetti's Lucia di Lammer- excepted, the other singers are decidedly
ceive absolutly free a complete moor (439/2), Paisiello's Barber of mediocre and Serafin's conducting is on
Seville (443/2), Rossini's La Cambiale di the stodgy side. Callas fans should not
up -to -date FM Station Directory.
matrimonio (446/2), Cherubini's Medea be deterred, however; this is one of
(327/3), and Pergolesi's La Serva her greatest roles.
padrona (445/1)-were all originally All the Ricordi recordings were made
taped by Mercury Records, and until in true stereo and Everest has done a
quite recently they were available on decent enough job in transferring the
that label (in fact the Mercury pressing tapes to new pressings. In comparison
of Medea is still listed in Schwann). with the original Mercury discs, how-
Each recording, now budget-priced at ever, there is a noticeable decline in
$2.50 per disc, is worth serious consid- definition and clarity.
eration by any collector who might have
missed out the first time round. ENESCO: Sonata for Violin and Piano,
The Lucia. of course, is the only No. 3, in A minor, Op. 25. JANACEK:
standard work here, and must compete Sonata for Violin and Piano. Rafael
with a number of rival versions. But Druian, violin; John Simms, piano.
Renata Scotto's intense yet delightfully V/ World Series PHC 9084, $2.49 (stereo
musical interpretation of the mad heroine only) [from Mercury MG 50090, 1954].
makes this set a very attractive con - Both these interesting sonatas are prod-
tender-it is certainly far preferable to ucts of a well -assimilated national idiom.
the other budget entry on Victrola. Un- Exactly what makes the Enesco peculiarly
fortunately, all the usual cuts are taken "Rumanian" and the Janáéek unmis-
(except for the central portion of the takably "Czech" is hard to pin down, so
Mad Scene); and while Giuseppe di cleverly have the composers digested the
Stefano (Edgardo) and Ettore Bastianini musical styles and turns of speech in-
(Enrico) give forthright, idiomatic per- digenous to their native countries. While
formances, they are not as consistently Enesco's impassioned statements do not
satisfying as Miss Scotto. Still, a sound actually quote folk melodies, the rhythms,
investment if you're in need of a Lucia. harmonic colorations, and general musi-
Paisiello's Barber is something more cal phraseology are closely patterned after
than a mere historical curio. Besides Rumanian folk music.
affording interesting comparisons with Janácsek's Sonata lacks such immedi-
Rossini's more familiar version, the op- ate melodic appeal and spicy local atmos-
era's low-keyed comedy and lyrical mini- phere: like the vocal lines in his operas,

FREE atures have an appealing eighteenth-

century charm that somehow seems
closer to Beaumarchais's world than does
Rossini's broader treatment. The per-
its epigrammatic terseness seems to be
distilled from the rise and fall of the
Czech language. But the music strikes a
note of pathos which is, in its own la-
formance is a superb one with stylish
SEND TODAY singing from Graziella Sciutti, Nicola
Monti, and Rolando Panerai and with
conic way, intensely moving. Druian and
Simms bring formidable techniques and
sympathetic insights to both works, and
precise, affectionate leadership from the reprocessing preserves the bright
Renato Fasano. A pity so many cuts sonics of the original Mercury mono
had to be made in order to fit the two - pressing.
disc format.
The Rossini and Pergolesi works are MASSENET: Scènes pittoresques; Scènes

a bit more special. La Cambiale di
matrimonio was Rossini's first opera
actually not a bad job for an eighteen -
- alsaciennes. Orchestre de la Société des
Concerts du Conservatoire de Paris,
Albert Wolff, cond. Stereo Treasury
year -old tyro, and giving more than a STS 15033, $2.49 (stereo only) [from
few hints of what was shortly to come London CS 6139, 1956].
from this composer's pen. It's fairly The seven orchestral suites Massenet
thin stuff though, and the polished work wrote between 1865 and 1881 seem to
of Scotto, Monti, Capecchi, and Panerai comprise practically all of his nonvocal
does not wholly disguise the fact. Per - creative efforts (in 1903 he produced a
golesi's La Serva padrona strikes me as piano concerto, a work about which I'm
even thinner, and its false reputation as almost as curious as about Mascagni's
á the first opera buffa seems to die hard. Symphony in C minor). Scènes pit-
z v Scotto and Sesto Bruscantini do their
level best by the material and give a Continued on page 36
A vital determinant of the quality of an To achieve the ultimate in per-
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Here are some of the tone arm and related brought to perfection the Anti -
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A resiliently mounted coarse and nates distortion caused by un-
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tings all the way from 0 to 6 Locking Rest. In conjunction with
grams. This important part of this action, the On -Off- Reject
the tone arm assures perfect sty- lever automatically shifts into the
lus pressure in accordance with Off position which securely locks
cartridge specifications. the tone arm in its cradle to pro-
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All BSR McDonald automatic

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A much appreciated feature built into all BSR tone arm head, with finger
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MARCH 1968 35

REPEAT PERFORMANCE Continued front page 34

toresques (Suite No. 4) is a tasteful if Valletti's stylish Don Ramiro) are grim,
vapid compendium of four tone poemlets, but you do get about half the score plus
but the .Sce'nes. alsaciennes (No. 7) de- Simionato as she sang the role fifteen

LET' serves an occasional hearing on pop pro-

grams. In the third movement, entitled
Sous les ti/leul.s. a solo cello sings a typi-
ically long -lined melody in the com-
years ago: the voice has a beautifully
rich. mellow sheen to it. warm and even
over its full two -and -a -half octave com-
pass. This is spectacular Rossini singing.

BUYELBEWR[! poser's most graceful feminine vein -it

could have come straight out of Wert/ter. STRAUSS, RICHARD: Elektra: Recog-
Elsewhere we have flavorsome descrip- nition Scene; Die Fran (line Sehatten:
tions of an Alsatian village on a Sunday Barak, ,rein Mann; Der Rosenktsralier:
morn, celebrations in the local cabaret, Da lieg' ich. Christa Ludwig, mezzo;
and a sprightly festival scene. all of it V1,:rt !3e: ry. hass- baritone: Orchestra
CAVEAT EMPTOR attractively painted and fastidiously or- and Chorus of the Deutsche Oper (Ber-
chestrated. I can imagine more evoca- lin), Heinrich Hollreiser. cond. RCA
The Roman phrase "Caveat tive performances than Wolff gives us Victrola VIC 1269 or VICS 1269,
Emptor" cautions the purchaser here. but they will do-as will the sub- $2.50 [from Eurodisc 71186/71187,
to examine the article he is buy- dued albeit reasonably full- bodied sound. 19641.
ing, and act on his own judg- The big item here is the Recognition
ment, and at his own risk! We !11OZART: Quartets for Piano am! Scene from Elektra and it is sumptuous-
print it here as a reminder to Strings: No. I, in G minor, K. 478: ly sung by the present artists. As with
you, hopefully a happy owner of r No. 2. in E flat. K. 493. George Szell, Miss Ludwig's recent recording of
piano: members of the Budapest Quar- Briinnhilde's Immolation Scene, one
a Shure Stereo Dynetic cart-
ridge, that the superior per- tet. Odyssey 32 16 0139. $2.49 (mono wonders if she not pushing a good
only) [from Columbia ML 4080, 1953; thing by subjecting her luscious mezzo
formance of all Shure cartridges recorded in 19461. to the rigors of Elektra's high -lying
depends upon the Shure Stereo "The intimacy of feeling expressible lines. Doubts also arise over Mr. Berry's
Dynetic Stylus assembly -and through the subtleties of a team of com- Ochs: he presents a pleasurable portrait
alas, there are indeed imita- bined solo players " -so writes scholar of the Baron in the Act 11 finale, but
tions. H. C. Colles on the topic of chamber his voice really seems too light for the
May we caution you that an in- music. and this highly prized collectors' part. Perhaps this gifted husband and
ferior replacement stylus can item is that definition's aural corollary. wife team are extending themselves a
audibly detract from and signif- The Budapesters weave patrician per- bit in their search for a repertoire mu-
icantly reduce the cartridge's formances from sonic of Mozart's finest tually congenial for joint appearances.
performance, and increase rec- thoughts on the subject and Sze11 collabo- The duet of Barak and his wife from
ord wear. Obviously, if an imita- rates to perfection. Snap up this classic Fran ohne Scheu te'n, however, leaves
tion Stereo Dynetic stylus is before it disappears again -definitely a 1 no room for second thoughts -the warm,
used, we cannot guarantee that cornerstone for any chamber music col- uncomplicated dyer and his intense,
lection. The remastering has been most slightly hysterical wife lie well within
the cartridge will perform to
expertly handled. the vocal and temperaméntal strengths
published specifications. Ac-
of these two artists, and the excerpt is
cept no substitute. ROSSINI: La Cenerentola (excerpts). a treasurable memento of their bril-
Giulietta Simionato (ms), Ugo Ben - liant Met performances last season.
elli (t), Sesto Bruscantini (b), et al.: Hollreiser's accompaniments sound rather
Chorus and Orchestra of the Maggio turgid. but the sound is first -class; no
LOOK FOR THIS Musicale Fiorentino, Oliviero de texts or translations.
WORDING ON THE BACK Fabritiis, cond. London OM 36026 or
OS 26026, $5.79 [from London A STRAVINSKY: Apollo; Renard. Soloists;
4376/OSA 1376, 1964]. Orchestre de la Suisse Romande. Er-
Cenerentola is an especially difficult nest Ansermet. cond. Stereo Treasury
opera to excerpt: there are very few arias STS 15028. $2.49 (stereo only) [from
and one delicious ensemble tumbles after London CM 9152/CS 6034. 1956].
STYLUS IS PRECISION the other in such profusion that any se- Ansermet's extensive recorded repertoire
MANUFACTURED BY lection is likely to seem arbitrary. Lon- of Stravinsky serves as a useful foil to
don has skimmed off the cream from the composer's own versions. even if
its complete recording, wisely concen- the veteran Swiss conductor rarely
trating on Giulietta Simionato, here near matches Stravinsky's authoritative vital-
the end of her career. Her Cenerentola ity. The Apollo reading boasts rather
It is your assurance that the positively radiates good nature and live- more expressive string playing than the
stylus you buy will enable your ly spirits and. considering her basically recent official recording from Columbia.
cartridge to perform up to dramatic mezzo equipment. she negotiates although Ansermet tends to let the
Shure standards incompa- ... the florid music with amazing ease and
crispness. Occasionally one has the im-
rhythmic impetus become slack and the
textures are exceedingly bass -heavy (a
rable Shure standards, that is.
pression that she is simply shaking her fault. perhaps. of the recording).
voice lightly over a few really tricky The Renard. however. is quite marvel -
INSIST ON gruppetti-the vocal quality suddenly be- ous-if Stravinsky's barnyard humor
SI--IVRE ccmes breathy. and you have a suspicion
that you're not hearing all the notes - strikes you as funny. This piece has al-
ways left nie unamused for all its in-
REPLACEMENT STYLI but one is mightily impressed by the genuity and droll instrumental touches.
over -all expertise of her performance. Ansermet's soloists ( Michel Sénéchal.
SHURE BROTHERS, INC. Before putting down $5.79 for this Hugues Cuenod, Heinz Rehfuss. and
222 Hartrey Ave., Evanston, Illinois 60204
disc. however. it might pay to investi- Xavier Depraz) are about the best I've
Manufactured Under One or More of the Following gate Everest's reissue of the old Cetra ever heard and they extract a maximum
U. S. Patents and Other Patents Pending.
2,983,516, 3.055,968, 3,077,521, 3.077,522,
Cenerentola. two discs for substantially of wit from the peculiar tale. At its
D 183,366. D 185,168, D 187,229, 0 187,230. the same price. The sound is considerably budget price. the disc makes sense for
D 189,144,
D 193.934.
D 193,008, D 193,007, D 193,854,
inferior to London's and the supporting anyone in search of two contrasting bits
singers (ssith the exception of Cesare of key Stravinskyana. PETER G. DAVIS

THE 1 1 4 11 1 k
loe loe we

104 >a 104

9io áo
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9? 97
9e 9e
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WE RECENTLY WATCHED New York City officials take
the pink ribbon off Eico's spanking new plant at Flat-
lands Urban Industrial Park, a sparsely inhabited section
of southeast Brooklyn. Although Eico has outgrown four
New York area locations, its latest move was prompted
by an unusual reason: the United States government
requisitioned its Flushing factory for a post office, and
stereo had to make way for stamps.
Eico's new 100.000 -square -foot facility provides five
times the space of its previous location. ensuring suf-
ficient room for future expansion. One wing of the
spacious. air- conditioned building houses executive, de-
sign, and engineering offices, and a formidable array
of IBM 1311 magnetic disc computers used for inven-
tory control. The main production area stretches for
hundreds of feet: sunlight streams in from wall -length
windows that reach up to a twenty -foot ceiling. Nearly Eico president Harry R. Ashley.
three hundred workers sit at six assembly lines using
the latest construction techniques. One large contraption, unit -wired versions now account for forty per cent
for instance. solders the connections on the underside of the company's component sales. On other lines you
of a printed circuit board in less than thirty seconds can see test. ham, and citizen's band equipment evolving.
by skimming it over a molten solder bath. Appropriately. Also made here are Eico's new solid -state mini -kits for
an elaborate assortment of Eico's own scopes and meters hobbyists and tinkerers. including such items as a voice -
is used for testing and quality control. operated switch or an FM wireless microphone -all
On one busy production line you can watch Eico's priced under $10.
"Cortina" solid -state stereo receiver, amplifier, and tuner In all, the new factory presents quite a contrast to the
kits being turned from a bag of parts into a completed ten -by- twenty -foot store in which Eico was born in 1945.


ARE DISCS TAKING SECOND place to FM as the main speakers. After high quality. brand -name transistor stereo
source of reproduced music in the home? You might receivers first began to permeate the high fidelity market,
think so from rumors currently bruited about the audio some unknown genius discovered that if you added two
field, based mainly on the fact that this past Christmas inexpensive but good -looking speakers. you could sell an
season sass the sales of FM receivers actually outrun awful lot of equipment. "As recently as 1960," recalls
record players for the first time. To check the accuracy Lafayette Radio Electronics executive Harold Weinberg,
of these reports and the meaning of this trend, we re- "FM could be found in perhaps only ten per cent of the
cently polled a sampling of dealers in several key cities. new systems sold. If a man wanted to buy a receiver
While eighty per cent of all complete systems sold instead of an amplifier. he knew it would cost him any-
from September through December 1967 contained a where from $50 to $100 extra. and the receiver wouldn't
turntable or record changer, the percentage that included be as good as his amplifier. So what he did was to buy
tuners or receivers ranged from seventy (according to his record player. amplifier. and speakers. and add FM
the smaller dealers) to ninety (according to the largest at a later date-just as people are doing with tape today."
dealers). Separate amplifiers during this period appeared And just, we might repeat. as a few budget -minded cus-
in ten to fifteen per cent of the sales of complete sys- tomers are doing with record -playing equipment.
tems, and the even more separate power amplifiers plus The compactness of the receiver is only one reason
preamplifiers accounted for only three to eight per cent. for its "easy sell." Today's FM stereo receiver frequently
Five to ten per cent of the complete systems sold in- performs as well as comparably priced separate tuners
cluded tape recorders or decks. Note that we are re- and amps: and. a one Washington. D.C. dealer observes,
ferring here only to complete systems. That in itself ex- "it looks a lot like a radio"-which opens up a new
plains a great deal. high fidelity market.
For instance. those few who do not buy record - If FM has been able to step up from ten per cent to
playing equipment as part of a system are primarily eighty per cent or more in less than a decade. what can
purchasers of less expensive gear. They are on a budget be expected of tape? "Tape is now roughly where FM
and generally plan to add a turntable -usually an auto - was ten years ago." a Boston dealer notes. "It comprises
matic-at a later date. Also. "complete systems" would a very small part of total system sales, but many cus-
include any high fidelity program source plus separate Continuecl Oil page 40


The new Fisher XP-18 is a large speaker tweeters which reproduce the rest of the audio
system. The kind that was in fashion years ago. spectrum.
Before audiophiles even admitted that a bookshelf Of course, we're not saying that the new
speaker could conceivably produce good bass. XP -18 is exactly like the old -fashioned large
Times have changed. And bookshelf speak- speakers, good as they were. There are things
ers now provide good, even great bass response. about the new system that took years to perfect.
(We should know, we make some of the best.) But Like the 7- element crossover which provides an
one thing hasn't changed -to achieve the ultimate extremely smooth transition at crossover points.
in bass response you still need large bass speakers. And like mounting the speakers in separate cham-
And that means large speaker systems. bers to avoid interacting resonances.
The Fisher XP -18 is large (29%" x 301/2" But we are saying that the XP -18, at $349.95,
x 161/4" deep). It has an 18-inch woofer for fre- produces the kind of sound that has always been
quencies below 150 Hz. It also has an 8 -inch lower identified with large speaker system,.
mid -range for 150 -1500 Hz, a 51/4 -inch upper mid- And always will be.
range for 1500 -3000 Hz, and two 2 -inch dome The Fisher

the great bass
115NE1,0 0001.(M ..,1NC., 111557010E0. OMG MAYO CIE. +. 11101. 0E05E500 NEVUENS.LFSF wI,E 1C ',ISM. ROIOI IOE.INC., LONG 1, NO CIT., N.. 11101.


MARCH 1968 39
NEWS & VIEWS Continued from page 38

tomers who buy a system for Christmas can be expected EQUIPMENT NEWS
to come back six months later for a tape deck." He be-
lieves that if manufacturers can find a way to build tape
into some other component as an integral part of the
system, tape can experience the same kind of phenom-
enal growth. "Harman -Kardon has started in that direc-
tion by adding a cassette system to a stereo compact,"
this dealer points out. "The cassette player lends itself
to inclusion in a receiver or with an automatic turntable
because of its convenience and small size. You could
never do the same thing with a conventional tape deck.
and that's why I expect the cassette to be the instrument
which will make tape competitive with records."
FM has long meant Free Music to many audiophiles.
Some dealers in our survey expressed concern that if
the trend to receivers continues, they will lose sales of
records, tapes, turntables, and replacement styli and
pickups. We don't see it that way. First of all, most
systems already in use are equipped to play records,
whether they include an FM unit or not. Secondly, a sig-
nificant proportion of receiver -only "complete system"
sales comes from those with tight budgets. And thirdly
-and this is the clincher -sales of automatic turntables,
cartridges, tape decks and recorders, prerecorded tapes. BARGAIN RECORD PLAYER
and records were by the end of 1967 all running well
ahead of 1966 figures, with gains estimated at up to New from Allied Radio is the Model 919 four -speed
ten per cent. automatic turntable which, together with a stereo pickup
(choice of Empire, Pickering, or Shure -all with
elliptical stylus), is going for only $49.96. An optional
HARMAN -KARDON LAUNCHES TAPE RECORDER LINE wood base and dust cover cost an additional $4.95
each. The new turntable, made in England for the
OPEN REEL TAPE RECORDERS are being added to the Allied line, permits single -play or automatic stacking,
product line of Harman -Kardon, known up to now for and also will repeat a record continuously, if desired.
its electronic components and speaker systems. Two It has a built -in cuing device, anti -skating, and a clip -on
models have been announced so far: the TD3 and the head for quick cartridge changing.
TD2, priced at $199.50 and $149.50 respectively. The
former is a three -head deck (erase, record, playback) CIRCLE 145 ON READER -SERVICE CARD

that runs at three speeds (71, 33/4 and l% ips), uses a

hysteresis- synchronous motor, and offers multiple -track
facilities in addition to regular stereo and mono record
and playback. According to an H -K spokesman, the play-
back head in this unit "has the narrowest gap in the
consumer field -only micron." This narrow gap is

designed to provide better frequency response and lower

distortion in the highs; the unusual shape of the head
from the top it looks like a V instead of the customary
U-is said to improve the "contour relationships" be-
tween head and tape, a factor that relates mainly to
smoother bass response.
The lower -priced model uses two heads -erase and
combined record /playback -and an induction motor. It
also runs at three speeds but lacks the direct -monitor
and multi -track facilities of the TD3. Its head has a
2 micro gap, which is closer to what is customarily
found in machines of this class. Both the TD3 and the LEAR JET OFFERS CARTRIDGE MODELS
TD2 are decks -that is, they do not have power ampli-
fiers or speakers but rather are intended for hooking Among the new endless loop eight -track cartridge tape
up to an external sound system. models offered by Lear Jet is the $139.95 Model HA -20,
a three -piece ensemble designed for home installation.
One walnut- finished cabinet houses the player deck and
its controls; two more cabinets contain the stereo
speaker systems. The amplifier in the control unit,
says Lear Jet, also can accept signals from external
EXHIBITION SPACE BEFORE OPENING sources, such as a tuner. Controls include volume,
tone, stereo balance, and push- button program selector.
ADVANCE RESPONSE by manufacturers planning to exhibit Similarly styled, but designed for mobile installation,
at the first high fidelity show to be held in Detroit are three more Lear Jet cartridge players-one for
(on March 15, 16, and 17) has been so good that it tape only, one with built -in AM radio, and one with
will occupy twice as much space as originally planned, built -in FM radio. Prices, respectively, are $119.95,
according to director Teresa Rogers. The Detroit show $144.95, and $169.50.
now will occupy the thirteenth and fourteenth floors of
that city's Statler Hilton hotel. Upwards of fifty organi- CIRCLE 146 ON READER -SERVICE CARD
zations (including HIGH FIDELITY) will be exhibiting.
Admission is $1.25. Continued on page 42


SUP I; superb (soc- purb), adj. 1. Possessing or exhibiting nobility
of birth, mien, position or charac "er. 2. Of supreme ex-
cellence, goodness, value or beauty of the highest quality.
You might feel "Superb" too strong a word to use in describing
an FM /stereo receiver. But then you haven't heard the Studio
Pro 120. It was born rich in a 30 -year tradition of excellence.
It is equa] or euperior to receivers. costing up. to $600, yet it is
priced at only $370.50k *. Its performance specifications have
been certified by Nationwide Consumer Testing Institute, Inc.,
a subsidiary of United States Testing Company, Inc. to give
you proof positive that it will perform exactly, as we say it will.
Is superb too strong a word to use in describing the Studio Pro
120? Listen to it and we think you'll agree "Superb" is the word.
Your franchised University dealer is waiting to show it to you.

A C I V I 5 / Q N O F L T V [ ' N G A [ r C C I N C

9500 W. Renn Oklahoma City, Oklahoma


The speaker
s / s t e m s
ans, also su-

"Manufacturer's suggested
resale price.
91R1Á 1 r

AMPLIFIER SECTION: IHF Power Output: 120 watts total, IHF Standard at 0.8% THD, 4 ohms (60 watts per channel). RMS Power Output: 8
ohms: 30 watts per charnel at 0.3% THD. Frequercy Response: +0, -3 dB from 10 Hz to 100 kHz. Power Bandwidth: 10 Hz to 40 kHz, IHF Stan-
Hz and 20 kHz. Damping Factor: 50 to 1. Noise Level: (Below rated output) Tape monitor: -83 dB
Auxiliary: -80 dB - -
dard. IntermodLIatuon Distortion: Less than 0.5% at any combination of frequencies up to rated output. Tone Control Range: ± 18 dB at 20
Phono: -60 dB - --
Tape Head: -63 dB. Input Sensitivity: (For rated output) Tape Monitor: 0.4 Volts
Phono: 4 mV at 1 kHz. Input Impedance: Phono and Tape Head: 47,000 ohms
Auxiliary: 0.4 Volts Tape Head: 1 mV at 500 Hz
Tape Monitor: 250,000 ohms Auxiliary: 10,000 ohms.
Load Impedance: 4 to ':6 ohms. FM TUNER SECTION: Sensitivity: 1.6µV for 20 dB of quieting, 2.3 µV for 30 dB of quieting, IHF. Frequency
Response: ± 1:2 dB from 20 to 20,000 Hz. Capture Ratio: Less than 1 dB. Image Rejection: Greater than 90 dB. IF Rejection: Greater than
90 dB. Separation - 40 dB at 1 kHz. Selectivity, Alternate Channel: 55 dB. Dr ft: .01 %. Distortion: Less than 0.5% at 100% modulatior -± 75
kHz deviation. Multiplex Switching: Fully automatic logic circuit. GENERAL: Dimensions: 41/2" H x 16343" W x 12" D (including knobs).
Weight: 17 lbs. Amplifier Protection: Thee 1- ampere circuit breakers. Complement: 31 Silicon & IVOSFET transistors, 21 Diodes. 2 Inte-
grated circuits (each containing 10 transistors, I diodes, 11 resistors). Desk C81
MARCH 1968 41

Continued from page 40


From Robins Industries comes word of a compact, low -
cost bulk tape eraser. The Model TM -88, weighing only
two pounds, is claimed to be capable of erasing an
entire reel of tape in seconds. The switch is in the
handle. List price is $17.50.

Two more Miracord automatic turntables have been

added to the line handled by Benjamin Electronic Sound.
The Model 620, priced at $89.50, offers push -button
control, anti- skating, and built -in cuing. It plays single
records manually or up to ten in automatic sequence.
It also plays one side of a record continuously, if
desired. The Model 630, costing $119.50, has all the
features of the 620 plus a pickup head adjustment for
stylus overhang which may be set by reference to a
retractable pointer on the turntable deck -plate. The
higher- priced unit employs a dynamically balanced
platter, lathe -turned from a nonferrous casting.



Latest firm to join the Philips cassette tape trend

is Optacord of New York, distributors for the Loewe
Opta organization of West Germany. Its entry is the
Optacord 451, a cassette tape recorder that runs on
flashlight or rechargeable batteries as well as on 110 or
220 volts AC. In addition. a 12 -volt adapter permits
using it hooked into an automobile's electrical system.
The Model 451 features a VU meter, separate volume,
tone, and recording level controls, and built -in five - r.
inch speaker. Supplied with a remote -control mike,
one blank 60- minute cassette, and a patch cable, the
451 is priced at $99.95.


Harman -Kardon has taken the wraps off its Model
SC -2520 which- offering stereo FM, four -speed record
player, and stereo cassette tape recorder -is
as a "total" system. The control center is topped by a
Garrard automatic fitted with a stereo pickup. The
sloping front panel contains both the stereo receiver
and the cassette tape machine. The latter may be used
for recording any signals playing through the system;
it also is a playback device for those programs as
well as for prerecorded cassettes. The FM section of
the SC-2520 is rated for 2.9 microvolts IHF sensitivity,
and features a center -of- channel tuning indicator and
ANOTHER TUNER FROM SCOTT a stereo broadcast indicator that works in conjunction
with an automatic mono-to- stereo switching circuit.
Scott's latest tuner is the solid -state Model 315B, which The amplifier is rated for 30 watts output (15 watts
incorporates an integrated circuit IF strip that con- per channel) music power into 8 -ohm speaker systems.
tains the equivalent of twenty transistors in ultra -com- Two matched speakers are supplied; each is an air-
pact form under the chassis. The front end uses field - loaded, two -way reproducer with 8 -inch woofer, 3 -inch
effect transistors. The set, retailing at $199.95, switches wide -dispersion tweeter, and dividing network. A stereo
itself to stereo mode when tuned to a stereo broad- headphone jack also is provided. List price of the com-
cast. A stereo indicator light comes on at the sane plete SC -2520 is $479. Without the speakers. the control
time. Rated sensitivity is 2.2 microvolts. center alone -as Model SC -25 -lists for $399.50.



Take a poke at your
favorite FM station
If you're a well -':erred music We've even added selector push buttons for
lover there have probably two individual sets of speakers, for sound here,
been times when you felt like there or everywhere.
: strangling the dial on your There are full tape facilities including a tape
-FM receiver. Tuning back to head input and, of course, a headphone socket
Bach, forward to Beethoven, losing one sta- for your own private world of entertainment.
tion while searching for an- Indicative of its solid performance is its
other, is all behind you now. solid state modular construction including an
ADC is introducing elec- FET front end and integrated circuits.
tronic tuning in i :s new 100 (Suffice to say, it permits perfect
watt FM stereo receiver. FM tuning, free from cross`
This Dio -Matic push modulation, station drift
button tuning section al- and any inherent noises...
lows you to pre -set any five especially in urban
FM stations and have mu- areas.)
sic as you like it with All in all, the ADC 1000 is a
one little poke or push powerful 100 watt (IHF) unit,
of a finger. Instantly. Ef- carefully designed to perform
fortlessly. (Naturally, 'e at an extremely low distor-
there's a smooth glid- tion (less than 0.3 %). The
ing manual tuner for result is a more superior
dialing all the other sound.
stations.) Crisp. Alive. Bril-
And what's liant. Absolute!
more, the ADC This week, drop in
1000 is all profes- ? I at your local ADC
sional. It repre- dealer and take a poke
sents the heart of at your favorite FM
a total music center for J station. We'll bet you'll
your home, enabling you to get max - want to lay both hands on
:mum enjoyment from your entire music sys- the ADC 1000 after that.
tem. And, the complete unit has teen engi- Oh yes, one mare thing. A two year
neered with your comfort in mind. Ail function guarantee. That's so ' j you won't

controls are positive smooth- action push want to take a poke at us.
buttons. Price: $379.95.Walnutcase , optional.
The ADC 1000
Push Button
Stereo Receiver
n. unies Corp., New Milford, ('onnc(1¡Cut 0 77(
by Norman Eisenber-
New Models Bring
those Video Tape Closer

fellows at To Home and School

RECENT ANNOUNCEMENTS from several firms of new machines in the
offing make it clearer than ever that video tape recording is being in-
creasingly aimed towards the consumer and educational fields. Full details
on all models are not yet available. but here's a quick roundup.
Ampex offers several new models, expanding this company's total line
of VTRs at both ends of the marketing spectrum. One eye- catcher is
of SUPEREX the VR -5000, priced at $995 and weighing sixty -two pounds (which makes
WOOFER- TWEETER it the lowest -cost and the lightest -weight Ampex VTR yet offered); a

MODEL ST -M -which can play through and record from any standard TV receiver
runs at 9.6 inches per second and uses -inch wide tapes: it remains
camera to use with it brings the price to just under $1,400. The VR -5000

First they put a woofer/ compatible with previous Ampex VTRs. Also new is Ampex' VR -7800
tweeter in their stereo head- series, which ranges in cost from $9,500 to $16,500 depending on fea-
phones to provide a full range tures. More than one hundred integrated circuits are included in its de-
of response without distortion.
sign; and it happens to be the first VTR marketed that allows instant
They also added a complete
crossover network right in the change to either of the two video scanning systems used here and abroad.
earpiece ...for an authentic- From Arvin comes word of a color VTR employing the Newell prin-
ally fine speaker system in ciple (see "VTR Topics," August 1967 and January 1968). Company
miniature. Just what the true spokesmen emphasize the machine's use of a handy cartridge that
stereo buff ordered! "enables all members of the family to operate the unit." At a private
Then they extended their line preview held at the television studios of WFBM, Indianapolis last Decem-
in depth for the Hi -Fi enthusi- ber, the Arvin unit was put through its paces of recording and playback
ast and for Education, Broad- from live camera and from broadcast television, plus playback of a
cast, Aviation, Marine and prerecorded video cartridge tape.
Communications use.
Now, they've developed a
great new model, the STPROB
Video in cartridge form figures too in the VTR system expected from
PlayTape "sometime" this year. Unless we guess wrong, this system
if it is indeed tape rather than small film
utilize either the Newell
. . . just about the last word idea or something very much like it.
in a professional quality head- Linear scan (similar to that used in ordinary audio tape machines)
phone. for video also is in the news. All- American Engineering, a firm in Wil-
Pretty clever, those fellows at mington, Delaware is readying itself for the manufacture and distribution
Superex. All they do is give of the PAR Ltd. VTR. This machine is the four -year -old descendant of
you the edge in quality, value a model we first saw demonstrated by its inventor, Stewart Hegeman,
and forward- looking audio en- who used an ordinary audio deck modified and speeded up for video
gineering. Ask your dealer for work. Potentially one of the most compact of VTRs, the AAE /PAR
a demonstration.
machine reportedly will enter the market this year at under $500.
Write for complete catalog. The same general scanning principle appears in a new VTR announced
SUPEREX ELECTRONICS by Akai Electric of Japan. Like the AAE /PAR, the Akai uses ordinary
1 Radford Place, Yonkers, N.Y. quarter- inch-wide tape. Weighing only fifty pounds and just a shade
larger than a typical home audio deck, it is expected to cost about $400.
Akai promises a color model to follow, priced not much higher.
Finally, enter a brand new firm in VTRs- Diamond Power Specialty
Corporation, a Babcock & Wilcox subsidiary, which has been manufac-
turing closed -circuit cameras for some time. DPS recently demonstrated
three VTRs that can record sight and sound simultaneously, or the video
first and the audio later. The decks, said to be compatible with "all
cameras and existing TV equipment," have the stop- action feature. Prices
are about $1,000, $4,000, and $8,500, for models DP -1, DP -2, and DP -3
respectively. The DP -1 uses 1/2-inch tape and, with an adapter, will record
color. Both the other models boast higher video resolution and use 1 -inch
wide tape on standard NAB reels. They too can be adapted for color.

Nowyou kaveløl reasons to
buy the Uher 4000 Report-L.
The first 100 reasons are all one dollar
bills you won't have to part with, during
our "Own the Best" sale. The UHER
AfterJune 15th you'll have onlyl. 4000 -L will cost you $340 instead of $440,
now through June 15th.
The 101st reason...and the most im-
portant one...is quality. The UHER 4000
Report-L is the world's finest portable tape
recorder. A lightweight7 pounds thatgoes
anywhere comfortably, the UHER 4000-1
is solid state and operates on recharge-
able or ordinary batteries.
It does everything the professional
wants it to do, up at the Arctic or down
at the Equator. That's why it's first choice
with explorers, naturalists, reporters,
radio and TV commentators, as well as
doctors, scientists and lawyers. It records
or plays back at four speeds and gives
you great frequency response with each.
It has a highly visible, three digit index
counter with a push -button reset.
Audio Magazine calls it "Magic in
a Matchbox." Professionals call it the
greatest. Now that we've made it $100
easier to "Own the Best," clip the cou-
pon, take it to your UHER dealer and
walk out with 7 pounds of greatness...
the UHER 4000 Report -L.


Save 8100.
Upon presentation of this coupon to
any UHER dealer, the bearer may
purchase the world famous UHER 4000
Report-L Tope Recorder at the spe-
cial price of $340. (Regular price
$440). This unique "Own the Best"
offer includes the following high qual-

i ity accessories for the UHER 4000:

Dynamic Microphone with built in wind
screen, music/ speech switch (^"M514)
Long Life Accumulator Dryfit battery
MER pack (#433) AC power supply and
battery charger (#880) Genuine
Leather Carrying Case (#861).
This offer expires June 15, 1968 and
is applicable only on the UHER 4000
Report -L Tape Recorder.


Copyriqht 1968
D!ll:;aCXXl000XXXXX X X KX JlIßliXllayf'X

Uher by Martel
Martel Electronics Inc. Sole U.S. Importers
2339 South Cotner Avenue, los Angeles,
California 90064; New York:1199 Broadway
Chicago: 5445 No. Lincoln
TOM harried mother, fresh out of aspirin, she can either

SWIFT AND HIS run the child and his torture kit into the back yard
or (on non -Spock days) take it away from him. But
there's little that can be done about the teen -age son

ELECTRIC whose well -being depends excruciatingly upon ex-

perimenting with his shiny new amplified guitar at
home- together with his friends and their amplified
EVERYTHING instruments. "But Mom, why can't you understand ?"
sighs the son with traditional contempt and delusions
of originality. "This kind of sound is what's happen-
BY MORGAN AMES ing today." The question is not whether or not Mom
understands; the question is, can she endure? She
had better, for the son is correct in one respect,
despite the worn out Mad -Ave. phrase which still
ARISTOTLE REMARKED in Ethics that "Youth sins sounds dewy fresh to his ears: amplified music is
by excess." In today's ear- pretzeling, superamplified what's happening. There's no realistic possibility that
world of rock music youth has outdone itself. But it will fade. It has barely begun.
before one nods his ringing adult ears in self- right- Like most things, electronic amplification of music
eous agreement, let it he remembered that children can be used for good or ill. Its very existence con-
have always loved noise, from the clanking of spoons stitutes a development probably even more radical
to the banging of screen doors, and adults have al- than the harpsichord's displacement by the piano.
ways had to endure it. The sore spot today is that Amplification can change not only volume levels but
technology and economics have made youth's tradi- whole harmonic overtone structures. Whether it will
tional excesses difficult to escape. What's more, produce a great body of music, as the piano has
social dynamics have lent the noise a pseudo- aesthetic done. remains to be seen, and is largely dependent
form, a formal organization of disorganization. upon the skill and seriousness of the musicians who
When a child's toy drum becomes too much for turn their attention to it. There is evidence that a


Today's rockers have accomplished what yesterday's
avant -garde couldn't: they have made electronic musical instruments both a

big business and a widespread source of aesthetic experiment

growing number of serious musicians-classical as are quoted as expecting a billion dollar season this
well as pop --are interesting themselves in amplified year, with a definitive emphasis on amplified instru-
music, with exciting and intriguing results. On the ment systems. "Musicians have proved willing to
other hand, amplification has attracted hordes of spend the money for the equipment," says J. B.
incompetent players, lured simply by the endless Lansing spokesman George Augspurger. "We have
sonic gimmickry made possible by electronics. Their never thought of this market before. While most
world is a sort of vast science- fiction kazoo. Between speaker manufacturers have had some experience
the two extremes lie the thoughtful moderates, draw- with electronic organs, traditionally such companies
ing from both ends. have designed speakers in terms of quality tone
While interest in amplified music had been de- generation, not peak volume capacity."
veloping for some years, it was the Beatles, in 1964, Equipment produced for amplified instruments
who really turned on the juice, launching what was should not be associated with home high fidelity play-
to become a gigantic industry: amplified instruments back systems. High fidelity systems are built to re-
and speaker systems. Youth reacted intensely to the produce faithfully sound from program sources, such
fact that these four young nien came out on a stage as discs and tapes, that are final finished entities. On
and made as much noise as they wanted -an ecstatic, the other hand, the amplifier /speaker systems used in
undreamed of amount of noise, with no parent to conjunction with electronic instruments are them-
stop them. Annual unit sales show that while 700,- selves part of the program source, emphasizing (or
000 guitars were sold in 1963, the figure pole - even contributing) distortion, hum, buzzing, gravel-
vaulted to 1,065,000 during the Beatle year of 1964. ing, and an entire catalogue of dismaying effects.
"Self -made music," states the American Music Con- Instrument amplification systems also act as public
ference, "ranks behind only reading and card play- address systems for live performances. The equip-
ing among the nations most popular participative ment is both transistorized and tubed, but it is
leisure -time activities. Sales of new musical instru- primarily notable for its sophisticated circuitry,
ments, sheet music, accessories, etc. in 1966 sur- capable of creating both dizzying effects and great
passed the dollar volume of all records sold and the wattage outputs. Stan Cutler, director of engineering
combined dollar volumes of all spectator sports. at Vox Musical Instruments, echoes the new wired,
Sales also exceeded the hobby industry's estimate of rigged, and rumbled industry by saying: "We're all
1966 . . by approximately three million dollars."
. competing for the decibel. The trend is towards
The nation's twenty -four million teen -agers now louder and louder sound." It was Vox that outfitted
hold between thirteen and eighteen billion dollars in the Beatles when they came to America with 240-
their restless pockets, and if it is aural volume they watt peak power equipment -four 12 -inch speakers,
want, they shall have it. An entire industry, many two high frequency exponential horns, and dual
of its leaders parents whose hearing is being im- crossover networks. Vox, in turn, was launched by
paired as their profits swell, has sprung up to ac- the success of the Beatles.
commodate all that lovely money. The question of wattage is a nervous one at this
point in the industry, and the last to know about it
are the watt -happy young people who buy the
TODAY ALMOST EVERY instrument can be amplified, systems. High wattage is not all it's cracked up to be,
from drums to balalaikas, either through new instru- and the industry is squirming under the need to
ment design or through the less expensive process of devise a method of standardization. Though youth
adding an electronic pickup which hooks into a claims the amplified scene as their own special turf,
speaker. One New Jersey instrument company, they are taken in with ease by manufacturers. The
Danelectric, is promoting its new electric sitar while president of a major company told me: "I recently
simultaneously waving an American flag: "You showed my son an amplifier that produced seventy -
Don't Have To Be Hindu To Play the Coral Electric five watts. He tried it and was dissatisfied because
Sitar." it didn't have enough power. Later I showed the
Since amplified instruments equate into power same amp but told him it produced 100 watts. He
packs and loudspeakers, a new marriage has taken loved it. So you see, we're all lying about the wattage
place: component manufacturers and instrument our amps produce. Something has to be done about
companies, both building equipment for the new it." There's more to the matter than dishonesty.
power- hungry generation. Companies have a very real problem in calculating
This fat field has lured such high quality sound just how much wattage their speakers can handle.
firms as James B. Lansing, Jensen, and Rheem- Says Augspurger: "The speaker is by its very nature
Roberts into the arena. Instrument manufacturers an extremely wasteful device. There's much loss

MARCH 1968 47
of energy between what goes in and what comes D130F thirty -watt speaker with a quoted ability
out. If
we pump in a hundred electrical watts, we to withstand isolated peaks of seventy -five to 150
will produce something like five acoustical watts. watts. Faced with the demand for even more sound
While these instrument speakers are designed to put power, JBL made further modifications in the
out as much acoustic power as possible, we're never D130F: the speaker's mechanical suspension was
really sure what their capacities are. Some meaning- strengthened; the voice coil assembly was redesigned
ful method of rating wattage is desperately needed." to withstand higher temperatures; and the relation-
While puzzling out the problem, JBL has outfitted ship of the voice coil to the magnetic structure was
one popular group, Paul Revere and the Raiders, arranged so that there was less chance of the voice
with a custom system which undergoes incredibly coil scraping against the pole pieces. Three years ago,
rigorous workouts. At outdoor shows, with scream- JBL entered the market with a whole line of speakers
ing young fans adding their own electrical energy, specifically designed for amplified instruments.
the Raiders have experimented with four large
drivers-each a theatre -type high frequency horn
which, running near capacity, can produce up to As ELECTRONIC INSTRUMENT companies have in-
ten acoustic watts. (In order to get your bearings, creased their maximum volume capacities and created
note that a full symphony orchestra, playing loudly, an arsenal of sonic gimmicks (reverb, tremolo, fuzz
normally produces only five or six acoustic watts.) tone, treble expand, and more), deformity of sound
To please stridency seekers, such as lead guitar has become not a limitation but a lure. Young play-
players, JBL makes a speaker that deliberately em- ers insist upon it. Companies boast that their equip-
phasizes response in the presence range, virtually ment is "designed in distortion." An Oregon ampli-
eliminating mellowness. However, for instruments fier company, Sunn Musical Equipment, proclaims
producing deeper tones, such as bass guitars and that with one of its systems, the 100S, "you can
portable organs, JBL recommends a different speak- actually feel" the sound ... "you get ear -splitting
er, designed with a special woofer for the bass range. treble." Are you still with us, Mom? The trend
The entry of J. B. Lansing Sound, one of the most in naming models is hardly a surprise. Rheem Manu-
prestigious high fidelity manufacturers, into the field facturing Company has introduced two amplifiers
of speakers for amplified instruments occurred four in the 100 -watt, $1,000 range: the Brute and Super
or five years ago. JBL discovered that many West Brute. For the less brutal, prices slope downward.
Coast musicians using electric guitars and basses Because speaker and amplifier companies are
were feeding their output through conventional JBL painfully aware of their young customers' general
speakers. So long as these JBL high fidelity speakers ignorance about maintenance of complex equipment,
were used by professionals for studio recording they protect themselves as best they can. Fender
work, the speakers were successful. But soon young Musical Instruments, a once small, now million -
rock groups began using such speakers for in- dollar enterprise, makes no bones about its policy.
person appearances. After some months of varying While its amplifiers come with a one -year "warranty,"
peak loads and bursts of intentionally elevated power, its tubes are underwritten for only a nervous ninety
the regulation JBL speakers broke down from sheer days. Although this type of warranty is fairly stand-
overload of power. "The young players are geared ard throughout the electronics industry, its terms are
to loudness," says Augspurger. "If their speaker more likely to be acted upon by buyers of amplifier/
admits a fifty -watt maximum, they'll reach for speakers than by patrons with gentler fidelity needs.
sixty -five. They will take the risk in order to play Lansing initiated a rather touching plea for gentle-
one decibel louder than their competitors. When they ness in the form of a fourteen -step advice sheet en-
were using our standard high fidelity speakers, the titled Ways To Play as Loud as Possible Without
result was similar to what would happen if you Damaging the Speaker. Item II is particularly
took a Rolls-Royce and put a Boeing jet engine in educational: "Do not use your amplifier /speaker for
it." With speakers torn and damaged because of their a bar ... for beach parties ...
an open back cabinet
inability to hold up under these overpowering condi- does not contribute much toward keeping the water
tions, JBL decided to research the new field. It and sand out...." JBL feels that in the past year,
was already evident that players would pay gladly as young groups have realized that the only sensible
to get the loudest sound. JBL's answer was the way to maintain gigantic volume levels is to use


more speakers rather than to overuse few speakers, being born. Now it has begun to branch. In certain
the manufacturers have received fewer calls for areas, where music serves basically as an adjunct to
repairs. electricity, amplification grows daily more gross and
For those who resist the law of supply and de- desensitizing -to accommodate a cross section of
mand, prices of instrument amplifiers may appear players and listeners of all ages who were born and
outrageous. The peasant can acquire a modest sys- trained to want it that way. In other areas, a ma-
tem, primarily suitable for home use (if you happen ture study of the uses of amplification beyond the
to live in an elevator or similar -sized quarters) in the production of mere volume is under way; electronics
vicinity of $200 or $300. Prices do not include instru- is used to enhance the beauty of music. For all the
ments. $500 will buy you something that will decently chin -up talk about rock as an art form, talk put forth
fill a medium -sized saloon with sound. But if you mainly by a disoriented adult music world, the fact is
want power, think in no less than $1,000 terms. And that the two branches of amplification are widely
if you get a hit record, it's time to bequeath the disparate, with little to say to one another. With few
$1,000 system to your little brother (and time for if any exceptions, the new pop player is content to
Mom and Dad to reconsider the therapeutic aspects execute his craft at a subskilled level. He and his
of an extended vacation in Peru). The Youngbloods, fans remain strangely untouched and disinterested in
an upcoming group recording for RCA Victor, use music as such. Theirs is the world of sonics, a world
custom -made electrical equipment worth $12,000 whose implications the parent generation is so loath
and carry it everywhere. In California, the all - to face that it would rather live with the lie of
amplified band of Bill Page uses $20,000 worth of calling it art.
equipment. The more complex the setup, the wilder At the other end of the scale exists a world of
the possibilities for getting weird effects. Put a bunch skilled and mature musicians and a sophisticated and
of this equipment into a recording studio, then add inquisitive audience, both young and old, waiting and
the incredible sound gadgetry which is a side skill watching to see what comes of the world that one
of any good studio engineer, and you have the company refers to as Ampliphonics.
weird world of new pop records. The Beatles While most professional musicians have reacted
summed it up succinctly during a session for their slowly and shyly to amplified instruments, there are
recent album "Sergeant Pepper's Lonely Hearts Club some notable exceptions. Don Elliott, a superb musi-
Band," when after recording a song in the studio cian- singer as well as a leading composer- arranger
they entered the recording booth and said to the of music for TV commercials, was one of the first to
engineer, "Now let's see how we can screw it up." recognize the value of the electric bass when played
Although the current appetite for rock seems by a skilled musician. "In our work, speed counts,"
lively, as reflected in the prices of sound equipment, he says, "so we have to use pros."
the fact remains that the industry situation is quite In Long Beach, California a new method of sound
different today from what it was three years ago. reproduction, known as the Barcus -Berry Recording
The original hysteria to supply the overwhelming Process, is stirring what may he the most significant
demand has calmed. Says Jerry Hershman, president
of Goya Music, a major manufacturer of classical,
folk, and electric guitars: "Until this year, we were
two years behind in filling our orders. The number
of kids buying guitars may seem endless but it's not.
Enough of them have now purchased instruments
and systems so that the tremendous pressure has
cooled down. And don't forget, girls don't buy elec-
tric guitars. They have other things on their mind."
While a million guitars are still sold annually, any
industry dependent upon youth must suffer youth's
whims. Hershman goes on: "At one time the solid
body electric guitar was most fashionable. It sud-
denly lost popularity with the Beatles' use of the
hollow body instrument. Many guitar companies
got stuck with huge inventories of the passé solid
body models. We did. Fender did too, but they
survived the crisis, despite the small size of their
company at that time, because they had already
gotten into the production of amps. The best trend
detectors are the retail stores, such as Manny's
and Henry Adler in New York. We listen to them
because they deal with the kids directly. And even
now, what's happening musically in England affects
the entire pop music world."
Amplified music has survived the convulsions of Bill Page, leading his New A mpliphonic Orchestra.

MARCH 1968 49
waves yet in the quality area of amplification. Created
by audio engineer Les Barcus and violinist John
"We should have an
Berry, the system eschews microphones, utilizing mu-
sical instruments with a new transducing system
which feeds directly to a recording console only the
sound produced by the instrument. While no change
is made in the method of playing, the appearance SONNY STITT
of the instruments is strictly outer space. (After all,
Jazz saxophonist
a sound box can he made of nearly anything; in the
Sonny Stitt was an
Andes, Indians make a sort of banjo out of the shell
early convert to
of the armadillo.) But since the Barcus -Berry Process
amplification -"the
transfers signals directly from the instrument to a BILL PAGE
best thing that's hap-
recorder, the shape of the instrument means little pened to the saxophone,"
A reed player and
except in terms of convenience to the musician. Any
consultant to the Vox he calls it. Stitt
"sound" that enters the air is extraneous to the re-
instrument company, Bill is especially impressed
cording process. The Barcus -Berry Process picks up
Page heads a fourteen - by the ability it gives
musical vibrations and ignores everything else, in-
man hand, all-amplified. the player to add oc-
cluding valve noise, bow noise on a violin, and so on. His system, a Vox in- taves above and below the
Since ambient noise is no factor, the verbose musi-
vention called Stereo one being played.
cian may even talk while recording is in progress.
The process--developed originally for recording -
is not limited to recording. and indeed is now branch-
Multivoice, enables
him to play eight
instruments at the
ing out into sound- reinforcement and live perform- same time; as he de- ROLAND KIRK
ances of all types of music. For instance, chamber scribes it, "There are
music, often struggling to project as well as to blend eight tabs to work with Roland Kirk,
diverse instruments. may now be presented before and I can play unison saxophonist and
large audiences with perfect balancing. Rather than in four different devotee of unusual
changing the sound of an instrument, the process octaves." He can also instruments, feels
presents it without artificial noise, still reflecting switch to a popular Vox that it's important "to
the personality and talent of the individual player. accessory, the wah -wah know how to use the world
According to musicians who have used the pedal: attached to the of amplification to our
process, the music recorded has achieved ex- clarinet, it gives advantage." For Kirk
traordinary performance realism. Frequency response that instrument a himself, however, the
is very wide; dynamic range is greatly increased and advantage is theoretical:
coarse, raspy sound.
under full control of the musician; and most im- he's blind; the jazz music
portant, recordings are largely free of distortion. he plays is strictly non-
It is probable that very few people -including musi- commercial; and when he
cians -have ever heard the "true" sound of a musi- gets on the job he can't
cal instrument, since there is always a large amount "be worrying whether
of instru:::ent noise present. The one limitation of Hungarian jazz guitarist the equipment is
the Barcus -Berry Process is that it demands superior Gabor Szabo specializes going to work."
recording equipment and musicians to produce the in "controlled distortion,"
quality of music that it makes possible. To envision taking advantage of usu-
a six -chord rocker let loose amid such refined equip- ally unwanted frequencies.
ment as that of the Barcus -Berry Process is a horren- Szabo holds a certain BOOTS RANDOLPH
dous thought. Equally horrendous is the thought of a note. turns towards his
masterful n :usician fumbling his way through the amplifier /speaker, and Country and
middle of an amplified rock -and -roll session. regulates the feedback western saxophon-
It becomes obvious that there is no one direction with a special volume ist Boots Randolph
for amplified music. It will get better and it will control on his in- is an advocate of the
get worse and, as with all enterprises of man, most strument. "On a Varitone, which enables
of it will fall unwittingly into the dead center of good night I can get the saxophone to com-
mediocrity and boredom. The self -demanding young two or three notes going pete in volume with
musician, a Martian in his own generation, will be at the same time." he says. other electrified instru-
forced by his own inquisitiveness to pursue the Rock -and -roll players ments. "About time,"
significant side of electronics, and eventually be re- also are familiar Randolph says: "we've been
membered for it. As for the parents of the proud with feedback effects, having to blow our brains
owners of today's sanctified, glorified, proselytized, but some of Szabo 's out just to keep up."
incorrigibly predictable and largely misused ampli- weird (and genuinely
fied torture kits, may they look forward to the golden musical) improvisations
age of senility when, with any luck, they will go would put many rock
peacefully and gloriously deaf. players to shame.


open mind about electronic instruments" ROLAND KIRk

John Beal, a bass PA GE

player with a degree

from Juilliard, works
with Stokowski's American
Symphony Orchestra as
well as with jazz groups.
He has devised a way of
amplifying his stand-
up bass by using sep-
arate pickups on
each string. While a
regulation electric bass
cannot be bowed, Beal's
instrument can he either
bowed or plucked, ampli- STITT ELLIS
fied or naturally. Johnson
Photo: Sy


One of the few large

groups seriously inter-
ested in exploring the
aesthetic possibilities of
amplification is the big
band of trumpeter Don
Ellis. Their in-
struments include the
Fender electric piano, RANDCLPH BEAL KIRK
an electric keyboard
instrument called the
Clavescion, and a whole
sax section which can
be amplified or not
at will; drums are
not amplified, hut
four percussionists are
sometimes employed at once.
Ellis rises the tape echo
delay on his own ampli-
fied trumpet for such
sophisticated purposes
as playing complex
canonic figures.

MARCH 1968

Part I: Power

The performance criteria and test methods described here are
those used by the author and his associates at CBS Laboratories
in preparing data for HIGH FIDELITY's equipment reports


AT THE HEART of every sound system, from a of measurement and specification techniques. We
pocket transistor radio to the costliest stereo setup, endorse and use several.
is an amplifier, or at least something that accepts
signals from a program source and builds them up Power -The Watts that Drive the Speaker
to the electrical level capable of driving speakers.
In the present two -part article we will describe how The actual work an amplifier does is gauged by its
we rate this critical function -this month considering power output, expressed in watts. Continuous or
power amplification, next month, preamplification- RN1S power is the amount of wattage an amplifier
control. The remarks that follow apply to all forms can deliver at its rated distortion for a substantial
of amplifiers, whether preamp and power amp are period of time. "Substantial" here means thirty sec-
offered as two separate components, or combined onds or more. Music power is the amount an ampli-
in a single chassis and known as the integrated fier can deliver for very short periods of time, say
amplifier, or further combined with a tuner to form 1/20 second. The argument for a music power rating
a receiver. is that for normal speech or music use the ampli-
Because amplifiers are complex instruments, and fier delivers a very small average power (a watt or
because they are offered in different forms and so) but it is called upon to deliver from ten to one
with varying capabilities and features, there is room hundred times that much power for short periods
for both confusion and disagreement over terms, during transients.
test methods, and the evaluation of test data. In our The difference in the power rating that can be
view, reports of amplifiers and discussions of their derived by using the two methods on the same ampli-
behavior are meaningful to the music listener only fier may be as much as 3 dB-or twice the amount
to the extent that they permit a comparison of of power! What causes the difference? Generally, it's
models on the basis of objectively conceived and the degree of regulation in the amplifier's power
derived data (tests should be, as much as possible, supply, that section of the circuit which produces
the same for all units) and can be related to listener - the "B plus" DC voltage for the amplifier's opera-
significant factors. For reasons which will become tion. At the end of the power supply, there is nor-
clearer later on in this discussion, we eschew, for mally a large capacitor which serves as a "storage
instance, music power tests in favor of continuous tank" of electricity. As the amplifier draws more
power data, and have made other deliberate choices power to supply the speaker, the "tank" starts to be
as to what constitutes a meaningful test report. drained. It must be refilled by the power supply.
Most of the choices, by the way, are based on the if the refilling can keep up with the draining, the
standard for amplifiers, IHF -A -201, published in pressure (voltage) in the tank remains the same, and
1966 and available for $2.00 from the Institute of the amplifier can continue to supply the amount of
High Fidelity, Inc., 516 Fifth Ave., New York,
N.Y. 10036. Though this standard goes a long way
towards providing for uniform testing, as a com-
power being called for. However, if the tank is being
emptied faster than it is filled, the voltage drops
and so does the amount of power being delivered.
pendium of varying viewpoints it sanctions a variety In any amplifier, at some point the fill rate equals


An amplifier under test at CBS Labor-
atories. Instruments used meet or exceed IHF
requirements; for many tests some gear has been
especially designed. Equipment is recalibrated f re-
quently to specific standards. Distortion
in signal sources is under 0.01 per cent, and
meters can register as low as 0.05 per cent.
Special pre -equalizers, accurate to within 0.2 dB,
are used with automatic curve tracing equipment
to plot a complete response pattern rather
than an oversimplified curve drawn through a few
isolated points. Line voltage (120 volts AC)
is continually monitored and adjusted if
necessary. Load resistors are noninductive and
are mounted on massive heat -sinks which are force -
cooled to maintain 1 per cent accuracy, even
when dissipating 100 watts of power per channel.

the drain rate. The amount of power that the ampli- "aux." The tone controls are set in their indicated
fier can continue delivering at that point is the flat positions, all filters are switched out, and the
continuous power rating. By way of contrast, the level control is set at maximum. (These are, by the
amount of power that can be drawn from a com- way. standard conditions for all tests.) We connect
pletely filled tank for a small fraction of a second is an 8 -ohm load to each amplifier channel output
the dynamic or music power rating. since the majority of loudspeakers are rated at this
Aside from its being a less rigorous test, the music impedance. Occasionally, for special purpose ampli-
power method lends itself to fairly subjective pro- fiers -such as packaged systems tailored to a spe-
cedures with the result that comparison among dif- cific loudspeaker-a load other than 8 ohms is used.
ferent amplifiers becomes meaningless. The IHF Driving only the left channel, we raise the input
Standard lists two types of music power measure- signal level until the output signal just begins to
ments. One way is to measure short term power at "clip" -that is to say, it cannot reach maximum
the distortion which occurs shortly after a transient amplitude sinusoidally; the crests of the wave (as
signal is fed to the amplifier. The second way is to observed on an oscilloscope) look a little crushed
replace the built -in power supply of the amplifier instead of rounded. Clipping can be heard as high
with a perfectly regulated external one ( that is. one harmonic distortion: a French horn at clipping
capable of keeping the "tank" full regardless of the might sound like a kazoo, a flute like a factory
amount of power drained) and then measure con- whistle. In most modern transistor amplifiers, clip-
tinuous power. Music power is then defined as the ping occurs very sharply at a specific level, above
lower of the two readings derived by these methods. which the distortion increases drastically.
Actually. in the former test the exact time at which The input level is next reduced until the amplifier
the distortion is measured, and the way it is meas- barely comes out of clipping. At this point the power
ured. are both open to argument. The second output and the corresponding total harmonic dis-
method introduces what is really a modification in tortion are measured and reported. The test is then
the design of the amplifier in order to perform repeated on the right channel alone; and then on
the test. although the actual consumer product will each channel in turn while both are driven simul-
not incorporate that modification. The second taneously. By comparing the left- channel figures
method thus turns out to be a test of a nonexistent with the right -channel figures. you can ascertain
product. Moreover. inasmuch as the amplifier the degree of matching between them. If the cir-
was not. by definition, designed to deliver con- cuitry has been designed to be independent of com-
tinuous power at its music power rating, it can be ponent tolerances, the two channels should he able
damaged by that very test. if testing is conducted to deliver substantially the same power. Further,
conscientiously. Needless to say, both CBS Labora- by comparing the figures made while only one
tories and HIGH FIDELITY Magazine long ago agreed channel was driven with those made when both
that the most valid power test of an amplifier is channels were delivering power, you can evaluate
the continuous power method. the merit of the amplifier's own power supply.
We make and report six measurements of power that "tank" mentioned earlier. If the supply is well
output, using a low distortion l -kHz signal which is regulated, each channel should deliver the same
connected to a high level input such as "tuner" or amount of power whether the other is driven or not,

MARCH 1968 53
30 50 Same amplifier can produce two different
+3 power bandwidth curves, depending on amount of
+2 distortion allowed. In this unit, for
m DIFFERENT DISTORTION LEVELS instance, doubling the distortion results in
z For 1 % THD
a curve from 20 Hz to 20 kHz. At the lower dis-
tortion level, the amplifier bandwidth spans
- a more limited range, from 50 Hz to 10 kHz.
0 FOR 0.5% THD
Presumably, a manufacturer can rate his
amplifier for any distortion percentage he
chooses. In high fidelity units,
however, this rarely exceeds 1 per cent.

20 40 100 200 500 1K 2K 5K 10K 20K


Ha.monic distortion curves for same

ó 2% amplifier. The rise in distortion at the
extreme low and high ends of the audio

1.5% band is generally normal, but the rise to
c above 1.5 per cent at 50 watts output -taken
ó 1
together with the power bandwidth curves
indicates that this particular amplifier has
¢ D AT FULL POWER ( 0 WATTS) ,, been overrated by its manufacturer. That
0.5% is, it is a "50 -watt amplifier" with
¢ respect to 1 per cent distortion only from
0 0 THD AT 1
z POWER (25 WATTS) ' about 35 Hz to 7,500 Hz. For this amount of
distortion, however, it is a genuine 25 -watt
20 50 100 300 500 1K 3K 5K 10K 20K
amplifier from 20 Hz to 20,000 Hz.

and with distortion that is not appreciably higher 4 -ohm load it is possible for it to deliver twice that
than that measured for each channel driven alone. amount of power, that is, 40 watts per channel. Now,
The final two power measurements are made at if you combine both channels, this becomes an "80-
the manufacturer's specified distortion level. If the watt music power" amplifier. Finally, although it is
manufacturer has not specified the distortion level, not recognized by the IHF and is not used by IHF
we use a one per cent reference, which, as present - members, there is a rating called "peak power," and
day amplifiers go, is a fair outside amount. Each our simple 10 watt- per -channel amplifier can grow
channel is driven individually, and the level is raised to a "160 -watt peak music power" Goliath!
until the measured distortion of the output signal
equals the distortion level specified by the manu- Distortion -Unwanted But Inevitable
facturer. The power level at this point is measured
and reported. This power rating may be slightly Two types of distortion are measured and reported:
higher or lower than the clipping power just meas- harmonic and intermodulation (IM). In general,
ured- depending upon the characteristics of the distortion refers to any signals in the output which
amplifier when driven at high levels and the dis- were not present in the input. Ideally, at every in-
tortion claim of the manufacturer. stant in time the output signal should duplicate ex-
In evaluating these test results and comparing actly the input signal, only more powerfully. Any
them with manufacturer's ratings, some related points so- called "nonlinearity" in the amplification pro-
should be considered. For one thing, the line voltage duces distortion. A dramatic example is the clipping
level often plays a large part in power rating. Our mentioned earlier.
measurements are made at a line level of 120 volts. We measure harmonic distortion by feeding a pure
At 115 volts the maximum power may be 8 per cent sine wave, from a special oscillator, into a high level
less and at 125 volts the power may be 8 per cent input of the amplifier which is driving an 8 -ohm
more. Thus a 50 -watt amplifier may deliver from load. Then, by tuning a distortion analyzer-which
46 to 54 watts depending on line level. You might is monitoring the output -to
the same frequency as
say that if the manufacturer's specified power is no the signal, we effectively remove the true signal
more than 5 per cent or 10 per cent greater than from the output. What remains in the output signal
measured power, he has rated his product fairly. is the distortion, hum, and noise of the amplifier
The load into which the amplifier works also itself. The level of these spurious signals, referred
enters the picture. Consider a stereo amplifier ca- to the level of the true signal, we report as a per-
pable of delivering 10 watts per channel into an centage of harmonic distortion. After taking meas-
8 -ohm load continuously. Its music power may be urements at about every octave from 20 Hz to
20 watts per channel into 8 ohms. When driving a 20 kHz, we plot a running curve of "per cent har-


monic distortion vs. frequency" from the data. The where the amplifier normally works, indicates "cross-
measurement is made for the left channel and right over distortion," which can lend an annoying "hard-
channel separately at the manufacturer's "full power" ness" to the sound. By noting the point at which
rating and then repeated at "half power." the IM curve (at any impedance) breaks upward,
Occasionally, the sample under test will clip be- you can gauge how much power is available to drive
fore the manufacturer's power rating is reached. If any speaker system. Generally, but not necessarily,
so, we will measure harmonic distortion at a power the power available from solid -state amplifiers is
level just below clipping -a situation that bespeaks greatest at the lower impedance of 4 ohms, and least
an overrated amplifier. Such a unit can deliver per- at 16 ohms. However, the amount of distortion is
formance, but not at the power levels implied by also generally least for the higher impedance loads.
its published specifications. And since 16 -ohm speaker systems generally are of
Note that our harmonic distortion data, based on high efficiency, the relatively lower power available
the IHF standard, often is abbreviated as THD, to drive them presents no real prcb'em.
which stands for total harmonic distortion. This
means that in addition to its actual harmonic con- Power Bandwidth-Determined by Distortion
tents, the amplifier's hum and noise-which con-
tribute to audible distortion -are being accounted The power measurements discussed so far are all
for. The fact is, two amplifiers with the same "har- made at I kHz, which really tells us little more than
monic distortion" will measure differently if one has what's happening at the mid -frequency area of re-
more hum or noise (i.e., a poorer signal -to -noise sponse. A measurement that covers a broader re-
ratio) than the other. For example, if the signal -to- sponse range of power output is the power band-
noise ratio of an amplifier were 60 dB, the THD width curve, which tells you how much power the
would have to measure at least 0.1 per cent even amplifier can deliver at its rated distortion at dif-
if there were no harmonic components at all. For a ferent frequencies. For this measurement, we feed
50 dB S/N amplifier the basic level of THD would one of the amplifier's high level inputs from a low
be about 0.3 per cent. Of course, a high quality distortion oscillator, raising the input signal strength
amplifier usually will have both low distortion and a until the output reaches the manufacturer's rated
high S/N ratio. distortion. We now measure the power level reached,
Whereas harmonic distortion is measured with a and compare it with the manufacturer's rating. Any
single test tone, intermodulation distortion is meas- difference in levels is expressed in dB. Thus, if the
ured using a mixture of two tones -normally 60 Hz amplifier has been rated for 50 watts at 0.5 per cent
and 7,000 Hz, with the lower frequency four times distortion but-at some frequency -it can deliver 55
stronger in level than the higher frequency. A com- watts at that distortion, then that point on the curve
pletely distortion -free amplifier would pass only would be a bit higher, +0.4 dB. We repeat the meas-
these two signals. However, if the amplification is urement at different frequencies until we reach the
not linear, the two signals will "beat" or intermodu- lowest and the highest frequency at which the ampli-
late, with the result that in addition to the original fier can deliver half its rated power at its rated dis-
two frequencies new sum and difference frequencies tortion. The response range between these two points
(7,060 Hz and 6,940 Hz) will appear in the output. -which are the 3 dB levels on the graph -is the
Intermodulation -measured on an IM analyzer -is power bandwidth. Thus, a power bandwidth of, say,
generally shown as a function of the output power 40 Hz to 8 kHz for that same 50 -watt amplifier
level. Our measurements are made from about 1 would mean that the amplifier could deliver 25 watts
watt to the overload point of the amplifier, where or more at 0.5 per cent distortion at any frequency
distortion characteristically rises very steeply. The between 40 Hz and 8 kHz. Remember, where the
measurements are repeated for 4 -, 8 -, and 16 -ohm graph shows +dB, the amplifier is better than its
loads, unless the manufacturer specifies that the rating, and where the graph shows dB the unit can't
set is not recommended for use with all three loads. deliver full power at its rated distortion.
Distortion curves are clues to amplifier perform- You must be careful, when judging amplifiers by
ance. Normally, the curves of THD rise (showing the power bandwidth rating, to keep in mind that
more distortion) at the very low and very high fre- power bandwidth is measured against the manufac-
quencies, although in the very highest quality am- turer's ratings. The very same amplifier could have
plifiers these curves remain flat (and very low in quite different power bandwidth ratings depending
level) throughout the entire 20-Hz to 20 -kHz band- on how stringently the manufacturer chose to "spec"
width. Again, normally, the harmonic distortion the unit. For instance, our hypothetical "50 watt at
curve runs higher at full power than at half power. 0.5 per cent distortion" amplifier might have a power
When the reverse occurs (rarely), you can be sure bandwidth of, say, 20 Hz to 20 kHz if the manufac-
that hum and noise are being measured rather than turer had called it a "50 watt at 1 per cent distortion"
distortion components. amplifier. Thus when interpreting this rating, refer
The IM curve should be flat with increasing power to the specified distortion level at which the curve
until near the clipping level, when it characteristically was taken. In comparing two amplifiers, be sure
rises abruptly. A rise in IM at lower power levels, they are in the same power class and have the same

MARCH 1968 55

A controversial composer becomes a celebrity maestro

11NIEW -71II d

UNTIL 1956, Pierre Boulez had never conducted a composer. Many music lovers, allergic to Boulez'
symphony orchestra. Five years later, he was invited own works, salved their consciences by discovering
by Karajan to conduct in Salzburg, and Wieland behind this mysterious and somewhat suspect name a
Wagner had already proposed that he take over the musician whom they could finally understand. Then
podium of the Bayreuth Festspielhaus. Today, his success grew, the repertoire expanded, and Pierre
pursuing one of the most brilliant careers of our Boulez commanded attention in places where new
time. he conducts what he wishes, when he wishes, music had never penetrated. The conductor no
where he wishes. With a repertoire carefully self - longer Ieeded to rest on his reputation as a composer
defined to include the most modern works with the to fill concert halls. And, curiously enough, his detrac-
great classics, Pierre Boulez draws capacity audi- tors of yesterday, who had completely demolished
ences in London as in Berlin, in New York as well as the Marteau sans Maître, began to complain that
Tokyo -a success usually reserved for specialists in Boulez was now lost to music -that he accepted
flashy concertos and warhorse symphonies. too many concert engagements and that he no longer
When Boulez first began to attract interest as had time to compose.
an orchestral conductor, one leaped to the con- No one knows better than Boulez himself that
clusion that his growing reputation could be ex- there exists a real problem in balancing the activity
plained by his fame (or, perhaps, notoriety) as a of a composer with that of an orchestral con-


ductor. But in order to understand his problem, lished shortly) Boulez was in a state of extreme
which involves his particular conception of the or- nervousness before the performance. Apparently,
chestral conductor's job, one must go back in time however, the young conductor's tension was of the
and trace the history of this extraordinary career. kind that generates an all -out effort on the part
There was. to begin with, a preparatory phase: of orchestral players. De Nussac quotes Boulez as
Boulez' sojourn in the Jean-Louis Barrault- saying that the Bartók "was one of the best per-
Madeleine Renaud Company. For ten years, beginning formances I've ever given."
in 1946, Boulez was music director for this group
and consequently conducted the music for a variety
of productions. At the time Boulez himself con-
sidered his work at the Théâtre Marigny as of little period of apprenticeship. Boulez continued to re-
importance, merely the direction of rather modest place Hans Rosbaud (by this time a very ill man,
" musique de scène," played by smallish ensembles. in and out of hospitals), notably with the Amsterdam
The young musician of those years had neither the Concertgebouw and thereafter for the concerts of the
training nor the desire to make conducting his chief Domaine Musical. Eventually, he found himself in-
profession. He had simply accepted a job, to earn undated with invitations to conduct, many of them
a living, among people of the theatre whom he loved. from organizations completely indifferent to modern
In retrospect, one sees now the importance of music but suddenly aware that to engage Pierre
the association between Boulez and Jean -Louis Boulez was both to demonstrate their good will
Barrault, for from it grew the famous series of towards contemporary art and to assure the commer-
concerts of the Domaine Musical. From 1954 on- cial success of their enterprises. Boulez turned down
wards these concerts permitted audiences to be- a good number of these offers; with a scorn for
come acquainted, perhaps even familiar, with the compromises which he has never lost, he either gave
music of Schoenberg, Berg, and Webern -most of a flat refusal or demanded working conditions and
whose work (particularly that of Webern) had not a program unacceptable to the organizers.
yet been played in France, and to hear the latest Other invitations struck him as of major im-
efforts of the younger composers. portance. It was, for example, of great interest to
During the first two seasons, Boulez delegated him to conduct the Rite of Spring at the Salzburg
the task of conducting the concerts of the Domaine Festival, with the Vienna Philharmonic -all the
Musical to others, and in fact it was only by chance more so in that this Rite was given with the impres-
that his own debut on the podium came about. On sive ballet choreographed by Maurice Béjart. It was
March 21, 1956 Hans Rosbaud had been scheduled equally of interest to accept the invitation of the
to conduct at the Domaine concert the French Paris Opéra to conduct Wozzeck.
premiere of Boulez' Marteau sans Maître, of which The latter invitation had a very special signifi-
he had given the world premiere on the preceding cance. The Opéra had never performed Wozzeck,
June 18 at Baden -Baden. When, at the last moment, an omission that Georges Auric, on taking over as
Rosbaud was forced to cancel his appearance, Boulez Administrator of the National Opera in the spring
took over for him. of 1962, felt should be immediately rectified. A
There was another unexpected experience the next production of Berg's opera thus became the symbol
year and it too was a decisive one. In preparation of the renascence of a house famous for its con-
for the world premiere of his Visage Nuptial at servatism. In other quarters Wozzeck was of course
Cologne in December 1957 Boulez had coached the viewed quite differently. and Boulez as its conduc-
chorus. He had also discovered himself in consid- tor was the subject of daily diatribes from "the
erable disagreement with the conductor engaged for righteous defenders" of French musical life.
the performance. The upshot was that, again at In fact, all conditions conspired to make a
the last moment, the composer took on the role of success of the ten performances of Wozzeck, which
conductor. took place in November and December 1963-the
Shortly after this event Heinrich Strobel, a friend scenery designed by André Masson, the production
of Boulez and music director of both the Baden - directed by Jean -Louis Barrault, and an excellent
Baden Radio and the Donaueschingen Festival, ar- cast headed by Helga Pilarczyk in the role of Marie
ranged a number of conducting engagements for him. and Heiner Horn as Wozzeck. To deal properly with
The next year he made his first festival appearance, this large-scale undertaking, completely new for
substituting for an ailing Rosbaud with the Orches- him (he had never conducted an opera before),
tra of the Belgian Radio at Aix -en- Provence. A few Boulez asked for forty rehearsals -a very modest
months later, he again replaced Rosbaud, this time request compared with the 130 rehearsals that Erich
at the Donaueschingen Festival. Even a much more Kleiber obtained in 1925 for the world premiere in
experienced conductor might have regarded this as Berlin but an incredible demand in relation to the
a particularly risky task. The program consisted of working procedures of opera houses in general and
five works, including Bartók's Miraculous Mandarin the Paris Opéra in particular. But Georges Auric
which Boulez had never conducted and for which he wished to make his point with distinction; he ac-
was allowed only an hour of rehearsal time. Accord- cepted Boulez' conditions. (Actually, Auric confided
ing to the Paris music critic Sylvie de Nussac (whose to me on the night before the opening: "You should
book Entretiens avec Pierre Boulez will be pub- realize that the musicians weren't really obliged

MARCH 1968 59


to comply. As far as union regulations are con- take up residence abroad. Only recently, however,
cerned, they could have refused. But they recog- Malraux has asked Boulez to join Jean Vilar and
nized the importance of this production and Boulez Maurice Béjart in a triumvirate to run the Opéra.
excited them. ") If Boulez accepts, that would surely lead to a renova-
It is completely true that Boulez "excited" the tion of the institution.
somewhat blasé members of the Opéra orchestra. He As soon as he had left Paris, Boulez found himself
excited them because these musicians -who are much in demand as a conductor. His explanation for
excellent players. though too often compelled to plod this is revealing: "I have not exerted myself to make
through routine work under the direction of run - a conducting career ... except for my own music.
of-the -mill bureaucrats-found in this opera a But throughout the world there is such a lack of
task in proportion to their talent and to their decent conductors that if you are just a little better
ambitions. Thanks to Boulez, they came to a full- than the majority, if you work hard, if you have a
er understanding of the music itself-this com- sense of responsibility, you are in demand. That
plex language of Berg, far removed from their reg- shows you what a sad state the profession is in."
ular preoccupations-and they knew too that He was shortly conducting major orchestras in
their smallest lapses would be noticed immediately Berlin, Amsterdam, and London. In Frankfurt he
by a musician whose sharpness of ear had become took up Wieland Wagner's production of Wozzeck,
proverbial. They also knew that besides the often and in 1965 he made a resounding debut in the
ruthless demands he made of them, Boulez always United States as conductor of the touring BBC
took their side in dealing with the Administration. Symphony. However, the major event in Boulez'
Moreover, Boulez' intransigence could be justified international career was undoubtedly his arrival
on artistic grounds; he imposed on himself a similar at Bayreuth.
rigorous discipline, based upon a deep knowledge Wieland Wagner had nourished the project for
of the score, and he considered himself less a pater- several years. Boulez' original interpretative ap-
nalistic "maestro" than a comrade engaged with the proach seemed to fit logically into the plans for a
orchestra in a common endeavor. renovation of Wagner. Wieland had already taken
Since the beginning of his career, Boulez has the purists by surprise with his concepts of
always maintained this attitude towards the men staging; he had shocked them by calling upon
he conducts. He knows exactly what he can de- Béjart to do the choreography in Tannhäuser. Con-
mand of the players and forgives no weakness, but vinced that a Wagner festival, more than any other,
he treats them as colleagues, he understands their should fight against sclerosis by taking risks and
problems, and he is always ready to defend their by betting upon new values, Wieland was unmoved
possible claims. Musicians are not readily deceived by indignant reactions. At the outset of Boulez'
in such things -and it is for both human and career, Wagner therefore chose to place a new bet.
artistic reasons that Boulez has become one of the The Frenchman at first refused, but Wieland sus-
most popular conductors among orchestra per- pected that his resistance would weaken with time.
formers. On the death of Knappertsbusch in 1965, he asked
Boulez to take over the direction of Parsifal.
After much deliberation, Boulez accepted for
To RETURN TO Wozzeck, the Paris performances the following season. Consternation broke out among
had a public acclaim that went far beyond expecta- the old -guard Wagnerians -followed by an anxious,
tions, and they served to propel Boulez from clan- somewhat quizzical anticipation. When Pierre
destine success to public approval. All the doors of Boulez took his place for the first rehearsal, in a
Parisian institutions opened to him: the Opéra once hall already filled with critics, the atmosphere was
again for a second series of Wozzeck and for an heavily expectant. However, the game was won,
evening of Stravinsky ballet choreographed by Béjart just as it was in Paris with Wozzeck, as soon as the
and including Noces, Renard, and the Rite of Spring orchestra men realized that the Festival director had
.. . radio and television . . . the Société des Con- not invited an avant -gardist intent on creating a
certs du Conservatoire. . . . This state of affairs sensation, but an extraordinarily gifted conductor
would have continued if certain policy changes within who knew exactly where he wanted to lead them.
the Ministry of Cultural Affairs had not brought Once having dissipated the orchestra's reservations
about a disagreement between Boulez and André --as well as those of the singers, which were con-
Malraux, and if Boulez had not then decided to siderable- Boulez knew how to convince the Fes-


tival public. It must be acknowledged, however, went along -especially to reveal to Russian audi-
that along with the approval came a definite sense ences an unfamiliar modern repertory.
of surprise. This production of Parsifal-an opera All these engagements, some sixty to seventy
always entrusted, at Bayreuth and elsewhere, to
Wagnerians of the most impeccable antecedents
gradually took on a new quality. The somber sonori-
- concerts yearly, naturally were to lead Boulez to
the recording studio. He made several records,
principally of contemporary music. for the French
ties of Knappertsbusch were lightened. the heavy firm Véga, but it was his version of the Sacre du
orchestral textures gained a new clarity, and the Printemps that almost overnight revealed to the
sound shimmered in a less restrained ambience. general public the measure of a conductor whose
As for the tempos, they were slower than one would interpretations could still disturb, even disquiet. In
have supposed from Boulez, but even so a good fact. this Sacre (issued in America on the Nonesuch
ten minutes were cut from each act. Here again. label) demonstrated with particular clarity the
there was less lofty repose, more liveliness. The special nature of Boulez' artistic temperament, the
Parsifal of Knappertsbusch was the celebration of mingling of a rigorous sense of structure with
a religious ceremony; that of Boulez strove rather flashes of penetrating forcefulness. After so many
to illuminate the nature of human passions.
Finally, even purists admired, if not the over -all
conception, the sheer sound of the orchestra, and
ings, this was the Sacre of an inspired builder
a Sacre biting. cruel, struck through with savage
correct but arid Sacres, or fervid but inchoate read-

the critics evidenced an enthusiasm almost unprece- blows and feline clawings -and sustained, from
dented in the annals of Bayreuth. Unfortunately. the first note to the last, by a rhythmic control of
the instigator of the event was no longer around to impressive vigor and sureness. The recording of
enjoy its climax; Wieland Wagner had just entered this Sacie marked the first great milestone in a
a Munich clinic. where he died a few weeks later. discographic career that is today being followed
His death canceled a number of projects on on an entirely different scale. Last year his CBS
which he and Boulez had been expected to col- recording of Wozzeck was widely acclaimed, and
laborate. in particular Berg's Lulu at the Vienna Boulez has now signed an exclusive contract with
Opera. Pellra.s et Mfeli.sande at Covent Garden, and that company. He has already recorded Debussy,
Don Giovanni in a German opera house. Never- Berlioz, and Webern- tomorrow perhaps Beethoven
theless, Boulez' career as a Wagner conductor was and Wagner?
not interrupted: in April 1967 he conducted Tristan
in Japan with tha Bayreuth company, then Parsifal
again at the following Bayreuth Festival. Everyone IN SHORT, Pierre Boulez has embarked upon a path
is anxious for him to take on the Ring, and the to fame that is the secret ambition of any musician.
present directors of the Bayreuth Festival hope that But this success also includes a certain bondage,
this will happen as soon as possible. Boulez, how- and it cannot be ignored that the production of
ever. has said: "Not before 1970." Boulez' own works has dangerously slackened over
Needless to say, Boulez' presence at Bayreuth several years.
excited international interest. On this occasion it One is given to ask if this is a deliberate choice
was pointed out that before Parsifal, Boulez had by the composer -if he has opted, quite consciously,
not conducted a single Wagner opera, nor even for conducting as against composition. I feel that I
expressed the desire to do so. Neither had he shown can say no to this question. Boulez has abandoned
any particular predilection for Wagner. Still, if he nothing at all; moreover lie is trying at present to
approached Parsifal more as a questioner than as arrange his conducting engagements over five. months
an initiate, he was soon deeply involved in an in- of the year in order to devote more than half his
tense study of a music which could enable him to time to composing. Boulez is aware that his own
place in perspective the post-Wagnerian composers creative work is marking time, but he is also firm
who up to this time had most interested him -that in his insistence that having undertaken a conduct-
is, the three great Viennese. Moreover, in his whole ing career he will be a true conductor and not
tenure as a conductor Boulez has always sought to merely a skillful baton waver. To know Boulez is to
build bridges -to come to a fuller understanding know that he hates amateurism, that he scorns the
of the present by virtue of knowing the traditions well -intentioned but ignorant, and that he believes
of the past. to shed light on the past through the in the value of hard work. He feels that the vocation
insights of an artist himself immersed in the crea- of a conductor cannot be a sideline; it has either to
tive activity of today's world. be fully assumed, at the risk of accepting certain
After Parsifal, the pace of Boulez' career con- sacrifices, or it should be abandoned.
tinued. if anything, to accelerate. When Otto Finally, Boulez understands how enriching his
Klemperer fell sick on the eve of a series of Bee- experience as a composer can be to his experience
thoven symphonies he was to conduct in London, as a conductor, and vice versa. He seems to share
it was Pierre Boulez who was invited to replace the opinion of Stravinsky, who said to me one day:
him; when George Szell learned that Boulez was "The best conductors are composers -Mahler,
unexpectedly free for a month, he had him brought Strauss, Boulez." (Did he add: "And myself ?" I
to Cleveland. And when the BBC orchestra made could not swear that he didn't.) Boulez conceives
an important tour in Russia, it was Boulez who of conducting as the bringing out of a series of

MARCH 1968 61
structures. And who is better able to understand the fortable. All the details of execution are explained
sense of these structures than one whose profession during rehearsals, which Boulez protracts as long
it is to arrange them? as necessary, and which he sometimes breaks up into

rhetorical sentiment, but to a musical structure

especially in conducting Mozart. Mozart's music,
Boulez has said: "I try to give importance not to rehearsals with the individual orchestral choirs.
During the performance itself, each conductorial
signal corresponds to a perfectly identified sound
for me, is not a kind of pleasing salonlike gentility, event. If the musician catches the semaphore message,
or even a deeper emotional expressiveness, but, no accident can happen! And from the proper trans-
above all, especially in his later works, which I lation of signals arises the exact reconstruction of
prefer, a marvelous musical structure." structures -that is, the explosion of the music into
The example of Mozart, intentionally chosen, is its poetic and expressive form.
particularly striking, for no one will deny the im- It is evident that this represents a profound trans-
portance of "structures" in the works of Berg or formation of the profession of conductor, raising
Stockhausen. But who will dare to affirm that the questions of the conductor's intellectual attitude
reading of "structures" is the essential element in an towards the score as well as his physical gestures on
interpretation of Mozart? And who would accept the the podium. This change has interested enormously
primacy of structure over expressive meaning? the musicians willing to study it, and especially the
Boulez answers this objection by explaining that the numerous young composers who, also feeling a
structure is linked to expressive content -and that necessity to conduct, have asked Boulez' advice. In
if "such- and -such a musical structure was chosen, June 1965 Boulez gave them an answer by organiz-
it was because it best responded to the feelings one ing, in Basel, a course in the conducting of con-
wanted to transmit." He continues: "One cannot be temporary music- marvelously rich sessions during
content to 'be expressive' without knowing where which Boulez exposed each step in the conductor's
the musical phrase is going. For myself, I like expres- function. analyzing scores and commenting on
sion to be reflected precisely by the way in which the effectiveness of this or that gesture (supported
the phrase is cut, by proper accents placed at the by a live ensemble). It is obvious that modern scores
right moments, etc." His attitude is summarized in necessitate such explanations and, for this purpose,
this formula: "To interpret is to describe a structure Boulez has devised what he calls a "signaling code,"
as a function of its expressive power." which allows one to conduct safely a score including
In speaking of structure, Boulez is thinking not simultaneously fixed and free tempos. It is with
only of a certain rhythmic cell or melodic phrasing, aleatory music that the conductor's intervention is
but also of the over -all structure of the score. And doubtless the most interesting, where "the instru-
one of the essential merits of his interpretations is mentalist depends entirely on a gesture-that is, he
the insertion of each musical instant into a con- becomes like the key of a keyboard." This is where
sciously reflected development. While so many con- Boulez' signaling code is truly the modern method
ductors highlight a forte in order to move or aston- for conducting orchestras.
ish, without giving any suggestion that they know For Boulez, however, there is no watertight dis-
what is to happen three measures later, Boulez makes tinction between the way to conduct a Beethoven
clear at each moment his understanding of the score symphony and a score of Stockhausen. To solve the
as a whole; it is in this way that his readings convey technical problems inherent in the performance of
a sense of exceptional rigor and depth. modern music can considerably aid a conductor who
This approach also corresponds, in Boulez, with turns to the classic repertory. This is exactly what
an original technique of conducting. The `original- happened to Boulez, who had completely established
ity" is hardly surprising, as Boulez never formally the bases of his conducting technique when he took
studied conducting. Therefore he had to solve each up the classics and the romantics. It was surely
technical problem (particularly that of gesture) for thanks to this technique that he acquired such rare
himself; even more difficult, in the contemporary precision, clarity, and faithfulness to the score in
music in which he specialized there was no tradition his interpretations of the standard repertoire.
whatsoever. The new pieces, given their complex Is it necessary to specify the ingredients of Pierre
notation, require rhythmic clarity and independent Boulez' standard repertoire? It includes, without
arm movement to an extreme degree. For this rea- limitation, the symphonies of Haydn as well as those
son Boulez' gestures are extremely precise and give of Beethoven, the concertos of Mozart, and the
the impression of describing constantly the succes- Brandenburg Concertos of Bach; but it excludes,
sion of musical structures -a fascinating spectacle, without regret, music judged by Boulez to be "doubt-
which has been compared (not maliciously) to a ful": Verdi, Tchaikovsky, Bruckner . . . and this
semaphore. Boulez does not overplay the dramatic list is also without limitations.
side of conducting, although his movements can be This means that in the choice of his repertory
brutal, and he abstains from trying to simulate Boulez draws his self -portrait, in the same way that
nuances with clownlike mimicry. He does not, how- he reveals in his attitude as a conductor -in his
ever, neglect the intensive look, for he believes in lucidity, his rigorous organization, his ruthless exact-
the power of communication by the eye. ingness, his profound sense of human relations, and
For an orchestral player, this is the clearest and his love for his work -the true driving forces of his
most stimulating method, as well as the most com- personality.




SHOULD you use a $75 cartridge with a $60 turn- single chassis. Obviousl. then, a new formula is
table? Will a pair of speakers that cost $150 sound needed.
right with a $250 amplifier? What about speakers The change has certainly not simplified matters:
priced at $500 each used with an amplifier costing you can't, for instance, solve the problem merely by
half that amount? Isn't there any rule of thumb for inserting a new number or two into your addition
the uninitiated? column. For there are all kinds of receivers, de-
There is, or to be more precise, there are-a few. pending on how good (and costly) the FM section
To begin with, back in high fidelity's monophonic is, how good (and costly) the amplifier section is,
days, budgeting for a system was quite simple. Con- and whether or not the unit provides AM reception
sidering the three main building blocks-record too. Bear in mind that a higher- priced receiver does
player, amplifier, and speaker -you could assemble not necessarily contain both a better tuner and a
a well -balanced system by spending about equal better amplifier than a lower- priced receiver. Some-
amounts on each. (At the time, FM tuners and tape times, yes-but often the higher- priced receiver may
recorders were considered extras, and thus to be contain only a more sensitive tuner, teamed with the
calculated aside from the basic system.) The mono same amplifier as that in the less expensive model.
budget. in effect, could be figured as a simple ratio Or conversely, the less sensitive (and cheaper) tuner
of 1:1:1. may be paired with a more powerful amplifier. Any
Then came stereo, with the need for new and /or of these possible combinations is valid, any of them
additional equipment -and the ratio was upset. "works," but don't expect the proportion of a stereo
Speakers cost no more than they had before, but budget representing the cost of a receiver to be a
suddenly you needed two of them. Stereo amplifiers fixed, immutable figure.
did cost more than, but not twice as much as. mono Fortunately, though its hard to evolve a new
units. And while cartridge prices went up slightly, budget ratio, it's not impossible -at least on an
turntable and record changer prices remained about average basis, and allowing for some "cost toler-
the same. As dealers and the public got used to the ances," some plus or minus dollars to go along with
idea of stereo, a modified version of the I: :I ratio
I the plus or minus decibels. To illustrate: on today's
appeared -something like 1 (record player) : 11/2 market, you can get a decent system for about $310:
(amplifier) : 2 (speakers). Until recently, this this price covers $60 for an automatic turntable with
formula generally prevailed: that is, if you asked stereo cartridge; $ 100 for a pair of small speakers;
most owners of a high fidelity stereo system how and $150 for a minimal, but respectable, FM stereo
they had apportioned their funds, ehances are you'd receiver. Better systems start at about $520, which
learn that a little less than half of the total budget includes $90 for the automatic turntable and car-
went for loudspeakers, the remainder divided be- tridge, $180 for the speakers. and $250 for the re-
tween amplifier and record -playing equipment. ceiver. De luxe systems built around a stereo receiver
It is now apparent that something new has hap- start these days at about $915; this figure can be
pened to upset the revised ratio between record play- broken down into $425 for the receiver, $150 for
er, amplifier, and speakers-and that something is automatic turntable and cartridge, and $340 for
the stereo FM receiver. Until quite recently, most loudspeakers. (If you're a holdout for separate com-
audiophiles considered stereo FM an adjunct to a ponents in your dream system, you'd better be pre-
home stereo system. By the end of last year, how- pared to spend approximately $2,000-$325 for
ever, at least eighty per cent of all systems sold stereo preamp, $395 for power amplifier, $165 for
were based on a stereo receiver -a combination turntable and arm, $65 for stereo cartridge and $400
stereo FM tuner and stereo control amplifier on a for stereo tuner, with the balance, about $650, going

MARCH 1968 63
(built around stereo FM receivers)

Low -priced: Medium- [iced: Medium -high priced: Deluxe high -priced:
Component $310 to $380 $500 0 $835 to $1,240 $1,500 to $2,400

Record player $ 60 $ .. -$1t $ 160 -$ 300

Receiver $150 -$200 $240 -$280 40 -$600 $ 340 -$ 600

Speakers (2) $100 -$120 $180 -$240 .360 -$4: $1,000 -$1,500

In computing the above chart, we used average retail prices rather than manufac-
turer's list prices. Receivers, in particular, frequently sell for as much as twenty
per cent below list price. Many dealers charge list price for a turntable, but include
a cartridge for anywhere from one cent to five dollars. It is on this basis that
record player prices above have been computed. Note too that the "record player"
price- spreads cover the option of manual turntable, arm, and top -quality pickup.

for loudspeakers: or you can drop the tuner and To put it another way, there are two ways you can
put more money into still better speakers.) achieve a comparable level of sound volume and
In the three hypothetical systems using a receiver, quality in your listening room. One is by using low
note that the cost of speakers accounts for roughly efficiency loudspeakers with a high -powered ampli-
thirty -three per cent of the total, with that share fier; the other is by using high efficiency loud-
declining as the over -all cost of the system goes up, speakers with a lower- powered amplifier. The buyer
while the tuner -amplifier section accounts for about of a pair of low efficiency speaker systems may pay
forty -seven per cent of the total. (In a system made $400 for them, then need to spend another $450
up of strictly separate components, up to fifty -six for a receiver that includes an amplifier capable of
per cent will go for preamp, power amp, and tuner.) providing the 25 watts per channel needed to drive
The record -playing equipment accounts for the rest. them. His neighbor may like the sound of two high
In other words, if you're dealing with average efficiency speakers costing $600 or a bit more; he
systems -low, low- medium, or medium in over-all may have to spend only $250 on a stereo receiver
price -you can figure these days on spending about which will provide all the power-say, 15 watts per
one -third of your funds on loudspeakers, slightly channel -he needs.
less than half on the receiver, and about one -fifth There have been dramatic changes in loudspeakers
to one -sixth for record -playing equipment. themselves which relate to budgeting. Until recently,
As a result, we can generalize on a new budget most audiophiles considered $80 to $90 about the
formula of 1 :3:2 for record player, receiver, and rock -bottom price for a loudspeaker system that
stereo speakers respectively. On this page. we've drawn could qualify as high fidelity equipment. In the past
up some sample budgets based on typical systems. year or so, we've seen several speaker systems bearing
A quick glance at these will show that the new ratio price tags of $50 to $60 which produce genuinely
is at best an approximate one, and that it has greater good sound. In a city apartment, for example, a
validity at the bottom of the scale than at the top. pair of these, with a quality receiver and record
In fact, as system prices go up, the percentage of changer, could afford much enjoyment. The cost of
the total spent on record player /arm /cartridge can such a system, of course. would be proportioned dif-
decline by as much as fifty per cent. At the same ferently from our basic formula.
time, the speakers' share of the total may climb from Let's get back now to the buyer who chooses an
about one -third to nearly one -half while the ampli- amplifier rather than a receiver around which to
fier- tuner's share remains relatively constant. build his music system. He still can go by the older
But note that the relationship between speakers I:11/2:2 ratio. If he later wants to add a stereo
and amplifier can modify even the new formula. tuner. it would be reasonable to expect him to select
Acoustic suspension speaker systems have become one comparable in quality with his amplifier. In this
increasingly popular in recent years. These low effi- case the cost of the tuner would be added to that
ciency speakers require more powerful amplifiers of the amplifier and the ratio would again become
to drive them than do higher efficiency speakers. I :3:2, the same as that for a system incorporating
Since the cost of an amplifier goes up as the manu- a receiver. The total amount spent for the system
facturer adds watts, you'll find that the efficiency made up of entirely separate components may come
of the speakers can affect budget proportions. to more, but the proportions of the budget allotted


to the three major "blocks" of the system stay about Each feature costs money (some cost more than
the same. others) and there's no way of guessing what one
However, there again are exceptions. Your par- man will want on his tape machine and another can
ticular geographic location may affect the amount do without. Here you'll have to consider your own
you'll have to pay for a tuner. If you live in the preferences and determine your own budget.
deserts of Arizona, for example, you may have to What about outdoor or extension speakers? As
buy the most expensive FM tuner on the market in our society becomes more affluent, the second pair
order to pull in a station, even though a compara- of speakers becomes more and more common. In
tively inexpensive amplifier enables you to enjoy some cases, these may be older speakers, once part
music from your records. Conversely, in big cities, of a main component system, which have since been
where there are plenty of signals to choose from retired to bedroom, den, or rec room; in others, they
and sensitivity is less important, you may be able to may be patio or outdoor systems. In either case,
save money by buying a tuner of considerably less these speakers do not come under the provisions of
sophisticated quality than your amplifier. an ordinary budget. Indoor auxiliary speaker sys-
tems usually go into locations where the demands
for sound quality are less stringent than they are
BEYOND THE BASIC elements of a stereo system in the living room or major listening area; hence
there are extras which should be budgeted for but any reasonably good- sounding speakers will do. The
about which it's impossible to generalize. Take, for cost of outdoor speakers depends on a number of
instance, the FM antenna. It may cost you nothing factors. One $24.95 speaker system we know of
(many manufacturers include with their receivers provides highly acceptable sound, better than that
a folded dipole antenna adequate for FM listening afforded by a $75 outdoor speaker -but the former
in most urban areas), or it may cost as much as is a patio speaker covering a relatively small listen-
$150. The antenna you need is determined mainly ing area, while the latter can blanket a football
not by the quality of your receiver or tuner (though field with sound. Besides reflecting sound coverage
lower-sensitivity tuners may require more help from patterns, outdoor speaker prices usually indicate the
an antenna than others), but by your location in degree to which speakers can withstand the ele-
relation to the FM stations you listen to. That same ments: some of the less expensive models are de-
listener in the Arizona desert with the best available signed for use only in fair weather.
tuner may still need an expensive tower and signal Stereo earphones are another accessory item out-
booster in order to pick up any station; a city dweller side the purview of a standard budget. Here again,
may need costly coaxial cable to ward off FM price indicates not only sound quality and perform-
ghosts, and he may want an antenna rotator to ance, but also durability -and comfort.
enable him to pick up stations from the surrounding Finally, some advice for the shopper who may be
suburbs as well as those in town. And a suburbanite unfortunate enough to encounter an unscrupulous
with an average tuner may find that the simple dealer. When a dealer sells you a $350 stereo re-
folded dipole pulls in all the stations he wants to ceiver and a $100 automatic turntable complete with
hear without fading or distortion. magnetic cartridge and base, and then proposes to
What about AM reception? Inasmuch as the high - sell you two loudspeakers for $50, the time has
quality AM -only tuner is a thing of the past, you come to be suspicious. There are such things as
will have to take FM (whether you want it or not) bargains in high fidelity, but speakers at $25 to $30
to be able to get decent AM facilities. Prices for each that are capable of revealing all the purity of
AM 'FM tuners and for receivers providing both sound of a $350 amplifier -tuner combination are
modes vary so widely that there's no practical way of unusual, to say the least. (If you accept such an
estimating this cost in your budget. offer, or if you take advantage of one of the package
The problem in connection with tape equipment deals in which two low -cost speaker systems are
is even more difficult. Some dealers advise customers thrown in free with the purchase of a stereo receiver
looking essentially for a music playback system to and automatic turntable, at least do so with your
buy a deck that can be incorporated into the audio eyes open-knowing that you will later have to
system permanently. To match the fidelity of your substitute better quality speakers in order to get the
tuner (assuming you plan to tape off the air) or full potential from your system.) At the opposite
your amplifier (which will be used to play tapes extreme, a dealer may offer you a well -known re-
hack), one New York dealer suggests that you pay ceiver or amplifier of modest price, and then try to
at least as much for the tape deck as you did for convince you that you must have a really fine auto-
the tuner or amplifier. If you want a complete re- matic turntable and a pair of expensive speakers for
corder (with its own loudspeakers but not neces- quality results. Again, keep that 1 (record player):
sarily with the frills described below), figure on 3 (receiver): 2 (speakers) ratio in mind.
spending proportionately more. Most dealers will help you buy a balanced system.
Frills in tape recording may be such convenience For your part, decide the total amount you want to
features as automatic threading and shutoff, auto- spend before you walk into a shop -then spend it
matic reverse, or automatic voice control; or such judiciously according to the formula suggested here
operational features as photo sync, sound with that best meets your individual situation. This way
sound, illuminated VU meters, and multiple speeds. you can keep the salesman, and your budget, in line.

MARCH 1968 65

Know BOZAK'S Concert Grand
There is only one loudspeaker system that is fully capab.e of

performance -
reproducing all the subtleties of sound that characterize a "live"
the Bozak Concert Grand. That is the over-
whelming consensus of people who know music best; that is
why the overwhelming majority of them have Concert Grands in
their own home music systems.

the careful enunciation of the bass tones -

The sheen of the highs, the natural balance of the midrange,
if they are present

them -
in your program source and if your amplifier can reproduce

you'll hear them with a Bozak Concert Grand speaker

It may be far less expensive than you think to begin enjoying

the richness of an unsurpassed music system based on Bozak
loudspeakers. Ask your deale about Bozak's unique "speaker
growth" plan.

Darien, Connecticut



The consumer's guide to new and important high fidelity equipment


THE EQUIPMENT: Sherwood S -7800, a stereo receiver phone jack. The speaker switches, incidentally, let
(AM, stereo FM, and integrated amplifier on one chas- you run two separate pairs of stereo speakers inde-
sis). Dimensions: 14 by 4'/2 by 161/2 inches. Price: pendently: either pair may be on or off and neither
$409.50 for chassis; $418.50 in simulated walnut position of either switch affects the headphone out-
metal case; $437.50 in hand -rubbed walnut cabinet. put. What's more, you also can connect a mono
Manufacturer: Sherwood Electronic Laboratories, Inc., speaker independently of either pair of stereo speak-
4300 North California Ave., Chicago, III. 60618. ers. This output arrangement lends the S -7800 a de-
gree of versatility unusual in a receiver: you can pipe
stereo to two different rooms, mono to a third room,
COMMENT: Sherwood's new S -7800 looks very much and still listen privately over headphones at -all
like its earlier receivers, but the tuner section has once. Or you can use the extra speaker hookups to
been beefed up with integrated circuits in the IF strip beef up the stereo in one big room, or to experiment
and with field effect transistors in the front end. with surround -sound effects. Just make sure you
These innovations apparently have improved many don't exceed the impedance matching limits spelled
areas of tuner performance a jot or so over what they out in the owner's instruction booklet. (Actually, if
used to be. As for the amplifier section, Sherwood you do, the set will turn itself off rather than become
rates its power output in several ways; taking the one damaged, thanks to its protective circuitry.)
most closely related to our method (continuous or Speaker connections, and the usual inputs from
RMS power into an 8 -ohm load), we get just about such sources as turntable (with magnetic pickup),
on-the-nose confirmation of the manufacturer's speci- tape recorder, and any auxiliary (high level) source
fications. That is to say, Sherwood claims 40 watts are at the rear, where you'll also find the outputs for
continuous power for 0.6% distortion on each chan- feeding to a tape recorder. The set has a built -in
nel taken separately; we get 38.3 watts on left, 41.9 loopstick antenna for AM plus terminals for an op-
watts on right channels respectively. tional long -wire AM antenna. For FM, both 75 -ohm
The attractively styled set has an ample array of
- and 300 -ohm terminals are provided. There also are
controls. At the left of the tuning dials (for FM and two AC convenience or:tlets, one switched.
AM) a dual- purpose tuning meter shows center-of- Anyone looking for a good, all- around receiver
channel for FM stations and maximum deflection for need have no doubts about the S -7800. Its amplifier
AM signals. To its right, a red indicator lights up section is powerful and clean enough to drive any
when a siereo FM station is tuned in. At the same speaker system(s) and its controls all respond ac-
time the set automatically switches itself to stereo curately and correctly. The FM section is above aver-
operation -unless you pull out the balance control age on most counts. We noted the high sensitivity and
which ccnverts everything to mono. Two large knobs low THD measurements made at the lab and then
at the right handle tuning and power /loudness re- checked out the set on the wideband FM facility re-
spectively. Additional controls, grouped across the cently set up as part of the High Fidelity Cable system.
lower portion of the panel, include: level adjustments We were able to log the high number of clean stations
for the preamp section (to balance the volume from
your phono pickup to match that of the set's M F

section for a given setting of the loudness control);

interstation hush (to reduce the noise between sta-
tions); program selector; bass and treble tone con-
trols (operating on both channels simultaneously);
channel balance (which doubles as a stereo /mono
switch); tape monitor; high frequency filter; and a
pair of speaker selectors. There also is a stereo head- Square-wave response to 50 Hz, left. and to 10 kHz.

Equipment reports are based on Isboratory measurements and controlled listening tests. Unless otherwise noted,
test data and measurements are obtained by CBS Laboratories, Stamford, Connecticut, a division of Columbia
Broadcasting System, Inc., one of the nation's leading research organizations. The choice of equipment to be
REPORT POLICY tested rests with the editors of HIGH FIDELITY. Manufacturers are not permitted to read reports in advance
of publication, and no report, or portion thereof, may be reproduced ter any purpose or in any form without
written permission of the publisher. All reports should be :onttrued as applying to the specific samples tested;
neither HIGH FIDELITY nor CBS Laboratories assumes iesponsib lily for product performance or quality.

Alnitcrf 1968 67

normally provided: thirty- eight, including thirteen in
stereo FM, which compares favorably with that of
any tuner or receiver we've yet tested. The set's Sherwood S -7800 Receiver
tuning dial is one of the easiest to use: quite wide,
plenty of space between the numerals, and very Lab Test Data
legible markings in divisions of ten between the
numerals. And for those interested, the AM section
of the S -7800 strikes us as better than average
seemed, even with its own built -in antenna, to pull
-it characteristic Measurement
Tuner Section
in more stations that sounded better than the AM
sections of most other sets. IHF sensitivity 2.1 10/ at 98 MHz; 2.0 ¿IV at
90 MHz; 2.1 /LV at 106
+5 Frequency response, mono 1.5 dB, 20 Hz to 17 kHz
THD, mono 0.26 °ó at 400 Hz; 0.33°ó at
-5 FM Mono Response
40 Hz; 0.22°,ó at 1 kHz
IM distortion 1.3%
iñ +5 Capture ratio 2 dB
C. 0
S/N ratio
ir FM Stereo Response & Channel Separation 61.5 dB

- 10 Left Channel Frequency response,

-15 Right Channel stereo, ch I +0.5, -3 dB, 20 Hz to 16
- 20 r ch +0.5, -3 dB, 20 Hz to 13
-25 kHz

20 50 100 200 500 1K 2K 5K 10K 20K THD, stereo, I ch 0.88 °ó at 400 Hz; 0.35°,ó at
FREQUENCY IN Hz 40 Hz; 0.44 °o at kHz 1

r ch 1.5 °o at 400 Hz; 0.40% at

40 Hz; 0.40 °o at kHz 1
IM CHARACTERISTICS Channel separation,
- - -- 4 OHM Load either channel 22 dB at mid -frequencies;
8 OHM Load ; better thon 11 dB at 10
16 OHM Load kHz

19 -kHz pilot suppression 41 dB

38 -kHz subcarrier
2 3 4 5 10 15 20 25 30 40 50 100 suppression 43 db
Amplifier Section
Power output (at kHz 1

o into 8 -ohm load)

-3 Power Bandwidth for 0.6% THD' I at clipping
ch 34.4 watts at 0.20 °.o THO
Zero DB =37 Watts
I for 0.6 °c THD
ch 38.3 watts
at clipping
r ch 36.1 watts at 0.25% THD
for 0.6 °e THD
r ch 41.9 watts
1 .o both chs simultaneously
37 Watts Output
0.5 ch at clipping
I 32.0 watts at 0.18% THD
18.5 Watts Output 0 ° r ch at clipping 34.4 watts at 0.17% THO


Power bandwidth for
constant 0.6% THD 30 Hz to 16.0 kHz

+5 Harmonic distortion
0 37 watts output under 0.6 °o, 30 Hz to 14.5
-5 Frequency Response, 1 -Watt Output kHz
18.5 watts output under 0.6 %, 20 Hz to 20
1 10 20 40 100200 400 1K 2K 4K 10K 20K 100K kHz
IM distortion
4 -ohm load under 0.8 °ó to 16 watts
8 -ohm load under 0.8 °.o to 24 watts
16 -ohm load under 0.8% to 22.5 watts
-10 output
Frequency response,
-watt level
1 +0.5, -2.5 dB, 13.5 Hz to
- 2.1 ,,V 21 kHz
ó -30 RIAA equalization +0,- 2.5dB, 20 Hz to 20
gx -40 kHz

Damping factor 66
ó -50 Input characteristics Sensitivity S/N ratio
phono (mag) 1.2 to 4.8 mV 53 dB
1 10 10' 10' 10 10
aux 115 mV 59.5 dB



THE EQUIPMENT: Jensen 1200 -XLC, a full range it becomes increasingly mixed with some harmonics.
speaker system in enclosure. Dimensions: 40 inches The doubling, in any case, does not become evident
wide; 301/2 inches high; 223/4 inches deep. Price: unless you drive the system abnormally hard, and it
$895. Manufacturer: Jensen Mfg. Div., The Muter Co., is generally less severe than on most systems. To
6601 So. Laramie Ave., Chicago, III. 60638. put it another way, the 1200 -XL's bass is as good
as anything we've yet auditioned, and certainly better
COMMENT: Like many other speakef manufacturers, than most. The mid -bass is clean, well- defined, and
Jensen produces its share of compact or bookshelf nicely balanced with everything else. The midrange
speaker systems but also sees enough of a market and highs are exemplary. with no apparent peaks or
for large systems to justify designing and producing dips to beyond audibility, no harshness at the critical
them too. Thus the 1200-XL series, available in three crossover points, no honking or screeching, and vir-
decor styles. The "C" after the nomenclature stands tually no directive effects until near 10,000 Hz. The
for contemporary; there also is a 1200 -XLM (M for sound above this frequency becomes noticeably nar-
Mediterranean), and a 1200 -XLE (E for early Ameri- rower in its dispersion pattern, and a rolloff becomes
can). The XLM is in pecan wood and has a figured apparent at about 13 kHz. White noise response
decoration over the front grille fabric; it also is 3/4 -inch varies according to the settings of the rear controls;
higher than the contemporary model. On the early we finally hit on positions (for both midrange and
American unit, in "distressed pecan," wooden spindles highs) that were backed off from full rotation by
run vertically over the front grille. This model stands about one -eighth of a turn. These settings, at least in
11/4 inches higher than the contemporary version. our room, produced a very smooth, uncolored re-
Prices are the same for all three models, and so are sponse on both white noise and on program material.
what's inside them and how they sound. Actually it is in handling musical material that
Which is, in a word, great. These systems have a the 1200 -XL really can show off. We heard these
big, open, clear and very natural sound from systems at high fidelity shows and were fairly im-
top to bottom of the musical spectrum. They also are pressed, but wished aloud that we could hear the
highly efficient, which means you can drive them to same setup in better acoustic surroundings -i.e.,
(large) room -filling volume with relatively little am- a larger room in a quiet house. Well, we finally have
plifier gain. They also are very robust and can take got our wish and all we can do is repeat: great.
up to 100 watts per channel of amplifier power-just These systems provide a you are there" kind of
in case you like to be generous and let the neighbors sound, and yet they don't suffer from musical drop-
down the block share your listening pleasure. out at softer listening levels. Transients come through
Each 1200 -XL system contains seven speakers: four beautifully; the spectrum always is balanced; instru-
15 -inch woofers, a horn -loaded midrange driver, a ments and voices sound about as natural as you
horn -loaded super- tweeter, and a direct -radiating "ultra could want. It goes without saying, but well say it
tweeter." Crossover frequencies at 500, 4,000, and anyway, that these speakers are among the best avail-
10,000 Hz are provided by a network inside the en- able; they can serve as professional monitors or as
closure. Controls at the rear let you adjust mid - the mouthpieces of the finest home music systems.
freqency and high -frequency balance. Input impedance Well -what would you expect from a pair of speakers
is 8 ohms. Connections are made to screw terminals that cost about as much as a small car and take
marked for polarity. Each speaker system weighs up nearly as much space?
just over 240 pounds.
The bass response of a 1200 -XL goes all the way
down to 20 Hz, although from about 28 Hz and below CIRCLE 142 ON READER -SERVICE CARD

and extends, at its pivot point, into a small iron tube.

An initial flux thus is set up which, when varied by
the stylus vibrating in the record groove, induces signal
voltage in two sets of coils within the cartridge. Loner
mass (as compared with moving magnet types) and
ADC 10E -Mk II
higher compliance are claimed as the chief advantages
of this movement. Inasmuch as compliance measure-
CARTRIDGE ments are far from standardized, our lab made no
attempt to relate its own compliance measurements
(28 x 10-4; cm /dyne both laterally and vertically) to
the manufacturer's claim of 35, but the lab did feel
THE EQUIPMENT: ADC 10E -Mk II, induced magnetic that this pickup -by any standard -has extremely
stereo cartridge fitted with diamond elliptical stylus. high compliance. Minimum force needed to track
Price: $59.50. Manufacturer: Audio Dynamics Corp., critical portions of the test records (bands 6 and 7 of
Pickett District Rd., New Milford, Conn. 06776. CBS STR 120, and the glide tones on STR 100) was
only 0.5 gram, the lowest force yet reported. For
normal use, in a high quality arm, a force of 1 gram
COMMENT: The Mark II version of the Model 10E is was found to be optimum. The lab advises that while
ADC's latest to use the "induced magnet" movement. this pickup works beautifully in a good arm, it should
The stylus cantilever is surrounded by a tiny magnet not be used in an inferior arm. The critical shape of

MARCH 1968 69
the elliptical tip, the low mass, and the very high com-
pliance all demand an arm that has excellent balance,
very low pivotal friction, anti -skating, and of course TEST REPORT GLOSSARY
the ability to track at 1.5 grams or less. Bias: 1. anti -skating; a force applied to counter-
Output voltage of the 10E -Mk II was 4 mV and 3.5 act a tone arm's tendency to swing inward. 2.
mV on left and right channels respectively. The former a small amount of voltage applied to a device
figure is exactly as specified; the latter a jot less, to prepare it for correct performance.
but the difference is of no consequence. Left channel
frequency response ran, within plus 2.5 dB, minus Capture ratio: a tuner's ability, expressed in dB,
1.5 dB from 30 Hz to 17 kHz. The very low end rose to
to select the stronger of two conflicting sig-
3 dB below 30 Hz, while the high end peaked in the
nals. The lower the number, the better.
18 kHz to 20 kHz region. On the right channel, the Clipping: the power level at which an amplifier's
response ran within plus 2.5 dB, minus 1.5 dB, from output distorts.
40 Hz to 17 kHz. The bass rose to 3.5 dB at 20 Hz, Damping: a unit's ability to control ringing.
and the high- frequency peak was seen at 19 kHz. dB: decibel; measure of the ratio between elec-
These are very good response characteristics for a trical quantities; generally the smallest differ-
cartridge, by the way. The high -end peak in the 10E- ence in sound intensity that can be heard.
Mk II, so often noticed in magnetic pickups, repre-
sents a good compromise between getting the reso-
Doubling: a speaker's tendency to distort by
nance just beyond the upper signal limits typically
producing harmonics of bass tones.
found on commercial discs while still providing a Harmonic distortion: spurious overtones intro-
healthy amount of high -end response. The square - duced by equipment to a pure tone.
wave pattern of the 10E -Mk II shows very little ring- Hz: hertz; new term for "cycles per second."
ing and a generally smooth, extended high end. IF: intermediate frequency, into which the RF is
Separation between the pickup's two channels aver- converted by a tuner.
aged 30 dB across most of the musical range, and IM (intermodulation) distortion: spurious sum -
was still better than 20 dB at 30 Hz and at 15 kHz. and- difference tones caused by the beating of
Harmonic and IM distortion both were lower than two tones.
average. The pickup had a vertical angle of 20 degrees
and its low -frequency resonance (in the SME arm) k: kilo -; 1,000.
occurred way down at 7 Hz where it would hardly af- m: milli -; 1 /1,000.
fect the normal (20 Hz to 20 kHz) range. M: mega -; 1,000,000.
The measurements indicate a superior pickup, and p, (mu); micro -; 1 /1,000,000.
our listening tests bear out this verdict. The 10E -Mk
Il "sounds" as good as the best we've yet auditioned
Pilot and sub -carrier: (19 kHz and 38 kHz);
and -installed in a good arm -tracks the most de- broadcasts signals used in transmitting FM
manding passages we could find for it to play. It has stereo; must be suppressed by receiver.
a full, well -balanced, and natural output from top to Power bandwidth: range of frequencies over
bottom of the musical spectrum and -like other top which an amplifier can supply its rated power
quality models -elicits such clean response from older without exceeding its rated distortion (defined
mono discs that you may think they're brand new. 3
by the half - power, or dB, points at the low
and high frequencies).
RF: radio frequency; the radiated energy of a
broadcast signal received by a tuner.
Resonance: a tendency for a device to empha-
size particular tones.
Res ponse to
1 -kHz square wave. Ringing: a tendency for a component to continue
responding to a no- longer -present signal.
RMS: root mean square; the effective value of a
signal that has been expressed graphically by
a sine wave. In these reports it generally de-
fines an amplifier's continuous, rather than
momentary, power capability.
Sensitivity: a tuner's ability to receive weak sig-
nals. Our reports use the Institute of High
m-10 Left Channel Fidelity (IHF) standard. The smaller the num-
15 Right Channel
ber the better.
05-20 Sine wave: in effect, a pure tone of a single fre-
quency, used in testing.
30 S/N ratio: signal -to -noise ratio.
35 Square wave: In effect, a complex tone, rich in
harmonics, covering a wide band of frequen-
cies, used in testing.
THD: total harmonic distortion, including hum.
20 50 100 200 500 1K 2K 5K 10K 20K
Tracking angle (vertical): angle at which the sty-
lus meets the record, as viewed from the
side; 15° has become the normal angle for
the cutting, and thus the playing, of records.
REPORTS IN PROGRESS Transient response: ability to respond to percus-
sive signals cleanly and instantly.
_11tec 711B Receiver VU: volume unit; a form of dB measurement
BSR TD -1020 Tape Recorder standardized for a specific type of meter.




THE EQUIPMENT: Triphonic 75, a four -piece receiver/ panel contains the stereo inputs corresponding to the
speaker system consisting of stereo tuner /amplifier selector switch positions, plus a stereo output for
plus mixed -channel bass speaker and two treble feeding signals to a tape recorder. Each of the three
speakers. Dimensions: receiver unit, 14 by 93/4 by speaker outputs is fused, as is the main power line.
41/8 inches; bass speaker, 10 by 14 by 5 inches; each A 300 -ohm antenna connection, and three AC outlets
treble speaker, 14 by 71/2 by 31/2 inches. Price, com- (two switched, one unswitched) are provided.
plete system: $399.95. Manufacturer: Compass Com- From the description of the Triphonic's novel circuit
munications Corp., 27 Haynes Ave., Newark, N.J. design, one would expect some unusual looking re-
07114. sponse curves and test data -and that we got, in-

COMMENT: The Triphonic 75 must surely be the most

cluding some results that look poor indeed when
evaluated by conventional or standard criteria. But
how much this data reflects novel, if deliberate,
unusually designed system now on the market. Its design and how much it reflects actual performance
control panel at first glance resembles that of any is a nice question to which, frankly, we do not have
conventional receiver, with an FM tuning dial, signal a definite answer. All in all, it would seem that the
and stereo indicators, and a normal complement of data indicates both. For instance, take that broad
the usual controls-for receiving FM and for running rise in the bass response of both the tuner section
a control amplifier to which speakers are connected and the amplifier. It can be argued that such a
and into which an external record player and tape
recorder may be plugged. There is a front panel stereo
headphone jack and a speaker off -on switch, so that
characteristic is needed to drive the bass speaker.
This is plausible enough in an "integrated design"
but what about that rise in distortion at the low
headphones or speakers, or both at once, may be end -as seen in both the distortion curves and in
heard. the spike -and -curve of the 50 -Hz square -wave photo?
What's really different about this set, however, is This is clearly more distortion than is customarily
its amplifier section. Instead of two normal amplifying found and even if it can be attributed to deliberate
channels, for driving two full -range speaker systems,
the Triphonic 75 uses three amplifier channels
two for the left and right channel treble, and the
- design intent, it does make one wonder. At any rate,
there is also a fair amount of distortion evident in the
response as it approaches the extreme high end of
third for the mixed or combined bass from both the audible range, which limits the clean performance
channels. The treble, for each channel, is fed to left of the system to a relatively restricted bandwidth, or
and right speakers; the mixed bass, separated by an to less than room -filling volume, or both -depending
electronic crossover, is fed to a common bass speaker. on the program material chosen.
Strictly speaking, this is not really "three -channel" This was verified in listening tests. At normal or
stereo; it is still two -channel stereo, but radiating lower volume levels, in an average small room, the
from three physically discrete sound sources. These,
by the way, may be located wherever convenient
they are compact and light enough to fit readily into
- system sounded pleasant enough and did have an
effective stereo spread, but it seemed to us to just
fall short of delivering what might be called, by
many a spot on bookshelves or even hung on the comparison, an "authoritative" performance. The
wall. Of course, the treble units should be separated. deepest bass was either muddled or lacking in tonal
The bass unit can be placed just about anywhere. definition, and the top highs, while smooth enough,
Some comment on the controls is in order. The lacked that final bite. Of course, much of this re-
FM dial indicator is a continuous horizontal marker, action depends on your frame of reference. If you
pointed at one end -the same type used on the come to the Triphonic system from a good com-
speedometer on some cars, where it makes no sense ponent system you probably will discern these things
because this type of indicator is basically an aid to fairly readily. On the other hand, if you stack it up
manual adjustment and not a quick readout device. against a typical package set you will probably prefer
On a tuner, of course, it makes good sense because the Triphonic.
that arrow tip pinpoints FM frequencies most pre- Speaker response was estimated to extend from
cisely. The interststion muting knob, called the QT just below 50 Hz to 12 kHz. At 48 Hz, doubling is
(quiet tuning) control, can be adjusted to silence the very pronounced. This lessens somewhat as you go
rushing noise between stations but still permit mar- up the scale, although some of it is still evident at
ginal- strength signals to be received, if desired. Pulling 70 Hz. At 100 Hz, some slight distortion is evident,
out this knob converts the set to mono FM; leaving and there is a roughness in the 300 Hz to 400 Hz
it in lets the set respond automatically to mono or region. The midrange is smooth and level, with a
stereo FM as the case may be. The channel balance gentle rolloff apparent from about 6 kHz and upward.
control knob also can be pulled out to convert the Dispersion is generally good, with a gradually narrow-
amplifier to mono, desirable when playing a mono ing effect from 6 kHz upward. White noise response
record via a stereo pickup. The loudness control is was moderately smooth but had traces of "hardness"
just that-it is not a pure volume control, but does
introduce some bass boost at low listening levels.
which could be heard from different parts of the
listening area.
The selector switch has five positions: tape head, The tuner had fair sensitivity and distortion that
phono, FM, auxiliary, and tape play (tape preamp was somewhat higher than we've been accustomed
or line output). The treble and bass tone controls to measuring on components. On the other hand,
operate on both channels simultaneously. The rear it had a very good capture ratio and balanced (if

MARCH 1968 71

rolled off) response on both channels. Channel sepa-
ration for stereo broadcasts, while not great, was
adequate. All told, the tuner should prove fair enough Lab Test Data
for decent reception in average- strong signal areas.
To sum up: while design innovations, and attempts Tuner Section
to broaden the sound spread -such as using a three - Performance
sound- source instead of a two -sound -source system
-intrigue us and indicate a healthy attitude of ex- characteristic Measurement
ploration for new vistas in home reproduction, we IHF sensitivity 5 µV at 98 MHz; 5'tV at 90
do note limitations from a high fidelity standpoint in MHz; 17 /IV at 106 MHz
this particuiar attempt. The Triphonic 75 is well con- Frequency response, mono +2, -7 dB, 22 Hz to 10 kHz
structed, and has a few very worthy control features THD, mono 1.7% at 400 Hz, 2.0 °o at 40
-its station tuning arrangement is especially good. It Hz; 1.8 °ó at 1 kHz
is versatile enough to serve as a home music system IM distortion 3%
center, and it is generally easy to listen to if one Capture ratio 2.5 dB
doesn't "push" it to its maximum performance limits. SIN ratio 58 dB
That is to say, while pleasant enough at average Frequency response,
levels, it just doesn't make much of an acoustic stereo, ch I +2, -5 dB, 20 Hz to 11 kHz
showing at high levels, especially in a large room. r ch +2, -5 dB, 20 Hz to 11 kHz
For our tastes, it seems more suitable as a good "sec- THD, stereo, I ch 2.2% at 400 Hz; 4.7 °o at 40
ond system" for den or bedroom. Hz; 0.96°,ó at kHz 1

CIRCLE 144 ON READER- SERVICE CARD r ch 1.8% at 400 Hz; 3.6% at 40

Hz; 1.2% at kHz 1

Channel separation,
o either channel better than 25 dB at mid -
-3 Power Bandwidth for 1% THD frequencies; better than
Zero DB =10 Watts 15 dB, 200 Hz to 9.2 kHz

Side Channel ! 10 Watts
2 19 -kHz pilot suppression
38 -kHz subcarrier
46 dB

Harmonic Distortion 5 Watts 0 &o 62 dB

2 4
Amplifier Section
6 Watts
Bass Channel
Harmonic Distortion
3 ° Power output (at kHz 1
into 8 -ohm load
I 10.6 watts at 0.42 °.o THD
+5 ch for 1°0 THD
I 12.5 watts
0 r ch at clipping 11.4 watts at 0.35 °o THD
-5 Frequency Response, 1-Watt Level r ch for !o THD 1 13.8 watts
both chs simultaneously
1 10 20 40 100 400 1K 2K 4K IOK 20K 100K
I ch at clipping 8.0 watts at 0.47°ó THD
r ch at clipping 8.2 watts at 0.47% THD
center (bass) channel
at clipping 8.4 watts at 2.1% THD
Power bandwidth for
constant 1°0 THD 20 Hz to 3.5 kHz
8 OHMS Harmonic distortion
10 watts output, side ch under 1°0, 100 Hz to 4 kHz
5 watts output, side ch under 1%, 100 Hz to 4 kHz
6 watts output, ctr ch 4.2 °o at 100 Hz; 1.7 °o at
40 Hz
3 watts output, ctr ch 4.2 °o at 100 Hz; 1.7 °o at
1 2 3 4 5 6 7 10 20 30 40 Hz
8 -ohm load 2.4% at 0.125 watt output;
m under 1°0 to 10 watts
°z 0 output
Frequency response,
0 -10 -watt level
1 +0, -3 dB, 20 Hz to 20.3
-20 RIAA equalization +0.75, -2 dB, 32 Hz to 20
V) 5 ,.V
- 30 NAB equalization '- 2.5 dB, 36 Hz to 20 kHz
Damping factor 50
Input characteristics Sensitivity S/ N ratio
á 1 10 10' 10' 10' 10' mag phono 2.3 mV 44 dB
0 RF INPUT, MICROVOLTS tape head 2.2 mV 43 dB
aux 210 mV 61.5 dB
tape amp 197 mV 61.5 dB

0 -5
-20 Left Channel
-25 Right Channel
20 30 50 100 300 500 1K 3K 5K 10K 20K
FREQUENCY IN Hz Square -wave response to 50 Hz, left, and to 10 kHz.


20 years ago
we introduced
the tape recorder.
Now another great idea.
Lower prices.

Ampex introduced the world's first to ten times longer than other kinds. to professional sound quality you can
broadcast-quality tape recorder back Dual Capstan Drive, to eliminate wow get. And we ought to know. We make
in 1947. Ever since then, we've been and flutter. Rigid -Block Suspension, more professional recorders than any-
finding better ways to put sound on for perfect tape -to -head alignment. one else.
tape and play it back again. And many models have extra fea- The Ampex anniversary celebration
Now we're ready to celebrate with tures, to make home recording more is in full swing at your dealer's now.
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decks, portables and consoles. Most automatic reverse, so you can play
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With all these features, an Ampex
recorder produces the closest thing

Prices Good Only in U.S.A.

Ampex Corporation, Consumer and Educational Products Division, 2201 Lunt Ave. Elk Grove Village, III. 60007
MARCH 1968 73

his "pacing" and "structure," to make it The true prima donna is not the singer limitations, partly vocal (the sound is
one with the logical motives and actions who vocalizes most perfectly, but the not round and warm enough, the line not
of the characters. In Gioconda, as in one who conveys something vital with or even and sweeping, as it should be),
many earlier Italian operas, there is without vocal perfection. Tebaldi has partly temperamental (she doesn't seem
hardly any such pretense: now comes never been a "great vocal actress" of to have enough empathy with this kind
a mezzo aria (the tenor leaving the the Callas sort, but a large share of of music to cut loose with it). She is
stage for no good purpose other than her immense likability, her capacity for not helped by a too fast tempo in "Stella
that of letting her sing it), now comes inspiring loyalty, has been in the impres-
a Confrontation Duet, etc., etc. The
key to whether or not one can accept
sion of direct, sincere belief that she
has always made on her audiences. One
del marinar." The other female principal,
Oralia Dominguez, is only adequate
she has neither the calm beauty of tone
all this is in the music. Gioconda's sacri- feels she loves the music, was born nor the legato for a memorable "Voce
fices will be credible to anyone who is to it, and wishes to proselytize for it. di donna."
moved by the lines written for her This has been particularly true of her Nor does Carlo Bergonzi make much
great moments. singing of verismo roles and of parts impression as Enzo. The voice sounds
And I do not see how the music can that smacked of Nineteenth- Century dry and strained at nearly all the cli-
be gainsaid. It fails at one or two im- Grand Drama. Her Adriana Lecouvreur, mactic moments, and the care with
portant moments-Barnaba's "O monu- for example, though it marked the low - which he phrases the lyric passages
mento" never turns into the really water point of her Met career from a (characteristically, he's at his best for
powerful monologue it is trying to be, vocal standpoint, became in Act IV a "Cielo e mar ") is but partial compensa-
despite several good ideas, and the love real tragic heroine through her obvious tion in a role that calls for an open, ring-
music for Enzo and Laura is pretty identification with and commitment to ing voice. There still isn't an outstanding
cheap stuff -an obvious echo of the the role. Enzo on records, though our two best
" Lontano, lontano" duet in Boito's The same sort of identification and "Italian" tenors (Corelli and Tucker)
Mefistofele, but by no means as good. commitment have marked her Gioconda number it among their best roles.
But there is a vitality and theatricality in -which also rises to true heights in the The Alvise, Nicolai Ghiuselev, alter-
the score that is otherwise equaled only last act, a remarkable piece of operatic nates some very impressive sound with
by Verdi's. I think of the festive choruses performing from any standpoint. Here moments of almost amateurish awkward-
and dances in the first act, similar to she conveys the impression of true belief, ness. He is yet another of our young
those in Forza del destino, and superior not pretended belief or belief assumed basses who employs an exaggeratedly
to them, too; of the wonderful pulse
and flow of so many of the arias and
duets; of the Dance of the Hours, which
emerges the authentic prima donna
something quite distinct from the puffy
for the evening, and in its presence there cupo approach to the top, and then
brings this down almost to the middle
of his range. He secures a large, black
is overfamiliar for the excellent reason fabrication (accomplished or not) that tone which is a good sort for the part,
that it is as good an opera ballet as so often passes for real. but one longs for some real singing
any ever written; and especially of the The singing itself is not, I grant, the above middle C, and one or two of the
magnificent concerted finale to Act III, sort of vocalism given us by la Tebaldi passages around C sharp and D really
which is surpassed only by Verdi at of fifteen years ago. On the other hand, should have been redone. His singing has
his greatest. Here is the sort of moment it is far more impressive than we could weight and some temperament, at least.
for which this kind of opera exists -all possibly have expected five years ago, Fortunately, this less than overwhelm-
the emotional tensions pulled into a and is always big and vital. Much of it ing cast is in good conductorial hands.
huge ensemble, complex and yet domi- has some edge and shrillness to it, Lamberto Gardelli seems to have an ex-
nated by a single memorable theme, though this can impart an excitement of cellent feeling for the score; the con-
which is used to tremendous effect on its own, and more than one energetic ducting has great snap and vigor, but
the final page of the act, when it is assault on a top B flat or B falls short a good col canto give too. Because of
stated by the orchestra as a sort of enough to be bothersome. But as soon as this, even the less well -sung sections have
emotional summary of the momentous she arrives at the key pages of the score enough basic life to keep the thing going.
scene. How well Ponchielli met the occa- -as early, for instance, as "A h! o cuor, Although there are one or two sloppy
sion may be realized when one compares dono funesto!" near the end of Act moments in the first act, everyone jumps
Giordano at his very best, attempting we know that she is splendid in the role. up and keeps running and no great harm
precisely the same effect at the end of She flings herself into the big shouting is done. Chorus and orchestra do their
Act IH of Andrea Chénier, and falling match with Laura, ending with a very work with enthusiasm and solidity. While
far short of Ponchielli's achievement. moving moment at "Son la Gioconda." the recorded sound has too much empty -
It is an unfortunate fact that no record- She is at her best throughout the fourth hall reverberation. it is satisfyingly large-
ing has yet been cast with the all - act: "Suicidio!" is most impressive, and scale and unmarred by attempts to per-
around excellence the piece asks for. the changing moods of the solo recita- suade us that the phonographic medium
The roles of La Cieca and Alvise are tives are most persuasively projected. All is the message.
particularly apt to cause trouble, for this is not the safest singing in the world, If all this sounds like less than the
major singers are jealous enough of their what with chest tones carried full well ideal Gioconda, it must be kept in mind
positions to avoid them. The others past their home territory and that large, that both the RCA Victrola and the
suffer from today's simple shortage of steely sound belted out with abandon. Angel are even lesser than ideal; that
good singers -more and more, the opera But far better this than something tenta- the older London version is very un-
that affords us our last chance for a tive and flaccid; she takes a rightful evenly cast; and that the Cetra, though
"six -star evening" has become yet place beside the foremost Giocondas of ' in many respects the best of the per-
another opera cast around the leading recent years, by whom I mean Milanov formances, is badly outdated from the
soprano. and Callas (neither of whom, regret- sonic standpoint. And among the choices
That is to some extent the case here, tably, is in good form on her up -to -date of Tebaldi and the well -past- their -primes
but the soprano is at least the authentic recording of the opera, though the young r Callas and Milanov, it's Tebaldi that I,
article. Gioconda has become of late Callas can be heard on the Cetra set)? for one, shall be listening to.
years Renata Tebaldi's most successful The rest of the cast is less impres-
role: it suits her temperamentally, the sive; in fact, the only other singer really PONCHIELLI: La Gioconda
fourth act in particular giving her the close to the vocal demands of his role is
opportunity to project the sort of char- Robert Merrill. Even he is at less than Renata Tebaldi (s), La Gioconda;
acter she understands best. And while his past best, the top sounding quite dry Marilyn Home (ms), Laura; Oralia
not all of the role sounds easy or beauti- and hollow at several points; but the Dominguez (c), La Cieca; Carlo Ber -
ful in her voice, it has called forth voice is of the proper caliber, fat and gonzi (t), Enzo Grimaldo: Robert Mer-
singing that is big, confident, and com- firm, and his presentation is reasonably rill (b), Barnaba; Nicolai Ghiuselev
manding. In communicative terms, it is effective in a general way. Certainly he (bs), Alvise; Chorus and Orchestra of
far superior to her Don Carlo Elisabetta, is a Barnaba on a major -league level. Accademia di Santa Cecilia, Lamberto
the only other role she has recorded Marilyn Horne's vocal capacities are Gardelli, cond. LONDON A 4388 or OSA
complete in recent seasons. well known, but Laura shows mostly her 1388, $17.57 (three discs).


Pianist lohn Ogdon: grandeur with grace.


by Bernard Jacobson

EVEN WITH THE usually revivifying For that matter, opportunities to hear are qualities that contemporary accounts
experience of a birthday centennial just the work live have not been exactly show to have been characteristic of
two years behind him. Ferruccio Busoni copious. In New York, for instance, Busoni's own playing.
is represented in the Schwann catalogue there have been precisely two and one - Ogdon is also a very sensitive and
on only four discs. Yet this neglect of fifth of them. On January 26. 1966, expressive player, but of these accom-
one of the greatest musicians of his sixty -two years after its completion, plishments he has comparatively little
day is less surprising than it might it was given its New York premiere need in this assignment. It may as well
appear. With talents as broad in scope at a Carnegie Hall concert sponsored be said that the Piano Concerto is
as they were deep, Busoni has always by the Busoni Society -Gunnar Johansen neither the best nor the most typical
been more highly esteemed in other was the soloist. and Daniell Revenaugh Busoni. The composer himself regarded
fields than composition. He was prob- conducted the American Symphony Or- it as a résumé of his style which he
ably the finest pianist since Liszt. and chestra. Twelve days later. in the same had to get out of his. system before he
as a teacher of pianists he wielded hall. Pietro Scarpini played it with the could go on to new things.
a comparable influence: he was a con- Cleveland Orchestra under George For all that, it is a work of constant
ductor of enthusiastic though less far - Szell. And on March 2. 1966, again in fascination and -with all its obvious
reaching gifts: he was a theorist of hold Carnegie Hall. the second of its five eclecticism- genuine originality. The two
imagination and profound philosophical movements figured. in solo piano form, scherzo movements show Busoni's melodic
insight -witness his Sketch of a New as an encore at a recital given by the invention in the best possible light. This
Aesthetic of Music (available in a use- young British pianist John Ogdon. is generally his weakest aspect, but it
ful Dover paperback, Three Classics in Thereby hangs the happiest part of the is here camouflaged by unflagging
the Aesthetics of Music, which also present tale. Ogdon is far and away the rhythmic zest and bolstered by one or
includes some of Debussy's Monsieur finest exponent of this enormous work two quotations from Italian folk and
Croche writings and Ives's Essays Be- I know of. I have heard him play it popular song. The Germanic side of
fore a Sonata): and. like Liszt again. he once in London and once (in a reading his cosmopolitan musical character
was a transcriber for whom transcription brilliantly conducted by Franz-Paul emerges in the first and last movements,
was no mere craft but an art. The fact Decker) in Rotterdam. and none of the in which classical limpidity of line
is, however (as the Little Orchestra other performances Eve encountered, merges with Oehlenschlaeger's meta-
Society's recent New York performance either here or in Europe. has come physics in an individual and engaging
of the opera Turandot may have brought near to emulating his. The qualities blend. The central slow movement, en-
home to concertgoers). that he was also a that mark Ogdon out as predestined titled Pe,-.,.o serioso, starts off in a vein

considerable composer. master of the Busoni Concerto are oddly prophetic of Prokofiev and builds
Now Angel is releasing the long - breadth and serenity of style: the ability to a climax of Brahmsian nobility.
awaited first recording of the Piano to listen to himself and to his fellow - All these aspects Ogdon encompasses
Concerto, whose sheer size -nearly musicians: and a transcendent technique, with apparent ease, alternating grandeur
seventy minutes long with five move- which does not confuse amplitude and with crystalline grace as the music de-
ments, of which the last introduces a brilliance of tone with mere loudness. mands. And. praise be. the engineers
male chorus singing a text from the
Danish poet Oehlenschlaeger's Aladdin -
has inhibited record companies for years.
These are all qualities in short supply
among our present glut of percussive
young lions of the keyboard -and they
have solved the taxing problems of bal-
ance with perfect discretion, with the
result that in the many places where the

MARCH 1968 77
soloist accompanies the orchestra with rhythms, jingly instrumentation, and
arabesques and passage -work the piano quick tempos have a somewhat Oriental
is always perceptible but never obtrusive.
After the New York premiere, one critic
hailed the piece as the ne plus ultra
CLASSICAL flavor which occasionally savors of the
caravans and dancing girls in a Cecil
B. DeMille epic.
of the romantic piano concerto. That Those who have seen the Pro Musica's
is, as precisely as possible, just what it stunning production of Herod and hope
isn't, and this performance and recording to find it duplicated here at a lower price
present it as just what it is: a sort of will be disappointed, but listeners with
festival for piano and orchestra -or, as no preconceived ideas should very much
Busoni himself put it, a concerto in the enjoy the disc. Certainly anyone inter-
original sense "signifying a coöperation ested in early music or liturgical drama
of different means of producing sound." will want both versions, not only for
(Busoni's ideas about the origins and a comparison of the plays but also for
development of concerto form were the fascinating differences in perform-
rather peculiar, but that needn't concern ance practice they display. S.T.
us here. His own Concerto works, and
that is all that matters.) ANERIO: Vivean felice (The Story
of Adam and Eve); La Conversione
di S. Paolo-See Carissimi: Bal- BACH: Christmas Oratorio, S. 2.18
Elly Ameling, soprano; Helen Watts,
contralto; Peter Pears, tenor: Torn
ANON.: The Play of Herod Krause, baritone; Lübecker Kantorei;
Stuttgart Chamber Orchestra, Karl Mün-
Ensemble Polyphonique of the French chinger, cond. LONDON A 4386 or OSA
National Radio, Charles Ravier, cond. 1386, $17.57 (three discs).
NONESUCH H 71181, $2.50 (stereo only).
At first glance, the Christmas Oratorio
Let me make it clear from the first might seem to be merely six loosely con-
that this is not the same Herod presented nected independent cantatas. We know,
by the New York Pro Musica to the however, that they were composed in
modern world several years ago. In his 1734 for six related occasions: the three
notes for the Decca recording of the Pro days of Christmas, New Year's Day,
Musica performance, W. S. Smoldon the Sunday after New Year, and Epiph-
pointed out that there are a dozen or so any. Even if Bach himself had not
medieval dramas about the Coming of applied the title "Oratorio" to the set,
the Wise Men. The version he tran- internal evidence proves conclusively
scribed came from the so- called Fleury that they are to be considered a co-
Ferruccio Busoni: again making news. Playbook, which also contains other hesive whole. The key relationship of
similar plays. The Fleury version of the six cantatas (D major, G major, D
The quality of the orchestral playing Herod is an elaborate and highly devel- major, F major, A major, and D major)
is a pleasant surprise, indeed a relief. oped work which, nevertheless, Smoldon is simply a variation of a standard ca-
Daniell Revenaugh is a founding director says, draws on certain core elements dential formula, with a brief excursion
of the Busoni Society and an unques- common to all the Magi plays. into the refreshing key of F in number
tionably devoted Busonian, but his un- This newly recorded Herod is evidently four. (This key, by the way, is also
sure direction of the New York perform- based on one of the other versions, the most natural key for horns, fea-
ance largely sabotaged Gunnar Johan- although Nonesuch's notes clearly indi- tured in this cantata only.)
sen's gallant assault on the solo part. cate the Orleans MS 201 (the Fleury The four parts of the Christmas story,
Here, however, no doubt helped by a book) as the source. The notes do not as taken from St. Luke and St. Matthew
more adequate rehearsal schedule, he has tell us, however, how radically the and augmented by reflective poetry and
contrived an accompaniment of consider- Nonesuch play -the Ravier fragment chorale verses, are related consecutively
able character and sweep, though he is as it were -differs from the Pro Musica in the six cantatas. The first tells of the
far from rivaling the effervescent preci- Herod. Here we have only the story of birth of Christ in Bethlehem, the second
sion of Decker's Rotterdam performance. the Wise Men and the Shepherds. While and third deal with the angels' announce-
The fourth side of this memorable the first episodes follow the Fleury ver- ment to the shepherds in the fields, the
two- record set offers an impressive sion quite closely (despite considerable fourth with the shepherds' visit to Beth-
glimpse of Busoni's mature style, in the cuts in the first appearance of the Magi), lehem and the naming of the child, and
Sarabande and Cortege he wrote in 1919 from there on less than half the text the fifth and sixth cantatas relate the
as a study, or "reduced model," for the remaining in the Fleury version appears. popular story of the visit of the gift -
opera Doktor Faust. Here his mastery with the dramatic scene between Herod bearing kings from the East.
of the essential art of transition may be and his son omitted altogether. The music While it is true that most of the
observed in its most potent generative too differs considerably both in detail choruses and arias in these six cantatas
force. Revenaugh leads a persuasive per- and occasionally in entire compositions were "borrowed" from previously com-
formance. Altogether these records ad- -for instance the Magi's final chant. posed secular cantatas, the job was so
mirably demonstrate that, even if Busoni's "Nos sumus." The Decca version also in- masterfully done that the mood and
time is unlikely ever to come in quite cludes a second play, the Slaying of spirit of each piece perfectly matches its
the way Mahler's has, he nevertheless the Innocents, highlighted by Rachel's new setting in virtually every instance.
has much of value, and much that is moving lament for her children. This It is difficult for a modern -day listener
truly his own, to offer. is, of course, absent from the Nonesuch to understand how Schweitzer could con-
disc. sider the whole something less than an
Ravier's "realization" contains some artistic success and even recommend
BUSONI: Concerto for Piano, Or- interesting ideas about the rhythmic in- cutting any or all of the arias.
chestra, and Male Chorus, Op. 39; terpretation of chant, lending a rather London's excellent performance joins
Sarabande and Cortege, Op. 51 charming if sometimes lopsided effect two other first -rate recordings-Richter's
to the music. Like the Decca perform- on Archive and Nurt Thomas' on the
John Ogdon, piano; Royal Philharmonic ance this one would seem to be based imported Odeon label. Münchinger leads
Male Chorus and Orchestra, Daniell on a staged version as there are lots of a spirited pew r mance which only oc-

Revenaugh, cond. ANGEL SBL 3719, interpolated processions and instrumental casionally falls a bit short of the super-
$11.59 (two discs, stereo only). interludes. In these, Ravier's nervous charged (if rather contrived) excitement


provided by Richter. Thomas, on the Here the harpsichordist creates an mid- 1940s, and Schoenberg made a ver-
other hand, paces the whole somewhat atmosphere of electric turbulence that sion for full orchestra. It is a curious
more slowly and as a result gains con- nonetheless keeps the essential Bachian piece, in the composer's late tonal style,
siderably in terms of clarity and pre- grandeur in clearest perspective. almost suggesting that Schoenberg was
cision. His is also the most stylishly ac- Clean, warm sound with not a trace trying to supply, retrospectively, a miss-
curate performance -his singers under- of brittleness. S.L. ing link between Brahms's Haydn Varia-
stand exactly how to sing a measured tions and his own earlier Orchestral
trill, for instance. Variations, Op. 31. Played with some
Elly Ameling is easily the best of the BACH: Sonata for Unaccompanied real lift and with a more transparent
three sopranos: she has a beautiful voice Violin, No. 1, in G minor; Partita orchestral sound than offered here, it
and sings to perfection. Gundula Jano- for Unaccompanied Violin, No. 1, might prove an enjoyable addition to the
witz (Archive) is not always equal to in B minor repertory. (This same recording is
the technical demands of the music and included in Volume VII of Columbia's
occasionally phrases incorrectly. Helen Ruggiero Ricci, violin. DECCA DL 10142 Schoenberg series, along with several
Watts is superb in the contralto's music; or DL 710142, $5.79. more important works from his Amer-
her singing of the cradle song in the ican period.)
second part will melt your heart. Still, in Everyone 1 know has his favorite pro- The Webern works stem from the
this department, I would have to call it ponent of solo Bach, and I am forced to caches of manuscripts that Dr. Hans
a three -way tie, for Christa Ludwig say that Ricci is not mine. There is too Moldenhauer uncovered and acquired
(Archive) and Marga Höffgen (Odeon) little subtlety of tone, too little feeling from the composer's relatives for the
are also quite special. for the long line of Bach's phrases, too University of Washington. Im Sommer-
As the Evangelist and tenor soloist little sense of the music's poise and equili- wind, a twelve- minute "Idyll" for large
in the arias, London offers Peter Pears, brium. Ricci is at his best in the move- orchestra in a decidedly Romantic idiom,
whose musicianly reading is somewhat ments that run nonstop in even note was composed in 1904 and predates any
offset by his basically dry and not es- values (the Presto of the Sonata, the Cor- of the works recorded in Robert Craft's
pecially appealing vocal quality. He is rente- Double of the Partita), but some complete Webern set. Although the tech-
easily outdistanced by the beautiful voice other movements go astray. I am sure niques of theme transformation and
of Fritz Wunderlich on Archive and by the violinist had his reasons for the ex- combination are not without interest, the
Odeon's Josef Traxel, who manages the treme détaché bowing of the Corrente, over -all progress of the piece is sectional
most dramatically meaningful perform-
ance of the three.
Tom Krause uses his rich baritone to
but at this slow tempo the result is stilted
(Grumiaux, for instance, employs much
the same bowing but with a lightness of
and unconvincing. The orchestral play-
ing here is generally more satisfactory
the idiom is, after all, close enough to
maximum advantage, singing in a com- touch and a faster tempo which make the Philadelphia's usual line of coun-
pletely relaxed and lyrical style that is all the difference). This disc is the first try-but even so the various lines in the
most attractive. One would be tempted of a complete set of three. S.F. climactic tutti could be more distinct.
to call this the definitive performance, The Three Pieces for Orchestra ap-
if it weren't for Dietrich Fischer -Dies- parently date from about 1913 (although
kau's equally beautiful yet very differ- the notes, quoting from Dr. Molden-
BERG: Lulu: Symphonic Suite'
ently conceived reading on the Odeon hauer, are somewhat evasive on this
tSchoenberg: Theme and Variations, point), and they resemble the Five Or-
version. Op. 43B
The Lübecker Kantorei is a highly chestral Pieces. Op. 10- although the
tWebern: Im Sommerwind; Three for
polished, medium -sized group, whose ac- second of the "new" pieces is scored
Pieces for Orchestra rather larger orchestra. In view of the
curacy with pitch, ensemble, and diction a
approaches perfection. It is all quite Luisa De Sett, soprano (in the Berg); other performances on this record, I'm
natural- sounding, however, compared to Philadelphia Orchestra, Eugene Or- not inclined to put much faith in these
the electric precision of Richter's Munich as adequate representations of the not -
randy cond. COLUMBIA ML 6441 or
Bach Choir, which I have hitherto con- MS 7041, $5.79. yet- published scores; the playing could
sidered the ideal. hardly be more strenuous if the subject
London's sound is definitely the best Mr. Ormandy's recent interest in the matter were the Marche slave.
available- spacious and rich with per- music of the Second Viennese School On a level with the rest are the pro-
fect clarity and balance. While criti- here yields its first recorded fruits, of gram notes, which purvey an exception-
cisms of these three fine recordings which all but the Berg are first record- ally high percentage of misinformation.
must be in the nature of nit -picking, my ings. Unfortunately, the conductor's in- "The Rondo of the Lulu Suite is drawn
personal preference is for Kurt Thomas' terest in the music is not matched by a from Act I "-no, from two widely sepa-
version, which seems to have captured sufficient grasp of the requirements for rated passages in Act II, comprising the
the spirit and tone of this wonderful its proper performance. love duets between Lulu and her step-
work best of all. C.F.G. Most obviously flawed is the Lulu son Alwa. The description of the Ostinato
as planned to accompany a film "de-
Suite, for it has been heard elsewhere in
readings that put to shame the approxi- signed to dramatize Lulu's decline into
BACH: Partitas for Harpsichord: No. mate qualities of this one -inexact en- murder and imprisonment" misses the
2, in C minor, S. 826; No. 6, in E semble, insecure intonation, faulty bal- point that it reverses itself musically at
minor, S. 830 ancing, and generally aimless progress the middle, in order to reflect the upturn
from bar to bar. Until we get an ade- in Lulu's fortunes after her imprisonment
Albert Fuller, harpsichord. NONESUCH quate complete recording of this opera, (the murder, in any case, took place in
H 71176, $2.50 (stereo only). Dorati's recording of the suite will have the preceding scene). And the presence
to stand as the most reasonable repre- of a female voice in the Adagio is left
A gratifying disc. Not only does Fuller sentation of its musical virtues, despite unexplained: "... the finale of Act III,
surmount the technical hurdles of these an overly romantic approach and Helga
in which Lulu meets death at the hands
works with confident ease, he imbues Pilarczyk's strenuous singing of Lulu's of Jack the Ripper." Can that be the
the music with considerable magnetism brief aria; at least Dorati really tries to voice of Jack the Ripper, perhaps? D.H.
and passion. He also seems to possess a make every note sound, from top to bot-
rhythmic acuity reminiscent of Landow - tom, and to balance these notes as spe-
ska; he indulges in felicitous internal cified by Berg. BERLIOZ: Symphonie fantastique,
tempo changes, subtly distinguished Schoenberg's Theme and Variations Op. 14
rhythmic patterns, yet at all times keeps was first composed, at his American pub-
the line moving clearly and force- lisher's urging, as a piece for concert Toronto Symphony, Seiji Ozawa, cond.
fully. The most triumphant illustration bands; it had a limited career in this CBS 32 11 0035 or 32 11 0036, $5.79.
of Fuller's mastery is in the intensely incarnation, proving far too difficult for
throbbing Toccata of the E minor Partita. most such aggregations, at least in the Not long ago, Philips issued an out-

MARCH I968 79
standing Colin Davis /London Symphony élan, if not with tight discipline -which chance to shine (and each does shine,
Fantastique that stressed the classical/ is more than can be said of Benzi. brilliantly) and in addition the score
structural facets of this (for its time) The Jeux d'enfants performances suc- is full of strong sectional solo passages.
bizarre score. Davis favored slowish, ceed even more in separating the man To be sure, the Serenade is for the most
rock -solid tempos, observed the repeats from the boy, so far as the conductors part sing -along- with -Brahms music, but
in both the first and fourth movements, are concerned. A fragile and treasurable the fact that it isn't psychologically subtle
and took Berlioz at his word by includ- musical delight, possibly "minor" and doesn't mean that the problems of per-
ing the cornet parts the composer later hardly a masterpiece, this work arouses formance aren't. The matter of balances
added to "Un Bal." As against the feel- a more disciplined control from Munch is particularly touchy, and all problems
ing of ampleness and sobriety which the than the Symphony did. As for Patrie, in this department are solved but one:
English conductor brought to the music, however, not even Munch can salvage there is, to my ear, too much French
Seiji Ozawa is all pliancy and winged this jingoistic bombast; Benzi at least has horn. Again and again in the first Scher-
grace. His tempos are faster, and he the advantage of offering La jolie fille de zo, horn color predominates when it has
spins phrases from silk rather than forg- Perth music instead. no business doing so; the coda of the
ing them from bronze. He gets the To- Sonically, the World Series record first movement gives a hint of what is
ronto forces to play with marvelous produces a warmer, better -balanced to come when flute and horn meet in
pliancy and transparency. Everything is sound than the Nonesuch, which is more lonely splendor and the former is quite
light, impetuous, and transparent in tex- than a little bass-heavy. P.H. overshadowed. In all fairness, however,
ture. Occasionally the effect is a mite this failing sounds to me like a recording
too facile, but for the most part this is problem; things might very well be dif-
an incandescent reading. Davis' scholarly BRAHMS: Concerto for Piano and ferent in the concert hall. In any event,
approach is the one my conscience tells Orchestra, No. 1, in D minor, Op. it is a minor complaint. It is good to
me to recommend, but somehow for me 15 hear this ensemble devoting its first disc
Ozawa's is the more persuasive. More- to Brahms's first orchestral work. The
over, since the Columbia engineers had Witold Malcuzynski. piano; Warsaw Na- music calls for heart. spirit, and a willing
no repeats to contend with, they were tional Philharmonic. Stanislaw Wislocki, strength. and it gets all three in goodly
able to get all of the third movement cond. SERAPHIM S 60055, $2.49 (stereo measure. S.F.
onto Side 2 without a distracting turn- only).
over break. I found the well- distributed
sound altogether excellent. H.G. Malcuzynski has, of course, made his BUSONI: Concerto for Piano, Or-
name as a Chopin specialist, but I find chestra, and Male Chorus, Op. 39;
even more to admire about his Brahms Sarabande and Cortege, Op. 51
BIZET: Symphony in C; Jeux d'en- here. This onetime Paderewski pupil is
fants, Op. 22; Patrie Overture, not a particularly colorful player. His John Ogdon, piano; Royal Philharmonic
Op. 19 sonority, like his mentor's, tends to be a Male Chorus and Orchestra, Daniell Re-
bit angular and sec. though never per- venaugh, cond.
French National Radio Orchestra. cussive or drab in any way. It is, rather,
Charles Munch, cond. NONESUCH H a kind of piano playing suggestive of For a feature review of this recording,
71183, $2.50 (stereo only). bronzen massiveness, with even the ulti- see page 77.
mate fortissimos suggestive of still more
weight and power in reserve. Malcuzyn-
BIZET: Symphony in C; Jeux d'en - ski's nobly proportioned reading has
fants, Op. 22; La jolie fille de CARISSIMI: Jepthe; Judicium Salo -
much of the sobriety and Olympian de- monis
Perth: Suite tachment that many so admired in the
old Backhaus interpretation. (For my- Elizabeth Speiser, Barbara Lange, so-
London Symphony Orchestra, Roberto
self, I find Malcuzynski's to be by far pranos; Derek McCulloch, countertenor;
Benzi, cond. WORLD SERIES PHC 9086,
$2.50 (stereo only). the more ardent and absorbing reading.) Kurt Huber, tenor; Helmuth Geiger, bass;
There is also plenty of soaring, surging Spandauer Kantorei, Helmuth Rilling,
One of the cover annotators refers to the romanticism here, though not of the cond. TURNABOUT TV 340895, $2.50
Symphony in C as a "minor master- febrile, kinetically derived sort favored (stereo only).
piece." "Minor" indeed -unless such by Rudolf Serkin and Leon Fleisher;
unique explosions of youthful artistic and there is no dearth of introspective ßCARISSIMI: Baltassar
genius as Der Erlkönig or the Overture
to A Midsummer Night's Dream should
also be termed "minor."
detail either, although Malcuzynski D
eschews the Arrau /Rubinstein type of
lyricism and the Curzon /Szell emphasis
JtAnerio: Vivean felice (The Story of
Adam and Eve); La Conversione di
S. Paolo
Between young Benzi and the vener- on the score's chamber music aspects.
able Munch here represented there can Moreover, Wislocki and the Orchestra Elizabeth Speiser, Maria Friesenhausen,
be no question that the older man has provide glowing, committed playing and sopranos; Theo Altmeyer, Wilfrid loch -
indisputable insights and musical instincts the sound, a mite woolly in tuttis per- ims, tenors; Erich Wenk, bass; choir and
that the younger, at present at least, haps, is basically fine. instrumentalists of the Münster /West-
lacks. It is paradoxical but true that the It should be noted that the present phalen Kirchenmusikschule, Rudolf Ewer-
masterpieces of youthful composers disc is not a reissue of the Malcuzynski hart, cond. TURNABOUT TV 34172S,
generally find the most sympathetic in- Brahms D minor which once gi aced the $2.50 (stereo only).
terpreters in performers old enough to early Angel catalogue: that version was
be their grandfathers. Beecham, for in- with the Philharmonia Orchestra under CARISSIMI: Jepthe; Judicium extre-
stance, has given us superb performances Fritz Riegger's direction. H.G. mum
of the Bizet Symphony as well as of
such pieces as Mendelssohn's Overture. Eileen Laurence, Janet Frank, Eleanor
The principal flaw with the Nonesuch BRAHMS: Serenade No. 1, in D, Clark, sopranos; Jane Gunter, alto; Staf-
record lies with the rather less than ac- Op. 11 ford Wing, Seth McCoy, tenors; Gerd
complished French National Radio Or- Nienstedt, William Fleck, basses; Igor
chestra-the same as on Beecham's Chamber Symphony of Philadelphia, Kipnis, Michael Rudiakov, continuo;
record. Beecham managed to minimize Anshel Brusilow, cond. RCA VICTOR LM Amor Artis Chorale, Johannes Somary,
the tendency of the French horns to 2976 or LSC 2976, $5.79. cond. DECCA DL 9430 or DL 79430,
sound like lovelorn saxophones, but $5.79.
Munch not only allows their wobbly Brusilow could hardly have chosen a
braying but adds a few strange "inter- better work to show off the capabilities For years there has been little but
pretative" ritards. Yet he has ideas, and of his new orchestra -every first -chair Archive's pale stringy Jepthe to give
he conducts with superb conviction and woodwind and brass player has his listeners any picture of Giacomo Caris-


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simi, the first master of the oratorio. fault of the music: in contrast to Caris- subdued final notes of harp and glocken-
Now, Turnabout and Decca have resur- simi, Giovanni Francesco Anerio is a spiel-as against the Command record-
rected this worthy man from the purga- dull fellow indeed. His melodies lack ing -demonstrate the difference between
tory of that antiquarian performance and character, his harmonies are trite, and a musically appropriate recording effect
restored not only Jepthe but two more he is almost completely devoid of dra- and a "spectacular" one), and, although
oratorios to the flesh and blood world of matic sense. Yet this earnest Roman who his Rodeo has some untoward fussiness,
Italian vocal music. died in 1630 can hardly be blamed for it's still Bernstein all the way in these
It is remarkable with what skill Caris- the dull masked sound and the extrane- pieces. D.H.
simi manipulates what was -at the time ous noise of sopranos gulping for air.
he was writing -a very new style. The S.T.
flowing melody, pathetic expression, and HANDEL: Vocal Music -See Mozart:
forthright energy which characterize Ver- Vocal Music.
di and Puccini are all there in Caris- COPLAND: Billy the Kid; Rodeo;
simi, and like all great dramatic com- Fanfare for the Common Alan
posers he uses them to make arresting JANACEK: The Makropoulos Case
effects. Each oratorio concentrates on a Dallas Symphony Orchestra, Donald
single dramatic event- Jepthe's discovery Johanos, cond. TURNABOUT TV 34169, Libuse Prylová (s). Emilia Marty; Helena
that he must sacrifice his only daughter, $2.50 (stereo only). Tattermuschová (s), Kristina; No Zídek
the ominous handwriting on the wall (t). Albert Gregor: Rudolf Voniisek (t),
which Daniel interprets to Balthazar, COPLAND: Billy the Kid; Appala- Vítek; Viktor Ko6í (t), Janek; Milan Kar-
Solomon's decision to test the rival moth- chian Spring písek It), Hauk -Sendorf: P'remysl Ko6í
ers -and contrasts this with a lyrical ex- (b), Iaroslav Prus; Karel Berman (b), Dr.
pression of sadness before a tragic event Pittsburgh Symphony Orchestra, William Kolenaty: Prague Chorus and Orchestra,
or joy after the happy outcome. Steinberg. cond. COMMAND CC 11038 Bohumil Gregor. cond. EPIC L2C 6067
Though none of the singers on the two SD, $5.79 (stereo only). or B2C 167, $11.58 (two discs).
Turnabout discs has an opulent voice,
each makes the most of the expressive The listener in pursuit of recordings of Of the four operas that occupied Janá6ek
qualities in his part. As Jepthe's daughter, Aaron Copland's three most famous for the greater part of the final decade
Elizabeth Speiser is most moving in her works is confronted with a multiplicity of his life, The Makropoulos Case is the
final lament P/orate colles, a piece which of duplications and overlapping cou- last to become available on records in
must rank as one of the masterpieces of plings. of which these two new releases this country. All four -Katya Kabanora
early baroque music. I was particularly are a typical example. Neither of them (1919-21)), The Cunning Little Vixen
struck by the alto of Derek McCulloch alters the picture very much, although (1921 -23), The Makropoulos Case (1923-
in the small role of the narrator in the lower- priced Johanos record is a 25 ), and From the House of the Dead
Jepthe; McCulloch's voice recalls Deller, respectable bargain. His orchestra sounds (1927 -28)-are works of considerable
especially in the clean execution of the a little short on strings, and their tonal intellectual probity and musical serious-
cadential ornaments. quality is not quite up to major-orchestra ness, but their progress into the in-
At twice the price Decca's offering is standards, but the fast movements have ternational repertory has been slow.
not twice the value. The singers, espe- considerable bounce, even if the Nocturne The Makropoulos Case reached the
cially the women, are weak; Eileen Lau - and Waltz in Rodeo don't have quite United States first in November 1966, in
rence's shrill and trembling soprano can- enough momentum to sustain interest. a San Francisco Opera production, and
not cope with the dramatic demands of The bonus Fanfare for the Common New York heard it for the first time
Carissimi's music. An exception to this is Man is well played, and the recorded just this last December, in a concert
bass Gerd Nienstedt whose deep rolling sound is splendidly solid and complete- performance by the Little Orchestra
tones are most satisfactory in portraying ly natural. Society, coincidental with the release
the Last Judgment. Somary's tempos About Steinberg's coupling I am less of this Supraphon -originated complete
don't create the spacious effect I would enthusiastic. Despite the use of 35 -mm. recording.
guess he was striving for. Even the choice film and an unspecified noise -reduction Like all of Janá6ek's operas. it labors
of works is disappointing; Judiciun e.rtre- system (the Dolby ?), the sound is rather under a serious export difficulty. for
mum has some nice moments, but it has close -up and two-dimensional, not nearly the melodic idiom of the vocal parts is
nothing like the dramatic punch of the as convincing a facsimile of an orchestra closely related to the inflections of
other oratorios. in a hall as the Turnabout. The scores Czech speech -a virtue totally lost on
Both Jepthe and Judicitun Salomon's are well executed for the most part. but foreign audiences even when performers
have been around, at least in scholarly without much lift or rhythmic snap -a can be found to sing in the original
editions, since the '30s. Baltassar is a type of performance that I find rather language. The kind of subtlety that at
new discovery, and a wonderful one it deadly to the fast middle section of Ap- least a significant part of the operatic
is. The fresh and appealing melodies palachian Spring (the Bride's solo), public can appreciate in the text -setting
even spill over into the traditional rec- which here sounds a rather pointless of, say, Pelleas or Wozzeck may be pres-
itative of the narrator. And after an series of up -and -down runs. ent in equal measure in Janá6ek operas,
extended ritornello of exuberant rejoicing To see what can really be done with but the vast majority of us are not in
involving all five soloists, chorus, ands these scores, I recommend that you turn a position even to perceive it, let alone to
orchestra, the stark recitative accom- V no Bernstein's recordings, especially judge its effectiveness. Our view of these
panying the sudden appearance of the Billy and Appalachian Spring. The first works is therefore necessarily a some-
handwriting is truly frightening. of these is one of Bernstein's great per- what limited one.
As far as sound is concerned, Decca formances, despite one or two bad at- The libretto of Véc Makropulos-
wins the prize with a many- colored pal - tacks and some tentativeness in the higher literally, "the Makropoulos thing " -is
lette and an imaginative use of stereo. strings. The blend of wind sonority at taken more or less directly from a play
There is very little evidence of separa- the beginning, the accenting of the Street by Karel Capek. the Czech playwright
tion on Turnabout's Jepthe /Judicium Sa- Scene, the balancing of melody and sec- best known in this country for his
lomonis disc -even at such moments as ondary figure in the "Bury Me Not" R. U. R., generally regarded as the
the duet of the rival mothers in the latter episode, and the spring of the triplet first science- fiction play. The play that
work. The sound on Baltassar is far figures in the Celebration Dance are Janá6ek used is also based on a kind
superior, stereo and all. Ewerhart's in- all models of orchestral execution in of science-fiction idea: an elixir of life.
cisive conducting and the delightful con- this style; these passages are all "correct" This elixir was discovered in the six-
tinuo (anonymously performed) contrib- in other recordings, but sound dull and teenth century by Hieronymus Ma-
ute to an extraordinarily alive perform- unimaginative when compared with the kropoulos, alchemist to the Emperor
ance. What a surprise then to turn over way the Philharmonic plays them. The Rudolf 11; since the latter, quite natu-
the disc to hear what sounds like a dif- same can be said of Bernstein's Ap- rally, didn't want to be the first to try
ferent group altogether. Part of this is the palachian Spring (where the properly it, Makropoulos was forced to use his


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MARCH 1968
(laughter Elina as a guinea pig. The get is the bitchy side of the character, MASSENET: Don Quichotte
Emperor missed his chance at relative the virago who will stop at nothing -not
immortality. but Elina lived on into the forgery, theft, or prostitution -to re- Breda Kalef (ms), Dulcinée; Miro
early twentieth century, when the action trieve her father's formula. Without a Changalovich (bs), Don Quichotte;
of the opera takes place. Having full realization of all aspects of Elina Ladko Koroshetz (bs), Sancho Panza;
lived and loved under many names
(all with the initials E. M.), she is now
Emilia Marty, a famous opera singer,
Makropoulos, it's hard for the opera to
make anything like its potential effect
but what a juicy part this could be for
- Chorus and Orchestra of the Belgrade
Opera House, Oscar Danon, cond.
EVEREST S 440/2, $5.96 (two discs,
aged 342 but still bewitching. During a the right singer! stereo only).
love affair a century earlier, she had Almost equally debilitating is the or-
given away the secret formula (the chestral performance -not only full of Somewhere above the plateau of mere
" Makropoulos thing" of the title) and bad ensemble, faulty intonation, and craftsmanship, yet still a notch beneath
now, feeling in need of a booster, she slack rhythmic articulation, but often the pinnacle that is pure genius, stands
intervenes in a lawsuit growing out of without any sense of direction. It is the figure of Jules Massenet, a turn -of-
that old affair, in order to recover her informative to compare the final portions the- century romantic who wrote twenty -
father's document. When, in the last act, of the first and last acts as recorded seven operas. If ever a composer needed
she finally gets her hands on it, she some years ago on Supraphon LPV 450 a Friend (or a League of Friends of, or
realizes how empty and trivial life has by the same orchestra (with singers of a Society for the Prevention of Cruelty
become for her. and gives it away to no greater distinction), but conducted to) it is he. Only Manors gets a regular
a young girl, who-very wisely -burns by Jaroslav Vogel, who managed to hearing nowadays, but at least eight other
it up as Emilia collapses. achieve a degree of tautness and forward operas are solidly worthy of revival, and
All this centers very much on the impetus that is rarely approached here. four are streets ahead of anything ever
leading lady, who is onstage for nearly To add to Mr. Gregor's problems, written by... . Well, perhaps we need
the entire length of the opera; most of his orchestra is decidedly underrecorded, not be invidious. But what a consummate
the other characters function primarily although the sound seems otherwise professional Massenet was! How well
as foils for her, and because Janácek's respectable (I take it that the rough tone made are his pieces, how neatly every-
musical materials are relatively neutral of the tutti passages is due to the play- thing fits together; how practical, effec-
with respect to characterization of indi- ing rather than the recording). A libretto tive, economical was his nature. If he is
viduals. they rarely come to life. An in both Czech and English is provided; now and then afflicted with religiosity,
exception is the demented old Hauk- the translation, evidently designed to be it is at worst cloying and not (as some-
Sendorf, a diplomat who once loved sung. does not seem to be an exactly times in Gounod) stifling.
Emilia when she was Eugenia Montez, literal one. Don Quichotte is a good showcase
a Spanish gypsy dancer; he recalls this So there you have it-an inferior for his virtues. Written sixty years ago
episode so vividly that he awakens a performance of an honest, serious opera, for Chaliapin, to a well -fashioned
brief flame of emotion in her before one that might very well make the grade libretto by Henri Cain, it was Massenet's
she coldly dismisses him. when properly done. If you are at all last great success. It selects from Cer-
Musically, Janáéek works in short sec- interested, you might as well settle for vantes the story of the Knight's wooing
tions, each developed from a motive; at this version, since prospects for competi- of the Fair Dulcinea and his journey to
the climaxes, the musical material be- tion are pretty dim. D.H. the lair of brigands to recover her
comes more expansive, even lyrical, and stolen necklace. The opera ends with the
in general he paces the succession of death scene, made famous in recordings
episodes and the building of scenes very by Chaliapin and Vanni Marcoux. There
expertly. The exception is the second KODALY: Concerto for Orchestra; is throughout a wealth of melody and
of the three acts, which tends to be Dances of Galanta; Dances o/
color; but the resources needed are en-
choppy and never really builds, musically. ilarosszék tirely within the compass of any small
While there is a great deal of ostinato opera company capable of fielding a
work in the orchestra, many of the mo- Philadelphia Orchestra. Eugene Orman - lanky basso, a portly baritone, and a
tivic figures are made up of irregular dy. cond. COLUMBIA ML 6434 or MS mellifluous mezzo- soprano (of whatever
metric patterns, so that there is a good 7034, $5.79. outline). And the opera is well worth a
deal of rhythmic variety. Thematically, try.
much of the material derives from a Inasmuch as Hungarian folk elements It is a sad comment on the present-
basic Emilia Marty motive, made up play an ever -present part in Kodály's day French operatic scene that this first
of fourths. fifths, and seconds; these in- compositional style, it is hardly sur- recording of the last good opera written
tervals are already present at the begin- prising to find an abundance of in France should come to us from Bel-
ning of the orchestral prelude, and Magyar material woven through the grade. Since we are not likely soon to
they form the predominant elements of
nearly all the essential melodic stuff
which may have something to do with the
- fabric of the Concerto for Orchestra. A
spontaneity, almost a childlike naïveté,
gave his early works a charm that often
have another recording of Don Quichotte,
it is bootless to go into too much detail
on the performance. Essentially, it is
relative indistinctness of the secondary overrode the feeling that not much new an acted, fully staged piece of actuality
characters. was being said. (I have in mind such that we have on these Everest discs; inas-
As to whether this all adds up to a works as Háry János and the Dances.) much as the Belgrade Opera is a re-
viable opera, I'm afraid you will find By the time of the Concerto, however, doubtable ensemble that has been touring
me sitting on the fence. although leaning the naïveté was gone (what European this work for a decade, the playing and
towards the affirmative. My doubts are could have remained naïve in 1940 ?), choral singing are precise and polished.
partly due to the present performance, and Kodály here offers nothing to re- Danon's pacing is robust and for the
which is not very good. It's not merely place it. The Concerto is a bore. most part effective, though he allows
the singing -although very little of that Rich, juicy string textures soften the Changalovich to slow things up too much
can be described as distinguished: the folk ingredients into a gelatin mold. in his solos. The company sings in care-
voices are generally rough and, al- Ormandy and his crew are big on strings, fully tutored French-really not a bad
though the singers usually give the though, and it would be hard to imagine effort for foreigners-but the method
pitches correctly, their rhythms are a more suitable choice of partners for of voice production and the inflections
often quite inaccurate (some entries are the piece. But the two sets of Dances remain stubbornly Balkan.
even in the wrong measures). And, alas, call for a robust playfulness of the winds Changalovich has a high reputation
the performer of the leading role is, in -and from the present performers we as a singing actor, but here the acting
every vocal- dramatic sense, something of get again only big-scene swollen strings. gets somewhat in the way of the singing,
a disaster; her shrill, squally voice i __Hear Kertesz (on London) for an in- and he is too lugubrious for my taste.
quite incapable of suggesting a woman fectious Dances of Catania. Strangely, his Sancho Panza is not a
of spellbinding allure (let alone an oper- The sound is rich and fat, in keep-
atic diva of such qualities), and all we ing with Philly's strings. S.L. Continued on page 88


his beautiful four-headed morste
does away with amateurs.
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by Alfred :mkenstein

If This Were the Music of Canada.

God Save the Queen and Les Canadiens!

THE EYES OF THE world were on Canada stimulates only the thought that MacMil- cinating use of the 12 -tone principle.
in its centennial year of 1967, and it is lan got to be a Sir and Vaughan Williams "Understated" is Gould's word for Anhalt
not surprising that that year ended with didn't. The Images of Harry Freedman is and "ebullient and stagey" his words for
the release of four records of Canadian a series of "impressionistic" pieces after Hétu. So be it, if by ebullient and stagey
music. Of the four, two contain orches- Canadian paintings-and Hollywood film one also means brilliant. colorful, and
tral works. played by Canadian ensembles scores. Pierre Mercure does the Honegger entertaining at every point. That Glenn
who are led by those Far Eastern glam- bit for CBS with a piece called Triptyque, Gould knows how to play the piano is
our -boys, Seiji Ozawa and Zubin Mehta: and François Morel concludes the col- scarcely news, and Columbia knows how
one features Canada's foremost instru- lection with a ludicrously Varèsian effort to record him.
mental soloist, Glenn Gould; and one called L'Etoile noire. Again, the sound We come at last to The Widow, an
comprises selections from a trivial, old - of the orchestra is very fine and the in- operetta by Calixa Lavallée, who was
time operetta by a composer who was terpretations are presumably authentic. born in Canada in 1842 and died in Bos-
born in Canada but couldn't get his show Only the Morel is a recent piece, com- ton in 1891. There appears to be no
produced there. With a single exception, posed in 1962; the others are anywhere record of its ever having been performed
the music on these discs is depressingly from ten to forty years old. in Canada. Eleven excerpts from it are
mediocre. Certainly, it does not afford As usual, Gould provides the jacket presented on the record by the chorus
an honest survey of what Canadian com- notes for his record, and they are almost and orchestra of the Canadian Broadcast-
posers have done and are doing. better than the music. He fills one en- ing Corporation, Winnipeg, with six
On the RCA orchestral set Mehta con- tire side with the Fantasia in D minor vocal soloists, Eric Wild conducting. Not
ducts the Montreal Symphony in the by Oscar Morawetz, composed twenty a word is intelligible, there is no text,
Mouvement Symphonique No. 2 of Roger years ago. In this long piece the pianist nor is there anything more than the
Matton, who has been hearing too finds suggestions of such modern com- vaguest sketch of the plot. The music
much Honegger, and in the Lignes et posers as Prokofiev and Hindemith, and is very light, very thin, very second -rate,
peintes of Pierre Mecure, who has had you can see what he means; but most of now recalling the Viennese style, now
his fill of Varèse. Varèse is also to the it is straight Schumann of the most
fore in the first of the two compositions G & S. On the stage, nicely sung and
academic kind, and its selection for re- acted, it could be charming. On this
conducted by Pierre Hétu (the orchestra's cording is really indicative of a certain record . . . God save the Queen!
assistant conductor), André Prévost's vein of perversity that runs through
Fantasmes, which, with its grinding reit- Gould's extraordinary character.
erations, cornes closer to saying some- Gould's Side 2 begins with the one
thing distinctive than anything else on MONTREAL SYMPHONY OR-
work in this entire Canadian series that CHESTRA
the disc. These three pieces are not un- has the urgency, the singularity of pro-
attractive or uninteresting. but they are file, the economy, and the eloquence of Matton: Mouvement Symphonique No. 2.
superficial imita[ ons of well -known a genuine musical statement. This is the
idioms and are the kind of thing con- Mercure: Lignes et points. Prévost: Fan-
Fantasia of Istvan Anhalt, a 12 -tone tasmes. Somers: Fantasia. Montreal Sym-
ductors choose when they want to ap- composer who really has something to phony Orchestra, Pierre Hétu, cond. (in
pear as if they are encouraging local say and says it as well as any composer
talent but really don't want to work at it. the Prévost and Somers). Zubin Mehta,
now alive. But the Variations of Jacques cond. RCA VICTOR LM 2980 or LSC
The pompous nonsense of Harry Somers' Hétu (not to be confused with the above -
Fantasia. %vith which Hétu concludes the 2980. $5.79.
mentioned Pierre Hétu) also make fas-
record, is not even that. The orchestra is
obviously excellent, and the recordings CANADIAN MUSIC IN THE
seem to be very good. It is also worthy TWENTIETH CENTURY
of note that the jacket material which MacMillan: Two Sketches for Strings
comes with this record does not contain on French -Canadian Airs. Freedman:
one single word about the composers or Images. Mercure: Triptyque. Morel:
the music but is devoted strictly and sole- L'Etoile noire. Toronto Symphony, Seiji
ly to the orchestra and the conductors,
Ozawa. cond. CBS 32 11 0037 or 32 11
whose portraits, in sickly blue, fill the 0038, $5.79.
The Mehta -Hétu record bears the al-
bum title "Montreal Symphony Orches-
tra." The CBS disc by Ozawa and the TWENTIETH CENTURY
Toronto Symphony at least does the sub- Morawetz: Fantasy in D minor. Anhalt:
ject the honor of putting the music for- Fantasia. Hétu: Variations. Glenn Gould,
ward. with the title "Canadian Music in piano. CBS 32 11 0045 or 32 11 0046,
the Twentieth Century," and there are $5.79.
some notes on the music, too. But the
latter is no better than what the com- LAVALLEE: The Widow
petition is pedd;ing.
This disc also gives us four pieces. Soloists, Chorus, and Orchestra of the
Two Sketches for Strings on French -Ca- Istvaa Anhalt: in a welter of mediocrity, CBC (Winnipeg), Eric Wild, cond. RCA
nadian Airs, by Sir Ernest MacMillan, a genuine musical statement shines bright. VICTOR LM 2981 or LSC 2981, $5.79.


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how beautiful music
remark about her great flair
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for home decorating, and
confuse her with technical talk about the Scott 388B's 3 -FET front end or
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MARCH 1968 87
Continued from page 84 rhythms-but the organization is more
complex, the material subjected to a de-
baritone (as specified in the score) but gree of variation and superimposition.
another basso, moreover one of precisely There is a prominent solo piano part (for
the same timbre and style as the Don, the inevitable and always impressive
with the result that one often confuses Yvonne Loriod), and the ensemble con-
the two characters. The lovely voice and sists of clarinets. a large brass section,
warns temperament of Miss Kalef make xylophone, xylorimba, marimba, bells,
for an ideal Dulcinea, but her vibrato is gongs, and tam -tams (the Et Exspecto
too wide to sound happy to our western orchestra comprises large wind and brass
ears -particularly so in her first -act ensembles plus a battery of bells, gongs,
languorous aria. and tam -tams).
The disc offers true stereo. not the The performances, supervised by the
"reprocessed" sort to be found in some composer, demonstrate remarkable virtu-
other albums of this series; and there is osity and ensemble, and are stunningly
plenty of stage movement. The orchestra, recorded; the tam -tam strokes in the
though quite clearly recorded, is too dis- fourth movement of Et Exspecto should
tant; and the voices, boosted excessively, make this a popular demonstration rec-
sound harsh and sibilant unless tamed ord. The liner notes, by the composer.
by the treble control, and sometimes are redolent of apocalyptic mysticism and
even this does not seem to help very ornithology ( "The song of the Short -toed
much. G.M. Lark . symbolises joy ") but not
unhelpful in expediting comprehension.
MESSIAEN: Et Exspecto Resurrec-
tionem Mortuorum; Couleurs de la
,cité celeste MILHAUD: Aspen Serenade; Suite
de Quatrains; Septet for Strings
Yvonne Loriod, piano (in Couleurs);
Strasbourg Percussion Group; Domaine Milhaud Ensemble, Darius Milhaud,
Musical Orchestra, Pierre Boulez, cond. cond. EVEREST 6176 or 3176, $4.98.
CBS 32 11 0047 or 32 11 0048, $5.79. J
Darius Milhaud teaches at the summer
it is exhilarating to hear these The major works of Olivier Messiaen, music school in Aspen. Colorado every
confections sung as their composers the most influential figure in the French year, and it is not surprising that he has
confidently hoped they might be." musical world since World War II, have composed a serenade named after it: con-
The Gramophone remained little known in this country sidering Milhaud's incredible facility. the
except to specialists. There can be no surprising thing is that he has not written
doubt that his is a distinctive and highly twenty serenades named after different
personal style, but its ability to sustain localities in and about the town. The
attention is less certain; longish works
JOAN built from the juxtaposition of short -
Aspen Serenade, for four woodwinds,
four strings. and a trumpet. employs a
winded materials require great skill in familiar and invariably effective Milhaud
organization if they are not to seen formula- fresh, supple melodies, bril-
SOIHERIANO merely garrulous and repetitive to the
liantly orchestrated and made all the
brighter and more dynamic through poly-
The 1964 Et Exspecto. commissioned tonal clashes. As the years go by, the
by André Malraux and first performed polytonality goes rougher and more dis-
at the Sainte -Chapelle in Paris, is perhaps sonant without. somehow, affecting the
THE GOLDEN a special case; although the materials are
entirely characteristic -choralelike brass
brightness of the result.
The Suite de Quatrains is a group of
passages, chant -derived lines, disjunct poems by Francis Jammes, beautifully
melodies based on bird songs-their pres- recited by Mme. Milhaud against
AGE OF entation and articulation in this work is an instrumental background. There
so aggressively simplistic as to suggest are eighteen of these quatrains. Not one
that the composer was writing down to of them is printed in the notes, which is
OPERETTA his official audience. Only once do we
hear one of those complex multi -layer
a very serious drawback so far as non -
French audiences are concerned. There
textures in which each plane seems to be is not even a hint of what they are about.
The beloved soprano in a delight- operating independently of the others,
ful excursion into the world of The Septet for Strings, composed in
operetta as it existed in America, and most of the five movements are made 1964. may well he the most recent work
England, France, Germany and up of simple alternations and repetitions of Milhaud on records. It too exploits
Austria. of the presented material. The outer polytonality, and it contains a more or
movements are processional- ceremonial less aleatory movement entitled Etude
Music by Romberg, Friml, Herbert, in nature; in the last one, a metrically de Hasard Dirigé: the glory of this com-
Offenbach, Lehar, Fall and others. regular brass chorale marches along with position, however. is its slow movement,
conducted by an equally regular rhythm on gongs and which reaffirms the profundity of the
bells-apparently aimless (and endless), grand style and explains what one means
it eventually builds to a massive dynamic when one says that Milhaud is in direct
RICHARD BONYNGE climax, a kind of crude Bolero effect. In line of descent from the great romantics;
Stereo OSA -1268 fact, the whole piece impresses me as a movements like this separate the men
relatively cheap exploitation pf such ob- from the boys.
vious devices, overlaid with a patina of The Lord and Everest Records alone
Messiaen's superficial trademarks. know what pickup grotto is disguised here
The earlier Couleurs de la cité celeste, as the "Milhaud Ensemble," but whoever
composed in 1963, is conceived more in its members may be. they know their
Messiaen's usual terns; the materials are business. So do Everest's sound engineers.
similar -plainchant, bird songs, Hindu A.F.


Suddenly it's 1969...
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MOZART: Symphonies: No. 35, in its place; does anybody know of another its chance at contrast or animation; then,
D, K. 385 ( "Haffner "); No. 41, in so substantial recording conducted by a at its end, instead of the magical little
C, K. 551 ( "Jupiter ") nonagenarian? D.H. breath and entry, there is simply a pause
and a start with the repeat of the A
Marlboro Festival Orchestra, Pablo section, which is then sung in a manner
Casals, cond. COLUMBIA ML 6466 or MS MOZART: Vocal Music: Exsultate, all but indistinguishable from that of its
7066, $5.79. jubilate, K. 165. Vesperae solemnes first time around. Throughout these arias,
de confessore, K. 339: Laudate in fact, there is practically no embellish-
These two symphonies were recorded at Dominum. Vesperae de Dominica, ment, and certainly nothing to lend the
public performances during last summer's K. 321: Laudate Dominum flavor of a true elaboration. Miss Popp
Marlboro Festival, in the conductor's tHandel: Vocal Music: Rodelinda: is better with such an item as the "Ur:
ninety -first year. They show few traces Ombre, piante; Ho perduto. Serse: centu leggiadretto"-she could stand to
of his age, and much less evidence of Un: cenno leggiadretto. Ottone: be more of a tease with this delightful
his vintage than the Bach recordings Vinto è l'amor. Giulio Cesare: Pi- piece. but the singing is very pert and
that have recently emanated from Marl- angerì) la sorte mia. Joshua: O, Had brings out markedly the resemblance to
boro. Tempos are on the fast side, but I Jubal's Lyre Pergolesi's Serpina, which, come to think
do not sound driven, and the playing is of it, should be a good role for the
in the slightly strenuous do-or-die-for- Lucia Popp, soprano: English Cham- present artist.
good-old-Marlboro tradition: not ideally ber Orchestra, Georg Fischer, cond. The Mozart side is more satisfactory,
smooth, but never limp. The only note- ANGEL S 36442, $5.79 (stereo only). particularly from a stylistic standpoint.
worthy eccentricity occurs early in the The E.x.eultaate is very well sung; the
Jupiter's first- movement recapitulation, There is a quantity of appealing vocalism low notes are not all there and there is
where an obviously imitative passage on this disc: Lucia Popp has a fresh. neat a certain rhythmic flatness to parts of it,
between the two groups of violins (not soprano and a more than adequate tech- but its certainly one of the better ver-
separated, by the way) is played so as nique. Collectors who are really in- sions on records. The two Lautlates are
to sound like a single line: this clearly terested in this particular sort of pro- also most enjoyable. with an especially
contradicts Mozart's intention. gram, simply as pleasant listening, will beautiful moment at Miss Popp's en-
I'm not going to recommend these as find the record worthwhile. trance with the "Amen" of the K. 339.
basic versions of the works, however; to For me, the singer does not (yet, at The sound is excellent, and the liner
the usual hazards of performance record- least) have the extra touches of per- notes and text leaflet are exemplary.
ings (such as coughs and squeaky chairs) sonal projection and interpretative sensi- But the over -all impression is one of
are added the expectable Casals grunts tivity to make her performances absorb- pleasing. tasteful singing rather than of
anticipating sforzando chords, and, in ing. and the decisions about tempos and anything memorably individual. C.L.O.
the Jupiter, rather a lot of places where embellishments on the Handel side are
the old gentleman can be clearly heard unadventurous in the extreme. Both dif-
shushing his players. This sort of thing ficulties are illustrated by the second and OBRECHT: i%lis.ca sub tuant praesid-
can be very annoying on repetition. But third sections of " Piangerò la sorte mia." ium confugimus
as documentation of a remarkable mu- The "Ma poi morta" is so thuddingly i Ockeghem: ,tl issa Mi-mi
sician's longevity. this disc certainly has paced, so dutifully sting. that it loses all
Cappella Lipsiensis. Dietrich Knothe,
cond. ARctuvt: 198406, $5.79 (stereo
Experts say this is It is a mystery to me why, with the
wealth of Renaissance music still to be
the best integrated turntable explored by recording companies, the
same works should appear on discs over
and over. Only two of Obrecht's more
in the world. than twenty Masses have been re-
corded: Ockeghem. his contemporary,
fares only a little better with three
Masses. Now Archive, a company with
the resources to break new ground, has
issued two of these same works already
available in excellent performances -the
Vienna Chamber Choir's sturdy interpre-
tation of Obrecht's Mass on Bach Guild
and the Berkeley Chamber Ensemble's
finely chiseled Mis a Ifi -tai on Lyrichord.
The Misca sub mum praecidium is a
perfectly splendid piece. Starting with
three voices in the Kyrie. the composer
Too bad everybody doesn't know that. adds a voice in each of the following
four movements so that the concluding
In the Thorens TD-150AB, the tonearm and turntable have a unified suspension, Agnus is sung by seven parts. As if this
minimizing vibration and acoustic feedback. Speeds of 331/2 and 45 rpm are weren't enough. the tipper voice sings
derived from a Thorens double motor on a single rotor shaft, turning at the the Marian antiphon "Sub taunt praesid-
unusually low speed of only 425 rpm. iaut" in long notes throughout while the
The result is completely silent and absolutely precise operation. Such factors added voices join further chants in praise
as rumble and wow are virtually eliminated. An exclusive low mass, plug -in of the Virgin Mary to the basic Mass
shell, adjustable vertical tracking angle, pneumatic tonearm cueing or lower- text. The last movement is a cumulative
ing device, a handsome slim line chassis are among the many features that paean of praise and supplication, com-
make this instrument a proud possession for any enthusiast. TD-150AB; $99.75.
(Also available without tonearm & base TD -150) bining the original antiphon. the joyous
"Regina Coeli." and a part of the "Salve
For more details and a FREE Record Omnibook, see your hi -fi dealer, or Regina" with the remaining voices in a
final plea for mercy.
The Archive performance underscores
THOIRENS TD-15O AB Obrecht's techniques with the subtle
addition of instrumental doubling as the
parts increase. Knothe's over-all concep-

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tion is somewhat more relaxed than phrasing, creating instead a seamless is magnificent. spacious without being
Gillesberger's energetic reading for Bach texture of constantly moving voices. The echoey, full without confusing the iden-
Guild, which also uses more and a directionless flow of space in some late tity of the lines. A new and sturdier
greater variety of instruments. The fine Gothic cathedrals with its accompanying jacket which folds out into the notes is
effect of Knothé s flowing early move- effect on the viewer of awe and wonder a big improvement on the familiar flimsy
ments is balanced by the greater excite- has its direct parallel in this music. yellow envelope.
ment Gillesberger creates in the Agnus S.T.
The performance here is excellent. The
Dei. Both performances are equally con- Cappella Lipsiensis, properly singing a
servative in their use of musica ficca. cappella in this work, achieve a rich
It is really very hard to choose between
OCKEGHEM: il fissa Afi-mi-See
blend without obscuring the individual Obrecht: ilfissa sub tuum praesid-
these discs; why couldn't one of them lines. The sensitivity and expression of ium conftlgimrrs
have contained Obrecht's fascinating the last Agnus Dei are particularly mov-
Missa Maria zart or the lovely Missa ing. The pitch is also right, in so far as
Mater Patris? one can say such a thing about Renais- PALESTRINA: Masses and Motets:
Unlike Obrecht, Ockeghem uses no sance music. The Berkeley ensemble Hissa ascendo ad patrent: Hissa in
obvious structural devices on which to transposed the Mass up considerably, festis apostolorunr; Cantantibus or-
base his Missa Mi -mi. In fact, he even making it easier to sing but losing the ganis; Surge arnica mea
avoids the measure to measure techniques dark quality Ockeghem intended.
of imitation, sequence, or clearly defined The sound throughout the Archive disc Singers of Saint -Eustache. Emile Martin,
cc.nd. ODYSSEY 32 16 0121 or 32 16 0122,

"Masses and Motets" is a somewhat mis-

leading title for this disc inasmuch as the
Specially priced, specially packaged... two Masses are large -scale works occupy-
ing almost a full side each while the
motets are obviously fillers. The Missa
in festis apostolorunt is a responsorial
The Nine Bruckner work in which plainsong alternates with
sections of polyphony providing a con-

Symphonies trast to the full choral texture of the

Missa ascendo ad patre m on Side 2. In
both compositions the Roman master
works his usual magic, weaving a light
Eugen Jochum, conductor but colorful fabric of indescribable
beauty without a sign of effort.
Berlin Philharmonic Orchestra There is plenty of pliancy in Martin's
expressive handling of the rather un-
Bavarian Radio Symphony Orchestra polished chorus. although its chanting in
the Missa in festis apostolortun is pretty
stiff. The sound would be lovely if con-
"DGG has done a wonderful job. Splendid recordings, all, of per- siderable distortion did not mar the forte
formances by two orchestras who have the Bruckner style in their passages on both sides. The quick tempo
bones. directed by the man who. having devoted so much of his life of Surge arnica mea I also thought a bit
to Bruckner's cause. has become for many people the Bruckner overdone; Palestrina is a kind of perfec-
conductor of our time.... The scores used are the latest ... the tion unto himself -and if you rush him
in the interests of "expressivity," the re-
layout of the music on the discs is exemplary ... with no side breaks
sult is a chaotic breakdown of both
in movements.... Few of the more structurally integrated per- sense and spirit. S.T.
formances by other conductors have dug quite'so deep into the
meaning of the music. He [lochum] is essential if one wants to
experience the true 'feel' of Bruckner." -The Gramophone PONCHIELLI: La Gioconda
Renata Tebaldi, Carlo Bergonzi, Robert
Merrill. et al.; Chorus and Orchestra of
Accademia di Santa Cecilia, Lamberto
Gardelli, cond.

For a feature review of this recording,

see page 75.

PROKOFIEV: Concerto for Piano

and Orchestra, No. 3, in C, Op. 26
f Ravel: Concerto for Piano and Or-
An II- record boxed set. chestra, in G
with illustrated brochure.
SKL 929/39
Martha Argerich, piano; Berlin Philhar-
monic Orchestra, Claudio Abbado, cond.

' m mophciz
DGG Records are distributed by MGM Records, a division of Metro- Goldwyn -Mayer Inc.
Free on request! The new illustrated DGG /Archive catalog. Write MGM Records,
$5.79 (stereo only).

Both of these performances are winners

in the modern warhorse concerto sweep-
stakes. DGG has done well to assign the
present doubles to two of the ablest
Classical Division, 1350 Ave. of the Americas, New York, N.Y. 10019. young jockeys on the musical track!
Argerich can manage just about any-
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ment-and usually, just a little more. In
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here's why the experts agree

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Harbor, Michigan 49022. Prices & specifications subject to change without notice. HF -213


MARCH 1968 95

the Prokofiev this player's demonlike direction, keeping every one of the or- version offered here, actually follows
tempos quite took my breath away, but chestral strands taut. His classical sense the Sixth Symohony and precedes the
also present in her playing are a fanciful of balance and his crackling, incisive Seventh in chronological order. The
poetry and a ravishing, unpercussive tone rhythmic control are particular assets in 1930 version was composed for the
quality which conveys the peaches -and- the Ravel. As a further merit of this disc fifieth anniversary of the Boston Sym-
cream as well as the caustic irony of this the sound is remarkably clean, spacious, phony Orchestra apparently in some
music. Indeed, Argerich's fleet plasticity and. I might add, happily free from haste -much of its thematic material
could be called "Hofmannesque," though artifice. H.G. was derived with minimum symphonic
its untrammeled fluency is completely un- treatment from the 1928 ballet score The
tinged by the cocktail -music glibness Prodigal Son -and the composer un-
which occasionally tainted that master's PROKOFIEV: Symphony No. 4, in C, doubtedly felt revision was necessary.
work. A similar freshness and finish are Op. 47/112 (1947 version) Despite an extensively reworked score,
brought to the Ravel by Miss Argerich. however, the 1947 Fourth cannot be
Few technicians can match her for sheer L' Moscow State Radio Symphony Orches- judged a complete success. even in this
accuracy, though the exactitude of her tra, Gennady Rozhdestvensky cond. superb recording. The limited materials
technique never dampens the joyous im- MELODIYA /ANGEL SR 40040, $5.79 of the terminal movements, even though
pulsiveness of her music making. (stereo only). supplemented by new ideas. emerge as
Abbado seconds his soloist's efforts rather arid and scholastic when expanded

with some remarkably poised podium Prokofiev's Fourth Symphony, in the symphonically beyond the 1930 scale.
Rozhdestvensky approaches the Fourth
with an affectionate attention to detail
:.. and with an insight into the lyric possi-

Expect the unusual bilities of the score. His balance of inner

and leading voices does better justice

from Westminster to Prokofiev's texture than Ormandy's

heavy -handed treatment on Columbia
and achieves a softer effect in the mas-

the pacemaker in classical music sive blocks of harmony in the full tutti.
While he finds greater variety in the
two outer movements, he stresses the
lyric and dancelike quality of the two
middle ones strongly. And in Prokofiev's
TERESA STICH -RANDALL FAVORITE ARIAS rather heavy marchlike passages, he
Gounod: Faust; Charpentier: Louise ; Delibes : Lakme ; Beethoven: avoids the coarseness that other conduc-
"Ah Perfido !" Weber : Der Freischütz; R. Strauss : Ariadne auf Naxos. tors mistake for Prokofiev's heroic
Vienna Radio Orchestra & ViennaVolksopern Orchestra, Brian Priest - style. The Moscow State Radio Sym-
man conducting. WST -17140 phony Orchestra by no means matches
the Philadelphia Orchestra sound. either
MAUREEN FORRESTER A CHARM OF LULLABIES in over -all quality or in solo proficiency:
the brass, indeed. often borders on the
21 songs sung in English, French, German, Israeli, Italian,Portuguese, ugly. But the spaciousness of the re-
Russian, Spanish and featuring Benjamin Britten's Song Cycle "A cording and the warmer interpretative
Charm of Lullabies ". John Newmark, piano. WST -17137 approach create a more attractive
ambience. May we hope that Rozhdest-
THE ORGANS OF THE NATIONAL SHRINE, vensky will soon record for Melodiya/
WASHINGTON, D. C. Angel more Prokofiev symphonies, in-
Maurice Duruflé & Marie-Madeleine Duruflé-Chevalier perform works cluding. for comparison, the 1930 ver-
Op. 29 -See Scriabin: Poem of
MOZART: PIANO SONATAS, K.330, K.333, K.396. Ecstasy, Op. 54 (Angel edition).
VIENNA RADIO ORCHESTRA, ROBERT RUDOLF conducting; RAVEL: Concerto for Piano and Or-
KURT RAPF, harpsichord. chestra, in G -See Prokofiev: Con-
Symphony No. 63 in C Major "La Roxolane ", First & Second Versions. certo for Piano and Orchestra,
Symphony No. B in B Flat Major "Parthia ". Overture in D Major. WST -17141 No. 3, in C, Op. 26.

BEETHOVEN: STRING QUARTETS, Op. 74 & Op. 95. SATIE: Piano Music, Vol. 2
MUSIC GUILD La belle excentrique; Descriptions auto-
matiques; Véritables préludes flasques
MESSIAEN: QUARTUOR POUR LA FIN DU TEMPS for Violin, Clarinet, (pour un chien); Vieux sequins et vieilles
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$5.79 (stereo only).
HUGUETTE FERNANDEZ, violin ; PAILLARD CHAMBER ORCHESTRA: In an age of absurdities, when the ri-
JEAN -FRANCOIS PAILLARD, cond. MS -148 diculous has become both commonplace
and accepted, Erik Satie is rapidly as-
iff.fltr suming a position among the most im-
` /Peom/ndtt2 RECORDS n¡!!ld RECORDS portant composers of the first half of
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MARCH 1968 97

The average embarrassed non - technical
music -loving layman's clip-and -save

Does that shiny new tape recorder you got for

a gift have you buffaloed? Do you panic Tricky Test Question.
at the terms like acetate tapes, Mylar tapes, Q: How do you get longer playing time per
tempered Mylar tapes, standard -play tapes, reel of tape?
longer- recording tapes, double -length tapes,
A: You can do it in either of two ways. (1) At
triple -time tapes, low -print tapes, low-noise slow speed. The tape plays longer but sounc
tapes, and inches -per- second? Here's how to fidelity is reduced. (2) On thin tape. You get-
stop trembling and start taping. A complete more footage per reel but it costs
course in four easy, step -by -step lessons... proportionately more. (To put it another wat
plus a clearly marked paragraph of the same recording job can cost you a dime
advertising from the makers of Audiotape. or a dollar, depending on the method you
Lesson 3. select. If you're clear in that, you've earned
Lesson 1. your diploma.)

The Basic Question - Which Speed to Record At.

Acetate or Mylar Base? (IN MINUTES)

When you record something, you are TAPE 1200 1800 2400 3600 Post -Graduate Course.
magnetizing microscopic particles of iron Experienced tape recordists, with ears and
1'/e 128 192 256 384 equipment that are ultra-sensitive, can
oxide. If you don't know what iron oxide is,
don't worry. Just bear in mind that the 33'' 64 96 128 192 sometimes hear "echoes" caused by
particles have to be attached to something or 7t/z 32 48 64 96
"print- through." Think of it as a leakage of
they will blow away, so they are coated onto sound from layer to layer when very thin tap(
15 16 24 32 48
plastic tape. This base tape can be either is wound on the reel. When you achieve that
acetate or Mylar. Choice of base does not kind of expertise, you'll want special
Your tape recorder probably allows you to
affect fidelity of sound, so why a choice? "low- print" coatings...as well as "low- noise"
record at several different speeds (you, by
To save you money and trouble. the way, are a recordist; only your machine is
coatings which eliminate the barely
Acetate gives you economy. It's not as rugged a recorder). What's the reason for this
perceptible tape -hiss that only the most
expensive amplifiers can pick up anyway.
as Mylar, but professional recording studios smorgasbord of speeds? The faster the speed,
prefer it and use it almost exclusively. the higher the fidelity; the slower the speed,
You may prefer it too. the more playing time per foot and per dollar. Advertising Paragraph.
Mylar* gives you mileage. It survives for years 15 ips (inches -per- second). Commercial Now that you feel like an expert, you'll want
even in deserts and jungles (if you're taping recording companies use this speed when the brand of tape that's used by experts
tribal chants, you'll want Mylar). Mylar they tape your favorite performer for later because it's made by experts. Its name is
tapes also can be made exceedingly thin, transfer to records. Forget it. Audiotape. It's made by the people who supp
which means a reel can hold more feet for 71/2 ips is what you need for really good hi -fi tape for recording studios, corporate
a longer, uninterrupted program. music at home, and for the clearest computers, Cape Kennedy countdowns and
'Tempering' overcomes Mylar's tendency to reproduction of speech (foreign -language automobile stereo cartridges. It's made in th
stretch under stress, and is used for the homework, sound -tracks for home movies, full range of acetateMylartemperedMylar
thinnest, most expensive tapes (the next cocktail -party capers). An 1800 -foot reel will standardplaylongerrecordingdoublelength
lesson takes you painlessly through thick play for 45 minutes -the length of a tripletimelowprintlownoise. It's made
and thin). 'DuPont's reg.stered trade mark for its polyester film. long -play record. better. Ask anybody who knows. They'll tell
33/4 ips is fine for background music and for you to ask for Audiotape.
most speech applications- dictating to your
Lesson 2. secretary and recording baby's first words. An Hewro
W4Good How To Make Good Tape Recordings.
Standard -Play, Longer- Recording, 1800 -foot reel will play for an hour and a half. ,ax
150 pages packed with easy -to- understand