Bad Sound

GOOD SOUND
vs.
BAD SOUND
TRICKS OF TH
AMPLIFIER TRAD
PARASOUND'S
3 -CHANNEL
MUSCLE AMP
MA RA
DECODE
SPEAKERS <-FROM
EOSONE, PARADIGM,
& DIGITAL PHASE
A Single Standard
PREAMPLIFIERS
-
-.ups
.1
LS10
n m
1.11~1~1 LS5MKf1I
(M41110
LS22
DIGITAL
D300
II= Willi11111111.
DAC3MKII
D400MKI1
of Excellence,
MULTICHANNEL
More than two decades of providing parts and service support
experience as an American for every model we've ever manu-
manufacturer of precision hi-fi factured, reaching back more than
equipment have taught us a few a quarter -century.
valuable lessons. Like how to In short, we've learned how to keep
improve the playback resolution of an eye on the future without losing
recorded music without sacrificing our grip on the past. SDP1
musicality, convenience or afford-
ability. How to design and engineer What really sets Audio
products that fit the widely varying Research apart is more than a
system needs-and budgets-of versatile array of quality prod-
music lovers around the globe. And ucts. It is a philosophy com-
how to continue mitted to High Definition' in
sound, service and product
support. So that you can
enjoy pride of ownership SDAI
and peace of mind for as
long as you own an Audio
Research product.
To discover more about
Audio Research, visit one of
PH3
our authorized retailers soon.
VT60
audio research
HIGH DEFINITIO N® VT150SE
5740 Green Circle Drive/Minnetonka Minnesota 55343-4424
PHONE: 612-939-0600 FAX: 612-939-0604
CIRCLE NO. 4 ON READER SERVICE CARD
You Need More
Than Just Cable.
Ary caole can transmit electrical sigrals from one component to anctier, or frcm an amplifier to the speakers.
3t.t. transmitting music takes more -han just cable. The stapes of musical waveforms are in -red fly complex
and cri-ical signal timings are measu-ed in microseconds. Ordinary .nterconneoting cables o- speaker cables
cannot faithfu'Iv preserve these complex musical relationsh ps ac-oss the full musical spectrum.
That's why MI àunder I terally inven-ed high-performance nterconnects and speaker cab es. MET I -olds seven
basic patents in -igh-performance Gaels and interface des gn. These fundarrental technology patents mean ttat
cnly MIT can brine you interconnects and speake- cables scientifically designed to eliminate tl-e nor- inearities
anc distortions causea by other cables, no matter whether the cthers cost tens cf dollars or thcusands.
f you choose you- system compone'-ts with care, listeninc for the saibtlettes cf music that disting..lish great
ccmpcnents, then you need MITerm nator interconnects and speaKer cables. The hard science behird
fJTe-mirators revaals the lull musical pctential of you' high fdelity stereo system. Until you use. 1,1IT_.rninators
you'll newer know i'cw gcod your system can sound.
Patented MIT Terminator Network
patented Terminator tretvccrks are tie heart of MIT's son c superiority. These unique nevaorks erab
Ml erninato- interconnects anc speaKercables to deliver betbr bass, clearer midrange and smoother
tehle Gourd, arrf to enhance the imags, ffcus and soundstagin-3 of every recordir g you listen -o.
lilT'e'unaarrertal technology p<trnts ar? your assurance that only MIT interconnects
aid epealw,r cables can t-ansni- all cf tte sound quality that your program soirees
and s3eo system components ire atle b deliver.
4
PARADIGM' REFERENCE
THE ULTIMATE IN HIGH.E(JD PERCORMANCE FOR MUSIC AYD HOME THEATER^'
Fr more informanon mu, +mur means, Authorized Paradigm R.1 rroer Dealer or tarot.
Stud»/20 Studio/60 Studio/80 Studh1100 Espvntr/BP ErGgr/BP LCR-450 CC -450 ADP -450 Aód oSerram. MPO Bo< 1410. Niagara Falb. NY /4301 (905) 6310180
BePolar BIPJLar Líf/Cmtn/Right CmtnC+anal Surround /, Canada. Pnadegm. 10' Raman Ed. '.Foodbrdgr. ON 1.4t 3P5 (905)850-M9
Paradigm home
theater speaker
NOVEMBER 1996 VOL. 80, NO. 11 system, page 76
THE EQUIPMENT AUTHORITY

l
Pass Labs Preamp
FE \TERF.
and Parasound PURE POWER: AMPLIFIER DESIGN
Three -Channel & SOUND QUALITY Tomlinson Holman 26
E(,)I \T PROFILES
PARASOUND HCA-2003
THREE -CHANNEL AMP Daniel Kumin 32
DIGITAL PHASE AP -2.1 SPEAKER D. B. Keele, Jr. 42
MARANTZ DP870 DOLBY DIGITAL
SURROUND DECODER Edward J. Foster 52
PASS LABORATORIES ALEPH-P PREAMP Bascom H. King 60
Al- RICI.1
EOSONE MILLENNIUM
HOME THEATER SPEAKER SYSTEM Anthony Cordesman 70
PARADIGM MICRO/SB-90
HOME THEATER SPEAKER SYSTEM Corey Greenberg 76
1)IUI CTOI:Y 1)1)ENI)A

I) I'. I' \ R T \I E \ ri S ANALOG INTERCONNECTS 82
FAST FORE -WORD Michael Riggs 8 DIGITAL INTERCONNECTS 94
LETTERS 10 Biró digital
WHAT'S NEW 121'1..A1'13A(:k interface,
14 KIMBER KABLE SPEAKER CABLES,
page 120
AUDIOCLINIC Joseph Giovanelli
SPECTRUM Ivan Berger 18 BIRO t2c DIGITAL INTERFACE,
MONDO AUDIO Ken Kessler 22 AND CASTLE ACOUSTICS ISIS
SPEAKER 120
11V(:011I)1NGS
CLASSICAL 98 Ma -anti
104 surround dec
ROCK/POP
page 52
JAZZ & BLUES 108
Cover Photographer: Bill Kouirinis Studio
Cover Equipment: Pass Laboratories Aleph-P preamp and
Parasound HCA-2003 three -channel amp
Audio Publishing, Editorial, and Advertising Offices,

1633 Broadway, New York, N.Y. 10019
Editorial E -Mail: audiomag@aol.com
Audit
Bureau
Subscription Inquiries:
Phone, 303/604-1464; fax, 303/604-7455
FAST FORE -WORD
AUDIO
EDITOR -IN -CHIEF
Michael Riggs
ART DIRECTOR
Cathy Cacchione
ast month's Annual Equipment a reasonable number of software titles ASSOCIATE ART DIRECTOR
Linda Zerella
Directory proved an available to support the introduction. TECHNICAL EDITOR SENIOR EDITOR
l
It will be a relatively "soft" launch Ivan Berger Alan Lofjt
embarrassment of riches. Although MANAGING EDITOR
compared to what was originally Kay Blumenthal
we had anticipated some increase
in size over last year, based mainly anticipated, meaning that it won't reach ASSOCIATE MANAGING EDITORS
Douglas Hyde, Scott Van Camp
on the addition of cables to the full thrust until early next year, but at ASSISTANT EDITOR/MUSIC
least the waiting will be over. Keep your Michael Bieber
mix, we were not quite prepared for ASSISTANT EDITOR/DIRECTORY
fingers crossed. Gerald F. McCarthy
the magnitude of that jump. Not only
Meanwhile, the floodgates are about EDITOR -AT -LARGE
did the cables section turn out to be Corey Greenberg
larger than expected, but there was a net to open on processors, preamps, and SENIOR CONTRIBUTING EDITORS
Edward J. Foster, D. B. Keele, Jr., Edward M. Long
increase in the size of the rest of the receivers incorporating Dolby Digital
Directory, as well. The upshot is that part (AC -3) decoding, which should dovetail CONTRIBUTING EDITORS/ARTISTS
Edward Tatnall Canby, David L. Clark, Anthony H. Cordesman,
of the cables section (analog and digital nicely with the arrival of DVD. The main Ted Costa, John Diliberto, Frank Driggs, John Eargle,
D. W. Fostle, John Gatski, Joseph Giovanelli, Dawn Joniec,
interconnects) has spilled over into this reason is that the Motorola 56009 Ken Kessler, Bascom H. King, Daniel Kumin, Robert Long,
Paul Moor, Jon W. Poses, Jon R. Sank, John Sunier,
issue. Listings start on page 82. If you implementation of AC -3 decoding has Michael Tearson, Jon & Sally Tiven, Michael Wright
need addresses or phone numbers for finally received Dolby's blessing. Quite V.P./GROUP PUBLISHER
Tony Catalano 212/767-6061
any of the manufacturers, you'll find a few manufacturers seem to prefer V.P./ASSOCIATE PUBLISHER
them at the end of the main Directory the Motorola DSP chip to the Zoran Scott Constantine 212/767-6346
in the October issue. processor that up until now has been GENERAL MANAGER Greg Roperti
BUSINESS MANAGER Jonathan J. Bigham
Speaking of equipment, I just returned the only game in town. What I've heard PRODUCTION DIRECTOR Patti Burns
PRODUCTION MANAGER Dana L. Rubin
from the CEDIA (Custom Electronic is that the Zoran chip, though perfectly PROMOTION COORDINATOR Adele Ferraioli-Kalter
RESEARCH MANAGER Dru Ann Love
Design and Installation Association) capable, is somewhat more finicky OFFICE MANAGER Aline J. Pulley
OPERATIONS MANAGER Sylvia Correa
convention in Dallas. As the name and less flexible than the Motorola. AD COORDINATOR Linda Neuweiler
implies, this event is oriented primarily (Contrary to persistent hype, it's not ADVERTISING
REGIONAL V.P./AD DIRECTOR, EAST COAST
to the A/V custom -installation business, a question of performance.) In any event, Charles L. P. Watson 212/767-6038
REGIONAL ACCOUNT MANAGER
but over the last few years it has become expect to see-and hear-a lot more Christine B. Forhez 212/767-6025
ACCOUNT EXECUTIVE Penry Price 212/767-6077
an increasingly important showcase Dolby Digital in the coming year. MIDWEST ADVERTISING MANAGER
Jerry Stoeckigt 312/923-4804
for manufacturers of all types of audio One last trend: I saw an unusual REGIONAL V.P./AD DIRECTOR, WEST COAST
Bob Meth 213/954-4831
and video gear. number of intriguing small speakers WESTERN MANAGER Paula Mayeri 213/954-4830
NATIONAL RECORD LABEL SALES
Not surprisingly, the single biggest from companies like Energy and PSB. MAG Inc. Mitch Herskowitz 212/490-1715
Cara B. Bernstein 212/490-2079
topic of conversation was DVD (which This is a category that really has been CLASSIFIED ADVERTISING 800/445-6066
was being demonstrated continuously emancipated by the growing reliance on

at the Toshiba booth). There have been subwoofers to handle deep bass. Expect 1111.111,1 -
'Ines
intensifying, off-the-record, "you didn't more on some of these diminutive
CHAIRMAN Daniel Filipacchi
hear it from me" rumblings in recent beauties in future issues. PRESIDENT, CEO, AND COO David J. Pecker
EXEC. V.P. AND EDITORIAL DIRECTOR
weeks from various interested parties Jean-Louis Ginibre
PRES., HACHETTE FILIPACCHI NEW MEDIA
that an agreement between hardware Paul De Benedictis
SR. V.P./DIR., CORP. SALES Nicholas I. Matarazzo
vendors and the movie studios on copy SR. V.P./GLOBAL ADV. Paul DuCharme
SR. V.P./CFO & TREASURER John T. O'Connor
protection and other outstanding issues SR. V.P./MFG. & DISTRIBUTION
Anthony R. Romano
is all but a done deal. I'm writing this in V.P., GENERAL COUNSEL Catherine Flickinger
V.P., CIRCULATION David W. Leckey
the middle of September, which means V.P., RESEARCH & MKTG. SERVICES Susan Smollens
V.P., COMMUNICATIONS & SPECIAL PROJECTS
that if these rumors are true, DVD might Keith Estabrook
V.P., MAGAZINE DEVELOPMENT Marcia Rubin
launch as early as November (Panasonic V.P., DIR., CREATIVE SERVICES, CORP. SALES
Lynn Chaiken
already has announced that it will begin V.P., FINANCIAL OPERATIONS Margaret Carroll
CREATIVE PRODUCTION DIR., GLOBAL MKTG.
selling players in Japan then), and with Jean Pierre Labatut
SR. V.P./CORP. SALES, DETROIT H. E. (Bud) Allen
AUDIO/NOVEMBER 1996
8
LEGATO LI nK COnVERSIOn S,
TWIn D/A COIVERTERS
AID A STABLE PLATTER flECHAflISf'i,
WE REALÍZED OIE THInG WAS fiIsSInG.
THE RECORD BUTTOI.
0
' ay OOtlt) -
What lies beforeyou is the most refined, The Stable Plater le,hax,sm-another 5stoundini
,
illost sophisticated and most uncompro- advancement-helps tc. supo,ess reson.anc and vibrat_on
mising idea to be thought of inyears, a CD of the disc. This ensures more accurat, p.¿-yback and
Slayer that records CDs, the Elite PDR-99. recordah iliy.
A CD recorder engineered not only to record CDs, And yet, with all theseadvancements, the nest important
Dill to play them hack with the highest standards possible. feature tLe Elite PDR-) CD recorder offers is tie ability
A CD player that has Legato Link Conversion S. which to recorcyour cherislerl music to the merible. duraJle
,ffectively rc creates the music as it was original con- and long-lasting format JCL..
eived by the artist. The PDR-99 also has the extraordinary For the Elite dealer neares- Lii;ELITE
ability to record from any source. BY PIO EER
you, call -800-746-C33Z
.1995 Pioneer Ilecrn mies !USA) Inc., lung Bach, G1.
also true that some things take a little
LETTERS training before you can hear them easily.
That is why I suggested the use of ear-
phones and some patience. I agree that
even -order distortion (second, fourth, etc.)
is asymmetrical and will produce a differ-
Do It Blind clusions as bad for business, an embarrass- ent sound for positive and negative polari-
Dear Editor: ing family secret that one doesn't talk ty. However, I have found that listeners
I salute you for your new policy of pub- about, or, as a last resort, something to be have more difficulty hearing the effects of
lishing full-length technical debates in your denied. I trust that Audio does not share polarity reversal at loud levels (above 90 dB
"Letters" section; it adds tremendously to that view. SPL) than at lower levels. This is most like-
the appeal of Audio. I was dismayed, how- Peter Aczel ly because of distortion in the ear. With a
ever, by the absence of something very basic Editor and Publisher stereo presentation over loudspeakers,
in the two exchanges of letters published in The Audio Critic many people hear a change in the depth of
the August issue. Neither the debate be- Quakertown, Pa. the image-a center vocal being forward or
tween Tony Federici of Mondial Designs recessed, depending on the polarity. I hope
and your reviewer Ed Foster nor that be- Polarity Pointers this clarifies things a little.-E.M.L.
tween Keith Johnson of Reference Record- Dear Editor:
ings and contributing editor D. W. Fostle Edward M. Long's interesting article on The Plot Thickens
makes the slightest reference to double- polarity reversal ("Upside Down Sound," Dear Editor:
blind listening tests at matched levels. The July) could have been more complete by I applaud Edward M. Long's decision, in
issue in both controversies is sound quali- giving readers some important background his review of the Sonance DL1200 sub -
ty-the alleged "brightness" of the Aragon information for a better perspective on this woofer (Audio, September) to show the
8008ST amplifier or the alleged superiority controversial subject. New readers of Audio loudspeaker's phase response using a lin-
of HDCD sound to the sound of conven- might not know that it is easy to fool your- ear frequency plot. This enables you to
tionally recorded CDs-so why is the obvi- self into thinking that you "hear" ephemer- deduce group delay directly from the slope
ous decision -making methodology treated al things like polarity effects, when it is of the phase plot. Group delay equals the
by these practitioners as if it didn't exist? often just the power of suggestion. I have change in phase divided by the change in
I am not referring exclusively to A/B/X been convinced that I heard polarity when frequency (actually, -AP/AF). Unless the
comparisons. That is probably the best pro- I could see the reversing switch positions, frequency axis is linear, you can't see or
tocol for listening tests, the one used in the but when I had another person operate the calculate it from the phase plot. Group
laboratory of The Audio Critic, but others switch, out of my view, I couldn't tell delay that is constant with frequency is a
are also valid, such as the same/different which position sounded better. Of course, desirable characteristic for best transient
protocol, for example. There are only two some audio effects can still be heard, even response.
unbreakable rules: level matching (within in blind tests, but you can't know whether Also, you can examine the phase inter-
±0.1 dB) and no peeking (at the name- it is truly an audible effect or whether you cept. This is where a line drawn tangent to
plates, that is, or any other clue). Everything are simply fooling yourself unless you do a the slope of the phase plot at any frequen-
else-the duration, location, and pacing of blind comparison. cy, when extended, intercepts the phase
the test, the music system used, the pro- Also, the presence of about 1% second - axis at zero frequency. It is desirable for the
gram material, the switching mechanism, harmonic distortion in the loudspeakers phase intercept to be 0° or 180n° (where
the speed of switching, and so on-is nego- (quite common at high volume!) can artifi- "n" is any integer). The worst value of
tiable. All objections-on the Internet or in cially make polarity reversal audible. The phase intercept is 90n°.
the subjective audiophile press-to this more distortion, the more audible the As D. B. Keele explained in his review of
proven methodology have consisted of spe- change. But in the absence of such distor- the Optimus Pro LX5 loudspeaker (Audio,
cious attacks on the negotiables. No one has tion, polarity reversal has always been com- April 1995), these factors help describe the
been able to explain what superior insights pletely inaudible on stereo music played over transient response of a loudspeaker. Ever
are to be gained from mismatching the lev- speakers, which is what most of us listen to. since Audio's loudspeaker reviews began
els or peeking at the nameplates. I have not- At least, I have never seen a published report reporting phase response, I have had to
ed numerous instances of false conclusions of a blind test of the audibility of polarity manually replot the phase response to
resulting from levels mismatched by as little inversion that demonstrated otherwise. determine these parameters-a tedious
as 0.3 to 0.4 dB. That kind of level disparity Dan Shanefield and somewhat inaccurate procedure.
is experienced as a difference in quality Piscataway, N.J. May I also suggest extending the fre-
rather than loudness. quency axis down to 0 Hz to make the
A significant segment of the high -end Author's Reply: I am aware that it is easy to phase intercept easier to see.
audio commmunity regards the double- fool yourself into believing that you can John Sehring
blind methodology and its objective con- hear things that are not actually there. It is via AOL
AUDIO/NOVEMBER 1996
10
f
MovieWorics The Surround Speakers.
For the rear channel, we chose an acoustically
$1,299 matched dipole radiator speaker. Each speaker has
two high -frequency drivers - one facing forward,
1100 Bonus one to the rear. They send out<1f-phase signals to the
front and rear of the room, where they reflect off walls,
140 Watt, 12"
Dollars, Powered Subwoofer "sumlunding" the listener. We feel dipole speakers are
ideal for home theater - including Dolby Pro logic and
y 3
and Dolby Digital (AC3) systems.
"The Cambridge SoundWorks dipole

Dipole Radiator surround speaker sounded
Surround Speakers absolutely great. These will st on
í -
my surround speaker shelves a
Shielded, TWo-W long time."
Main Speakers Home Theater magazine -3/96
glirk The Powered Subwoofer.

For bass reproduction,
In, we chit. se an amazing
powered subwoxlfer. It uses a 12" woofer with a 140 -watt
amplifier for outstanding bass in music and soundtracks.
Sound & Image says it's, "a winner, pounding out first-
rate 108 SPI....a knockout"
1s.
Shielded, Low -Profile
Center Speaker
$100 Bonus Dollars &
Satisfaction Guaranteed.
At $1,299, we think.11otdeWor(s is the ideal home
theater sound system for people who aren't willing to
compromise on performance. As an introductory offer,
MovieWorks comes with $100 Bonus Dollars for use
towards the purchase of anything in our catalog!'
Try MovieWorks in your own home, with your

favorite music and movies. If within 30 days you
Introducing MovieWorks: decide you don't love it, send it hack for a full
refund.
No -Compromise Home "Cambrt a SoundWorks' Powered
Theater Surround Sound Subwoo er was clearly the best

subwoofer of the pack... it blew them
away on dynamics."
Made Simple. Stereo Review -9/96
CA In
dU>4 must be used by 1129,9u.
For many, many people, MovieWorks is the Main Speakers. Scx1'
pefect home theater speaker system. It delivers The left and right speakers in.tlorieWorks use a
incredible no -compromise performance that doesn't
require disclaimers or apologies. We don't know of
any other system in its price range that approaches its
two-way, shielded design. They are acoustically similar
:0 the satellite speakers in our acclaimed Ensemble'
speaker system, which Audio magazine called "the
Free
pe-formance.
What Is MovieWorks?
MovieWorks is a set of carefully matched speakers -
best value in the world."
The Center Speaker.

The center speaker is a wide -dispersion, high -
Catalog
induding a powered subwo x lfer - for Dolby Pro Logic' or output shielded design with two 3 1/2" midrange To Order, For A Free Catalog, Or For
Do iby Digital' (AC3) surround sound systems. Each drivers and a tweeter identical to that in the main The Nearest Store Location, Call
speaker is designed to accurately reproduce music and speakers. Its low profile makes it ideal for use above
movie soundtracks with outstanding realism. or below a TV monitor.
1 -800 -FOR HIFI (1-800-307-4434)
HOW DOES MovieWorks COMDARE TO THE COMPETITION?

CAMBRIDGE
DIPOLE
SURROUND WOOFER SUBWOOFER
SOUNDWORKS
SPEAKER? SIZE POWER PRICE Critically Acclaimed. Factory -Direct.
CAMBRIDGE SOUNDWORKS YES 12" 140 WATTS $1,299t 311 Needham Street, Suite 104, Newton, MA 02164
Tel: t-800-367-4434 Fax: 617-332-9229
FOLK (M5, M311, CS250S, PSW300) NO 10" 125 WATTS $1,499 Canada: 1.800-525-4434 www.hiri.com
Outside U.S. or Canada: 617-332-5936
lase idmbrNTe SoundWorks OCamtn dce Se'undWorks. Ensemble and The Surround are
13i<JSTON ACOUSTICS (Micro90, 90X, 90C) NO 8" 75 WATTS $1,399 ü -rko 'n. NJUeSlork ,o a trademark al Cambridge
.. arc registered nademarb nl a @y
U. S. oiler ends I II30-,6
IQIPSCH (KSS3, KSS2, KSS1) NO 6.5" 50 WATTS $1,199
VISA
t3rice includes $100 Bonus Dollars good towards any prodict in the Cambridge SoundWorks catalog.

WHAT'S NEW
Infinity
Speaker
Planar drivers (one
EMIM midrange and
two EMIT tweeters)
handle the frequencies
above 160 Hz in the
Infinity Sigma speaker.
A 66 -inch mid -bass
coupler and 12 -inch woofer, Frequency response
both with injection -molded is rated as 30 Hz to
graphite cones, handle 42 kHz, ±2 dB; rated
the lower frequencies. sensitivity is 87 dB SPL
The enclosure, which has for a 2.83 -volt input; rated
The Petrel's three drivers is mounted externally,
gently curved side wings to impedance is 4 ohms.
are housed in a first -order to reduce microphonic
reduce diffraction, measures Price: $10,000 per pair.
transmission -line enclosure effects. Available finishes
58/., x 18z. x 16/., inches. For literature, circle No. 102
with an elastically are rosewood, ash, and
decoupled baffle. Its grille ebony veneer. Price: $700.
is frameless. The crossover For literature, circle No. 100
Kinetic Audio
Speaker
Drivers in the Labyrinth four-way
system are diagonally staggered
to prevent interference between
the wavefronts from the woofer
and mid/woofer, and the speakers
are supplied in mirror -imaged pairs.
The 12 -inch woofer and 11/6 -inch
dome tweeter use variations on
transmission -line enclosures. Baffle
edges are chamfered to reduce
KLIPSCH SPEAKERS
Horn loading, rare in satellite speakers,
diffraction; all level controls
is common at Klipsch. The Rebel Series satellites
and fuse holders are at the
have horn -loaded tweeters mounted within their
front, for easy access. Rated woofer horns; sensitivity of the satellite is 93 dB
frequency response is 18 Hz to SPL at 1 meter for 1 watt. (A matching center
18 kHz, ±1.5 dB (±2.5 dB from 14 Hz speaker is available.) The powered sub has
to 22 kHz), and rated sensitivity is a 50 -watt high -current amplifier with full
91 dB. Standard finishes are oak or crossover functions and automatic turn -on
walnut; rosewood (shown) available and shutoff. The Rebel KSS-3 sub/sat system
at extra cost. Price: $6,500 per pair; has a rated frequency response
bases, $250 per pair.
of 40 Hz to 20 kHz, ±3 dB. Price: $749.
For literature, circle No. 101
AUDIO/NOVEMBER 1996
12
You
Paid
Good
Money
For m ir ; AlI! A per-.
m.á95 1B 1 o aE.3 s;rk]-7 e7'al

Your Bá12-x'_J] sweet higY.
tiyiéd bas
árcic _date rnidrange, añ
res¡..rse.Qk,jSí: -CT+1
t ltriR COY- 1 I$áf't..x.
TeCs43
93Ìwcz miG
«Woczasas~ fba
rctIMI
Qotzl1:1
cdt39
System. Sn'tx
@,49ra7111m Wl 01, higa 1996
alz®
alaG@ ax11 ~twos It
tiwesalzak
59g.gt ~In m» Why
-- ~11~
ngcw pccg 1g5~ Screw
ce~- 2111k- ~9 hese g.tys know
f
h,aS:]iRRLa.j,. 'p
It Up The quail of the
--
c013m3c70d's
11119IWOG~
111518~D ~an (.rts QéY) R
~my/ flEE@ Hyper -B anted]
rete a5E;Qteri
With tYeir ovir
Componvits óf
1411 11.-113 U Wrrf
Lousy Baund.5c
n4179n
Cables?
Get Òf a I the irte i connectt
know -.vol , riy top choir
Eso», Tec1"2ii serie
Law lee. B John cr1
0101 -FL." --
The Stem xlhiu; eS
Hon The
0
r
doto
3
rorangt:eeflza,, eoGaz
cTllgis t~ k. ru,
wgitbemalg aºrir ,arz
Best.
~r--
Rul ~kw,
Tit@ 92:u a+r áÜºi
~Ill 9~
Carr ' -¡n,. e it . o,
Flee u1 Scr,.n;íl,
/
ESOTERICAUDIO USa
Group Of Companies
44 Pearl Pentecost Road
Winder. Georgia 30680
Esoteric Audio USA and
TIFF are -registered trademarks
(770) 867-6300
of Esoteric Audio USA, inc. (770) 867-2713 fax
CIRCLE NO. 55 ON FEADER SERVICE CARO
Power in and of itself does not tell us
AUDIO CLINIC A anything about the sound of the am-
JOSEPH GIOVANELLI plifier. Making an amplifier or receiver
more powerful does not enhance its sound
until you reach a level where its extra power
is demanded. There's no reason a 100 -watt
Basic Terms (mA), which measure current, and voltages amp should sound any better than a 10-
QThere is much I don't know about elec- measured in volts (V), millivolts (mV), and watter when both are actually delivering
tronics. Would you explain the mean- microvolts (µV). These and other, less com- only 7 watts.
ing of MHz, kHz and ohms?-Richard mon, units are all named after early scien- An amplifier's sound is affected by a num-
Zachary, Winooski, Vt. tists, just as the ohm and the hertz are. ber of other factors that have nothing to do
ATo understand either kHz or MHz, with power. These include noise, distortion,
you must first understand Hz. Waves Tube Amps damping factor, and so on. The way an amp
(radio, sound, ocean, etc.) move in cycles, With Hot Power Transformers or receiver handles the complex load pre-
rising and falling before returning to their QI just obtained some 1955 tube power sented by your speaker is a factor, too.
starting point. The higher a wave's frequen- amps whose power transformers get These factors can be affected by the qual-
cy, the more cycles it goes through per sec- very hot (I've measured temperatures as high ity of components used, the design and
ond. But rather than use those English as 140° F). As far as I can tell, the amplifiers construction of the power supply, the
words or their local equivalents, the world are not drawing excessive current, even amount and type of feedback, the class of
refers to cycles per second as "hertz," abbre- though they're still using their original filter operation, and other design choices. Fur-
viated "Hz"; this is in honor of Heinrich capacitors. The labels on these amplifiers say ther, your perceptions of an amplifier's or
Hertz, a 19th -century physicist who re- that they will operate safely at 50 Hz, which receiver's sound can be colored by your im-
searched the nature of radio waves. would make their transformers run even pressions of such other attributes as size,
Sound consists of air vibrations that oc- hotter! The power transformers in most design, finish, and reputation. Even if these
cur between about 20 and 20,000 times per modern amplifiers don't run nearly this hot. attributes don't actually enhance a compo-
second, the nominal limits of human hear- What do you think about all this?-Donald nent's sound, they may enhance your en-
ing. The frequency range of sound is there- Bisbee, Columbus, Ohio joyment of it.
fore 20 to 20,000 Hz. The latter is frequent- AI think that the transformers of most
ly abbreviated, however, by using the metric amps made in the '50s did run hot, Off -Speed Recordings?
prefix "kilo-," which means "times 1,000." but they were designed to take this heat. QOver many years of collecting, I have
So the upper limit of audible sound is about You say that the amplifiers are working discovered that thousands of recordings
20 kilohertz, or 20 kHz for short. properly. Make sure that those old filter (LPs, cassettes, and even CDs) play either
Radio waves, which are repeating electro- capacitors are not themselves running sharp or flat in relation to A = 440 Hz and
magnetic waves rather than air vibrations, warm. That would be a sign of leakage, that the running times I measure with a stop-
typically go up into the millions of hertz which would add to the current drawn watch are often different from the timings
and beyond. Thus, we use the prefix "mega" from the power transformer. If these amps listed in the recording's notes. Why?-Ken
(times 1 million), or "M" for short. An FM have bias adjustments (which they Smith, Hamilton, Ont., Canada
station at 88.3 MHz is therefore broadcast- probably do), be sure they're set properly AThe discrepancies in running times
ing at a frequency of 88,300,000 cycles per so that the output tubes don't draw too can have several causes. For one
second. (Actually, if it's FM, its frequency much current. You should consider thing, the total running time of a recording
will deviate by about 200 kHz on each side replacing the grid -coupling capacitors on will exceed the sum of the tracks' individual
of that figure.) the output stages of your amplifiers. If they running times because of the pauses be-
The ohm (named after Georg Ohm, an leak, the grids will be driven more positive tween tracks. But if the total running time is
even earlier physicist) is a measurement of than they should, again forcing the output stated and you measure a different total
electrical resistance, a property that opposes tubes to draw too much current. time, there is a speed discrepancy.
the flow of electric current and turns it into Many amplifiers of this vintage operate If the discrepancy is always the same
heat. Since "ohm" is a short word, it's usual- in Class A, which maximizes output -stage (e.g., every LP you time runs, say, 6% slow
ly spelled out, though sometimes symbolized linearity but minimizes efficiency. Such and every CD runs 2% fast), the problem
by the Greek letter omega (12). Thousands of amps draw full current at idle, which also
helps keeps the transformers hot. If you have a problem or question about audio,
ohms are called kilohms (ka), millions are
write to Mr. Joseph Giovanelli at AUDIO Maga-
called megohms (Me), and thousandths of zine, 1633 Broadway, New York, N.Y. 10019, or
an ohm are milliohms (mS2)-note the dis- High Quality, Low Power via e-mail at JOEGIO@delphi.com. All letters
tinction between the "M" (millions) and QWhy do some high -end amplifiers with are answered. In the event that your letter is cho-
sen by Mr. Giovanelli to appear in Audioclinic,
"m" (thousandths) prefixes! low advertised power ratings sound
please indicate if your name or address should
Other units you're likely to run into in much better than lower -end amps that adver- be withheld. Please enclose a stamped, self-ad-
audio are amperes (A) and milliamperes tise more power?-Name withheld dressed envelope.
AUDIO/NOVEMBER 1996
14
Every little bit
counts.
In our never ending quest for

Introducing with two transformers. One for
reproducing the fine quality of a
live performance, we took our award
winning and critically acclaimed
Adcom's the analog section and one for
the digital section, each housed on
separate circuit board assemblies
GCD-600 and made it a bit, actually
four bits, better. GCD-700 to eliminate EMI and RF interference.
By now you're probably asking
We added the latest Burr Brown yourself, "How good
20 -bit ladder -type D/A converter -
the same one used in our GDA-700
CD player. does it really sound?"
Let your ears be the
separate Digital -to -Analog converter. The result is judge. Visit your Adcom dealer for a
a level of sonic performance usually reserved for stand demonstration of this remarkable new
alone D/A converters and C/D transports. player. You'll discover that the new
But that's not all we did. To achieve the lowest GCD-700 sounds exceptional and is
levels of noise and distortion, our GCD-700's analog sensibly priced. What else would you
section features the same Class A amplifiers we use in expect from a component that is every
our top -of -the -line GFP-565 preamplifier. bit pure Adcom?
The GCD-700 also boasts a superior power supply
ADCOM details you can hear

11 Elkins Road, East Brunswick, NJ 08816 U.S.A. (908) 390-1130 Distributed in Canada by Pro Acoustics, Inc. Montréal, Quebec (514) 344-1226 © 1995 ADCOM

probably lies in your equipment. (Even We have been conditioned to think that cold, it will be flat. I have listened to a
quartz -lock speed controls don't guarantee standard concert pitch is based on an A of recording in which an orchestra and an or-
absolute speed accuracy.) 440 Hz. But pitch has varied (and still gan had the same pitch at the beginning of
If the discrepancies vary-some record- varies) from place to place, and there has the piece but were a quarter tone apart by
ings running slower than specified, some been a gradual rise in pitch for over a centu- its end, because the air around the orchestra
faster-mastering errors may be the cause. ry. Hence, old music, especially on "original had heated up more than the air around the
It could be that a tape made on one deck instrument" recordings, may be pitched organ!
was played back for mastering on a deck lower, for a more authentic sound. And
whose speed differed slightly or that a key many recordings may be pitched a little Surround Without Wiring
component, such as the turntable of the high, to sound brighter. (Many musicians Ql recently moved into a new home
record -cutting lathe, was running off speed. advocate using A = 442 Hz as a standard for whose layout and construction put
But in my years as a record -mastering engi- this reason.) large, perhaps even insurmountable,
neer, I and every colleague I knew took Even assuming the musicians used the difficulties in the way of wiring surround
great pains to prevent such errors. When I 440 -Hz standard, their pitch probably speakers. The house is on a slab, which
gave the client the total running time for a won't be correct unless they tune up with a eliminates the option of underfloor wiring
recording, including silences, I knew that he tuning fork just before recording-and un- (and complicates undercarpet wire runs).
would come up with precisely the same less that tuning fork is correct. (Someone The ceilings are 9 feet high, and the walls are
running time when he played it on properly once gave me a tuning fork that actually stuffed with insulation (it took the DSS
adjusted equipment. I have, however, heard rang at 442 Hz, not the 440 Hz stamped on installer three days to run one cable through
of a few cases where the original recording it. Had I used this fork in any of my live ses- one wall). The attic is a maze of beams,
was deliberately played a bit fast during sions, the overall pitch would have been joists, and more insulation. I've seen
mastering so it would not run too long-I sharp.) advertisements for wireless speakers;
even had to do it myself once, when a client The temperature of the concert hall also although such speakers seem intended for
insisted I fit his 61 -minute master onto a C- affects the pitch. The oboe is often used as a placement in other rooms, can't they be used
60 cassette. standard that other instruments are tuned for the surround channels? And how good
Pitch deviations from A = 440 Hz are not to match. If we tune to an oboe and the hall would wireless speakers be for surround? Can
necessarily related to speed discrepancies. is hot, the pitch will be sharp; if the hall is better speakers be substituted for those
Your dad thinks YOU

oughtta
GetA
yourbuddies TxxNE:you oughtta come
SO You
Your B rothert hinks yo 2ughtta

Come
ANYBODY EVER ASK YOU WHAT YOU WANT TO DO?

If you're mechanically inclined, the Air Force could be the perfect place for you. Where else could you learn about Tactical
Aircraft Maintenance, Aerospace Propulsion, and everything in between while earning a good salary and learning to
included in wireless systems? Because my recently been discontinued. The newer JBL DAT recorder through an old Advent mike
primary interest is music, I am not willing to WRKW-1000 system has a similar preamplifier. I hear noise if I turn the gain
make too many sacrifices in the name of transmitter, but its receivers and amps are up all the way, but even though this music is
surround sound (and my wife has a strong built into the speakers; again, however, this rather quiet and the ribbon mike's low out-
say on ugly installations).-Wayne B. system's speakers are not designed put requires high gain settings, I don't hear
Howard, Warner Robins, Ga. specifically for surround use. noise in playback.
ABefore you consider wireless systems, Your gain settings can also be a factor. If
consider running the surround - Mike and Mike-Preamp Noise the noise you hear originates after the mike
channel wiring along your walls' base QMy mike mixer's rated equivalent in- stages, you can usually cure it by running
molding. This can work in many put noise is -116 dBV. However, when the master gain lower and opening up the
installations. I connect mikes to this mixer, especially Neu- mike inputs more. (But don't open up the
The little speakers that come with most mann U87s, I hear an unacceptable level of mike inputs to the point of overload.) Also,
of the wireless systems I have heard just noise. I didn't hear this noise when I was us- I wonder if you hear more noise with your
don't do much. They're too small, and ing a Shure mixer. My present mixer has 1% Neumanns than with other mikes because
their amplifiers have too little power to resistors, Mylar capacitors, and socketed of an impedance problem. My Advent pre -
give you all the bass you'll want. Aside BA4560 op -amps. Is there a quieter op -amp I amps, quiet as they are, become noisy if fed
from that, their overall sound can be quite could substitute-or better yet, that could di- by high -impedance sources. See if you can
good. Also, I don't know of any that give rectly replace the BA4560s? John R. Ben- set the U87 mikes to a lower impedance;
you the diffused sound you'd want from ham, Spokane, Wash. that would load the input circuits of your
surround speakers. And you cannot AI don't know any suitable chips, but mixer, which should lower noise. I wonder
substitute better speakers or amps. Audio's readers may. Check semicon- if you got better results with the Shure mix-
The JBL SoundEffects system included a ductor reference books and write to semi- er because its inputs could be set to accept
transmitter and a matching receiver with conductor makers for information. high -impedance mikes.
line -level output, as well as a power But unless you hear this noise in play- And could it be that your mixer is quiet
amplifier designed to fit under the receiver. back of actual recordings, you can probably but your mikes are noisy? The electronics in
These items were available separately but ignore it. I make live choral and chamber condenser mikes like the Neumanns can
may now be hard to find because they have recordings with a ribbon mike feeding a generate noise, especially as they age. A
job0 at the airport.

WOrkat the gara
canhGü.,gQutWith t
workatthePl .t
be a leader? If a mechanically oriented career is what you want, think about the Air Force. It's
one road that can take you anywhere. For more information about the United States Air Force,
am_ ffilitC
see your local recruiter or call 1 -800 -423 -USAF. Visit us at http://www.airforce.com Aim High
bit. In a car, where woofers are small
SPECTRUM and listeners sit close to them, this is
IVAN BERGER not a problem; in a ballroom, where
woofers are larger and listeners may
be 30 feet below, it is.
Eastern Acoustic Works, of
INSIDE -OUT Whitinsville, Mass., says it
has solved these
COAXIAL problems by
The coaxial speakers we con-

sumers buy are usually for
cars. Their advantages include
low cost, easy installation, and
minimal lobing. Similar rea-
sons account for coaxials' use
in large, distributed sound sys-
tems, such as those in ball-
room ceilings.
Similarity, however, is not identity.
Ballroom speakers use horn tweeters,
which have higher output and higher
efficiency than the domes used in
car -sound coaxials. Most horns also
project the highs in an asymmetrical,
Two extra
turning
e
drivers in
`
the horn's
the coax inside
throat
out. In its Model
CP621 Phase Aligned Ar-
cancel throat
ray speaker, the tweeter horn is a
reflections.
large, rounded hexagon for more
symmetrical treble dispersion. Six
51/4 -inch woofers around the rim of
the horn's flare couple together to
rectangular pat- provide the effective radiating diam-
tern, not the cir- eter of a 21 -inch woofer; this makes
¡%'` cular pattern pro- the low frequencies more direction-
in Eastern
0 0 jected by domes. al. At the same time, the use of mul-
rO 2o And the woofers' tiple drivers-spaced far enough

Acoustics apart that they don't couple at mid-
directivities vary
Works' according to the dle frequencies-should decrease
CP621, r 1
wavelength of the midrange beaming.
the tweeter
horn has I ! O 1 _.
frequencies they Two more 51/4 -inch drivers
mounted in the throat of the horn
1
oo`......1 handle: The long-

six woofers
1
mounted
cóo ,1 er bass wave- are used to cancel throat reflections
lengths spread from the radially coupled woofers.
around its This technique helps optimize power
around the room,
flared rim.
while the short- response below the crossover point.
s._,,
er waves of the A neat idea, but don't expect to see
lower midrange it in car stereo: Each CP621 measures
tend to beam a about 2 feet square.
AUDIO/NOVEMBER 1996
18
OUR CALLING
Somewhere in our Annual Equipment
THE DISH NETWORK. WHERE
Directory, in last month's issue, are some
errors. We don't know what they are, yet, MORE ALWAYS COSTS LESS.
but we assume we made a few-we're hu- PER MONTH
man. And if you look real hard, you'll find
some errors made by the manufacturers
and importers who supplied the data. But
the only errors of that kind you'll find will
S 9AMMIN?P'
At the DISH Network premium services like HBO and
be the ones we failed to catch. we're selling our complete state-of- A'S TOP 4 Showtimme at cable -busting rates, too.
Some errors, we cannot catch. For exam- the-art 18" digital satellite system for VS. COMPARARU Pt
Cable just can't compete.
only $199 when you subscribe for a Average cable costs over $42 a month.
ple, if a manufacturer says he has a 12 -inch
year to America's Top 40 CD". THE DISH NEIWORK WILL. SAVE YOU
woofer when he meant to say 10 inches, or With one phone call $17 A MONTH OR OVER $200 A
his amp delivers 150 watts instead of the you can get America's Top 40 YEAR. EVERY MONTH! EVERY YEAR!
channels, including The Disney So make the comparison
130 he wrote down. But we do note a lot of Channel, plus 30 channels of digital Pam ~us _....t.m.. and then make the call. To the
entries that strike us as errors-and that al- music for $300 a year! That's just company where more will always
$25 a month! And we offer all the multichannel cost you less. The DISH Network.
most always are.
Take equalizers, for instance. Since the Call Now. Limited Time Offer.
eft 1ff ME III- 30 -day money back guaranee. http://www.dishnernork.com
audio band (20 Hz to 20 kHz) is about 10
octaves wide, multiplying the number of
equalizer bands by the width of each band
TO
AND A DER
YOUR COMPLETE SYSTEM
YEAR OF PROGRAMMING CALL: 1 -800 -333 -DISH
ÑETWÓRK
;s
should yield a result of about 10. An octave Nothing Else Compares`'
equalizer usually has 10 bands, a third -oc- WHEN YOU PURCHASE
tave equalizer has 30 or 31 bands, and so I YEAR OF AMERICA'S
TOP 40 CD.' FOR $300
on. A 10 -band, 'A -octave equalizer or a 31 -
band octave model could be built, but the
former couldn't cover the whole audio Y pees_ _.I.._w.... Leal 1.1f d,_. W Ira~ .rrr.yly/deaad.. Mel a.r.,nme.epas aoai *regal,. ,.mTc..ze.,
mdro ~eh ems d,_A..dt.n.,_drarmnw.lea..rro... ~holm mob .a,_I1,._..n... bed maw mmi.a*Lon n re,
.1m ado, lrm. W
ammao4a...pl..whnrºq
~abbot R.IP. W.I.JI.m c.m.,.n_m III 1m.tr t_a...a Of olT.Ytg._11.Yr1d06T Y..awl IRO Wm. (ay 19..g.k Etna d W~4~1[ Woo pww/kIlesle31,
band without gaps and the latter's overlap-
ping bands would make it hard to set. So
when a few manufacturers gave us answers
like those, we called for verification. The re-
ply, each time, was "Oops!" Then there were Beethoven was only 5'4:'
THE MISSING LENGTH
1,1111111:
r ---.
The list of blank -cassette lengths has
just gotten shorter. Our Annual Equip-
ment Directory lists no cassettes in 45 -
or 46 -minute lengths, though they were
quite popular some years ago.
This should be no surprise. The de-
mand for such cassettes came from peo-
ple who wanted tapes just long enough
for copying LPs, most of which ran for
It may be small. But the Bose® Acoustic Wave® music system is definitely an
more than 30 but less than 45 minutes; overachiever. The unit features a compact disc player, an AM/FM radio, a handy
for that use, C-60 tapes seemed wasteful. remote control, and our patented acoustic waveguide speaker technology. And it
Today, when most recordings are CDs, produces a rich, natural sound quality comparable to audio systems costing
with a maximum length of 74 minutes thousands of dollars. We know that's hard to believe. So we're ready to prove it.
Call or write now for our complimentary guide to this award -winning system.
or so, it makes more sense to buy C-74, Because, like the system itself, it's only available directly from Bose.
C-75, or C-76 cassettes. Even so, only
two companies (Sony and Denon) listed Call today. 1-800-898-BOSE, ext. A77.
SW/81,M, 1 l I I
such tapes this year. The most popular Name (Please Print) Daytime Telephone Evening Telephone
lengths are the traditional C-60, C-90,

.áfAosF
Address
Coy
and C -120s. State zip
Or mail to: Bose Corporation. Dept. CDD-A77, The Mountain, Framingham, MA 01701-9168. Better sound through research ®
AUDIO/NOVEMBER 1996
19
cause he didn't know just where they'd fit
( L A S S I ( A L MISM A T ( H
in) or just what the product happens to be
for. If we're familiar enough with the prod-
Pop -music stations of all types tend classical radio than buy classical CDs. uct to spot the omission, we'll call and ask
to play best-selling records. (If the sta- Tom Bartunek, of New York's WQXR, for more details.
tion's sufficiently uncreative, that's all it added that CD listeners can skip tracks Frequently, companies give us informa-
will play.) Even the oldies stations play they dislike, but FM listeners cannot. tion that's correct but makes no sense to
the biggest hits of yore. But commercial Actually, they can-but only by switch- anyone outside the company. When they
classical stations do not. ing stations or turning the radio off, give us proprietary terminology, we'll usu-
Over the years, many classical stations both actions program directors are hired ally ask them what it means and translate it.
have developed rules to keep listeners to discourage. College and public radio If the BlowBox speaker enclosure turns out
from tuning else- stations, whose rev- to be a type of vented box, we'll list it as
where: no new music enues are less directly "vented." Some manufacturers object, but
or old recordings, tied to the sizes of we're actually doing them a favor: The peo-
nothing in a minor their audiences, tend to ple who already know what a BlowBox is
key (especially in the be more adventurous. will know that's what we mean by "vented"
morning), nothing on Anthony Rudel, of in that maker's listings; the people who
odd (read: authentic SW Networks' syndi- need to get information from those listings
á
period) instruments, cated Classic FM, said, the most are precisely the ones who won't
nothing long, and ab- "Buying a CD and lis- know what a BlowBox is. Q
a
solutely no vocals. tening to the radio are The fun and easy part of this is calling to
The catch is that two completely differ- find out what a manufacturer intends when
much of this "forbid- ent things. Putting on a his meaning isn't clear or his data seems er-
den" music sells very well. There seems CD at home is an active listening experi- roneous. The newer and more innovative w
to be a boomlet in historical reissues ence. People use the radio as an accom- the technology, the more likely we'll have to 11.
and in period -instrument recordings. paniment to other activities." call, because old descriptions don't quite fit 2.
Many modern works are best sellers. He has a point. And for each listener new designs. Sometimes a manufacturer
And vocals (choral, song, or operatic) there are probably some mixes of music will spend a while on the phone working
have claimed an increasing share of Bill- and activity that don't work well. I, for out just how to describe something novel;
board's annual Top Classical Albums example, cannot write or edit while lis- it's then a challenge for us to boil it down to
chart. In recent years, vocal recordings tening to vocals, even if the language is as few words as possible.
have gone from one-third to two-thirds as incomprehensible as Uzbek to me. The Directory keeps everyone here busy,
of the top 15 albums. And for three But I can drive, swim, carpenter, and do every summer. (No one at Audio ever gets a
years straight, the top -selling classical a lot of other things to vocals. summer vacation.) But it's important.
album of the year has been a vocal. Yet I hope the sense of classical mu- From now until next October, we'll be
In Billboard's August 10, 1996 issue, sic's breadth doesn't get squeezed out of among those looking things up in the Di-
Senior Writer Bradley Bambarger found FM. One of the most magical listening rectory, too.
that many classical -radio program di- experiences of my life was hearing
rectors are aware of-and defend-this Bartók's Concerto for Orchestra for the
dichotomy. A few commented that pro- first time, on a Pontiac car radio tuned EVOCATIVE AUDIO
gramming should not be shaped by to WQXR. How likely is someone to en-
It's easy to think of home theater as a
record sales, as far more people listen to counter that on radio today?
video phenomenon. It's not.
It took multichannel sound to turn
the companies that stated in one column Companies give us wrong information plain video and TV into home theater. And
that their preamps handle only line -level for a number of reasons. Sometimes they although today's movies integrate sound
signals-but nevertheless gave specs for misinterpret a question. Sometimes they and picture better than TV programs
MM or MC phono signal-to-noise ratio. confuse one spec with another. Sometimes (which are mainly illustrated radio), they
(And the ones that said a preamp handles they shoehorn the wrong spec in because still depend on sound-especially music-
for their full effect.
only phono signals yet has tone controls they don't have the right one. Often, a
And audio can sometimes do more to
and a tape monitor loop; that would be product's specs and features aren't finalized make an experience come alive again than
possible but, again, darned unlikely.) by our deadline, so the manufacturers give even full -color moving images. I remem-
Crossover listings have always been a us a few preliminary details or, in some cas- ber keeping photos of a woman who'd bro-
headache. A typical error there is for a comes, their best guesses. ken up with me but erasing all my tapes of
pany to say it has a three-way crossover We occasionally notice that a manufac- her voice. The photos were only artifacts
with one fixed crossover frequency. And so turer left important information out, such (and her beauty made them well worth
keeping); the voice was her.
on, category after category. as a product's unique features (usually be-
AUDIO/NOVEMBER 1996
20
YAMAHA DSP
The Theater
The DSP-A3090 lets you choose from 30 sound field modes.
From L.A.'s Roxy and New York's Cellar Club, to
churches and concert halls around the world. Seven -
channel amplification sends 80 watts to each of
the main, center and rear speakers, plus 25
watts to both front effects speakers.
Analog, video and S -video, plus
RF, coaxial and optical digital
inputs link you to today's
and tomorrow's Dolby
Surround AC -3
components.
This is a 20,000 sq. ft. movie theater. And this is where you park.
We did leave out a few hundred seats, some plush has something specific in mind when mixing a film's
carpet and the kid screaming in the 13th row. But soundtrack for the big screen. And the DSP-A3090's
what we've given you instead is something no proprietary Yamaha processing techniques
home theater owner has ever heard before. maintain the depth, openness and realism of that
The theater. It's the expansive acoustic The Technology
vision. While also preserving the directional
The sophisticated microcircuitry
environment that gives a trip to the movies its that makes our new Cinema DSP relationships of every sound. So whether it's
sense of grandeur. And until recently, it just possible is designed and produced a musical score, or T rex's roar, you'll hear
wasn't possible from a sound system exclusively by Yamaha. Our microprocessors it exactly how, and where, the director
apply the vast library of sound field data we've
designed to coexist with a sofa, an amassed creating products for audio professionals, intended. That'sTri-Feld Processing.
easy chair and a pair of potted both on the stage and in the studio. And they're And it's made possible by the
plants. But that was before manufactured with the advanced processes we've perfected latest generation of Yamaha
decades of Yamaha experience through years of experience fabricating our own custom chips.
Cinema DSP. The technology
in sound field measuring that's kept us at the forefront
and processing, custom of home theater for more
integrated circuit design and audio microchip fabrication than a decade. Audition the DSP-A3090 for yourself. Just call
culminated in the new DSP-A3090 Digital Sound Field 1-800-4YAMAHA for the dealer nearest you. Or visit us
Processor. Introducing unique technology that creates the on the web at http://www.yamaha.com Then drive
unmistakable sensation of a first -run theater's acoustic off carrying a 20,000 square
spaciousness. Combined with the unparalleled accuracy and foot movie theater. With
dynamic range of Dolby s Surround AC -3.114 Every director
YAMAHA®
the easiest parking in town. WHERE HOME THEATER LIVES.
01996 Yamaha Electronics Corporation. SA. Cinema DSP is a trademark of Yamaha Electronics Corporation. Dolby and AC -3 are trademarks of Dolby Laboratories Licensing Corporation. Yamaha Electronics Corporation. USA. P.O. Boo 0500. Rona Park. ( 90621
you just can't buy; now that's an im-
MONDO AUDIO age "to die for."
KEN KESSLER Recently, I made the trip up to
Quad to speak with Ross Walker. The
subject? The continual sniping at
AUDIOPHILIA Quad because of the company's cur-

rent suspension of repairs to the
ANTIQUARIUS original Quad electrostatic loud-

speaker. Quite simply, the dia-
phragms in the original Quad ESL
(1956-1981, R.I.P.) were treated with
a chemical no longer produced by
the original supplier; at the time of
writing, Quad is looking for alterna-
tives. Unfortunately for Quad, the
original ESL is one of the most cher-
ished speakers of all time and devot-
ed owners would rather give up mu-
sic than listen to anything else, so rt
there's a constant flood of elderly z
Quads in for servicing. And the own-
ers can get a bit cranky if deprived of Ú
their beloved ESLs.
The nature of internet forums is 'f,
argumentative and too often based t
on supposition rather than fact.
One oft -repeated question is, "Why
doesn't Quad simply utilize the ma-
terial from the current speaker?" Af-
ter a few such missives were posted
on the Sound Practices forum
(sound@mail.tpoint.net) regarding
the old Quads, I volunteered to pre-
sent the questions directly to Ross
eeping tabs on the hi-fi "un - A: Three. One to change the bulb Walker, of Quad. Rather than quote
derground" is much easier and two to argue about how much Ross, whose language can turn salty
when you're active in it. And better the old one was. after a few glasses of wine, I'll repro-
for 20 years my pet passion in Naturally, vintage hi-fi enthusiasts duce the salient points of the reply
hi-fi has been collecting, re- aren't too popular with the manu- he crafted for that particular forum:
furbishing, and using vintage facturers, who'd prefer it if you re-
audio gear, one of the sub -cults that freshed, upgraded, or simply updat- For the last 40 years we have ap-
makes up hi-fi's underbelly. Which ed your system from time to time plied a mixture to the Mylar (treble)
means that I'm with a new and Saran (bass) diaphragms, which
(unashamedly) purchase. But was based on a compound made by
typical of the there are some ICI (a large paint manufacturer) and
geeks ridiculed
WILL A companies, which worked well. This compound
is no longer made, and ICI will not
in the best of FORD DEALER most notably make small quantities for use on
the audiophile CARRY PARTS McIntosh and electrostatic loudspeakers. We now
"light bulb Quad, that have to find a new material that will
jokes." Substi-
FOR A '58 T -BIRD? positively rel- give the right resistivity and that does
tute "hi-fi jour- ish the fact not change significantly with tem-
nalist" for "au- they have cus- perature, humidity, or time. Most
materials that look promising tend to
diophile" and you have a gag for a tomers for life (many of whom won't
change with one or more of these
slightly different audience: outlive their purchases because factors. The material has to have low
Q: How many audiophiles does it Quad and McIntosh products are so mass and be easy to apply to Mylar. It
take to change a light bulb? reliable). It is, after all, a selling point helps if it doesn't fall off. We now
AUDIO/NOVEMBER 1996
22
have two interesting compounds that ap- reasonable prices) for a 1958 T -bird? What
pear to have promise, but until we know would Jeep say if you were to ask them to Sounds Like A Million.
how they behave in the long term we have to
upgrade your 1989 Cherokee to 1996 specs?
be cautious.
Will Nikon convert your F2 into an F4?
Of course we tried the ESL -63 diaphragm
coating, but that has a higher resistivity and
does not work adequately in the original
Even better: Has Intel offered to upgrade
your 286 chip to a Pentium for a nominal-
Saves You
ESL. The 63 stator design is completely dif- and I mean nominal-fee?
ferent, and it is not feasible to make original
ESL parts using 63 technology.
Far be it for me to rail against self -abne-
gating customer support and upgrade pro- s
0
We are continuing to research new mate-
grams that keep stuff alive way past the sell -
rials, and we will be successful. We just can't
by date. I admire any company that carries
say when. Quad has never promised to
supply parts for any spare parts going back further than the five -
product for any to -10 -year period that
length of time, but we seems to be the indus-
do try harder than try's arbitrary time
most companies to LINN WILL UPDATE Yamaha's flagship DSP-A3090
limit on such availabil-
offer support to our ANY LP -12 TURNTABLE ity. Linn, for example, processor isn't the only way to experi-
customers. The origi-
nal ESL was first man- ALL THE WAY BACK can and will update
ufactured 40 years ago any LP -12 turntable, ence the critically acclaimed realism
TO 1972.
and last manufac- going all the way
tured 15 years ago. back to 1972, to cur- of Dolby® Digital AC -3n' Surround.
The fact that we are rent specifications.
spending time, effort, But how much further Through 1/31/97, you can take home
and money to find a
than other consumer
solution is evidence the same kind of excitement-plus big
durables makers does
that Quad has a
strong commitment ,/ the hi-fi industry have
savings-when you add AC -3 to your
to its customers. to go to make its cus-
Every other manufac- tomers feel that new Yamaha home theater system.
turer would tell you i they've gotten their
precisely where to put money's worth? Just buy either of our RX-V2090
a 40 -year -old product
Take Ross Walker's points and apply
that needed servicing, and it would need a
them to as many manufacturers as you can or RX-V990 AC -3 -ready receivers-
lot of pushing and shoving to get it there.
The Quad ESL -63 continues in production, in other fields:
and we do not have some devilish scheme "Quad has never promised to supply add the DDP-1 AC -3 Surround
to try to persuade customers to buy them parts for any product for any length of
by taking out the old ESL. Processor-and get an instant $100
time, but we do try harder than most com-
panies to offer support to our customers."
cash discount. Not to mention a
In addition to answering directly the He's not kidding, either. A visit to the
questions about the current state of Quad factory reveals stocks of tubes for the old system that will change the way you
ESL repairs, Ross also raised a number of Quad II, bulbs for the Quad 33 preamp, ca-
questions about long-term ownership, pacitors for the 303 power amp-all prod- listen to movies forever. For the dealer
about obsolescence, and-though not stat- ucts that never made it past 1980. I shudder
ed as such-about this industry's unique to think how much that spares cache is nearest you, call 1-800-4 YAMAHA
position in producing the only consumer worth.
goods that are supposed to be immune to "The original ESL was first manufac- or visit http://www.yamaha.com
obsolescence. Although many would like to tured 40 years ago, and last manufactured
think that every hi-fi manufacturer drives 15 years ago, and the fact that we are spend-
around in a Lamborghini, checking the ing time, effort, and money to find a solu-
time on a Patek Philippe and patting a bel- tion is evidence that Quad has a strong
lyful of beluga caviar, a number have been commitment to its customers."
driven into nonprofitability by the unrealis- Again, irrefutable-unless you can name
tic demands of consumers, who expect the another company in another field (or in hi- YAMAHA DSP
manufacturers to keep their amps or speak- fi, for that matter) still reaching into its cof-
ers or what have you working for decades fers to finance the sustenance of equipment Offer good at participating retailers
through 1/31/97. 01996 Yamaha Electronics
and for negligible fees. Or, to put it another that went out of production before the CD Corporation. USA. Dolby and AC -3 are trademarks
way, will a Ford dealer carry parts (and at was launched. of Dolby laboratories Corporation. Yamaha Electronics
Caporauon.USA. PO. Box 6660, Rucn:i Park CA 90622
AUDIO/NOVEMBER 1996
23 YAMAHA'
"The Quad ESL -63 continues in pro- Thorens is still pestered for idler wheels for major companies have a policy of holding
duction, and we do not have some devilish TD -124 turntables; Acoustic Research- spares stock for up to five years. He was
scheme to try to persuade customers to buy which isn't even in the same state in which speaking of his own employer, too. A com-
them by taking out the old ESL." it was established-probably gets the odd petitor told me the same. And nobody says
Again, inarguable. If Quad wanted all of request for AR turntable belts and AR -3A a word when they find that, suddenly, his
its ESL owners to ditch their speakers in fa- tweeters [It does-Ed.]; and Revox proba- 19 -year -old cassette deck or receiver, which
vor of the new model (now in its 15th year), bly has to maintain a stock of heads for G36 he thoroughly abused in college and con-
the company would have ceased repairing open -reel decks. But what is deemed rea- tinued to use into his 30-something/40-
the old model years ago. sonable, when almost all other industries something years, is no longer serviceable. If,
Lest this appear like a love letter to Quad, have a single decade as a cutoff point for on the other hand, a high -end manufactur-
note that the same concerns apply to any parts backup? Are audiophiles as unreason- er says that it no longer has parts for a com-
number of other companies old enough to able as the manufacturers think they are? ponent of similar age, suddenly that manu-
have equipment out in the field nearing its One industry insider, who wishes to re- facturer is deemed a villain. How come?
second, third, or even fourth decade of use. main anonymous, told me that most of the Simple: The odds are that the high -end
preamp or speaker cost a lot more, so the
consumer feels entitled to a much longer af-
termarket service period. But again, this
"remarkable"... doesn't wash with most other industries,
regardless of the price of the item. (We're
"flawless"... "astonisping .
not talking about the one -to -three-year
"a landmark"... "the best"

CS.5 CS3.6
K ...one of the best speakers available at any «...the C53bs outperform every other
price-Thiel's full size CS.5. speaker I've heard in their price class...
-Tim Smart, Business Week, December 11, '95 a remarkable loudspeaker. »
-Robert Harley, Stereophile,
Vol. 17, No. 5, May '94
CS1.5
CC The CS1.5 is a landmark speaker of CS7
the 1990s...an astonishing speaker. i, CC Thiel's CS7 loudspeaker is AUDIO CONSUMERS
-Sam Tellig, Stereophile, Vol. 17, one of the finest sounding
No. 8, August '94 loudspeakers that I have heard.» EXPECT MANUFACTURERS
-Anthony Cordesnan,
CS2 2 Audio, August '95 TO KEEP AMPS
CC I think they are one of the
CS5i OR SPEAKERS
best, if not the best, performers
I have come across. 55 GGA completely flawless design. 5, WORKING FOR DECADES.
-Andy Benham, -Nagashima,
Hi Fi Choice/U.K., Stereo Sound/
Winter '92/93 Japan, Winter '93
row" warrantees that come with most consumer
goods; the law protects you there, if only up
to a point.) Go on: price a replacement
front bumper for a 1968 E -Type Jag.
Companies like McIntosh, Linn, and
Quad are exceptional. But the rest do their
best to keep old gear alive. So if one day you
find that you can no longer buy a volume
Mir Aim, control for your circa 1977 preamp, just di-
From left to right: CS.5, CS2 2, CS6, CS5i, CS7,CS3.6, CS.S, SAE
vide the original purchase price by the
Priced from $ 1,450 to $ 12,300 per pair. All are carefully -hand crafted in a number of years you've owned the product.
variety of finishes from the world's finest woods. That's the real price you paid for all that en-
joyment: pennies per day.
IEL
Ultimak$ Pert rmance Loudspeaker.,
Then try to think of anything else that
gives you so much pleasure for so little out-
lay. And then give that preamp or turntable
or loudspeaker the honorable funeral it
For home music and video sounc systems deserves. A
Call or write for our 36 -page brochure, review reprints, and the name of your nearest DUEL dealt.]
116EL 1026 Nandino Blvd., Lexington, KY, 40511 Telephone: 606-254-9427 AUDIO/NOVEMBER 1996
e-mail: mail@thielaudio.com 24
For well over 60 years, the name Tandberg has been associated with flawless, faithful sound mmproduction. Whether the
components were professional grade reel-to-reel tape recorders, audiophile -quality cassette decks or high -end electronics,
Tandberg invariably established new standa-ds of excellence.
The new 4000 Series continues this unbroken tradition. The unique, stackable, top -loading transport of the CD Player, the
Zara Negative Feedback and Discrete Class A circuitry of the Control and Power Amplifiers, the Dual Gate MOSFET and Class A
circuitry of the FM Tuner are packaged in a museum -grade, fully remote -controllable system as pleasing to use as it is to view.
Tandberg achieves the best of both wo-Ids by integrating old world craftsmanship, world class industrial design and the
latest audio technologies. In the process, Tandberg has once again created audio components that transcend traditional hi-fi to
become one of your most prized possessions.
What keeps us in the foreground is our background.
Jason Scott Distributing, Inc.

tel (215) 836 9944 fax (215) 836 2273
TANDBERG
Much more than hi-fi.
BY TOMLINSON HOLMAN
Nearly 10 years ago, to pinpoint the cause. This is as it should

Stereo Review re- be. Rather than attempting to "hear" a
ported on a measurement, it is better first to hear a
listening difference on a blind test and then find a
4m1iflcr way to measure it. No matter how sincere

the intentions of the experimenter, seeing
a measurement and then listening
can lead to the self-fulfilling
csi n prophecy that the mea-
surement explains the
listening results.
&und I would emphasize that many

amplifier listening tests lack the kinds
of experimental controls used in the Stereo
test Review study. This makes it easy for the
Ual of a num- scientifically oriented to dismiss the work
ber of power of others with "But did you employ the
amplifiers ("Do All proper experimental controls?" It is worth
Amplifiers Sound the noting, however, that crossover distortion
Same?", January 1987). The test in transistor power amplifiers was first
was carefully done, using double-blind discovered, I believe, 'not by an engineer
comparison, careful level matching, and but by a listener who heard a problem
other experimental controls. Perhaps with early solid-state designs. It was only
oversimplified, the results were widely tak- when an engineer measured the right
en to mean the author found that "all am- characteristic (low-level distortion) that
plifiers sound alike." this "new" distortion came to light and
Is that all there is to it? Is power amplifi- was eliminated as a problem.
er design at such an advanced state that On the other hand, valuable as such lis-
amplifiers indeed do sound alike? Or, if tening can be, it also has its pitfalls. For ex-
they can sound alike under certain pre- ample, it has repeatedly been shown that
scribed conditions, are there other poten- even small level differences can influence
tially relevant conditions under which the outcomes of listening comparisons,
they do not? And in that case, what criteria with the slightly louder amplifier winning.
should be used to distinguish them? So, in order to keep the playing field level,
In the intervening 10 years, I have deter- volume differences must first be eliminat-
mined that many amplifiers may in fact ed. Then, of course, the A/B comparison
sound alike under certain circum- switching must be shown to be adequately
stances-but under other conditions, transparent on its own, and other experi-
many do not, and for a variety of reasons. mental controls, such as blind listening
Many of these characteristics were first protocols, must be incorporated to ex-
discovered through listening, and those clude other extraneous factors that might
discoveries verified by controlled listening bias the results. Controlled listening com-
tests, before a laboratory test was devised parisons serve as a check, validating obser-
Tomlinson Holman is the President of TMH Corporation. He is a Fellow of the

AES for contributions to amplifier design" and editor of the forthcoming two -
volume AES Anthology on Amplifiers.
PHOTOGRAPH: ©1996 LEE FRIEDMAN/GRAPHISTOCK
AUDIO/NOVEMBER 1996
26
vations of genuine sonic effects while ations, protection -circuit misbehavior, out- world loads. Such effects, when they exist,
culling out spurious ones that would be a put power into real speaker loads, behavior are usually caused by interactions between
waste of time to investigate further. when clipped by asymmetrical signals, the amplifier's output network and the im-
With those details out of the way, here high -frequency distortion, and noise. pedances of the cables and loudspeakers.
are seven factors that have proven to have ABSOLUTE POLARITY: While most every- Most amplifiers have networks of resistors,
audible consequences or that there is good one involved in audio knows about the re- inductors, or capacitors between the output
reason to believe would influence sound quirement to keep relative polarity (some- devices and the loudspeaker terminals. The
quality under some conditions. They are: times called phase) correct-by matching network isolates the output stage from the
absolute polarity, frequency -response vari- speaker wiring across channels, for exam- direct effects of the wide variety of imped-
ple-it has also been demonstrated conclu- ances that could be connected to the amp.
sively that the absolute polarity of some sig- For example, if an especially capacitive
nals is audible. This means that a positive speaker cable were to be connected directly
variation in air pressure (compression) due to the output devices, with no intervening
to sound at the source should be represent- network, the amplifier could oscillate. Such
ed by a positive variation from the loud- oscillation usually is ultrasonic, so it's rarely
speaker. Since the entire record/playback audible, but it may burn out tweeters and
chain from microphone to loudspeaker is possibly destroy the amp.
usually undefined for any individual The output -isolation networks, on the
recording, chances are probably about other hand, can readily have audible effects,
50/50 that any particular recording has cor- given all the possible cable and loudspeaker
rect polarity (assuming that the recording combinations that an amplifier may face.
can meaningfully be said to have a specific The potential for significant impedance in-
FIG. 1-A PROTECTION -CIRCUIT
polarity). So the polarity -inversion switch teractions between amplifier output and
"SPIKE- ON THE WAVEFORM
on some preamplifiers might be useful. (If loudspeaker can be evaluated via an ampli-
(UPPER LEFT) AND THE RESULTING
your system lacks this feature, a four -pole, fier's high -frequency damping factor, but
VOLTAGE/CURRENT EXCURSION
double -throw switch can be wired between few amplifier makers list this specification.
ACROSS THE SAFE OPERATING AREA
your amplifier and the loudspeakers to flip Damping factor is the ratio of the amplifi-
OF ONE-HALF THE AMPLIFIERS er's output impedance to a standard load
the polarity of both speakers at once. For a
OUTPUT STAGE (LOWER RIGHT): impedance. The higher its broadband
wiring diagram, see "Upside -Down
SEE TEXT. SAFE AREA SCALE:
Sound," July 1996.) damping factor (not just its low -frequency
10 VOLTS PER DIVISION, HORIZONTAL;
Changes in absolute polarity are not, by damping factor), and thus the lower its out-
5 AMPERES PER DIVISION, VERTICAL. any means, audible on all recordings for all put impedance, the better an amp can drive
listeners, but they are audible on some a wide range of load impedances without
recordings for some listeners. The reason is variation of its frequency response. This
that the ear is not equally responsive to pos- can be very significant in some instances,
itive and negative sound pressures. (The ef- since an amplifier's frequency response at
fects of polarity have actually been known the loudspeaker terminals is a critical deter-
for years: In the 1950s, the Todd -AO sound minant of its sonic performance. Even a
studio checked the absolute polarity of its 0.5 -dB response difference over an octave
film sound systems from microphone or two will be clearly audible. An amplifier
through to loudspeaker.) with a damping factor that does not remain
Amplifiers, preamps, and other audio high across the full audio band is more like-
components can invert polarity; an even ly to exhibit such load -induced response
number of inversions (as when the power deviations than one whose damping factor
amp and preamp both invert) will cancel does remain high.
out, and a system that does invert polarity PROTECTION -CIRCUIT MISBEHAVIOR: For
can be corrected simply by swapping each several years, I have been a judge in an ama-
speaker's positive and negative wires. But if teur loudspeaker design contest (nowadays
an inverting amp is substituted for a nonin- held by Brian Smith, at Just Speakers, in
verting one, or vice versa, the change may Concord, California). Since the designs of
be audible on that account. these speakers are not constrained by mar-
FREQUENCY -RESPONSE VARIATIONS: ketability, some can present a tortuous load
While most amplifiers have almost perfect- impedance to an amplifier; some well-
ly flat response when feeding purely resis- known amplifiers have simply not been able
FIG. 2- PROTECTION -CIRCUIT SPIKES
tive loads, frequency -response variations to drive them properly. If the combination
IN TWO OTHER POWER AMPLIFIERS.
can occur when feeding complex, real - of output voltage and current required to
AUDIO/NOVEMBER 1996
28
drive the load with the signal exceeds an ducing simultaneous high voltage and high Not all amplifiers sound the same when
amplifier's "safe -area capability," the amp current in the output transistors (90 volts at clipped. Some amplifiers, for example, have
has no alternative but to behave very badly- 15 amperes!). Few output transistors will relatively soft clipping characteristics, with
chopping up the waveform, for instance, tolerate this for long. Figure 2 shows similar distortion rising gradually as the amp's
sometimes at levels that are not very high. behavior in other amplifiers, each playing power limits are reached and exceeded; oth-
Anyone can easily hear when this happens! into a loudspeaker load. er amplifiers tend to have lower distortion
An amplifier's "safe operating area" One way to resolve this problem, often before the clipping point but a much faster
(SOA) is defined by the voltage and current adopted in high -end amplifiers, is simply to rise in distortion above that.
limitations of its output stage. When these put in so many output transistors that pro- One limitation of the 1987 amplifier lis-
limits are exceeded, catastrophic failure tection (other than fuses) is unneeded. But tening test was that the amplifiers were nev-
may occur if the amplifier does not protect as Paul Klipsch once told me, "Engineering er overloaded, or clipped. This seems rea-
itself by limiting the signal or shutting itself is doing for a dollar what everybody else sonable at first glance, but, since music is all
off. Protection circuits usually operate by over the map dynamically and loudspeaker
monitoring output voltage and current sensitivities also cover a wide range, it is
while the amplifier plays, then taking reme- nearly impossible to say that an amplifier
dial action if either of these parameters goes will never be clipped during its lifetime of
beyond the safe operating area. playing music.
The difficulty comes in defining what re- GIs It is, however, obvious that the more
medial action to take. Many protection cir- .. powerful an amplifier, the less often it will
cuits, when activated, cut off the
preferable to
C«
be driven into clipping. If your room,
drive current to the am- speaker sensitivity, and listening prefer-
plifier's output ences lead you to clip a 100 -watt amplifier
first hear a from time to time, you'll hear less clipping
from a 200 -watt amp, less still from a 400-
difference on watter, and so on. Having adequate power
to avoid clipping is certainly important.
stage. How-
a blind test, This can become prohibitively costly, how-
ever, especially if the amplifier is overde-
ever, suppose this signed to achieve it.
happens just as one half of an thn find a way' 1 In this respect, optimal design depends
amplifier's complementary output greatly on the speaker loads the amplifier
stage is feeding current to an inductive to measure ifi/A will be required to drive. For years, amplifi-
speaker load. An inductor's fundamental er designers concentrated on output power
property is that it opposes changes in cur- ratings into standardized load resistors (8
rent (a capacitor, by contrast, opposes ohms, 4 ohms, and so on). Yet speaker loads
changes in voltage). The protection circuit are not resistors and can require substan-
cuts off the relatively small output -stage does for five." So, while piling on the out- tially more current than their nominal im-
drive current in order to get the high cur- put devices does keep the output stage pedance ratings and Ohm's Law would sug-
rent from the output stage to immediately within its safe area by brute force, that solu- gest. So, in recent times, concern has shifted
stop flowing into the inductive speaker tion seems inherently inelegant. A better increasingly to having adequate current ca-
load. But since the inductive load opposes approach is to put in a more than adequate pability. Unfortunately, I believe the em-
changes in current flow, the current will number of output transistors to enlarge the phasis has now swung too far in this direc-
continue to flow for a short while, dragging safe area and to disconnect the loudspeaker tion. If an amplifier's current capability is
the voltage along with it. Depending on from the amplifier with a relay when that translated into doubling of the power out-
where the current is coming from, this wide safe area is exceeded. This way, you put as the load resistance is halved (e.g., 100
could destroy the amplifier-the very know that there is no intermediate state watts into 8 ohms becomes 200 into 4
mechanism set in place to protect the am- where the protection circuit is affecting the ohms and 400 watts into 2 ohms), users
plifier could be its undoing. sound in any way or making the amplifier with speakers approximating an 8 -ohm im-
Figure 1 shows just such an event. At the less reliable. pedance are underutilizing the amp's capa-
upper left is a sine wave with a voltage spike OUTPUT LIMITING: When an amplifier is bility. The output transformers on tube am-
caused by an amplifier protection circuit's called on to provide more voltage or cur- plifiers provided a way around this: Taps on
attempt to shut the amp down. The lower rent than it can deliver, it will clip (flatten) the transformer optimized the amplifier's
half shows the safe area of one-half of the the top and bottom of the waveform. Dis- current -to -voltage ratio for the nominal
amplifier (the other half is symmetrical to tortion is high at an amplifier's clipping impedance of the speaker. Hardly any solid-
it). The brief excursion way over to the point and increases rapidly at power levels state amplifiers have such a capability, how-
right is the protection -circuit spike, pro- above clipping. ever, with such exceptions as some Mcln-
AUDIO/NOVEMBER 1996
29
tosh models using output autoformers sistive), but this is potentially not the hard-
(one -winding transformers) and my own est signal to handle, because it means that
Apt One (whose power transformer could there is little drop across the output transis-
be switched to produce higher current for tors and so not much resulting power dissi-
low -impedance loads or higher voltage for pation at that instant. A more difficult situ-
high -impedance speakers). ation is the intermediate case, where, say,
The ability to drive the actual load im- half of the rail voltage has to be supplied.
pedance of a loudspeaker on real signals I The current will be lower than in the full -
call an amplifier's "elbow room." The rea- output case, but the output stage has to
son can be seen in Fig. 3, which shows the drop the "other" half of the voltage, and the
excursions caused by a highly compressed combination of voltage and current results
FM radio signal into the safe area in one- in real power being dissipated inside the
FIG. 3-VOLT-AMPERE PLOT
half of a power amplifier output stage driv- amplifier-it gets hot. This is another way
FOR ONE-HALF THE OUTPUT STAGE
ing a high -quality loudspeaker. Note that to look at the amplifier's safe area.
OF A POWER AMPLIFIER PLAYING
the maximum envelope of the excursions' Now, if instead of Class AB, other classes
COMPRESSED FM MUSIC INTO
forms a more or less straight line, from up- of operation, such as Class G, are used,
A HIGH -QUALITY LOUDSPEAKER OVER
per left (high current) to lower right (high which effectively vary the supply voltage
A PERIOD OF TIME. VOLTAGE ACROSS
voltage). The amplifier is not clipping, but with the signal demand, more efficient op-
THE OUTPUT STAGE IS HORIZONTAL,
it is playing at a fairly high level. The point eration becomes possible and internal dissi-
CURRENT VERTICAL.
at which this envelope intersects the ampli- pation is reduced. This is what makes prac-
fier's safe area curve (of the shape shown in tical some contemporary high-powered
Current Limit
Fig. 4) is not at either extreme, but rather in five -channel receivers, which could not oth-
the middle. Thus, the most relevant consid- erwise dissipate enough power within their
eration is not the maximum voltage output chassis to deliver in the same space and
(the basis of conventional 8 -ohm power weight what a couple of years ago was only
t Power Limit
ratings) or the maximum current output a two -channel model.
(which might be an additional specifica- CLIPPING BEHAVIOR ON ASYMMETRICAL
tion), but the power that the amplifier can SIGNALS: Audio signals are often asymmet-
dissipate internally (not the power -output rical, but virtually no test signals are. While
Voltage
Limit rating). And the power amplifier specifica- not in the category of high audibility, am-
tion that best correlates with this capability plifier misbehavior on asymmetrical signals
V- is probably an unexpected one: All other can be very significant, if only because it
can cause loudspeakers to break. Figure 5
things being equal (such as class of amplifi-
FIG. 4-THE SHAPE OF A TYPICAL cation), it is the weight of the amplifier that shows what happens when a power amplifi-
VOLT-AMPERE SAFE AREA OF AN matters most! That's because a more mas- er is clipped on only one side of the wave-
AMPLIFIER OUTPUT STAGE. THE sive heat sink can support greater power form, which could occur with a piano
LIMITS CHANGE WITH TEMPERATURE dissipation through the output transistors. waveform, or speech, for instance. The ver-
AND PERCENTAGE OF TIME SPENT IN But note that the strongest correlation to tical displacement of the signal and long re-
EACH REGION. weight in Audio's Annual Equipment Di- covery time after the clip are evidence of a
rectory (October) is price. problem. This would cause the connected
One way around the problem of having woofer cone to be pushed out of its box and
to dissipate so much power in the amplifier possibly damaged. I learned about this from
in order to properly supply the load is more a studio application where the user could
efficient amplification. Most audio ampli- see there was a problem that was causing his
fiers are Class AB, in which two output monitors to break. Although the loud-
halves alternately share the duty of driving speaker would usually get blamed for fail-
the load, with a small, constant bias current ure, in this instance it was a power amplifier
to stitch the two halves together without ex- flaw that caused the loudspeaker to fail.
cessive distortion around the crossover. The defect was a result of coupling ca-
They have more or less fixed power supply pacitors located where they could take on
FIG. 5-AN ASYMMETRICALLY rails. The output stage acts as a kind of vari- the wrong charge during clipping and
CLIPPED WAVEFORM. CLIPPING able gate between the power supply and the would have to "re -equilibrate" after the clip
OF JUST THE BOTTOM OF THE load, and it must dissipate the difference by charging to a new condition. The reme-
WAVEFORM LEADS THIS AMPLIFIER between the two. At the instant of a high dy for this is to not use coupling capacitors
TO THE DISTURBANCE IN ITS output voltage, there may also be a high between amplifier stages and to use a DC
BASELINE FOLLOWING THE CLIP. output current (if the load is primarily re- servo around the amplifier to reduce out-
AUDIO/NOVEMBER 1996
30
put offset voltage, rather than a coupling sistor. One way it can be overcome is by us- NOISE: Audible noise, usually in the form
capacitor to break the feedback loop at DC. ing a cascode connection of two transistors of hiss, although very low in many power
HIGH -FREQUENCY DISTORTION: Ampli- "stacked." In this configuration, the output amplifiers, has come into increasing promi-
fiers tend to distort more at high frequen- is better isolated from the input of the nence today. The reason is that there are
cies, largely because their feedback typically stage, with less effect as the output swings commonly more amplifier channels in use
falls as frequency goes up (and as the cir- across a wide voltage range. than ever before, as multichannel audio be-
cuit's innate distortion is rising). Above 10 Another source of distortion is lack of comes widespread, and loudspeaker sensi-
kHz or so, harmonic distortion measure- drive capability for the output stage. This tivity for the satellite portion of sub-
ments are poor indicators of audible prob- may happen in both bipolar- and FET-out- woofer/satellite systems is fairly high by the
lems, since the harmonics are ultrasonic. put amplifiers but is a likely culprit in the standards of traditional wideband speakers.
But another type of distortion, difference - case of the FET output type. Although the These conditions conspire to make amplifier
tone intermodulation, can be plainly audi- output stage's FET has a very high input noise audible at levels that previously would
ble at high frequencies if it becomes great impedance at low frequencies, the imped- have been inaudible.
enough. Difference -tone IM is measured ance is capacitive, and so it falls dramatical- Any of the seven factors described above
using two high -frequency tones, such as 19 ly with increasing frequency. Unless enough could be involved in producing audible dif-
and 20 kHz. If the amplifier is nonlinear, it drive current is available to charge the ca- ferences among power amplifiers. Although
will produce a 1 -kHz difference tone from pacitance, distortion will result. we may be at the state where, with good
these two high -frequency signals; since the amplifiers driving loads within their capa-
high -frequency tones provide no psychoa- bility on controlled program material, they
coustic masking at 1 kHz, the 1 -kHz tone is can indeed achieve audible transparency
audible, whereas simple harmonic distor- (and thus sound the same at matched lev-
tion from these tones would not be. afe area"
ti els), that does not mean that power ampli-
Music rarely includes two high -frequen- fier design is over. By expanding
cy tones that aren't harmonically related, refers to the the range of program ma-
but music signals approximating the char- terial, test signals,
acteristics of noise are possible. So a more
relevant test might be to drive an amplifier
IIowable voltage and loud-
with audio -band noise from which a por-

tion of the spectrum, such as the midrange, and went
has been filtered, to see how much of the fil-
tered frequency region is filled in by distor- excursions in speaker and
tion products generated within the amplifi- cable load imped-
er. This is a test that potentially could
correlate well with listening and that would
tan amplifier' ance variations, the potential
for audible misbehavior is increased.
exercise more distortion mechanisms than
simple THD or intermodulation tests. Since output stage. While not all of the amplifier design failings
discussed have been shown to produce ef-
no one currently performs such a test, how- fects that are directly audible, and some will
ever, high -frequency THD should still be be relevant only at elevated signal levels or
given some weight; it probably does corre- under otherwise unusual or difficult condi-
late with performance on the noise test, A third source is the quality of the ampli- tions, they still require consideration by
even if it's not directly audible. fier's global feedback resistor. Since there is anyone seeking a consistently high level of
There are at least four primary sources of a very high voltage swing across this resistor sound quality.
distortion that lead to performance that, if in high -power amplifiers, any variation in Audio amplifier design seems to follow
not audibly degraded, is at least not exem- its resistance with voltage causes corre- fashion. A few years ago, it was transient in-
plary, and that perhaps could be shown to sponding gain changes with voltage, which termodulation distortion (TIM) that was in
be audible in some instances by the noise is another definition for distortion. fashion; today "retro" audio, in the form of
test. One is the basic open -loop distortion, The fourth source of distortion is mag- low -power tube amplifiers, is making a
reduced by feedback, but nonetheless pre- netic fields resulting from the high currents comeback in the high end. These trends
sent and often dominant. Although all am- in the wiring and printed circuit board seem to be supported by the inability of the
plifier stages have their own distortion traces. The power -supply lead wires carry marketplace to absorb more than one idea
mechanisms, often the high -voltage -gain current for only half of the signal (for a at a time. In truth, however, amplifier de-
second stage in power amplifiers is the positive supply, for example) and create a sign is always a balancing act, with a great
main source. Here it arises because of the corresponding "half -wave" magnetic field many factors involved. Real but frequently
high voltage swing on the output "talking around them. If the magnetic field is inter- overlooked design problems can affect both
back" to the input of the stage across the cepted by circuit -board traces, harmonic audible performance and reliability under
collector -base junction of the primary tran- distortion may be added to the signal. realistic operating conditions. A
AUDIO/NOVEMBER 1996
31
der such conditions the left/right channels
EQUIPMENT PROFILE of the three -channel amp will need all the
DANIEL KUMIN headroom and power of an equivalently ex-
cellent stereo model.
This would appear to be much the idea
PARASOUND behind Parasound's HCA-2003, the latest of
the San Francisco firm's High -Current Am-
HCA-2003 plifier series, with its three 200 -watt chan-
nels. Like many of Parasound's recent mod-
THREE -CHANNEL AMP els, the 2003 was designed by John Curl, one
of the godfathers of modern wideband am-
plifier engineering. The amp meets Lucas -
film's Home THX criteria for power ampli-
fiers and is so certified, and it is specified as
delivering 300 watts per channel into 4
ohms and as having a peak current capaci-
ty of 60 amperes per channel.
The manufacturer lists a number of the
2003's technical high points, among which
are: independent power supplies for each
channel via a common, 1.2-kVA power
transformer equipped with separate wind-
ings for each channel; 90,000 microfarads
of "computer -grade" supply filtering; sepa-
rately regulated driver -stage power sup-
plies; and "hand-picked," complementary
MOS-FET high -voltage drivers.
The Parasound's output devices are 12
complementary pairs of beta -matched, 50 -
MHz, 15 -ampere transistors; these are di-
rect -coupled to the load without benefit of
any LCR output networks; "linear -tracking,
instantaneous -acting DC servos" perform
DC guard duty. Parasound says the input
stage is a cascode Class -A circuit, using
Ten years ago a three -channel ampli- will relegate the pre-existing (and presum- matched, complementary J-FET pairs, and
fier might have seemed about as ably lower -power amp) to surround -chan- the company specifies overall operation as
useful to the average audio fan as a nel ("rear") duty. However, a three -up amp "high -bias" Class A/AB. This indicates a
three-legged hog (the wonderful might just as easily drive center and sur- substantial zone of Class -A operation,
joke regarding which will have to round speakers in conjunction with a stereo
appear another time). Today, how- model or surround and subwoofer with an- Rated Continuous Power Output, 20
ever, as most anyone who has visited a hi-fi other three -by; you might even buy a three - Hz to 20 kHz, All Channels Driven:
shop or read an audio (or Audio) magazine channel amp to power a stereo -and -sub - 8 -ohm loads, 200 watts x 3; 4 -ohm
in the past decade can testify, three -channel woofer loudspeaker array, with no thought loads, 300 watts x 3.
amps make perfect sense. Take one high- to surround. Rated Distortion: Less than 0.05%
performance, separates -based stereo sys- But it seems self-evident that most three - THD at full power, less than 0.006%
tem, add a three -channel amplifier, mix in channel jobs are destined for the L/C/R tri- THD at typical levels.
Dolby Pro Logic (or Dolby Digital) process- umvirate. A factor easily overlooked in such Dimensions: 19 in. W x 7 in. H x 16 in.
ing and a few new loudspeakers, and you've cases is the excellent chance that, no matter D (48.3 cm x 17.8 cm x 40.6 cm);
made the transition to surround -sound how elaborate the home theater system in height with feet, 7% in. (19.4 cm).
home theater. which it finds itself, the amplifier will spend Weight: 54 lbs. (24.5 kg).
The obvious way to deploy such an item a good portion of its life reproducing plain - Price: $1,650.
is in driving the "front stage" of a home vanilla stereo (and even mono) from non - Company Address: 950 Battery St., San
theater-that is, the left/center/right speak- Dolby and classic films, "regular" TV Francisco, Cal. 94111; 415/397-7100.
er trio that delivers about 85% of home the- broadcasts, and, of course, stereo music For literature, circle No. 90
ater's acoustic goods. A typical installation recordings with no surround encoding. Un-
AUDIO/NOVEMBER 1996
32
Get a bigger rush from your music. Only Sony
headphones can capture the spirit and sound of the
original recording. That's because no one knows
more about sound reproduction than we do. And
no one applies that technology to headphones bet-
ter. We make more headphones than any other
manufacturer-frgm noise cancellation to wireless.
There's only one way to make your favorite rock
livelier. Sony headphones.
01996 Sony Electronics Inc. Reproduction in whole or in part without written permission isproirityted. All rights reserved. Sony is a trademark of Sony. http:/www.sony.com
Parasound HCA-2003 - Free only Response at 1 Watt (3 channel.)
easy for a reasonably fit individual
coilpo
+1
Ap to move the Parasound amp
llll úv o. 17entr
l
CHANNEL I
l
around without a subsequent call Y

o 9/0 a:Vat It also
CHANNELS 2 AND 3 to the osteopath. The whole busi- grade F.on of to revealed
a
ness is painted in basic audio parts didroügh,, P`9Uali cons¡d
2
black-once again, not fancy, but applied in d' bypass p e Parts Wier_
professionally applied. And I ap- components a pass Ps, my o
-3 see
plaud the use of high -visibility noncritical am. in 4) rcol:Uin
4 white for the rear -panel lettering, tions-eminently'nd lots ve been
10 100 Ik 10k IOOk 200k
even though the front gets higher - Construction lookec3,U er-cost
FREQUENCY - Hz
class (but less legible) gold -toned main circuit boards are Used in
Fig. 1-Frequency graphics; now, that's thinking.
response. Front -panel features are limited 'oca -
to a heavy rocker switch for power
Fanaowtl HCA.2003 -CR BaVaMbn 0Ia(cR 2-1, s1, 2-3. 612); eoha
- 60
and five LEDs. One LED glows red
Ap
for power -on and standby modes,
-65 automatically switching to green
co
o -70 about 6 seconds after a cold start,
1
as circuits stabilize. Across the way

is a trio of red LEDs, marked "Cur-
ú -80 rent Overload," one for each chan-
nel. The manual says that these "in-
-85
dicate overload of the power
3 TO 1
-90 supply just before the onset of au-
20 100 Ik 10k 20k
dible distortion. .in virtually all
.
FREQUENCY - Hz
listening situations, these LEDs will
Fig. 2-Channel separation. rarely illuminate." Parasound was I WAS QUITE IMPRESSED
Parasound HCA-2003 - 113 -octave Noise 100w¡

as good as its word: In all my listen- BY THE HCA-2003'S
-110 ing, none of the three so much as
EFFORTLESS CAPABILITY
- 120 11111IIn 111111 111!!!li glimmered. Later, on the bench, I
-130 111111II111IIIIIIII111!!!! 1111III1 found out why: Even when the amp FOR WIDELY DYNAMIC,
- 140 .III11IECÍli111iIIIIII 11111111 was driven into long-term voltage FULL -RANGE SOUND.
-150 1111111111111111111111111111 111111111 clipping that virtually turned the
20 100 1k 10k 100k 200k
signal into square waves, the LEDs
FREQUENCY - Hz
stayed dark. Putting a screwdriver and feature some unusually heavy traces on
Fig. 3-Noise analysis. across an output did the trick, trip- power -transistor and power -supply paths;
ping a relay as well. the relatively limited hand wiring is very
which tends to be confirmed by the 2003's Around back, the big Parasound supplies tidily terminated, wire -tied, and shrink -
distinctly warm idling and low -output be- identical facilities for each channel: a solid - tubed into place.
havior-just cool enough to lay your hand looking, gold-plated five -way (3/4 -inch, on -
on comfortably for quite a while. center) binding -post output pair; a high - Measurements
The HCA-2003 is-well, "big" is proba- quality, gold-plated RCA input jack; and a It's worth noting that the HCA-2003 sur-
bly as good an adjective as any. Measuring nice, finger -sized knob for input level (as vived all the test -bench abuse I could throw
some 19 x 7 x 16 inches, the amp tips the opposed to the screw -trims sometimes its way. This included a certain amount of
scales at a hefty 54 pounds. Construction found). Each level control is marked "THX deliberate stress, as in attempting to light
was not fancy but very solid everywhere I Level" at its wide-open position and has the aforementioned overload indicators,
looked, sporting heavy -gauge sheet metal generous travel back to zero. There is no fa- and the odd incident of the accidental vari-
front and rear and top and bottom and with cility for channel bridging, which seems ety: principally, one particularly bonehead-
very large heat -sink extrusions forming the sensible enough for a three -channel amp. ed moment when I inadvertently sent about
sides of the chassis. The sinks have generous Filling out the rear panel are a screw -out 10 volts to its inputs for an extended peri-
ribbing 11/4 inches deep, and their profiles fuse holder (15 amps) and a socket for an od-yikes! The Parasound tried mightily
are thoughtfully rounded to cut down on IEC three -wire power cord; the supplied for a few seconds to produce the requested
the cuts and scrapes that sharp -cornered 14-AWG power cable is said to be a "custom 3,000 watts and then shut down, but it pow-
heat sinks so frequently inflict. I appreciat- designed audiophile -grade" item. ered right back up after a brief cooling -off
ed equally the presence of rack handles A trip inside the HCA-2003 appeared to period (for both amp and operator) with-
both front and rear, which make it almost confirm its maker's claims as to specific out complaint. Interestingly, although the
AUDIO/NOVEMBER 1996
34
Introducing The Tower °Series By Henry Kloss.
Cambridge SoundU órks'

new Tower series
speakers combine
musical accuracy. very
natural tonal balance,
precise stereo imaging
and an incredibly
dynamic presence - all
without reinventing the
laws of plysics.
Tower H
No Magic Formula. No Secret

Ingredients. No Mumbo Jumbo.
In 1988, we changed the w a pet pie bought speakers Tower ilbyHenryKloss CenterStage by Henry Klossr-
when we introduced our Ensemble' speaker system by Toner l/ is a three-way system that is substantially larger CenterStage is a two-way; three -driver center
Henry Klass (founder of AR. KLH & Advent) - selling it than Tower IIl. It featurestwo 8" pxolpropyiene channel speaker that complements our Tower
factory -direct. In 1996, we're changing things again. woofers, a 51 /4" polypropylene midrange driver. and a speakers. It matches the tonal balance of all three
1" soft -dome tweeter. A flared low -frequency vent is models. Its bass reach is significantly greater than
No Mumbo Jumbo. located at the lower rear of the enclosure. most center speakers, thanks to its dual -vent
We don't claim our designs are based on amazing The large cone area of Toner Its multiple drivers enclosure. The dynamic range of its long -throw
scientific breakthroughs. No mystery material. No contributes to an effortless sound quality, giving music a drivers is enough to handle the most demanding of
magical formula. No revolutionary technology strong feeling of "presence" that is easier to hear than video soundtracks, while their dispersion is broad
We offer carefully fine-tuned designs, based on years describe. That presence, along with Toner ll's smooth, enough to include all listening positions. It is
of experience, using the hest materials. But we aren't musical octave -to -octave tonal balance and precise finished in black vinyl. Factory -direct price: $349
obsessed with materials. We're obsessed with sound. stereo imaging, produce what we think is the finest
Our Toner series has the wide range, precise stereo speaker system ever offered for under $1,000.
The Surround' by Henry Kloss
imaging and natural tonal balance of our acclaimed Toner II is finished in vinyl that simulates black ash You can create a complete home theater sound
Ensemble series - and adds improvements in efficiency, or Vermont walnut. It is hi-wire/hi-amp capable. systems using CenterStage and any of our Tower
dynamic range and "presence." Factory -direct price: $999 pr. speakers combined with our high -output dipole
The result is somewhat unusual: speakers combining radiator surround speaker, The Surround. Available
the dynamic presence of high -efficiency studio "Selling direct allows Cambridge SoundWorks in black or white. Factory -direct price: $399 pt
monitors, and the precise musical accuracy and to price speakers hundreds of dollars below Satisfaction Guaranteed
pinpoint imaging of low -efficiency "reference' speakers. the competition." Inc. magazine All three Tower speakers and CenterStage are
Tower lip by Henry Klass' backed by our Seven Year Parts and labor Warranty
Toner Ill is a two-way design using a wide -dispersion Tower byHenryKloss and our 30 -Day Total Satisfaction Guarantee.
tweeter and a single 8" usxifer like the more expensive The flagship of our new series is a three-way, bipolar
models in the Tower series, it combines high sensitivity model named Toner by Henry Klass. The bipolar
To Order, For a Free Catalog, Or For
and outstanding dynamic range with the natural, wide - dispersion pattern helps eliminate the usual "point
source" effect of direct -radiator speakers, and ensures a
The Nearest Store Location, Call
range sound (including terrific bass) that results from a
generously -proportioned cabinet. It has been
meticulously "voiced" by Henry Klass for superb
proper stereo effect in a variety of listening positions.
Toner features two forward -facing 8" woofers; a
1-800-FOR-HIFI
(1-800-367-4434)
octave -to -octave tonal balance and precise stereo forward -facing 51/4" midrange driver; a 1" soft -dome
tweeter; and separate rearward -facing midrange and
imaging. These benefits come at a much lower cast
than superficially similar models through a combination tweeter units identical to those used in front. A CAMBRIDGE
of Henry Noss' design expertise, plus Cambridge
SoundWorks' highly efficient direct -to -the -consumer
flared low -frequency' vent is at the lower rear.
Because it has even more cone area, Tower's SOUNDWORKS
sales politic Toner Ill is the most affordable high- feeling of "presence" is, if anything, stronger than
that of Tower II. That presence, when combined
Critically Acclaimed. Factory -Direct.
performance floor -standing speaker we know of. 311 Needham Street, Suite 104, Newton, MA 02164
with the three-dimensional sound of Tower's bipolar Voice: 1-800-367-4434 Fax: 617-332-9229
like other models in the series, Tower Ill is Canada: 1-800-525-4434 www.hifi.com
design, results in sound that is nothing short of in-
Outside U.S. or Canada: 617-332-5936
magnetically shielded and features removable black credible - spectacularly realistic Available in lac- 0 1996 Cambridge SoundWorks. ®Ensemble is a registered trademark of Cambridge
SoundWorks, Inc. KIN is a trademark of KIN,
grilles, fully -finished cabinets (front and rear) and gold- quered walnut or black ash veneers, we think Tower Inc. AR and Advent are trademarks of Internatlonal lenses Inc.
Cambridge SoundWorks is not affiliated with KLH, Advent or AR.
plated binding pasts. It is finished in black ash vinyl. is one of the finest speakers ever offered. It is bi-wire/
Factory -direct price: $599 pr. bi-amp capable. Factory -direct price: $1,499 pr. re -1910- ral
Parasound HCA3003 - THO.N v.lrsg. (Bohm loads) at 1,10.100, 200 . The HCA-2003 proved to be a wave clipping point was much more sub-
0.1
1 WATT
notably quiet amplifier, with A - stantial. Parasound specifies the 2003's dy-
weighted noise measuring -99.1, namic headroom as "greater than 2 dB,"
-99.3, and -99.6 dBW on the three without stating the load impedance; I'm
10 WATTS
channels. Figure 3 shows a third - happy to give them the benefit of the doubt
octave spectrum of the noise (also here, thanks to the 2003's excellent all-
relative to 1 watt), from 20 Hz well around performance.
1
200 WATTS into the ultrasonic region. It is very
low, and the absence of 120-, 180-, Use and Listening Tests
0.001
and 240 -Hz power -line artifacts is I inserted the HCA-2003 into my usual
10 100 1k 10k 50k impressive. There is a clear peak at home theater/hi-fi system, putting it to
FREQUENCY - Hz
the 60 -Hz fundamental power -line work driving the three front speakers, cur-
A frequency, but let's keep in mind rently a pair of B&W 803 Matrix Series 2s
Para sound HCA-2003 - THD.N v. freq. (4ohm lads) 01,10, 100, 300 w. that this reaches only -120 dBW! with a single B&W HTM center -channel
_== ==== ===_ -M]
i
At rated power, total harmonic unit. All of these qualify as moderately sen-
~IM.-.11111~1~..1.1~~..11~M.
'ullll
~~nnumuu~Mmw~M11
Bl8......el....BBl....1811j ll
distortion plus noise (THD + N)
remained below 0.05% with 8 -ohm
sitive speakers, and my usual amplifier (an
80 watt x 6 job that also drives the sur-
o.I
loads and 0.08% into 4 ohms. Fig- rounds) has never seemed particularly un-
z 1.1111111 10 WATTS 1111111111111!I11 ures 4A and 4B show THD + N for derpowered. In the interests of science, I
+ =111111111 111111~11%11~1
_
0.01
11-.111
--.___ 100WATTS mi eunlll
Iummnml'/1IIII11 the two cases. Note that these plots
extend up to 40 kHz (and down to
ran the system full -range, with no sub -
woofer, for most of my listening, in order to
~111111~11111111
i 300 WATTS
II=~.1I:111~~.
~~11111~~111111111~~111111111~11111Z
INI111111~111111111IIIIIIMMII 10 Hz) and that the Parasound
0.001
1111 maintains good linearity well into MEASURED DATA
10 100 1k 10k 50 the ultrasonic and infrasonic re-
FREQUENCY - Hz gions (the 4 -ohm, 300 -watt plot Output Power at Clipping (1 kHz, 1%
peaks at only 1.4%, just off -scale). THD + N): 265 watts/channel into 8 -
Fig. 4-THD + N vs. frequency
for 8 -ohm loads (A) and
Figures 5A and 5B show the ohm loads, 311 watts/channel into 4 -
4 -ohm loads (B). Parasound's power output versus ohm loads.
distortion with 8- and 4 -ohm loads Dynamic Output Power: 288 watts/chan-
2003 does idle rather hotter than many typ- on all three channels. The closely bundled nel into 8 ohms, 487 watts/channel
ical amps, it ran surprisingly cool, never curves for 20 Hz and 1 kHz are pretty con- into 4 ohms.
getting too hot to at least touch comfort- ventional, revealing performance that's Dynamic Headroom: 1.6 dB into 8
ably, even after having run full power on all dominated by noise right up to the clipping ohms, 2.1 dB into 4 ohms.
channels for long periods of time; this, point, with the very direct onset of clipping THD + N, 20 Hz to 20 kHz: At rated
doubtless, was thanks to its very substantial typical of most solid-state amps. The 20 - power, less than 0.05% into 8 -ohm
heat -sinking. kHz plots, however, have gradually rising loads and less than 0.079% into 4
Frequency response was very flat at all (but still negligible) distortion, beginning ohms; at 10 watts out, less than
power levels. Figure 1 shows all three chan- at around 100 watts. 0.027% into 8 ohms and less than
nels at 1 watt; channels are flat to well with- The amplifier clipped at about 265 watts 0.053% into 4 ohms.
in 0.1 dB, but a slight channel imbalance while driving 8 ohms and 323 watts with 4 - Damping Factor re 8 Ohms: At 50 Hz,
puts channels 2 and 3 at 0.12 and 0.16 dB, ohm loads, easily meeting its specs of 200 566; at 20 kHz, 354.
respectively, below channel 1. On all chan- and 300 watts. On IHF tone bursts I saw Output Impedance: 15 milliohms at 1
nels, the -3 dB points were well below 10 288 watts into 8 ohms and 487 watts into 4 kHz.
Hz and at around 150 kHz, and useful out- ohms, for about 1.6 and 2.1 dB of dynamic Frequency Response at 1 Watt: 20 Hz to
put reached beyond the 200 -kHz measure- headroom, respectively. (A side note: 20 kHz, +0, -0.16 dB; -3 dB below 10
ment capability of my generator/analyzer. Roughly 1,500 simultaneous watts from Hz and at 140 kHz.
This is very extended and satisfyingly flat one amp is a lot of poop. At full cry, the Sensitivity: 102 mV for 1 watt (0 dBW)
reproduction. 2003 sucked down my AC line current by a out, 1.435 V for rated output.
Figure 2 displays channel separation at 1 - couple of volts; this surely is representative A -Weighted S/N: 99.1 dB at 1 watt out
watt levels into 8 -ohm loads; I have only of real -world conditions, but it might well into 8 ohms.
shown four of the permutations, as the oth- have done a bit better with a stiffer AC line.) Input Impedance: 51 kilohms.
ers were similar enough to be redundant. As is often the case, 8 -ohm dynamic Channel Separation: Greater than 74
This is excellent performance, in my experi- headroom compared to steady-state clip- dB, 20 Hz to 20 kHz.
ence, especially for a multichannel amp ping power (as opposed to the on -paper Channel Balance: Within 0.13 dB or
where space, and hence board -trace rout- spec's rated power) was practically nil; 4 - better.
ings, can be cramped. ohm dynamic headroom above the sine -
AUDIO/NOVEMBER 1996
36
Regular_
EXpresso_
Plymouth Neon Expresso $13,370 (Nicely equipped.) And that's a great

price for a car chock-full of features like cab -forward design, a rear deck spoiler, fog lamps,
automatic, dual air bagst and even a power bulge that tells you something's percolating
under the hood -150 peak horses, to be exact! Visit your Plymouth dealer today or call
1 -800 -PLYMOUTH or surf by on the Internet's World Wide Web at www.plymouthcars.com.
One clever idea after another_ That's Plymouth_
*Plymouth Neon $10,395 for starters. MSRPs include destination and $500 rebate, exclude tax. tAlways wear your seat belt.
Definitive Technology
The Leader in High -Performance Loudspeakers.
Perk,ounE MCA -2000 . TMO.N v. Output HO: 20 kHz. 1 kHz. 20 Hz i8e0m IoeOki Noise was not a problem with
(
Ap the big Parasound. With the amp
Authorized Dealers
Alaska Audio: Juneau. Pyramid: Anchorage.
idling and my ear to the tweeter, Cohen's Electronics: Montgomery. Kincard's TV: Tuscaloosa*
is Audio: Birmingham.
0.1
the noise sounded just about per- /- Custom Audio Video: Little Rock.
Jerry's Audio Video: Phoenix, Tucson.
fectly "white" and just barely audi- - Access to Music Larkspur. Accurate AN: S. Lake Tahoe.
dio Concepts. Long Beach, San Gabriel. Bay Area Audio: San Jose*
+ ble. There were virtually no per- Boots Camera: Fresno* Chi. Hansen West LA. Coast Satellite:
Atascadero, Santa Maria. Creative Stereo: Santa Barbara, Ventura.
001 ceptible hum components, and in David Rutledge Audio: Palm Desert. DB Audio: Berkeley Digital Ear
Tustin. Dow Stereo Video: San Diego & Suburbs, La Jolla, El Cajon Chula
contrast to many other multichan- Vista, Escondido. Larson's: Redding. Lee's Home Theater: VVisalia
Monterey Stereo Monterey Pacilk Coast AN. Newport Burch Paradyme:
nel amps I've encountered, the Sacramento. Performance Audio San FrancscoSpeakerCntt: Riverside.
Systems Design Redondo Beach. Videotek: WestminsterWestchester TV:
0.001 Bakersfield. Wilson Home Theater Woodland Hills.
0.0005
2003 was entirely free of audible Audio Visions: Grand Junction., Listen Up. Denver Boulder,
Colorado Springs. Soundtrack: Denver & Suburbs, Boulder, Ft.
10 100 500 mechanical hum or buzz. Collins,ranklin's:
Colorado Springs.
OUTPUT - WATTS RoAl Greenwich. Canton's Audio Video: Danbury.
On high -impact musical seg- berts Audio Video: New London.
A - Myer-Emco.
ments, such as the Copland "Fan- oun dio: Newark, Wilmington.
Absolute Sound. Winter Park. Audio Advisors: West PalmBeach
Pettsouna 11CA2007 TMD.N v. eupu 040 20 k1441 kN420 MB (Iota k.E.l fare" snippet from Delos' Surround dio Center: Deerfield Beach. Audio Video Store: Tallahassee.
The Audiohouse: Vero Beach. Cooper for Stereo: Clearwater*
)
Spectacular demo CD (DE 3179), Hoyt Stereo, Jacksonville Palm Audio: Destine Sensuous Sound: Tampa.
-==-===2::::=7.--=.7.:::::=='.::
ssirMI..IIeeessirrr.Ir_r ra. W Sound Components : Coral Gables. Sound Ideas: Gainesville.
~_.....el1~_.....eº111IMIM .. the 2003 acquitted itself with a Sound Insight: Ft. Fierce. Stereotypes' Daytona Beach. Stuart AN: Stuart.
IIIME1111~11~11111~ smooth, no -sweat delivery of some
LaAudio Warehouse: Savannah. Ken s Stereo Jcl.: Macon*
ser Disc Enterprises: Atlanta. Merit TV: Columbus*
Illlll1Illlllai 1 Stereo Connections: Valdosta. Stereo Festival: Atlanta.
Audio Center Honolulu Waipahu.
very substantial, low -end -rich
r.r.ii--;:i..::.-==.T.:--ii--:--
~~.....11~5:.......?.. IIIE
,i
transients. There was no sense of
- Audio King Cedar Rapids, Des /homes. Archer Audio Video:
Dodge. Audio Video Logic: Des Moines* Audio Visions: Sioux
IM1111~t,"MUºI 0klyi
the fat, glugging tinge that even an

City Camera Corner Davenport. Hawkeye AN: Iowa City, Waterloo.
Ultimate Electronics: Boise. Wise Buy: Idaho Falls.
United Audio Centers: Chicago & Suburbs. Camera Corner
0.01 oomington Can a Stereos: Rockford Good Vibes: Champaign.
excellent amp, when momentarily Jon's Home CU.: Quincy. Sound Forum: Crystal Lake*
Select Sound: Naperville Sundown AN: Springfield.
..Z1.ÍÍÍÍ1111111=1ÍÍÍI~1MIZ swamped by such transients, tends Classic Stereo: Ft. Wayne, Mishawaka. Good Vibes: Lafayette
0.00i MI1IIIIII1IIIIII1111I to display. Clean, natural -ambi-

Kings Great Buys: Evansville* Ovation Audio: Clarksville; Indianapolis.
AuAccent Sound: Overland Park. Advance Audio: Wichita.
dio Junction Junction City, .
10 100 500 ence jazz ensemble recordings- Ovation Audio: Lexington, Louisville.
- Alterman Audio: New Orleans, Metairie . Lake Charles Music: Lake
OUTPUT - WATTS such as The Holmes Brothers' Jubi- rtes. Sound Advice: Baton Rouge Wrighl's Sound Gallery Shreveport.
MA- Cookie'. Chestnut Hill, Saugus. Goodwins Audio: Boston,
Fig. 5-THD + N vs. output B lation (RealWorld 92127-2), in Shrewsbury. Nantucket Sound: Hyannis. Northampton Audio:
Northampton. Pittsfield Radio: Pittsfield.
for 8 -ohm loads (A) and which the drums and voices are Gramophone: Battimore, Ellicott City. Myer-Emco:
adhersbur9, Beltsville, Rockville. Soundscape: Baltimore.
Cookie': Portland.
4 -ohm loads (B). very realistically captured-pro- - Pacer's: Detroit Troyy. Classical Jazz Holland. Classic Stereo.
anozoo, Grand RRapds Stereo Center FRAV: Flint.
duced neutral and open sound, Court SI. Listening Room: Midland, Saginaw.
MN Audio King' Minneapolis & Suburbs, Rochester, St. Cloud.
stress the Parasound as fully as possible and free of any "extra" air or brightness yet clear Audio Designs: Winona.
Independence AN: Independence. Reference Audio. Sedalia.
to eliminate any aural confusion; for the and detailed. Dense, full -orchestra repro- Sound Central. St Louis.
Ideal Acoustics: Starkville McLelland TV: Hattiesburg.
same reason I did the bulk of the listening duction proved equally clean. Complex tex- Players AN' Ridgeland.
CAspen Sound. Missoula. Avitel: Bozeman.
with the surround channels off, in "Dolby - tures were transparently rendered in a be- r & Home Stereo CIr.: Billings* Rocky MI. Hi Fi: Great Falls.
Audio Video Systems: Charlotte- Audio Visions: Wilmington.
3" -like stereo/surround and three -channel - lievable acoustic space. A disc of Nielsen Now AudioVideo: Durham, Greensboro, Raleigh, Winston Salem-
Audio- Lab: Wilmington.
mono setups. My system's front end em- wind concertos and orchestral miscellany Custom Electronics: Omaha, Lincoln.
- Cookie': Nashua, Manchester Newington, Salem, S. Nashua.
ployed Citation's excellent Model 7.0 (Sony Classical SK 53276) sounded organi- Hal's Steroo: Trenton Monmouth Stereo: Shrewsbury Sound Waves:rthfield
Woodbridge Stereo: West Caldwell, Woodbridge.
preamp/processor and Meridian 508 CD cally whole; the lifelike effects of numerous Ultimate Elect.: Albuquerque. Sound Ideas: Albuquerque.
Ultimate Elect.: Las Vegas. Upper Ear: Las Vegas.
and Marantz LV-500 laserdisc players. delicate, low-level flute and clarinet nu- - Audio Breakthroughs: Manhasset. Audio Den: Lake Grove*
dio Expressions: Newburgh. Audio Junction: Watertown.
Clark Music Albany, Syracuse- Steno Exchange.: Manhattan, Nanuet
I was quite impressed by the 2003's ances-and of the composer's characteris- Hart Elect.: Vestal. Innovative Audio: Brookyrr Listening Room:
Scarsdale. Rowe Camera: Rochester. Speaker Shop: Amherst, Buffalo.
rather effortless ability to deliver very wide- tic, pressure -wave brass -choir attacks- ppyy Audio Craft Akron, Cleveland, Mayfield Hts., Westlake*
Audio Etc.: Dayton. Classic Stereo: Lima. Paragon Sound. Toledo.
ly dynamic, full -range sound in the absence were about equally notable. Threshold Audio: Heath.
OK- Ultimate Electronics: Tulsa. Photo World: Bartlesville.
of a subwoofer. The amp played the system If forced at gunpoint to assign a charac- Bradford's HiFI: Eugene. Chelsea AN: Portland, Beaverton- Kelly's
Home Clr.: Salem. Larson's: Medfont, Roseburg. Stereo Plant: Bend.
loud enough that, even in my largish (about ter to the 2003, I might log it just barely on Audio Junction: Pittsburgh. Gary's Elect.: State College.
GNT Stereo: Lancaster. Karl Elect.: Blakely, Kingston* Hi Fi House:
2,300 -cubic -foot) room, identifying the the "warm and rich" side of the ledger Abington, Broomall, Camp Hill, Harrisburg. Listening Post:
Pittsburgh. Palmer Audio: Allentown. Pro Audio: Bloomsburg.
"onset of audible distortion" was to some rather than on the "cool and analytically Stereo Shopper Selinsgrove, Williamsport. Stereoland: Natrona
Heights. The Stereoshop: Greensburg. Studio One: Erie.
degree debatable: It might have been the detailed" side. This is not to say that the big Stereo Discount Ctr.: Providence.
AN Design. Charleston* Custom Theater I Audio. Myrtle Beach*
amp, but it might also have been my ears, Parasound was not transparent, but it did stain Audio: Columbia.
Audio King* Sioux Falls. Sound Pro: Rapid Ciry.
which seem a bit less receptive to very high not exaggerate shimmer or airiness and it - College HiFi: Chattanooga. Hi Fi Buys: Nashville Now Audio Video:
noxville
111 Modern Music: Memphis. Sound Room: Johnson Cty.
SPLs with each passing year. In any event, was reliably free of any sense of hardness or T Horne Entertainment: Dallas, Houston, Plano. Audio Tech: Temple,
Waco Audio Video: College Station. Brock AN Beaumont*
Burkiey's Sound Systems: Abilene Blorn's: Sao Antonio. High Fidelity:
playing even the noisiest scenes from my fa- edge. Bottom -octave depth and control Austin. Krystal Clear: Dallas. Marvin Electronics: Ft. Worth. Sound
Quest: El Paso. Sound Systems: Amarillo. Sound Towne: Texarkana.
vorite big -action laserdiscs, such as the were outstanding: If anyone needs an am- UT- Alpine Elect. Provo. IudioWorks: Sat Lake Coy. Crazy Bob's: St George
Makes Bros.: Logan. Ultimate Elect: Layton Mussy, Oren, Salt Lake City.
train/bus crash from The Fugitive, to name plifier for a three-subwoofer home theater, yypp Myer-Emco: Falls Church, Tyson's Corner, Fairfax.
Audio Connection: Virginia Beach. Audiolronics: Roanoke.

one, and at several dB above the THX refer- the 2003 would seem ideal! As a three- Home Media Store: Richmond. Stereo Type: Charlottesville.
Audio Video Authority: S. Burlington.
ence level (absurdly loud, in all honesty), legged answer to some modern multimedia Aspen Sound: Spokane. Definitive Audio: Belevue, Seattle. Evergreen
io: Silverdale Pacilic Sight & Sound: Wenatchee. Tin Ear. Kennewick
failed to elicit any audible strain from the audio needs, Parasound's HCA-2003 de- Sound Post: Princeton.
Audio Emporium: Milwaukee. Absolute Sound I Vision' Sheboygan.
HCA-2003 amplifier. serves serious consideration. A Iii -VA-
-Fi Heaven: Appleton, Green Bay. Sound World: Wausau.
Precision Audio: Rio Piedras.
B Sound: Calgary, Edmonton Kelowna Vancouver &
u ur , Victoria. Advance Electronics: Winnipeg. Kay Bloor Radio:
AUDIO/NOVEMBER 1996 Toronto. Digital Dynamics: Clearbrook Great West Audio: London.
Kebecson. Montreal. Lipton's: New Market Ontario. Peak Audio:
38 Halifax. Sound Room: Vancouver. SlereoLand: Windsor.
Treble Clel: Ottawa.
Via- Contact Grupo Volumen: Mexico City.
A Breakthrough!
"Definitive's New
BP2002 Achieves
An Impossible
Dream." -Peter Moncrieff, International Audio Review
At $999 ea., the bipolar BP2002 with dual built-in 125 -watt
powered 12"subwoofers approaches the ultimate
performance of Definitive's reference flagship BP2000.
Your Dream Comes True Music & Movie Perfection
hen Stereo Review's Julian Hirsch The extraordinary BP2002s incorpo-
wrote of the BP2000, "...I would rate bipolar technology, which turns
choose these speakers for myself," your whole room into a sweet spot
we were thrilled and honored by with three-dimensional depth and a
this highest of compliments. In fact, huge sonic image ideal for music and
since its introduction last year, movie perfection. Truly a unique com-
Definitive's top -of -the -line BP2000 bination of delicately detailed musical-
has clearly established itself as the ity and totally controlled brute force
most award -winning and highly for your ultimate listening pleasure!
reviewed speaker of all time. Whether incorporated in a super
Now, our newest breakthrough, the audiophile stereo music system or
BP2002, incorporates similar cutting - combined with matching CLR2002
edge technologies in order to achieve center channel ($499 ea.) and our
mind -boggling sonic performance bipolar rears for a truly remarkable
which closely approaches that of our AC -3* ready home theater system,
flagship BP2000. And most important- Definitive's magnificent BP2002 will
ly, the BP2002's significantly lower achieve your impossible dream, too.
price and more compact size will
allow many more lucky listeners like nitive Tech
The Leader in High -Performance Loudspeakers..
yourself to own speakers of this Experience sonic ecstasy.' Hear for yourself why top high -end guru 11105 Valley Hts. Dr. Baltimore, MD 21117 (410) 363-7148
ultimate quality level. Peter Moncrieff raved the 'BP2002 achieves an impossible dream" Visit us at http://www.soundsite.com/definitive. 9egMeredTrademark

Oh PIONEER
The Art of Entertainment
1996 Vionce: i.... .ics i_SA> i,. - La..Dc..

When Greg (the guy sitting on the couch in
ti -is picture: comes home from worl, he wants to
relax. And if his idea of relaxation neans watching cars
crash through burning barrels, we think the experience should
be as realistic and dramatic as possible. With that goal in mind
we offer the Pioneer Advanced HomeTheater System. Tianks to our Dolby
Digital (AC -3') techrology with 6 independent digital channels and a Cinema
Wide System projection monitor, Greg sees and hears every mcment as if he were
really there. And the supercharged performance of his Pioneer LaserDisc player
means that when Greg gets bored with crashing cars, he can immerse himself in
nearly 10,000 other movies and concerts. The result is equal tc (Grec thinks better
' than) the movie theater experience. Greg feels better already. Call 1-800-PIONEER
for the dealer nearest you. Pioneer Advanced HomeTheater. You're surrounded.
These shelves (also called baffles, plates, or
platters in Digital Phase's literature) have
D. B. KEELE, JR. slots cut into them to form a series of eight
side -by -side fingers, or reeds. The ends of
the six inner reeds are free to vibrate; the
DIGITAL PHASE two end reeds are attached to the sides of

the cabinet.
AP -2.1 SPEAKER All internal surfaces of the cabinet, ex-

cept the inside of the front panel, are cov-
ered with sound -absorptive acoustic felt,
1/4 -inch thick. Even the tops of the shelves
ike all Digital Phase speakers, the AP -
2.1 is sold directly by the manufactur-
er, rather than through dealers, and
uses a patented bass technology called
Acousta-Reed. Invented by the com-
pany's president and founder, Daryl
Powell, this design uses two sets of internal
vibrating "reeds," formed by parallel slots
cut in two internal wooden shelves, that are
said to cancel the back waves of the woofers
and improve the system's bass response.
The reeds, which couple acoustically to the
woofers, are also said to increase the total
moving mass of the system and thus enable
the use of smaller woofers to reproduce the
bass; smaller woofers can provide more
uniform coverage and superior transient
response.
The AP -2.1, the second version of the
AP -2, looks quite similar to the AP -1 that I
previously tested (Audio, December 1993)
and that is still available at $1,250 per pair.
The AP -2.1, however, uses two of Digital
Phase's small 61/2 -inch woofers rather than
one in order to provide greater bass output.
The speaker is a conventional -looking rear-
ated Frequency Response: 35 Hz to 20

kHz, ±1.5 dB.
Rated Sensitivity: 91 dB at 1 meter, 2.83
V rms applied.
Rated Nominal Impedance: 8 ohms.
ported tower. Its two woofers are mounted that form the reed assemblies arc covered
Rated Power Handling: 150 watts.
above a dome tweeter. Two large, flared port with this material. (The AP -1 used fiber-
Dimensions: 42 in. H x 14% in. W x 13
tubes, 11/4 inches long and 3 inches in diam- glass instead of felt for absorption.) The
in. D (106.7 cm x 35.9 cm x 33 cm).
eter, are on the rear of the cabinet, just be- grille is framed in 3/4 -inch HDF, with plastic
Weight: 76 lbs. (34.5 kg) each.
low the input -connection cup. projections that mate with holes in the
Price: $1,700 per pair in honey oak or
The AP -2.1's cabinet, built of 1 -inch front panel. The drivers are recessed so that
black oak.
medium -density fiberboard, is very strong. their rims are flush with the front panel,
Company Address: 6223 Lee Highway,
Its ample bracing includes two 3/4 -inch which is covered in black vinyl. A heavy,
Suite #205, Chattanooga, Tenn. 37421;
high -density -fiberboard (HDF) shelves hardwood base extends beyond the edges of
800/554-7325.
that run from one side of the cabinet to the the cabinet.
http://www.mindspring.com/ other, one shelf extending halfway back The polypropylene cones of the long -
-dgpow/dphase.htm throw 61/2 -inch woofers are impregnated ó
from the cabinet's front and the other ex-
tending halfway forward from the rear. with carbon fiber. Each cone is anchored to
AUDIO/NOVEMBER 1996
42
The Price of Admission
has Just Changed
With the introduction of the Krell Audio+ Video the KAV-300i are identical to the ones used
line, entry into the world of high performance in our reference amplifiers. Innovative
audio has just become more accessible. The new engineering, unmatched capabilities, flawless
Krell KAV-300i integrated amplifier delivers build quality-fundamental elements of the
sonic quality never attainable before at this KAV-300i and standard in all components
price level. bearing the name Krell.
Integrated is the key word here. The KAV-300i The KAV-300i-Out of

integrates a discrete, Class A, remote this world performance at a
controlled preamplifier with a potent 150 real world price.
watt/channel power amplifier that just happen
Under $2,400. From
to share the same chassis. The KAV-300i also
Krell-The Leader in
shares the same engineering, production and
parts quality as every other Krell product
Audio Engineering. eII Audio+Video
manufactured at our Connecticut factory.
In fact, the proprietary output devices used in The Krell K4V3OOi
THE K AV- 3 0 0 i INTEGRATED :l 1/ /' / IFIER
KRELL 45 Connair Road Orange, CT 06477 Phone: 203-799-9954 FAX: 203-799-9796
100 the woofer's basket by a butyl rub- has been smoothed by averaging with a
ber surround and is driven by a tenth -octave filter. The dip seen at 166 Hz is
90 \,' GRILLE OFF
two -layer voice coil wound on an sharper than the smoothed curve can show,
tig
SMOOTHED
GRILLE ON aluminum former. so I've also included the unsmoothed data
80
The 1 -inch tweeter's voice -coil in the dip's vicinity. The upper -frequency
co)a
former is integral with its spun ti- response with the grille on is also shown
70
UNSMOOTIIED tanium dome; this one-piece con- unsmoothed.
60 struction is said to be lighter and to If you exclude the sharp dip, the smoothed
20 100 1k 10k 20k
dissipate heat better than a conven- curve fits a fairly tight, 6 -dB, window (+1,
FREQUENCY - Hz
tional two-piece design. The tweet- -5 dB, referenced to 1 kHz) from 47 Hz to
Fig. 1 -On -axis frequency er's dome is protected by a nonre- 20 kHz. Except for a slight downward tilt of
response. movable screen, which also holds a about 1.6 dB/octave above 1.6 kHz and the
phase plug in place and is said to 166 -Hz dip, the overall curve is quite
improve the tweeter's dispersion. smooth and well behaved. The high -fre-
.180
A high-energy neodymium mag- quency downward tilt could easily be cor-
net keeps the tweeter small; the rected by a slight boost from a typical treble
magnet is self -shielded. This driv- control.
er, too, is suspended by a butyl
rubber surround.
The AP -2.1's crossover is THE BOX'S SIZE
mounted on a 33/4 x 51/2 -inch print- MADE THE WOOFERS
100 1k 10k 20k ed -circuit board mounted behind
LOOK SMALL, BUT
FREQUENCY - Hz the bottom woofer on the rear pan-
el. Top-quality components are THEY SURE DIDN'T
Fig. 2-On-axis phase
response, group delay, and used, including air -core inductors SOUND THAT WAY.
waveform phase. (wound with oxygen -free pure
copper wire) and 400 -volt metal -
film polypropylene capacitors. The The grille significantly roughens the re-
crossover is quite simple, consist- sponse above 2 kHz and adds several fairly
ing of second -order (12-dB/oc- narrow peaks and dips of about ±2.5 dB de-
I,1é
s
1a
~ílll
tlip.) 1=.,. 1¡,, til
-1A h,l
,.i.``, p
11I
II
,
0 FRONT
tave) high- and low-pass filters, but
its actions are designed to combine
with the drivers' own rolloff
viation. Above 20 kHz, the tweeter smooth-
ly rolls off and is down only about 12 dB at
30 kHz. Very few dome tweeters are this
well behaved above 20 kHz, where most
I
N 1
I
45 OFF
characteristics to produce an in -
,...S44,0%1.-_-_-__-__7. 90 SIDE AXIS-
phase, fourth -order (24-dB/oc- dome resonances occur. Averaged from 250
200
-2k
- -
. __.-.
20k
135
180 REAR
DEGREES
tave) Linkwitz-Riley acoustic Hz to 4 kHz (giving equal emphasis to each
crossover. All internal connections third -octave frequency band), the AP -2.1's
FREQUENCY- Hz
are made with 14 -gauge oxygen - sensitivity measured 90.6 dB, only 1.4 dB
Fig. 3-Horizontal off -axis free copper audiophile cables, below Digital Phase's 92 -dB rating. Be-
frequency responses. which are soldered to the crossover tween 2 and 4 kHz, one speaker was a bit
and input terminals but are con- more than 1 dB softer than the other
nected to the drivers with clips. In- (which is still quite close). But outside of
put connections are via a large set this range, the right and left speakers
of gold-plated, bi-wirable binding matched within a very close ±0.5 dB from
posts on the rear. 100 Hz to 20 kHz.
To check the crossover, I measured the
Measurements frequency response with the tweeter's po-
'1.L larity reversed, by changing the connections
a! -90 BELOW The AP -2.1's on -axis frequency
-45 OFF
FRONT AXIS -
response, measured in a large ane- at the bi-wire terminals. Reversing the
DEGREES choic chamber, is shown in Fig. 1; tweeter's polarity created an octave -wide
+90 ABOVE
200 2k 20k the measurements were taken at triangular dip in the response (not shown),
FREQUENCY- Hz the listening height recommended centered at 2.6 kHz. Since the dip created by
by Digital Phase, halfway between this reversal was only 12 dB deep, rather
Fig. 4-Vertical off -axis the two woofers (34 inches above than infinite, the AP -2.1's crossover is not
frequency responses.
the floor). The main curve, made quite a pure in -phase Linkwitz-Riley type,
with the speaker's grille removed, but it comes very close. The 12 -dB dip also
AUDIO/NOVEMBER 1996
44
Toshiba Is Where It's From.
If you've been reading about DVD, you've seen a lot of references to Toshiba. That's no
coincidence. Toshiba led the way in developing DVD technology. Technology that
includes a component video signal, which means a picture better than laser disc, and
nibthree times better than VHS. Six discrete channels of Dolby®AC-3®digital surround
sound and up to eight languages. Multiple aspect ratios (16:9, letterbox, pan and scan).
And the versatility of multiple subtitles, camera angles and rating edits. All on one disc. So, if you enjoy being on the
leading edge of home entertainment technology, you know that DVD is where it's at.
In Touch with Tomorrow
When you're ready to experience the brilliant picture and the extraordinary
sound that DVD delivers, won't it make sense to get the technology from its
source? Toshiba is the source of DVD technology. And DVD is the future.
TOSHIBA
Toshiba AmencaConsumer Products, Inc.. 82 Totowa Road. Wayne. NJ 07470
The Leader In Digital Video Technology

For more information on Toshiba DVD, call 1-800-631-3811.
http://www.toshiba.com/tacp

100 revealed that the AP -2.1's drivers Figure 4 shows the vertical off -axis re-
i
19.4 OM1.+S are not quite in phase at crossover; sponses; the bold curve in the middle of the
18.7 OHMS
13.5 OHMS they differ by about 28° when con- graph is the response on the suggested lis-
nected properly. This will cause tening axis, between the two woofers. The
some, but relatively little, lobing at curves are quite uniform except in the
crossover. range from 3 to 8 kHz, where the response
OHMS What caused the high -Q dip at narrows significantly. Fortunately, for an-
1
20 100 1k 10k 20k 166 Hz? By comparing response gles ranging from 5° below the axis to 10°
FREQUENCY - Hz measurements (not shown) made above it, the response is quite uniform and
A near the woofer and near the port, flat. At angles below -5°, significant dips de-
I learned that the dip was due to velop at and near 2.2 kHz. The polar pat-
90
phase interference between the tern of the speaker through the crossover
.45 22 woofers and the radiation from the range is skewed slightly upward.
port. The port's radiation peaked In the graph of the AP -2.1's impedance
o at 166 Hz; this peak had a high Q magnitude versus frequency (Fig. 5A), the
of about 8, and its output was actu- two peaks and a dip that characterize vent-
-4s
ally 3 dB greater than the port's ed enclosures are clearly evident below 100
-37 14
45
-90
TEF
output at the speaker's vented -box Hz; the dip at about 41 Hz shows the ap-
100 10k 20k
20 1k
resonant frequency of 40 Hz! For- proximate frequency of the vented -box
FREQUENCY - Hz
tunately, high -Q response dips are tuning. The maximum impedance, 19.4
Fig. 5-Impedance B far less audible than broader, low - ohms, is reached in the bass range at 60 Hz,
magnitude (A) and Q deviations. the vented system's upper impedance peak.
phase (B). Figure 2 shows the AP -2.1's The minimum impedance, 2.7 ohms, oc-
phase and group -delay responses, curs at 5.5 kHz, just above the crossover. An
referenced to the tweeter's arrival impedance anomaly is clearly evident at
so
time. Also shown is the waveform 166 Hz, the frequency of the high -Q dip in
phase, which directly indicates the anechoic frequency response.
so
waveshape fidelity in specific fre- The AP-2.l's impedance varies over a
70 quency ranges. The phase curve is wide range of 7.2 to 1, so if you want to en-
a!/1 sure that your cables cause no response
mostly well behaved, except in the
80
vicinity of 166 Hz, and decreases peaks or dips greater than 0.1 dB, cable se-
50
about 210° between 1 and 10 kHz. ries resistance should be limited to 0.036
20 100 1k 10k 20k
(When averaged between 1 and 4 ohm or less. For a typical run of about 10
FREQUENCY - Hz
kHz, the group -delay curve indi- feet, that would require 10 -gauge (or heav-
Fig. 6-Three-meter room cated that the woofer lagged be- ier), low -inductance cable.
responses. hind the tweeter by a fairly short Figure 5B shows impedance phase versus
0.2 millisecond.) The speaker's frequency. The maximum phase angle,
curve for waveform phase indicates +62°, occurs at 20 kHz; the minimum, -45°,
that waveshapes will not be pre- occurs at 70 Hz. A phase glitch occurs at
served over any significant fre- 165 Hz. The wide variations in the AP -2.1's
quency spans, but this is normal impedance phase and magnitude, and the
for conventionally designed loud- low minimum of 2.7 ohms, mean that the
speakers. All three curves exhibit AP -2.1 will be a moderately difficult load
significant changes in the vicinity for some power amplifiers. However, any
of the 166 -Hz response dip. competent high -end amp, used with cables
Figure 3 shows the AP -2.1's hor- having low resistance and inductance,
izontal off -axis responses; the bold should drive the AP -2.1 very well.
curve at the rear of the graph is the When I swept the AP -2.1 with high-level
on -axis response. The curve -to - sine waves, I noted only one significant box
curve uniformity indicates very resonance, a slight buzz at about 225 Hz. I
wide and even horizontal coverage. was impressed with the speaker's clean out-
In the main horizontal listening put in the bass range above 31 Hz. Port
window, within ±15° of the axis, wind noise was very low, and no dynamic
Two large, flared port tubes and the response is extremely uniform, offset of the woofers was evident. The vent-
gold-plated bi-wirable binding posts with the curves within ±0.5 dB of ed -box loading worked very well and re-
dominate the AP -2.1's rear panel. one another all the way to 20 kHz! duced the cone excursion at box resonance
AUDIO/NOVEMBER 1996
46
Heard any good movies lately?
7000 IMartroo Mot

,ftenul,roted.
Adcom's 5 -channel GFA-7000 amplifier is playing to rave reviews.

That's why Adcom's GFA-7000 has five separate amplifier
modules, each rated at 130 watts into 8 ohms*. To assure
that no channel of information is compromised, each
module must be capable of delivering all its power all the
time, so each amplifier channel is given its own power
supply and is mounted on its own circuit board. Even the
toroidal power transformer has individual secondary wind-
ings for each amplifier module. With the GFA-7000, you'll
never get stuck without enough power. It's like having true
all -wheel drive.
Today's movie soundtracks demand more than conven-
tional home audio systems can deliver. That's why Adcom Movies or music, the GFA-7000 delivers
developed the Home THX® certified GFA-7000 power a real performance.
amplifier. With our GFA-7000, the movies you play at The power amplifier is the heart of every high perfor-
home will sound just the way the filmmakers intended. But mance audio/video system. It is also the foundation on
that's not all. Adcom engineers went beyond the demanding which Adcom has built its reputation for performance and
requirements of THX® and created a home theater power value. You can be sure our GFA-7000 amplifier is an audio-
amplifier that's caught the attention of the world's most phile's amplifier, first and foremost. And because it exceeds
critical audiophiles as well. THX® specifications and is ready for Dolby AC -3, it is sure
to be the ticket to a movie buff's heart as well.
The GFA-7000 is really five amplifiers in one.
Listen to an award -winning movie or your favorite
The quantity and quality of power needed to faithfully music on an Adcom GFA-7000. You'll hear what Adcom
reproduce the full range of frequencies and overall dynamic is always talking about. Two thumbs up for performance
range of today's exciting soundtracks are highly demand- and value.
ing, especially considering that top home theater systems
can utilize five separate full range speaker systems.
Distributed in Canada by Pro Acoustics, Inc. Montréal, Québec (514) 344-1226

ADCOM® details you can hear
11 Elkins Road, East Brunswick, NJ 08816 U.S.A. (908) 390-1130 1996 ADCCM
THX' is a registered trademark of Lucasfilm Ltd. 'Power ratings are to FTC requirements. Continuous average power at any frequency between 20Hz and 20kHz with all channels dnven at less than 0.05% THD.
by a significant 66%. A solid reduc- when measured from 1 meter away. The A4
MAXIMUM POWER: 50 WATTS
tion in excursion was noted at 42 (440 -Hz) distortion (not shown) rose at
Hz, the speaker's vented -box reso- most to the low level of 0.75% second har-
4th, 2.7%
5th, 4.5%
.. nance. The woofer's maximum monic; all higher harmonics were below
12dB
peak -to -peak excursion was a 0.4%. The speaker also generated a subhar-
healthy 0.53 inch, with moderate monic at 220 Hz (half the fundamental fre-
distortion. quency) that reached a moderately high
When I listened from behind the 8.8%. This could be associated with the 166 -
cabinet, where the ports are, the Hz anomaly; I did not investigate further.
50 loo 150 200 250
166 -Hz peak in port radiation was Figure 9 shows the IM versus power cre-
FREQUENCY -Hz
quite audible. When the ports were ated by tones of 440 Hz (A4) and 41.2 Hz
Fig. 7-Harmonic distortion covered, the sound level at this fre- (E1) of equal power, over the range from 0.1
for E1 (41.2 Hz). quency dropped significantly. This to 50 watts. The IM rises gradually and
indicates some type of internal reaches a moderate 9.5% at full power (a
mechanical or acoustical reso- good result, considering that both frequen-
100 - MAXIMUM POWER 50 WATTS nance, such as a standing wave cies are reproduced by the same drivers).
10 -
within the cabinet, which can be Even at that distortion level, the AP -2.1
3rd, 6.8%
2nd, 2.7% heard through the port. sounded fairly clean on this test.
12dB
Figure 6 shows the 3 -meter Figure 10 shows the AP -2. l's short-term
so - room curve for the AP -2.1, with peak power input and output capabilities.
s-
-F The peak input power starts at a moderate
both raw and smoothed data. The
POW ER -
WATTS 0.5 -
".. speaker was in the right-hand 35 watts at 20 Hz, rises quickly to about 280
tí-Ailzpe
0.05 stereo position, and the test micro- watts at 50 Hz, falls slightly, and then rises
150 250 350 450 550 650
phone was at ear height (36 inches) to a plateau of about 3,400 watts between
FREQUENCY -Hz
at the main listening position on 200 Hz and 1.5 kHz. After falling slightly in
Fig. 8-Harmonic distortion the sofa. If you exclude peaks at the crossover region, it rises again, to about
for A2 (1 10 Hz). 140 and 530 Hz and a dip at 350 3 kilowatts, at higher frequencies. With
Hz, the averaged curve fits a fairly room gain, the maximum peak SPL starts at
tight, 8 -dB, window. Even if these a barely usable 89 dB at 20 Hz and then ris-
lo
peaks and dip are included, the es very rapidly to a plateau of about 117 dB
curve fits an acceptable, 11 -dB,
S
window. The averaged curve is
fairly well behaved, although it is a
I WAS IMPRESSED WITH
bit rough and exhibits several
peak -and -dip combinations and a THE DIGITAL PHASE
2 slight high -frequency depression AP -2.1's CLEAN OUTPUT
o above 5 kHz.
0.1 1 10 100 IN THE BASS RANGE.
POWER - WATTS
Figure 7 shows the AP -2.1's El
(41.2 -Hz) harmonic distortion.
Fig. 9-IM distortion for A4 The second harmonic reaches a
(440 Hz) and E1 (41.2 Hz). moderate 9.9%, while the third ris- near 50 Hz. The peak output then rises
es to 12%. The fourth and fifth quickly, to a high 125 to 127 dB between
harmonics reach 2.7% and 4.5%, 200 Hz and 1.6 kHz, before falling smooth-
respectively, with higher harmon- ly to about 121 dB at 20 kHz.
140
TEF ics below 0.7%. At 1 meter in free The signals used for the peak input and
130 PEAK AC OUS TIC OUTPUT
RooM
1 space and with 50 watts input, the output tests are sixth -octave tone bursts.
120 speaker generates a very usable 100 When the AP -2.1 was driven with the 160 -
110 10k dB SPL at 41.2 Hz. Hz burst, much hangover and smearing
100 PEAK INPUT POWER The A2 (110 -Hz) harmonic dis- could be seen on the oscilloscope and
90
WITHOUT
100
tortion is shown in Fig. 8. The only heard. In all other bands, the AP -2.1's out-
ROOM
GAIN
10
significant distortion is a low 2.7% put was quite clean; the start and stop of
80
10k 20k
20 100 1k
second harmonic and a higher each burst were reproduced very accurately.
FREQUENCY - Hz
6.8% third at 50 watts input. In
Fig. 10-Peak input power free space and with a 50 -watt in- Use and Listening Tests
and sound output. put, the AP -2.1 generates a fairly The AP -2.1 speakers are very handsome,
healthy 105 dB SPL at 110 Hz attractive, and solidly built. Digital Phase is
AUDIO/NOVEMBER 1996
48
1-~~77
5S
NO ONE WILL COMPLAIN ABOU

vnq Ids ! nl In ref pFrl r? r,nn 11,1 Jensen Nitro Series car audio gear. At finer audio stores. Call 1 -800 -67 -SOUND
Nj
V
to be commended for its cabinetry, work- level than the B&Ws. The acoustic guitar louder than the B&Ws at 40 and 50 Hz and
manship, and choice of wood finish. The was reproduced crisply, with good delin- were slightly louder in the 63 -Hz band. Port
honey oak finish of my review units was eation of the strings. Relative to the B&Ws, wind noise was very low.
gorgeous, while the cabinets' curved sur- however, the treble was somewhat subdued While the anomaly noted earlier at 166
faces contributed very positively to the fine overall. Hz caused a sharp dip in the anechoic re-
styling. The solid -oak base fit the look per- On another excellent, very clean, mini- sponse, it increased the output in the 160 -
fectly. Everyone who saw these speakers malist -recorded sampler, Reel One (Pope Hz band when I listened to band -limited
commented on their good looks. Music PM2002), soprano Lori Lieberman's noise in a room. When I played my special
The woofers seemed quite small com- voice on the first three tracks came through 61/2 -cycle tone bursts (on Test CD for Sound
pared to the size of the box, but they did not clean and clear, with no harshness. On track Reinforcement Systems, available from Syn-
sound small when I fired up the AP -2.1s in 2, where Lieberman sings a duet with her- ergetic Audio Concepts at 812/923-0174),
my listening room. The bass was very clean self, both parts were very distinct tonally the 160 -Hz tone burst sounded quite
and extended and compared extremely well smeared on the AP -2.1s, somewhat like a
with the bass of my B&W 801 Matrix Series With flawless bongo drum being hit. The 801s, however,
3 speakers. On some music, such as rock imaging and sounded quite clean and crisp on this sig-
and jazz, I actually preferred the bass of the nal, with sharp attack and decay. Blocking
soundstaging,
Digital Phase speakers. Only on program the AP -2.1's ports by stuffing them with
material that had significant bass below 30 great bass towels considerably reduced the 160 -Hz
Hz was the AP -2.1 bested by the 801. performance, bongo -drum sound. Could I hear this
The Digital Phase owner's manual, problem on normal program material?
and some
which covers the whole AP series, is a 19 - Most times not, but I could hear problems
page booklet. It discusses wiring and con- mighty fine in the upper bass that added a heaviness
nections, placement, cleaning and finish, looks, the and bloatedness to male speech and some
technology, and the warranty. The informa- music. (Room effects tend to mask response
Digital Phase
tive section on speaker placement suggests problems in this frequency range.)
playing a test CD that has a range of low - AP -2.1 The AP -2.1s handled music that stresses
frequency test tones and moving the speak- stands tall. many speakers, such as loud rock with
ers around until you find a spot where the heavy bass, easily and with much aplomb.
test tones are about equally loud. Digital And these Digital Phase speakers handled
Phase suggests placing the speakers sym- classical music with heavy bass (such as
metrically (both the same distance out large kettle drums and pipe -organ pedal
from the wall behind them and equidistant notes) equally well.
from the side walls) and aiming them in to- Are the Acousta-Reeds responsible for
ward the listener. Thus, their axes will cross and could be followed easily. The percus- the AP -2.1's excellent bass performance?
at or in front of the primary listening posi- sion on the Carmen ballet music, tracks 4-7 My tests suggest not, and I suspect that the
tion. The manual also suggests using ab- of the same disc, was very dynamic and ex- shelves within the cabinet, by lengthening
sorption and diffusion to tame reflections hibited a powerful bass underpinning. the path through the enclosure, may be re-
from hard surfaces. The AP -2.1s also performed excellently sponsible for the 166 -Hz anomaly I found. I
I listened to the Digital Phase speakers on the pink noise stand-up/sit-down test, think the AP -2.1's outstanding bass perform-
with gear that included the Krell KRC pre - their timbre remaining essentially un- ance results simply from its application of a
amp and Crown Macro Reference power changed when I stood up. The horizontal well -designed vented box, driven by a pair
amp, Straight Wire Maestro cabling, and coverage was likewise excellent. Octave -to - of well -designed, high -excursion, low -dis-
the B&W 801 Matrix Series 3 speakers I use octave spectral balance on pink noise was tortion woofers. The AP -2.1s performed
for comparisons. I placed the AP -2.1s about good, exhibiting minimal tonality (the tre- flawlessly in other respects as well, such as
7 feet apart, 21 feet from the side walls, and ble was, again, more subdued than on the imaging and soundstaging, center -image
4 feet from the wall behind them; I aimed B&Ws). Except for really low bass, below 30 stability, smoothness, and the ability to play
them toward my listening position. Con- Hz, the AP -2.1's output was slightly greater loud and clean. Can I recommend the AP -
nections were not bi-wired. I listened from than the 801's. 2.1? Very much so, but with two reserva-
a couch about 7 feet from the speakers. On third -octave, band -limited pink tions: its subdued high end (which is easily
I started with an excellent blues sampler noise, the AP -2.1s generated no usable bass corrected, if desired, with a slight treble
disc from Boston Acoustics, Up Close 20 output in the 20- and 25 -Hz bands, quite boost) and its lower mid/upper-bass reso-
Featuring Mighty Sam McClain (Audio - usable output at 32 Hz, and robust bass nance problem (which is not so easily cor-
Quest 1031). McClain's voice sounded very output at 40 Hz and above. Once I matched rected). Still, the AP -2. l's combination of
clean and well balanced, while the bass was the AP -2.1 and 801 midrange levels (which stunning good looks, extended and power-
robust and smooth. The AP -2.1s actually required attenuating the AP -2.1s by 4 dB), ful bass response, and excellent overall per-
reproduced the low bass at a slightly higher the Digital Phase speakers were noticeably formance is hard to beat at its price. A
AUDIO/NOVEMBER 1996
50
Music is the universal religion.
Be sure to build a proper altar.
Since laserdisc players convey Dolby Digital
on an RF carrier, the DP870 demodulates
EDWARD J. FOSTER such signals internally to isolate the bit -
stream for decoding.
In addition to three Dolby Digital inputs,
MARANTZ DP870 the DP870 has six analog audio inputs,
which can be used to connect another 5.1 -
DOLBY DIGITAL channel decoder or for pass -through of the
output from a Dolby Pro Logic or other
SURROUND DECODER surround processor. When the input selec-
tor's "Bypass" button is pressed, sound fed
to these audio inputs is routed directly to
the six output jacks and thence to whatever
amplifiers are downstream.
This arrangement enables the DP870 to
be used with a variety of other equip-
ment-for instance, an A/V receiver that
has a six -channel direct input, such as the
Marantz SR -96 that I reviewed in August, or
the company's SR -870 or SR -770 models. In
this case, you'd use the receiver normally
for conventional program material and se-
lect its six -channel input to listen to Dolby
Digital flowing from the DP870.
You can also use the DP870 with an A/V
preamp/processor (the Marantz AV -600, for
example) coupled to independent power
amps or with earlier generations of A/V re-
ceivers, such as the SR-92/SR-92 Mark 2 or
SR-82/SR-82 Mark 2. For that matter, you
can use the DP870 with any A/V receiver or
integrated amp that has pre-out/main-in
jack pairs for the five main channels and a
subwoofer output connection. In such
cases, you'd route six -channel audio from
the processor/preamp or receiver preamp
outputs to the DP870's six audio inputs and
hile billed as a Dolby Digital form from a laserdisc (the only way they're feed signals back to the receiver (or to sepa-
(AC -3) demodulator/decoder, available at the moment) or as straight dig- rate power amps and a powered subwoofer)
the Marantz DP870 can also
W
ital bitstreams from future sources such as from the DP870's six output jacks. To listen
serve as a complete surround DVD and HDTV. It to Dolby Digital Sur-
controller for home theater sys- can also accept dis- round, you'd choose
tems that lack 5.1 -channel con- crete 5.1 -channel au- the AC -3 source with
YOU CAN SWITCH
trol facilities. Based on the Zoran DSP chip, dio signals from DTS the DP870; for non -
the DP870 can decode Dolby Digital sur- decoders or other sys- AMONG THREE AC -3 encoded or Dolby
round programs whether they arrive in RF tems yet to come. SOURCES WITH Pro Logic Surround,
Three inputs are you'd switch the
THE DP870'S SELECTOR.
available for AC -3 DP870 to "Bypass."
Dimensions: 17% in. W x 33/8 in. H x
signals: the RF input Also note, howev-
Ins in. D (43.9 cm x 8.6 cm x 30.1
cm).
for laserdisc players er, that the Marantz
Weight: 10.6 lbs. (4.8 kg).
and both optical (Toslink) and coaxial DP870 controls only audio signals; video
(RCA -jack) digital inputs for future Dolby switching remains the province of the A/V
Price: $699.99.
Company Address: 440 Medinah Rd.,
Digital sources. Each input can be selected receiver or ancillary processor/switcher.
Roselle, Ill. 60172; 630/307-3100.
independently, so one can connect up to Depending on the system configuration,
three Dolby Digital sources and switch you may have to change the settings of both
among them with the DP870's selector. components to switch program sources and
AUDIO/NOVEMBER 1996
52
Introducing the New
Polk RT2OP with Built-in
PoweL Subwoofers...
This matched home theater system

consists of the new RT2OP main
speakers with built-in powered subs,
LS f/x bipole/dipole surround speakers
and the awesome CS350 center speaker.
Polk Audio's new RT2OP

is truly a speaker for our
times. Featuring built-in 100
speaker which will seduce you with it's
accuracy, detail and spacious imaging.
Dynamic Balance® driver technology,
polk The Speaker Specialists "
watt powered subwoofers and spawned from laser research conducted in 5601 Metro Drive, Baltimore, Maryland 21215 USA
Matthew Polk, Polk's patented Power Port cooperation with Johns Hopkins University,
co-founder and
chairman venting technology, the is the key to the superior musicality
RT2OP delivers the bass authority and of the RT2OP. Dealer Locator Number
life -like dynamic range for home theater e 1-800-992-2520
and digital music sources. For the complete story of Polk technologies I Ad code: 20003
and the entire line of Polk loudspeakers,
But the remarkable RT2OP is more than call (800)377-7655 or visit us on the "Polk Audio". "The Speaker Specialists", "Power Port" and "Nigh Velocity
Compression Drive" are regcstered trademarks of Polk Investment
a mere brute. It is a true serious listener's web, http://wwwpolkaudio.com. Corporation used under license by Polk Audio Incorporated.

OSL
digital." I haven't figured out a use to evaluate AC -3 decoders leaves much to
Rip
> for these jacks (except possibly to be desired. For example, the response
LARGE SETTING
Q feed a system in another room), sweeps are so rapid that the Audio Precision
K
I
SMALL SETTING
III
but they're there. System One has difficulty keeping pace and
ceases to track the sweep as soon as the
1
20 100 1k 10k 20k Two RC -5 remote control jacks

FREQUENCY - Hz (the only non -gold jacks) are pro- response deviates from "flat." For similar
vided to transfer remote control reasons, crosstalk and distortion measure-
Fig. 1-Frequency
response, Dolby Digital signals to and from the DP870. A ments on Dolby Digital are confined to one
(AC -3) mode. slide switch above the jacks choos- frequency (1 kHz) and one level (0 dBFS).
es whether the DP870 responds to Since the Marantz DP870 has digital as
well as RF AC -3 inputs and, if fed a 16 -bit
o__= Wen
___'.'.:::::::::
C:'.::CM....
= '.c3A
DSL
internal or external control.
The speaker -setup controls, on linear PCM signal from a CD player, will
IIII1111IIIIII
~=....11~1
=ESU.II~MIIIIIIMII11~=~11111111111 1
11111IIII1.111~11111EM
the back panel, consist of two
two -position and two three -posi-
tion slide switches. The switches
dutifully return it to the analog domain, I
decided to test this system both as an AC -3
decoder (using the Dolby test laserdisc) and
cae::iii===1e2:===:iiiii_
~11.....III~~=....11~111MIZI....II are labeled "Front Spk." ("Large/ as a linear PCM decoder utilizing the CBS
MIMoou1~o.m~MIMui~
11111111111111 Small"), "Surr. Spk." ("Large/ CD -1 test CD as a source. This enabled me
0.001 111IIII111IIII111IIII Non/Small"), "Center Spk." to evaluate the performance of the D/A
20 100 1 10k 20k
("Large/Non/Small"), and "Sub. converters, digital filters, and analog output
FREQUENCY - Hz
W Spk." ("On/Off"). When set to electronics more fully than is possible using
Fig. 2-THD + N vs. their respective "Small" positions, the Dolby disc. That's important, because
frequency, D/A converter. bass below 100 Hz is redirected 16 -bit linear PCM data is reconstructed
from the front, center, and sur- from the Dolby Digital bitstream by the Zo-
., o>, - 1.40N laiS.S1 vs Lvoll 103,51 at WK.
ran chip and converted back to analog by
-80
I
Op
round channels to the subwoofer.
When the center or surround these very same D/A converters.
-82
switches are in the "Non" position, I've divided the data table into two parts
- 84 full -bandwidth audio is redirected to indicate the conditions under which the
-86 from the selected channels to the data were collected. All the graphs shown
-88 front. The switches don't operate were test as a
directly on the signals but actually
-90
-100 -80 -60 -40 -20 o set the DP870's microprocessor; in
SIGNAL LEVEL - dBFS fact, the changes don't take effect
Fig. 3-THD + N vs. until you've turned the system off
output level. and on. An unswitched AC outlet
rated at 200 watts is provided by
get the sound and picture you desire. For Marantz as a convenience.
example, if you are watching a laserdisc and The front panel has a power switch on
either forget to switch the DP870 from "By- the far left, a master volume on the far
pass to "RF" (or to choose the six -channel right, and, to its left, an array of six level
input if you're using a receiver so trim controls, one for each channel, each
equipped), you'll be hearing Dolby Pro with a center detent. To the left, near the
Logic surround, not Dolby Digital. This can power switch, is an array of buttons, and DYNAMIC RANGE
be confusing until you get used to it, but it's above them a corresponding set of display
unavoidable when audio and video por- lamps. The left button selects delay time (0, MEASURED A SUPERB
tions of a program are split and handled by 5, 10, or 15 milliseconds), the next four 89.6 dB UNWEIGHTED,
separate components. choose the input ("Bypass," "RF," "Opti- AND 95.9 dB, A -WEIGHTED.
In addition to the six audio input jacks cal," and "Coaxial"), and the last two initi-
and corresponding output jacks (all gold- ate "Test" and "Mute." An extra lamp in the
plated RCAs), there is a two -channel line display indicates the presence of an AC -3
output (also using gold-plated RCAs) that, signal. (The remote control was not avail- source, but I did run response sweeps using
according to the manual's clumsy transla- able in time for my review, so I have no the Dolby Digital test laserdisc and tabulat-
tion, "provides two channel audio output comment on its operation.) ed the range over which the Audio Preci-
of Dolby Pro Logic encoded signal, when sion System One tracked and the maximum
the unit is in the `Bypass' mode. When the Measurements deviation in response over that range. The
unit is in other mode, these jacks provide As I've mentioned more than once, the sweeps taken using the Dolby test laserdisc
only left and right signal of decoded Dolby laserdisc that Dolby Laboratories produced overlay those using the test CD so closely
AUDIO/NOVEMBER 1996
54
..,10.1**...........4~...1.40-....
»Nowl»1
4444..». MT*
*rd..
*4* '..r......roor~oreoresmOmpolemorSomow
14111. I1
ww*.wWW4
.1.4444
_."."- .......
...«
Monsoon. Get caught in it

A powerful new audio system is approaching, available in select new cars and trucks, like tl-e '97 Pontiac
Firebird. It will envelop you in music. Call 888-4-4TTI2D, toll -free.
l,neerlty rrrer IOW vs level WPM .t 1 ..y
while the low -frequency effects dithered signals from -70 dBFS to -100
UNDITHERED (LFE) output was almost 9 dB dBFS. As you can see, the results are superb.
higher, so I turned the LFE trim- Linearity error is nonexistent to -70 dBFS
I_ DITHERED
I I
mer fully counterclockwise to in either case and to -80 dBFS on the
- 100 -80 -60 -40 -20 o bring its output essentially in line dithered tracks. Linearity error on an un -
SIGNAL LEVEL - dBFS with that of the primary channels. dithered -90 dBFS recording is less than 0.7
Fig. 4-Deviation from In general, the trimmers have a dB, and that figure drops to 0.14 dB when
linearity. range of just under ±10 dB.
Note also that the table shows
there's more than adequate output
slarsne: One's fade ts Neese len Len
level (3.16 volts), and the channel

THE DP870 HAS
Ap
+8
separation measured at 1 kHz in GREAT DYNAMIC RANGE,
+4 the AC -3 mode is excellent. Worst - IT'S CLEAN,
o i v case separation (right front to left
front) is 77.7 dB, with most of the
AND IT'S QUIET.
4
- 120 -110 -100 -90 -BO -70 -60 numbers about 10 to 20 dB better
SIGNAL LEVEL - dBFS than that.
Total harmonic distortion plus dither is added. Even at -100 dBFS, lineari-
Fig. 5-Fade-to-noise test.
noise (THD + N) at 1 kHz and 0 ty error is a mere 0.17 dB on a dithered sig-
dBFS, using the Dolby Digital signal. Superb performance!
-80 Ap
nal, are tabulated for each channel. Figure 5 shows a fade -to -noise plot taken
(The datum for the LFE channel is on the left -front channel, while Fig. 6 is a
- 100
taken at 30 Hz.) Within the limits %J -octave spectrum analysis of residual
- 120 of measurement error, THD + N in noise in that channel. As you can see from
the left -front channel using the Fig. 5, linearity error averages a mere 1 dB
-140 Dolby Digital test laserdisc agrees
30 100 lk 10k IOOk 200k
at -110 dBFS. Figure 6 suggests the pres-
FREQUENCY - Hz with the corresponding datum tak- ence of some magnetically -induced hum at
en using the CD test disc. The latter 60 and 180 Hz, but there's no trace of pow-
Fig. 6-Noise spectra vs.
indicates that, on a single -channel er -supply ripple at 120 Hz and its harmon-
frequency.
sine -wave basis, the D/A converter ics. The whole lay of the noise curve is quite
and analog electronics, rather than "low," and very smooth, which helps deliv-
the Zoran AC -3 decoder, set the er the excellent 97.8 -dB A -weighted signal-
. o_ vSID oM .. . ,. performance limits. to-noise (S/N) figure shown in the table.
Referring now to Fig. 2, you can Quantization noise, which includes conver-
e e e e e e e e ó/ é d see the D/A converter's THD + N sion artifacts, is higher (-85.7 dBFS), but
versus frequency measured using this figure is nothing to sneeze at. Dynamic
the 0-dBFS tracks of the CBS test range measured according to JIS standards
Inputs for three Dolby Digital
CD. Over most of the audible is a superb 89.6 dB unweighted and 95.9 dB
sources are on the back panel. range, distortion barely exceeds A -weighted.
0.01% and, except for a bad point
that I think it's safe to assume that the reat 18 kHz where the beat product reaches Use and Listening Tests
sponse of the five main channels is essen- 0.0485%, contamination hardly tops 0.02% Clearly, the Marantz DP870 breezed
tially as shown in Fig. 1-i.e., flat within under worst -case conditions. I consider through the bench measurements without a
+0 dB, -0.5 dB from 20 Hz to 20 kHz. The that pretty darned good performance. hitch. But from the human -engineering
main curve in the figure was taken with the Figure 3 shows THD + N versus level at 1 viewpoint, there are a few complaints (al-
front speaker switch in the "Large" posi- kHz, again using the CBS test CD as a signal though "complaint" might be a tad too
tion; the secondary curve that begins to roll source. Distortion drops rapidly from -80.4 strong a word). I've already outlined the
off just above 200 Hz was taken with the dBFS at 0 dBFS (equivalent to 0.0095%) to potential confusion that may arise with
switch in the "Small" position. -86.8 dBFS (0.0091%) at -6 dBFS. This thinking you're listening to an AC -3
For the record, I took all data with the suggests that at maximum output the ana- laserdisc in Dolby Digital when in fact
volume fully advanced and the level -trim log electronics may be contributing a bit to you're really listening in the Pro Logic
controls for the five main channels set at overall distortion. From -30 dBFS to -90 mode. The DP870 isn't alone in this regard;
their center detents. As you can see from the dBFS, THD + N remains below -88.8 dBFS. it's a common logistical problem whenever
table's "Dolby Digital Characteristics" sec- Figure 4 shows linearity error versus level an outboard decoder/processor is integrat-
tion, the output levels in the five primary using the undithered recordings of the CBS ed with existing equipment. Still, Dolby
channels were matched within ±0.42 dB, CD -1 disc to -90 dBFS and, separately, the Digital Surround laserdiscs have been with
AUDIO/NOVEMBER 1996
56
A bullet -prop}.
argument for the
new B&W 600 Series.
The use of our patented Kevlar® conies
is reason enough to choose the new' B&W 600 Series.
After all, Kevlar has always been the standard
in B&W's best and molt expensive
loudspeakers.
But that's just the' start of our bullet-
KEVLAR® IS USED IN BULLE
proof argument. Bec;use B&W's top -gun
PROOF VESTS AND HIGH -END. engineers loaded a Harrage of technical
innovations into an :entire family of
B&W LOUDSPEAKERS LIKE THE
affordable, high peiformance speakers-
LEGENDARY B&W MATRIX 801 the B&W 600 Seriés.
Our metal dome tweeters-borrowed
AND CELEBRATED SILVE
from the Matrix 401s- provide near -
LI perfect response t'o well beyond audibility.
Beveled cabinet edges and solidly
ITS ABILITY TO ELIMINA
braced enclosures minimize box
EFFECTS OF RESONANCE AND resonance and the effects of diffraction
for truly transparent sound.
STANDING WAVES, Gold-plated Ipeaker terminals allow for
IN CRITICAL MID- biwiring to reduce component cross -talk.
You can choose from a full line of
QUENCIES. SO ALL YOU HEAR speakers ranking from bookshelf to floor
IS PURE, UNCOLORED MUSIC.
standing, center channel to surround
sound, even an active subwoofer.
Prices start at just $400 a pair.
End of argument. Any 'questions? Fire away.
Call 1-800-370-3740.
. I
The new B&W 600 Series
cbal az- grooves (CDI

'cr irác: 312.887.5379 fax
B&W B&W Loudspeakers of America
54 Concord Street, North Reading, MA 01864
tel 1-800-370-3740 fax 508-664-4109
<stawe.® ntereccess.com> Listen and You'll See Kevlar is a registered trademark of Dupont
CIRCLE NO 6 ON READER SERVICE CARD
CRUTCHFIELD
MEASURED DATA
Sony
DSS D/A CONVERTER CHARACTERISTICS left front at 0 dBFS, 3.16 volts.
is Here! Output Impedance: 470 ohms. Output Level re Left Front: Right front,
Frequency Response: 20 Hz to 20 kHz, -0.51 dB; center, +0.06 dB; left sur-
+0, -0.5 dB. round, -0.78 dB; right surround, -0.73
PIUS MORE
CAR STEREO THD + N at 0 dBFS: Less than 0.0485%, dB; LFE, +8.87 dB.
20 Hz to 20 kHz. Frequency Response: Left front, 20 Hz
on the perfect `,nr
THD + N at 1 kHz: From 0 to -90 dBFS, to 18.2 kHz, +0, -0.45 dB; right front,
stereo
AudioCar Stereo less than -80.4 dB; from -30 to -90 20 Hz to 18.8 kHz, +0, -0.43 dB; cen-
yrdee Home Theater
dBFS, less than -88.8 dB. ter, 20 Hz to 18.7 kHz, +0, -0.41 dB;
Maximum Linearity Error to -90 dBFS: left surround, 20 Hz to 18.7 kHz, +0,
Undithered recording, 0.69 dB. -0.40 dB; right surround, 20 Hz to
FREE Maximum Linearity Error to -100 dBFS:

Dithered recording, 0.17 dB.
A -Weighted S/N (Infinity Zero re 0
dBFS): 97.8 dB.
18.7 kHz, +0, -0.40 dB; LFE, from be-
low 20 Hz to more than 78 Hz, +0.15,
-0.13 dB.
THD + N at 1 kHz, 0 dBFS: Left front,
Stereo Catalog Quantization Noise: -85.7 dBFS. 0.0091%; right front, 0.0095%; center,
Discover the fun, comfortable alternative to
Dynamic Range: Unweighted, 89.6 dB; 0.0110%; left surround, 0.0112%; right
those dizzying, frustrating mega -stereo A -weighted, 95.9 dB. surround, 0.0084%; LFE at 30 Hz,
Mores. Relax with your new 0.0525%.
Crutchfield catalog and DOLBY DIGITAL CHARACTERISTICS Channel Separation at 1 kHz: Mini-
find out why Catalog
RF Input mum, 77.7 dB (right front to left front);
Age magazine calls
Crutchfield the Maximum Output Level at 1 kHz: Main maximum, 112.3 dB (left front to LFE).
"King of Service."
us for some time now, and AC -3 has been you must use the DP870 trimmers to cali-
Information you
can't find selected as the primary audio system for brate. That's a nuisance. Panel knobs are
anywhere else DVD in North America and other NTSC easy to knock out of whack, and setting
You'll find
You'll love the detailed Home Theater markets. (And despite the last-minute ef- them in the first place becomes a two -per-
product descriptions, components
forts of the DTS camp to muddy the waters, son operation -one at the controls, the
and Digital
color photos, comparison Satellite
I expect the FCC will stay the logical course, other either listening or watching a sound -
charts and honest specs. All Systems, too.
those technical terms are explained keeping Dolby Digital as the audio standard level meter at the primary viewing location.
in the simple language that's helped make for HDTV.) By now, I would have hoped 'Nuff complaints already! The Marantz
Crutchfield famous. that current -generation A/V receivers and DP870 tests exceptionally well, and it is a
won't believe outboard boxes would have been integrated remarkably fine -sounding decoder. And
the selection to the extent that they its six -channel pass -
We're a full -
service, factory -
would automatically through switching ca-
authorized dealer detect the presence of pability makes it un-
offering discount prices an AC -3 bitstream THE MARANTZ DP870 usually versatile. It
Discounts on major
on top name brands including and choose it over TESTS EXCEPTIONALLY may not have the
brands, with loads of Sony, Kenwood, Pioneer,
information to help you
JVC Polk, Bose, Advent,
Dolby Pro Logic. The WELL, AND IT IS A front -channel time -
shop and compare!
Infinity and Yamaha. task isn't difficult; it alignment adjust-
FINE -SOUNDING DECODER.
Fantastic service seven days a week
just requires some ments of some other
Information and advice you just won't find foresight. Dolby Digital Sur-
anywhere else. I'm also somewhat round decoders, but
FREE technical advice when you need it - put off by the front -panel level -trim con- it's got great dynamic range, it's clean, and
days, nights, even on the weekend! trols. If you use the DP870 with the it's quiet. And, who knows, maybe some of
Nobody ships faster! Marantz SR -96 receiver (reviewed in the that good sound is because Marantz chose
August issue), you can leave the trimmers at not to use electronic level controls. (They
r Call for your FREE catalog, their center detents and calibrate the system have been known to induce noise and dis-
using the latter's noise sequencer and elec- tortion, after all.) When integrated with
1-800-955-9009 tronic level controls. That's because the the SR -96 A/V receiver (which is how I
SR -96 stores the level setting for each chan- used it and how many Marantz enthusi-
nel separately for its six -channel input. But asts will), most of my complaints fade into
CRUTCHFIELD with a less adroit receiver, or with separates, oblivion. A
1 Crutchfield Park, Dept. AU, Charlottesville, VA 22906
, Check out our Web site at http://www.crutchfield.com , AUDIO/NOVEMBER 1996
58
A LITTLE PIECE OF
HEAVEN AT A
DOWN TO EARTH PRICE.
The sound of the Sonograple components is, well, heaven _v. Br.t the price is
very down to earth at just $9.g5 each for the SC22 Yemote-t onsolled line -stage
pre -amplifier and the SA25C. power z:nplifier. Using premium quality parts,
both units are built to Conrad -Johnson's rigorous high stancarl_s. The Sonographe
series might be our least epensive electronics. put h_<e all Conrad Johnson
components, they sound like music. Thr' just sounc r~ght.
((
SlelE remntc-controlled
preamplifier
:+
(t
a
SONOGRAPHE
bv eonrdd-John`°n
SHNoE;RAPHE
romr.ld-Johnsor
amplifier
SA2311 high current
. t t'sit
cniu;+t
conrad-johnson It just sounds right.
2733 IMlerrilee Drive Fairfax, VA 22031 Phones 7C 3.- Fax: 703-5b0-53(19
CIRCLE NO. tt Í4 READER SERJC, c CARE

put selection and volume) is centered in the
EQUIPMENT PROFILE front panel.
BASCOM H. KING The four inputs and the main and tape
outputs are represented on the rear panel
by pairs of XLR balanced jacks above pairs
PASS LABORATORIES of high -quality RCA unbalanced jacks.

(The Aleph-P comes set up for unbalanced
ALEPH-P PREAMP input signals, with U-shaped, gold-plated

jumpers shorting pin 1 to pin 3 in each of
the XLR balanced input connectors. To use
the balanced inputs, you merely remove the
shorting jumpers.) An AC power -cord
socket and line fuse holder are also on the
rear panel.
Construction of the Aleph-P is beefy and
robust, to put it mildly. The front panel and
side pieces appear to be of 1/2 -inch -thick
aluminum, and the top and bottom covers
and rear panel are made of 1/4 -inch alu-
i
Ililll
.
; l:
l Í:1 y
;!nn! n!!!I!n!l!!u,-
o1r1s1u1l t1e1lu1u.
0I wll! - 1113111111
UNIQUELY, THE ALEPH-P

HAS ACTIVE CIRCUITS
SANDWICHED BETWEEN
The Aleph-P was the first sounds like a real human being wrote it.
preamp produced by Pass (Nelson Pass, in fact, was the author.) TRUE GAIN CONTROLS
Laboratories. The company The control setup is a bit unusual. Be- AND AN ATTENUATOR.
says "it integrates power tween the input selector at the left and the
MOS-FET devices and sin- overall volume ("Level") control on the
gle -ended Class -A operation right are knobs for left- and right -channel minum, all bolted together with Allen -head
in a simple topology in order gain. Having gain controls enables you to machine screws into inch -thick bars at each
to deliver the most natural optimize the match between the input sig- enclosure corner.
sound possible." The excel- nal level and the rest of the preamp. This There are three printed -circuit boards
lent owner's manual goes prevents overloading the gain stages and inside the Pass Labs preamp. One of them,
into great detail about the philosophy of the matches the signal to the "Level" control on the inside of the rear panel, links all the
design as well as how to use the preamp. (which follows the active circuits) so that input and output connectors and signal -
The manual is not dry and humorless but you won't be stuck using just a few steps at switching relays. The main board, which
one end of the control's range. Having sep- fills most of the chassis bottom, is a beauti-
Dimensions: 19 in. W x 4 in. H x 111/2 arate gain controls for each channel lets you ful study in layout functionality and sim-
in.D (48.3cmx 10.2 cm x 29.2 cm). use them to adjust balance, too. Both the plicity. The third p.c. board interconnects
Weight: 25 lbs. (11.3 kg). signal -selector and "Level" knobs can be the front -panel controls and indicating
Price: $4,000. rotated continuously, with no end stops, LEDs. It also carries the microcontroller
Company Address: 24449 Foresthill since they are actually digital encoders that that operates the attenuator and source -se-
Rd., Foresthill, Cal. 95631; 916/367- operate via a microcontroller. A ring of blue lector relays according to the position of the
3690; fax, 916/367-2193. LEDs around each of these knobs shows the front -panel "Level" and source -selector
For literature, circle No. 93 input selection and level setting. A sensor knobs. A generous -sized toroidal power
for the supplied remote (which controls in- transformer is mounted to the preamplifi-
AUDIO/NOVEMBER 1996
60
SOUND SO REAL YOU CAN FEEL IT
Velodyne
r`here's more to a good subwoofer
j than thunderous, wall -rattling bass.
Even a small percentage of distortion
can take all the clarity out of the signal,
leaving you with a muddy, undefined
sound. It's thunder without the light-
ning. And who wants that?
You'll hear all the impact and all the
fidelity from Velodyne's High Gain
Servo subwoofers. It's thanks to the
accelerometer. This revolutionary
device, custom -designed by Velodyne, is
mounted directly on the speaker's voice
coil, where it takes continuous motion
measurements and feeds them to a com-
parator circuit. Any differences between
the measured motion and the source
signal represent distortion.
The Velodyne system corrects those
differences approximately 3500 times
every second for a precise match with
the input signal. The resulting sound is
clean, powerful and, at less than 1%
THD, virtually without distortion -a
combination no other subwoofer has
been able to achieve.
Why let distortion get between you
and the power and definition you
expect in a subwoofer? Audition a
Velodyne speaker system, including an
F -Series sub, today. Call 1 -800 -VELO-
DYNE for the authorized dealer in your
area.
Velodyne Acoustics Inc.

1070 Commercial Street, Suite 101 Subwoofers in Velodyne's F -Series feature a resin -reinforced cone with a specially
designed hole pattern to break up unwanted standing waves; a high density surround
San Jose, CA 95112 USA and linen spider for exceptional durability; a massive magnet structure; a copper voice
408-436-7270 FAX 408-436-7276 coil, precisely matched for maximum output and amplifier efficiency; protection cir-
cuitry to prevent damage; an optimized cabinet design; and infrared remote control.
1-800-VELODYNE Now available with 10' 12", 15" and 18" drivers!
,
© 1996, Velodyne Acoustics Inc. Velodyne is a registered

trademark of Velodyne Acoustics, Inc. All rights reserved.
zserwiaeri e LN6Llahl ,. ruu(n.) resistance connected between the closely matched in performance character-
oéB Sao sources of the MOS-FETs. In fact, that istics, so results are presented for the left
- 10 _
is exactly what is done by the front - channel unless otherwise noted.
-10'0B
panel gain controls. These controls en- With the front -panel gain controls at
-20 -.1111=11.1.00'
-2oe9 able optimum adjustment of circuit maximum, gain from either the balanced or
- 30 II I I
gain for different signal -source levels so unbalanced inputs was 13.5 dB to the un-
-30dB
-11-40dB -- that the output level control and amp balanced main outputs and 18.6 dB to the
- 40
II I f
stage are in their optimum operating balanced main outputs; setting the gain
- 50 -50AB. ranges. The manual for the Aleph-P controls at minimum reduced the readings
11
._ -
states that it can drive low -impedance by just under 22 dB. At either setting, gain
- 60
10 100 Ik 10k 200k loads without distortion and can even from the balanced input to the unbalanced
FREQUENCY - Hz drive a 0 -ohm mixer junction without tape output was -9.3 dB but was 0 dB from
Fig. 1-Frequency response any distortion! unbalanced input to unbalanced tape out-
at various level settings. The Aleph-P's outputs are automati- put; gain from either input to the balanced
cally muted at turn -on, turn-off, and tape output was also 0 dB. Sensitivity mea-
any time the AC line voltage drops to a surements are presented in Table I.
er's right side piece. Construction and parts point where the regulators would be unable Frequency response is shown in Fig. 1 for
quality are of a high order. to perform their job. input and output with instrument loading
and with the gain controls fully clockwise.
Circuit Highlights Measurements (Results were about the same with the gain
The Aleph-P's circuitry is completely Measuring the Aleph-P's gain and sensi- trims fully down and with unbalanced in-
balanced, from input to output, which is tivity is not a simple matter, as these are put and output.) Although response within
uncommon. Its overall topology, however, functions of the level- and gain -control set- the audio band is flat at all volume levels,
is not just uncommon but definitely unusu- tings. They are also affected by the output there are rolloffs above the audio band at
al. In virtually all other preamps, the signal load on the preamp, and this effect will vary the highest and lowest level settings. The
passes from the selector switch through bal- with the level setting, since the preamp's rolloffs at the higher settings result from the
ance and volume controls and then into the output impedance varies with the output low-pass filter formed by the output im-
line amplifier. In the Aleph-P, the selected attenuator setting (which is controlled by pedance and the capacitance of my test
signal is applied directly to the input of the the front -panel "Level" knob). In addition, leads. As the level control is turned down,
line amplifier, while the front -panel "Level" you can use an internal switch to lower the the output impedance drops and the high -
knob indirectly (via the microcontroller) gain by 12 dB in the unlikely event that you frequency response improves until there is
operates a relay -controlled output attenua- expect an input signal to exceed 18 volts. hardly any rolloff with 20 to 30 dB of atten-
tor that feeds the preamp's main outputs. This switch was set for the normal mode in uation. With further attenuation the output
The circuitry for the line stage is a single - all tests. The two channels of the Aleph-P impedance becomes still lower, yet the
stage differential amplifier using a pair of
MOS-FET transistors. The drain of each EQUIPMENT USED
MOS-FET is fed from a MOS-FET con-
stant -current source, and each source is I used the following equipment in the lis- LS22, Spectron 10, and Forssell bal-
connected to a MOS-FET constant -current tening tests for this review: anced tube line driver.
sink. The drains are coupled by capacitors CD Transports: Sonic Frontiers SFT-1 Amplifiers: Sonic Frontiers Power -3
to the output attenuators for each phase of and Counterpoint DA -11A. mono tube amplifiers, Quicksilver M-
the signal. CD Electronics: Genesis Technologies 135 mono tube amplifiers with Svet-
Negative feedback is applied from each Digital Lens anti -jitter device; Sonic lana 6550C output tubes, and Spectron
MOS-FET's drain back to its signal input Frontiers SFD-2 MKII, Classé Audio 1KW digital switching amplifier.
gate. Since the drain outputs are opposite in DAC-1, Dodson Audio DA -217, and Loudspeakers: Genesis Technologies
polarity to these gates, the feedback is in- Manley Reference D/A converters. Genesis Vs and B&W 801 Matrix Series
verting, which calls for series input resistors Phono Equipment: Oracle turntable, 3s augmented from 20 to 50 Hz by two
for voltage (as opposed to current) drive. Well Tempered Arm, Accuphase AC -2 subwoofers.
These resistors determine the preamp's in- moving -coil cartridge, and Vendetta Cables: Analog cables by MIT and Trans-
put impedance. Their values are set, in con- Research SCP-2C phono preamp. parent Audio; digital interconnects
junction with the circuit's relatively low Additional Signal Sources: Nakamichi (AES/EBU balanced), Illuminati DX -
open -loop gain, to produce nominal unbal- ST -7 FM tuner, Nakamichi 250 cassette 50 and Audient Technologies Datrix
anced input impedance of 10 kilohms and recorder, and Technics 1500 open -reel Reference active cabling used with Au-
balanced input impedance of 20 kilohms. recorder. dient Tactic and Audit cable driver and
An interesting attribute of such a circuit Other Preamplifiers: Audio Research receiver.
is that its gain can be set by the amount of
AUDIO/NOVEMBER 1996
62
MicroWorks Delivered Chest -Thu mpiri
Bass And Crystal -Clear Highs, With
Almost No Distortion At Any Level."
Boot magazine
Introducing MicroWorks- compact, affordable, amplified

Our New High -Powered, speaker system that produces wide -
High -Output Amplified range, natural, very "big" sound. PC
Computing named SoundWorks
Speaker System.
"best multimedia sound system over
MicroWorks is a very $100." Audio says it's "really
powerful, very versatile
i..
amazing...exceptionally good."
amplified subwoofer/ SoundWorks may be the
satellite speaker most highly
system. It / ..LI.J I reviewed speaker
duces enough 'y ' -1-1-1-1 system ever. CD
natural,
accurate, wide -range sound - --
i
'NO: Rom World

ranked it #1, ahead of
including deep bass - to fill a living room or a systems selling for three times its price.
conference room. It's perfect for use with SoundWorks (at only $219.99) remains the
multimedia computers and for making business
presentations. It can be the heart of a terrific
$34999
MicroWorks system with satellite speakers and
country's best value in a high-performance
amplified speaker system.
home stereo system. Or just connect it to a subwoofer with built-in amplifiers.'
Music Anywhere, Anytime.
stereo TV or VCR for a simple -but -fantastic two -
satellite speakers, an in -line volume control, and With SoundWorks' optional carrybag and
channel home theater sound system.
a subwoofer. The subwoofer cabinet encloses a rechargeable battery - along with a portable CD
More Power. More Output. Better Bass. 61/1" woofer, a 3 -channel amplifier, an electronic player - you can create a high-performance
Compared to any other multimedia speaker crossover and a control panel with two inputs music system that can go anywhere - even the
system we know of, MicroWorks has much and a bass level control. The satellite cubes are beach. Plus you can play the system in its bag -
more power, significantly more acoustic output supplied with desktop stands, plus a velcro kit while you're carrying it!
and deeper, stronger bass. We think it sets a new that lets you attach the cubes directly to a Satisfaction Guaranteed.
standard of performance for the product computer monitor. Try MicroWorks or SoundWorks in your
category. Its sound is comparable to that of a
Factory -Direct Savings. home or office for 30 days. listen with your
very high quality component stereo system.
Because we eliminate expensive middlemen, music, with no sales person hovering nearby.
The Ultimate Multimedia Sound System? we can sell MicroWorks for only $349.99 - about After a month you can keep it or return it.
The wide frequency range, natural tonal half the price of its best-known competitor. But be warned - you'll keep it.
balance and high output of MicroWorks make it
one of the very best multimedia sound systems
you can buy. It's perfect for use with SRS or SoundWorks is To Order Factory -Direct,
Dolby's new Virtual Pro Logic' system. And its one of the most
highly acclaimed For A Free Catalog, Or For The
wide dispersion and high sound level capability speaker systems Nearest Store Location, Call
make it ideal for computer presentations to of all time.'
.Nut.i_.
groups of people. Yet
its tiny satellite
1-800-FOR-HIFI
(1-800-367-4434)
speakers and
vertical subwoofer
(which goes on the CAMBRIDGE
floor) take up very
little workspace.
SOUNDWORKS
MicroWorks Critically Acclaimed. Factory -Direct.
consists of two
SoundWorks: - Still The Country's
magnetically
Best Multimedia Speaker Value. 311 Needham Street, Suite 104, Newton, MA 02164
Two years ago, we changed the way people Fax: 617-332-9229
shielded cube Canada: 1-800-525-4434
listened to music with computers, portable CD Outside US. or Canada: 617-332-5936
players, boom boxes and TVs when we The subwoofers of both systems are designed to be placed on tae Floor, not on
the same surface as the satellite speakers. O 1995 Cambridge SoundWorks.
MicroWorks
comes finished in introduced SoundWorks.
black or white. Designed by Henry Kloss, SoundWorks is a
high -frequency rolloff returns; I cannot Figure 2 shows 1 -kHz total harmonic
account for this. With IHF loading, the distortion plus noise (THD + N) versus
-3 dB point dropped from 100 kHz to output level for various loads. The mea-
about 60 kHz in the worst case ("Level" surements in Fig. 2A were made via the bal-
clockwise), but the change in response anced input and output and with gain and
essentially disappeared at attenuations level controls at maximum, the conditions
of 20 dB or more. Tracking between under which output impedance is the high-
channels was extremely good, thanks to est. With this high impedance, the drop in
the use of high -precision resistors in output voltage with decreasing load imped-
the output attenuators. ance is at its maximum. But note that the
0.01 0.1 I 10 20 Because of the output attenuators' input voltage is the same for all five curves,
OUTPUT -V design, the output impedance varied so the circuit is being driven just as hard, de-
A with attenuation. Output impedance at spite the changing output voltage. The dis-
r"M LABS TMD.M¢t we LEVE1. Vi the balanced outputs got as high as 2 tortion was predominantly third -harmonic.
10 kilohms with the level control turned The measurements in Fig. 2B are for un-
all the way up. Turning the level control balanced output, again with gain and level
down, however, swiftly reduced the settings at maximum. Here, the maximum
output impedance, which dropped to output for light (high -impedance) loading
less than 200 ohms for attenuations of is about half what it is for balanced output,
0.1
20 dB or more. Output impedance will and there is a noticeable upturn in the dis-
likely be less than 200 ohms in most tortion curves where even -order distortion
0.01
conditions of use. Impedance at the starts to increase. These changes of slope
unbalanced output was half that at the don't occur in Fig. 2A because balanced
0.001
balanced output. outputs inherently cancel even harmonics.
0.01 0.1 I 10 20
OUTPUT -V Balanced input impedance was With the preamp set for 10 dB of gain with
about 20 kilohms with level and gain instrument loading, distortion was about a
Fig. 2-THD + N at 1 kHz B
controls fully clockwise and increased third of that seen in Fig. 2A.
vs. output level and load
for balanced (A) and to 34 kilohms with level clockwise and The fact that the distortion curves in
unbalanced (B) outputs. gain trims counterclockwise. Unbal- Figs. 2A and 2B have about the same shape
BMX LABS F16 1 TMB Mi>,) ra FNWIhx) anced input impedance was about half for the various loadings supports the man-
1
that of the balanced input. ufacturer's claim that the Aleph-P could
Common -mode rejection ratio drive a 0 -ohm load with low distortion.
41' nil (CMRR) indicates how well a balanced Consider Fig. 2A: The curves for 10 -ohm
INSTR LOAD y
0.1 t
input rejects noise signals applied to and 100 -ohm loading reach 0.02% distor-
LOAD " both its positive and negative pins; tion at about 22 and 220 millivolts, respec-
iiinn 1
when measured at the unbalanced out- tively; in each case, the preamp is delivering
INSTR. LOAD;;-:.-¿
0.01 5V OUT put jacks, it also indicates how well about 2.2 milliamperes of output current.
IHF LOAD
2.5V OUT INSTR LOAD
I
each phase of the input signal is repre- At lower output voltages (and correspond-
IHF LOAD sented in the unbalanced output signal. ingly lower currents), distortion would be
0.001 11. With the level control at its maximum lower still. (This is obscured by the noise
20 100 Ik I0k 50k position and with gain trims at maxi- component of the THD + N at the bottom
FREQUENCY-
mum, CMRR exceeded 56 dB at 20 kHz of the 10 -ohm curve.) By extrapolating, we
Fig. 3-THD + N vs. and 60 dB below 4 kHz at the unbal- can see that the circuit could indeed pro-
frequency for various anced output jacks; with the gain con- vide 1 to 2 milliamps into a 0 -ohm load at
gain settings. trols at their 1 o'clock positions, CMRR low distortion.
was about 42 dB at 20 kHz and was bet- Figure 3 shows THD + N as a function of
ter than 50 dB be- frequency with instrument or IHF loading.
Table I-Input sensitivity at maximum and minimum gain. low 800 Hz. For bal- Input voltage was 1 volt with "Level" fully
Sensitivity, mV anced outputs and up. The gain controls were turned up full
MAX. GAIN MIN. GAIN gain at maximum, for the 10 -volt output curves and were
Any Input to Unbalanced Main Out 105.8 1310 CMRR was 87 dB turned down to get the other measure-
Any Input to Balanced Main Out 58.8 729.9 at 20 kHz and bet- ments. The 1,000-picofarad capacitance of
Balanced In to Unbalanced Tape Out 1462 1462 ter than 100 dB be- the IHF load reduces both high -frequency
Unbalanced In to Unbalanced Tape Out 500 500 low 3 kHz. Perform- distortion and out -of -band noise. Since the
Any Input to Balanced Tape Out 500 500 ance on this test noise component of a THD + N measure-
was very good. ment includes noise above the audio band,
AUDIO/NOVEMBER 1996
64
WELCOME TO THE NEXT LEVEL
(introducing Iwo revolutions from Martin -Logan)
Fifteen years ago we engineered

electrostatic technology to a new level,
opening wide the "window" between
the music and listener.
Today a dedicated team of

over 40 people are 100%
committed to bringing you
the highest level of prod-
uct, performance and
service for your money.
Introducing the next

generation of Martin -
Logan product. Exhaustive
re -engineering in electro-
static technology, every
facet of woofer fabrication,
detailed crossover evalua-
tion and design as well as
fit and finish have resulted
in the new AERIUS i and
reQUEST ESL systems.
When you become

disenchanted with the
ordinary, I invite you to
audition Martin -Logan
technology.
One of our chosen

specialists will show
you what it is to
touch space, feel an
image, experience
the next level.
Gayle M. Sanders
President
the new request esl hybrid the new aerius i esl hybrid
tel 913.749.0133
the IHF load yields lower overall THD + N 500 millivolts output, readings ranged from
at 2.5 volts out, where the noise accounts 86 to 89 dB. .art__
for more of the reading than the distortion oodded0 o s;eee00o
does. Distortion performance of the Pass Use and Listening Tests
Labs Aleph-P is very good, and it will likely The Aleph-P impressed me right away as
contribute only negligible distortion in ac- a very good -sounding preamp. My initial
tual use. listening notes indicated that definition and
THE PASS ALEPH-P
Interchannel crosstalk was generally detail were very good, as were space, dimen-
quite similar in each direction and was bet- sion, imaging, and soundstaging. I noted IS AN EXCELLENT PREAMP
ter in the balanced than in the unbalanced some slightly irritating sound on a few of THAT SERVES
input and output modes. With unbalanced my CDs that are difficult to make sound
THE MUSIC WELL.
input and output, crosstalk was down by good, but this irritation cleared up when I
more than 80 dB below 4 kHz, increasing to changed my interconnect and speaker ca-
about 70 dB down at 20 kHz; with balanced bles; with the new cables, the Aleph-P
input and output, crosstalk diminished to sounded very good indeed. There was now discovered, was simply that the remote con-
-100 dB below 6 kHz and about -92 dB at a musical ease to the reproduction that trol's volume -up button had stuck, and the
20 kHz. made music a real pleasure to listen to. Re- remote happened to be pointing at the
Because the level attenuator is at this pre - gardless of the cables I used, I felt the bass Aleph-P. Aside from that, the preamp func-
amp's output instead of its input, it attenu- was not as prominent or strong and had less tioned perfectly both in the lab and in the
ates output noise, too. Therefore, this pre - "slam" than with the other preamps I had listening room.
amp produced some truly low output -noise on hand. Bass detail and realism were still My experiences with this preamp made
levels, on the order of several microvolts. very good, however. All in all, the Pass me wish I had the chance to listen to some
With a fixed input level of 500 millivolts, Aleph-P is an excellent preamp that serves of Pass Laboratories' famed single -ended
gains set at maximum, and level set for 500 the music well. solid-state power amplifiers. The Aleph-P is
millivolts output, the IHF signal-to-noise When I first tried out the preamp, the an excellent -sounding preamp that will
ratio ranged from 100 to 103 dB. With level volume started mysteriously and uncon- likely give trouble -free service for a very
set at maximum and gain controls set for trollably turning itself full up. The cause, I long time. A
ACROTEC
I. . 1
SIX NINES FOR
SUBLIME SOUND
99.99997%. Remember that
figure-it can do wonders for your
sound. It's the purity of the copper
in the world's finest audio cables.
A figure that translates directly
into ultimate sonic purity. Don't
.
compromise your system's
;
performance, use ACROTEC
I -
Stressfree 6N Copper Reference
Cables-the purest on the planet.
AXISS
Shown ACROTEC 6N -A2050 and 6N -A2010
,
^"k\
í 17800 South Main Street. Ste. 109 Gardena CA. 90248

Tel. 310 329 0187 Fax. 310 329 0189

RC -2000 AT A GLANCE
Replace all of your existing remotes and DEATH. TAXES.
control your entire A/V system with one,
easy -to -use remote. TOO MANY REMOTES.
Convenient Macro keys store up to 20
commands each that can be sent (we can fix that last one)
automatically in sequence.
LCD window and keypad illuminate

With some help, at least one of life's certainties can be negotiated.
automatically when the room is dark.
Take the half -dozen hard -to -use remote controls that came with
Ergonomically designed, with logically your home theater equipment. Why so many? Because no one has
grouped functions and clear labels.
produced an affordable, powerful, and sensible remote that can
Large LCD window displays as many as 32 replace your extensive collection.
special commands for each component.
Renaming feature lets you customize the 0,
,..;.,
nr +
Now, thanks to Marantz, all you need is one.
LCD display with component and function
02 Introducing the Marantz RC -2000. Designed with input from
03
names you choose. leading custom A/V installation experts, the RC -2000 is the first
learning remote that gives you complete, convenient control of
Hundreds of built-in commands for popular
your entire entertainment system.
Marantz models and other components
using the Philips RC -5 remote control In contrast with other learning remotes, the RC -2000 has an
language. DSS command functions intuitive keypad layout with highly visible labels, plus advanced
provided. convenience features such as Macro keys that transmit up to 20
commands each at the push of a button. Imagine: One button can
ALL YOU NEED IS ONE activate your entire home theater system, set the input selectors,
Built-in and learned functions give you adjust the surround mode, and even start the movie - all in the
complete control of infrared -operated order you choose, and even with timing intervals you may need.
components such as: This is what remote control should be all about.
TVs and monitors Cable boxes

AN receivers CD players/
":..the Marantz RC -2000 is the answer
Surround decoders changers
Laser disc players Cassette decks
to my prayers ... It looks to be a real solution to
VCRs AM/FM tuners one of home theater's most troublesome and
DSS satellite overlooked aspects - system control."
Lawrence E. Ullman,
Stereophile Guide to Home Theater, Summer 1996
DSS INSIDE!
Complete set of
TCE-brand DSS Despite its powerful capabilities, the RC -2000 sets up in minutes, a decided advantage over expensive
commands controllers that require professional installation and programming. Powered by a 33 -MHz notepad
included, plus
computer chip, the RC -2000 can learn hundreds of infrared remote commands, enough to handle even
built-in command
the most sophisticated A/V systems. Got satellite? The RC -2000 is already loaded with commands for
labels for learning
other -brand DSS popular DSS brands, plus hundreds of additional commands for Marantz and other brands that use the
codes. Philips RC -5 remote control language. You can even rename component labels and functions with
names you choose.
Of course, what good is all of this control capability if you can't see what you're doing?
BUILT-IN
ILLUMINATION An illuminated keypad and back -lit LCD display make the RC -2000 perfect in darkened home theaters.
A built-in light A built-in light sensor automatically activates the illumination feature when the room is dark, and
sensor activates disables it to save battery power when the room brightens. The illumination can also be activated
the illuminated instantly at the touch of a button. An advanced memory backup system protects all of your customized
keypad and LCD features and learned codes, and even alerts you when it's time to change the batteries. The RC -2000's
display when the powerful programming features allow you to customize it to match your exact requirements for precise
room is dark, and
and total control of your entire entertainment system.
automatically
disables it to save So what should you do with your old remotes? Absolutely nothing.
battery power
when the room
brightens.
Illumination can
also be activated
moat rinf if®
PURE HIGH FIDELITY
instantly at the Marantz America, Inc.
touch of a button. 440 Medinah Road, Roselle, IL 60172-2330 Tel 708-307-3100 708-307-2687 Fax
Presented by
When you've got questions about Audio and Video,
see a specialist
clDo I need a bigger amp for my clWhy its sensitivity important when
rear speakers? evaluating loudspeakers?
AThe key to enhancing rear speaker ASensitivity can be a very misleading

performance is rot a bigger amp, but guide to j_idgirg loudspeakers.
the new Digital Surround Sound Sensi bvity is defined as how a
process, also referred to as AC -3. loudspeaker performs with a given
Dolby Surround AC -3 celivers input, at a specific distance, on axis. One myth is
six separate channels of sound. Dolby
a more sensitive ;peak; r sounds better than a
Fro -Logic Surround provides a single limited
tandwidth (100-700Hz) rear channel which is loudspeaker with less sensitivity. The phrase,
typically played back throLgh two channels of more sensitive speaker; simply means that the
zmplification and two speakers. In comparison, speaker will play louder at the same input
Dolly AC -3 provides separate (discrete) power. This is rrost o wious when performing
left -rear and right -rear channels, with an A/B test of _vvo different speakers. One
full -bandwidth (3-20,000HZ) for more precise speaker will inevitably be louder. This type of
Iota' zation of sounds and more -ealistic test tends to tr ek less experienced listeners
ambiance. If you already have a Dolby Pro Logic
into thinking the louder speaker sounds better.
Surround system, you will need a Dolby
Many times, a lcudspeaker manufacturer will
Surround AC -3 demodulator/decoder and a
stereo VCR or laser -disc ?layer with AC RF
sacrifice a more sensitie speaker for one with
signal output. If this is not n your budget, good a better response to improve over-all sound
-esuks also can be achieved with another new quality. As a sma-t corsumer, you should keep
teration of surround sound: DDSC (Dynamic the following it mind before performing a
Disc-ete Surround Circui _). Improvements are sensitivity test: tie best way to compare tw
Iasi heard: lower THD by about 20%, different loudspeakers is to listen to a track o
ncreased separation front, oack and side to side. one speaker, then restar
Also 18 -bit digital convers on for surround and
effec_s channels for much higher fidelity an
fuller bass response even in the rear :harnels,.
Each month, Audio Magazine's feature "See a Specialist" showcases the finest audio/video dealers from
across the country. The dealers, chosen as a result of recommendations from equipment manufacturers,
Audio Magazine staff and industry organizations, exemplify the best audio/video dealers from New York to
California. The chosen dealers offer solutions to problems that can best be handled by a specialty
audio/video retailer.
If you would like to submit questions to dealers in your area please write to :
See a Specialist, c/o Audio Magazine, 1633 Broadway, NY, NY 100 9
clWhy am I always blowing up Why should I buy my equipment

tweeters? from a local audio and home
theater specialist as opposed to a
large chain store?
AThe most common cause of tweeter AYou may think tha: you would get the
failure is from using a power pest ceal from a large department
an-plifie- or receiver that is too small ato -e because o' their "low p -ice
for the volume levels ycu are trying guarantee." but the cheapest price
to achieve. Wher an amplifier is doesn't always mean the best dea .
pushed past is maximum output level, it is Ir the long run, quality products and quality
driven into a concition called :lipping. This is seriices will always be a better deal. Large stores
when the amp s cutting off the top and bottom surii"e of their volume cf sa es. Their goal is to
of the waveform that it is trying tc reproduce. get yixir me ney a Jickly and r¡ore on to the next
Tiese clipped signals are loaded with high sale. Your c c al :.pecialir_ survives on having
frequency, ene-gy that pass through the s_tisfied repeat ct stoners that :el their friends
crossover ne:work of the speaker to the abcu: tie experience. These referrals are the
tweeter, causir the tweeter to overheat and be life brood cf their business. Also. large stares
damaged. Clippirg is caused by -urning the rlpically sell you what they wait (products that
volume control .p too high. Altnou, h a volume spill rna<e them the Tost money). Your local
control can be turned to maximum rotation, the iodic and hone tieate- specialists will take the
I amplifier generally runs ou- of ur clipped power s me necessary to help determ nE the product
before ycu reach this point. Tie amplifier's :hat best rieets your neecs. Audio specialists are
output is determined by the it put level, the (ay seletti'i about what products they carry.
volume control setting and hoN much bass, n or_er to differentiate themselves, they must
treble and loudness boost is added. "lost power 3,111 hgher quality products at al excellent value.
amplifiers will react their maximum power at To tc+rnalete your sale, a large store takes ;tour
about one o'cloc < on the volume control. -rponey and thanks you. A specialist considers
To determ ne a safe level to operate an the stale done afte - you hzive taken the product
amplifier at, inzrease the volume to where you reme, heeti assisted with t -e proper installation,
can just hear cfastor-_ion anc then pack t down a aid has fully t -ailed you so you can operate
bi:. This shouic present future tweeter =allure. y3111" 'ew system. No chain s -to -e can say al' that
a -d have a totally satisfied d ent base.
-Peter Svec
Aucio Labs, Inc.
phase, with the result that the two
AURICLE wave fronts cancel at the sides, yield-
ANTHONY H. CORDESMAN ing nulls in those directions. When
the speaker and the room work well
together, this produces a cleaner
EOSONE MILLENNIUM sound from the front -channel speak-
ers, a feeling of added space, and a
HOME THEATER broader listening area with more sta-
ble imaging.
SPEAKER SYSTEM The Millennium system comes at

a time when audiophiles want more
and more from home theater speak-
Fosone is a new company, but it tions...believed to have a historical ers. They expect excellent stereo per-
has a veteran designer: Arnie basis, although not verifiable." For- formance, with outstanding dynam-
Nudell, who has been responsi- tunately, Arnie is neither an elf nor ics, bass power, and extension. They
ble for some exceptional refer- Elvis, and the Eosone Millennium want the speakers' timbres to be so
ence speakers from Genesis system provides the kind of technol- well matched that there is a seamless
Technologies and Infinity (see ogy and sound quality you expect blend of sound across the front.
"The Audio Interview," July). from a hit instead of a near myth. They also want the speakers to pro-
Eosone's sales literature calls Arnie a As you'd expect from Arnie, this is duce surround effects that approxi-
"legend." I'm not sure this is either not your usual home theater package mate those in a top-quality theater
accurate or flattering, since the of five pet -sized coffins and a disco - installation. They want to be able to
dictionary defines legend as "a bass subwoofer with a built-in amp. get all this in a variety of listening
story handed down for genera- For example, in most home theater rooms, with electronics that can
systems, the surround speakers (and, range from an ordinary A/V receiver
usually, only the surrounds) are to high -quality separate compo-
dipoles. In the Millennium system, nents. And all these demands are ex-
every speaker except the surrounds acerbated by new discrete -channel
acts as a dipole over at least part of digital surround formats, such as
its range, a technique Eosone calls Dolby Digital (AC -3), which offer
Radiant Surround Field technology. better bass dynamics, more detailed
The company says this broadens the surround information, and far less
optimum listening area while reduc- time smear and sonic confusion than
ing sound -blurring reflections from Dolby Pro Logic.
your room's side walls and your TV Unlike the many speakers Nudell
screen. A properly designed dipole has designed as ultimate statements,
speaker can reduce side -wall reflec-
tions because the speakers radiate Company Address: 2550 Britan-
forward and backward in opposite nia Blvd., Suite F, San Diego,
Cal. 92173; 800/347-1876.
the Eosone Millennium system is in-

tended to deliver the kind of perform-
ance demanding consumers
want at a price most can af-
ford. For $2,879 you get five
well -designed speakers plus
two powered subwoofers
built into the left and right
front speakers. More impor-
tant, you receive very good
performance with both mu-
sic and home theater.
The front left and right
speakers are RSF 1000 tow-
AUDIO/NOVEMBER 1996
70
The Heart of a
High -End Home cheater
Mere Mortals Can Afford.
early 15 years gear off the production
ago, B&K line, take it home and
Components, listen to music on it.
Ltd. of Buffalo, NY. This attention to quality
started out with an idea. and detail allows us to
If we produced wonderful produce great products at
sounding components, reasonable prices.
and kept prices low, we Our products speak
knew we'd win a reputa- for themselves.
tion for making High End Do you hear the bite of
audio affordable. the cymbal? The energy
Critics took notice, "B&K and emotion of the sound-
offers exceptional sound at a track? Do the voices
remarkable value". We have won sound right? Do you hear the beauty of a
numerous "Best Buy" awards from allows us to buy better parts in quantity, solo violin? If you get the harmonics
leading hi-fi publications - coveted at the best possible prices. We keep our right...if you reproduce vocal and instru-
recognition that is only awarded to the circuits simple. Fewer parts and shorter ments correctly...then everything else
very best models in each product category. signal paths deliver better sound. And, typically falls into place, including detail,
fewer parts means we can afford better resolution, clarity, imaging, soundstage,
"B&K Components, Ltd. has become one of America's parts. We can pay close and critical rhythm, pace, timing. And getting the
leading manufacturers of affordable, high quality
attention to the parts we do use. We can movie effects, voices, and music right
audio electronics...providing musical, reliable
evaluate each transistor, capacitor, makes our audio/video system the complete
preamplifiers and power amplifiers within the budget
of virtually any music lover." - Hi -R Heretic resistor, switch - even wire - to determine package for both music and movies.
how well it works and how good it sounds.
Can I hear it? "Astonishing, staggeringly wonderful!"
"B&K Components offers good value. - William L, Madison, WI
You bet you can! You don't need a critic's
They sound great!" - Sensible Sound "Wow!... Why, oh why didn't I do this earlier?"
"golden ears". You need only normal ears - Eric L, Streamwood, IL
and a love of music or home theater. The But that is only part of the story.
superior sound quality of B&K is obvious, We make sure that each unit sounds the Please take the time to listen to B&K's
not subtle. If you like jazz, listen espe- same. We test each resistor, transistor, components and judge for yourself. You
cially to the timbre of a sax. If you like and capacitor for value, tolerance and are gifted with the greatest device ever
classical, you'll hear the "truth of timber" functionality to be sure they meet our invented for measuring the quality of hi-fi
right away. With any style of music or standards before we solder them to a gear, your ears. At B&K, high end A/V
movie soundtrack - the harmonics just circuit board. Then we test all subassem- means high performance, not high price.
sound right. We bring out the beauty of blies. Finally, we put each completed unit
music, the power of cinema - we put you through a variety of bench tests to ensure
in the action.
Why are your prices so low?
We commit to long production runs. This
its quality and longevity. Then, because
the human ear is the ultimate - the only -
arbiter of sound quality, we regularly pull
B&K
Uialgmrl, 4,ry.burnrl, and 111.,Jr In Ow U.S.A.
Call 800-543-5252 or fax 716-656-1291 for a dealer near you. Or write: B&K Components, ltd., 2100 Old Union Road., Buffalo, New York 14227
ers. These measure 49 x 121 x 181/2 inches, sures 7 x 17 x 8 inches, and costs $250 if you tails such as forest sounds, rain, street noise,
weigh 116 pounds each, and are solidly buy it separately. and the other delicate effects found on the
built for the money ($1,100 apiece). Each The RSR 350 surround speakers ($430 best soundtracks.
tower is divided into an upper passive sec- per pair) have a rated bandwidth of 70 Hz Not unexpectedly, the RSF 1000s provid-
tion and an active section below it that con- to 22 kHz. There are three drivers: two an- ed very good musical sound when used
tains the subwoofer and its amp and gled 3/4 -inch tweeters and one 61/2 -inch with a sophisticated surround processor
crossover. The tower's overall bandwidth is woofer (again, in a sealed enclosure), with like the Meridian 565, which delivers a
rated at 26 Hz to 22 kHz. the crossover at 4 kHz. Whereas most sur- high -quality bass signal. But they also per-
The passive section, which operates from round speakers are bipoles or dipoles that formed gratifyingly well in stereo with such
about 85 Hz on up, holds two 61/2 -inch radiate sound from opposite baffles, note moderately priced, high -quality surround
woofers, one 4 -inch midrange driver, and that the Eosone surrounds are monopoles decoders as the Adcom GTP-600 and
two 3/4 -inch tweeters. One woofer and one with two tweeters angled to achieve disper- Marantz AV -600.
tweeter fire to the rear, in opposite phase to sion. The RSR 350s each weigh 17 pounds The Eosone Millennium is priced at a
the front drivers, so the passive section acts and measure 12 x 15 x 51/2 inches; wall level where it does have to make some com-
as a dipole. Sealed subenclosures are pro- mounts are supplied. promises for home theater purposes. For
vided for the woofers and the midrange instance, you can find a more dynamic sys-
driver. The specified crossover frequencies tem with better and deeper bass output, al-
are 850 Hz and 5.2 kHz for the front -firing FOR LESS THAN $3,000 though you will likely have to pay at least
drivers and 5 kHz for the rear. Nominal im- YOU GET FIVE $1,000 more. The Millennium system does,
pedance is 8 ohms. however, produce excellent bass for the
WELL -DESIGNED
The active subwoofer section uses two money, and it has the virtue of doing so
10 -inch woofers in a bass -reflex enclosure SPEAKERS PLUS TWO while providing well-defined bass and tran-
powered by a built-in 120 -watt amplifier POWERED SUBWOOFERS. sients without boom or overhang. It also
with a low-pass filter adjustable between 50 enables you to turn up the deep bass to the-
and 100 Hz. (The high-pass to the passive ater levels without audible distress. And its
section is simply a capacitor, providing a I began by listening to the Eosone Mil- overall mix of bass, midrange, and treble
fixed, 6-dB/octave rolloff below 85 Hz.) lennium system in stereo, and it performed dynamics makes good movie soundtracks
Like most stand-alone powered subs, each very well for a system at this price. The RSF truly exciting. The Millennium even did a
tower's subwoofer section has both pre - 1000s provide more upper -midrange and creditable job when I played Judge Dredd, a
amp -level and speaker -level inputs, which treble energy than most speakers, which laserdisc that has more gratuitous deep bass
are switch -selected. The manual recom- helps them do an unusually good job of re- than any other Dolby Digital soundtrack
mends using the preamp-level input only producing musical harmonics and imaging I've heard.
when your system provides a preamp-level detail. And in general, the stereo sound - The RSC 300 center -channel speaker an-
subwoofer output. (You'll still need to con- stage, dynamics, transient performance, chors the home theater performance of the
nect your amp to the other terminals, of and bass response of the Eosone towers are Millennium system. Even in stereo listen-
course, to feed the passive section.) Pre - very good for the money. ing, it can help the RFS 1000 towers by pro-
amp -level output jacks let you feed the bass At the same time, the balance of upper viding center fill, a more stable sound field,
signal from one channel's subwoofer sec- octave energy means you must pay more at- and better imaging (particularly if your
tion to the other's, so you won't have to run tention to the quality of the associated elec- surround processor has a derived center -
two long cables from your preamp or re- tronics. The RSF 1000s reveal the problems channel setting designed by someone who
ceiver. Eosone suggests defeating your sys- in the "music" or "hall" modes of many really cares about music). The RSC 300
tem's low-pass filter, if it has one, and using A/V amplifiers and receivers, which over - might benefit from a bit more bass exten-
the low-pass filters in each tower's amp. process the music in ways that suggest their sion (or from the use of the "small" center -
The amplifier turns itself on when it senses designers have never heard live acoustic channel or "normal" mode on your sur-
a signal and turns off when there's been no music. Stick with the stereo or stereo -plus - round electronics), but its timbre and
signal for 10 minutes or so. derived -center -channel mode, and you imaging blend very naturally with those of
The RSC 300 center -channel speaker's should have no problems. the RSF 1000 front towers.
rated bandwidth is 90 Hz to 22 kHz. On the Not surprisingly, the Eosone Millennium The RSR 350 surrounds also match the
front baffle of the sealed enclosure are two system really came to life when I shifted other speakers' timbre very well and have
51/4 -inch shielded woofers flanking a %- from stereo listening to home theater. It im- the extended frequency range, dynamic ca-
inch tweeter. An additional 1/2 -inch tweeter mediately became clear that this system was pability, and imaging detail necessary to
radiates to the rear; it, too, is in opposite designed by someone who cares about perform well with Dolby Digital sound-
phase to the front drivers, making the soundtrack information, not just sheer tracks. The Eosone surrounds also repro-
speaker a dipole above its 3 -kHz crossover power. The Eosones can deal with the most duced music with Dolby Surround or Am-
frequency. The RSC 300's nominal imped- demanding special effects yet still do an ex- bisonic encoding better than most surround
ance is 8 ohms. It weighs 16 pounds, mea- cellent job of re-creating subtle ambient de- speakers in their price class.
AUDIO/NOVEMBER 1996
72
Packed stadiums. Crowded movie theaters. Sold -out events.
With the Mitsubishi 40 -inch direct -view TV,

there's no ticket shortage for the
best seats in the house.
When the first 40 -inch direct-v=ew television The 40 -inch models offer surround or level
was introduced in 1993, we envisioned bringing sound audio systems, creating realistic, top-quality
our Diamond Vision° stadium -sized screen into sound to complement the high-performance picture.
your living room. Mitsubishi is proud to introduce Mitsubishi's new 40 -inch models incorporate
its complete family of 40 -inch televisions. the high -end features you would expect to find in
The Mitsubishi giant 40 -inch sets deliver the a discriminating home theater system.
highest possible picture quality with a screen size For tickets to the best seat in the house, call
rivaling that of a big screen projection television. 1-800-937-0000, Ext. 942 for the Mitsubishi
dealer near you.
MITSUBISHI
THE BIG SCREEN COMPANY
If there's one practical caveat I have found that the use of two built-in sub - price is no object, because the former has
about the Eosone Millennium system-es- woofers often produces more realistic and more competitors and the trade-offs it has
pecially if your processor or receiver does better -defined bass in reasonably priced to make are more obvious. Nevertheless,
not provide Home THX re -equalization or speaker systems than a separate subwoofer the Eosone Millennium is competitive with
a good treble filter-it is to suggest that you does. any system I know of in its price range and
pay careful attention to the system's treble The front -channel towers and the RSC has a number of distinctive virtues.
balance. Although the Eosone Millennium 300 required a minimum of angling and The Millennium delivers smoother and
offers exceptionally good imaging and con- fiddling with the distance from the speakers more accurate bass than almost all of its
veys unusual amounts of detail and sur- to the wall behind them. (This almost made competitors that rely on single separate
round effects for the money, many sound- subwoofers. Its left and right front speakers
tracks are still m'xed with too much treble do a very good job with music. The center
energy for home listening. Most A/V elec- THE MILLENNIUM SYSTEM channel is well matched in timbre to the
tronics now take this characteristic into ac- IS COMPETITIVE WITH main speakers, and the surround speakers
count and have filters designed for use with are considerably better than many in their
ANYTHING IN ITS PRICE
flat speakers. But make sure you have such price range. In fact, I prefer their dispersion
electronics before you buy the Eosone RANGE AND HAS SEVERAL characteristics to those of most dipole and
speakers for home theater use. DISTINCTIVE VIRTUES. bipole designs, particularly with Dolby Dig-
I did find the Eosones easier to set up and ital soundtracks.
position than most home theater speakers. Buying any home theater speakers, in-
The RSC 300 center channel is large enough up for the terrible instruction manuals!) I cluding the Eosone Millennium system, in-
to deliver very good performance yet small also found that the RSR 350s' radiating volves a trade-off. If stereo is all you want,
enough to fit on top of most TVs. It also has characteristics provided good surround you can get better sound for the same mon-
excellent video shielding, which means it with a variety of soundtracks, including de- ey if you buy two unamplified speakers
won't impair picture quality. The RSF 1000 manding Dolby Digital material, after only than if you buy a system that must provide
towers are tall enough to provide a left/right a little tinkering with placement. five speakers, subwoofers, and built-in am-
image that will integrate well with the cen- It is much harder to judge a speaker that plification. But then, of course, you would
ter channel in most installations, and I have delivers value for money than one where not have home theater. A
ND 56
HD 36
HD 26
Life is stressful. You could spend a few

thousand dollars rushing to a weekend getaway
HD 475
at a rejuvenating retreat. You could mortgage HD 465
HD 455
your home for one of those "quiet as a
recording studio" motor cars you've seen on
HD 265
television. Or you can keep the family fortune HO 25 SP
and relax in the sanctity of your own home

140 565
with a pair of Sennheiser headphones. HO 545
HD 5:5
Discover the ultimate in surround sound...
at a budget you can easily afford.
HO 58o
HE 6o
HEV 7o
7,1 SENIVHEISEH ORPHEUS
6 VISTA DRIVE, P.O. BOX 9 7, D .D LYME, CT 06371 TEL: 203.434.9190 FAX: 203.434.1759
IN CANADA: 221 LABROSSE AVE, POIN E -CLAIRE, PQ H9R 1A3 TEL: 514.426.3013 FAX: 514.426.2979
WORLD WIDEWIS ://www.sennheiserusa.com
CIRCLE NO. 2 READER SERVICE CARD
2.
1000
Talce a look at any speaker manufacturer's lineup. Chances are their "top of
Based on nominal
driver diameters I died
e line" offers a lot more piston area than their "starter" model. Why? In Audo. October. 1995.
Wttb speakers, bigger is better.

Unless, of course, you don't care about visceral impact. Or distortion.
'Total
Acfve
Or efficiency. Or dynamic range... Model for model, Legacy offers more Driver
Area
(in?)
piston area. So, if you're looking for a bigger, fuller sound, get Legacy.
FOR YOUR FREE CATALOG CALL S I NCE1 98 3
18OOAUDIO HI ! 400 O42 o ,i C45 3j

.,,-wo
F<e
yi +1/0
(1 - 8 0 0- 2 8 3- 4 6 4 4) AUD1O yS.'`''<i
C 1' gllio °s
PHONE: (2 1 7) 5 4 4-5 2 5 2 FAX: ( 2 1 7) 7 4 4-7 2 6 9. 302 1 SANGAMON AVE. SPRINGFIELD, IL 6 2 702

In the last few months, I've lis-
AURICLE tened to plastic -box speakers from a
COREY GREENBERG fair number of well -regarded manu-
facturers, and I have to say that based
on what I've heard, I'm not ready to
PARADIGM welcome the Plastic Speaker Era with
MICRO/SB-90 the same open -armed glee as I did

the Radius Toothbrush Era. Even
with the best of these plastic -box
HOME THEATER speakers, there's a distinctly odd col-
oration in the midrange that I've
SPEAKER SYSTEM never heard from any of the speakers
these same companies build with
wood cabinets.
Maybe I'm just used to the woody
resonances of traditional loudspeak-
ers, but the plastic -box speakers defi-
nitely have a less natural sound over-
all. Do they sound better than a TV
set's own speakers? For the most
part, yes. Do they approach the
sound quality of entry-level audio-
phile speakers like the $350/pair
NHT SuperOne that I reviewed in
the August issue? Not in the slightest.
And that doesn't bode well for bud-
get-philes and quality -minded civil-
ians of all stripes who will be looking
to buy a good set of affordably
priced home theater speakers in the
coming years.
I was visiting Canadian loud-
speaker manufacturer Paradigm re-
cently, and I got to talking about this
very issue with Bill VanderMarel, the
company's director of sales and mar-
ou like wood? Me too. Wood That's right, the latest trend in af- keting. When I told him about all the
looks good, smells good. fordable high -end loudspeakers is to plastic -box speakers I'd been hear-
r And because it's so rigid

when mulched, glued, and
turned into "medium -densi-
ty fiberboard," or MDF, it's
great for building speaker cabinets.
But if you're a budget -minded au-
diophile, recent loudspeaker trends
use plastic for cabinets instead of
wood. While many utility speakers
have appeared
in plastic en-
closures, now
even high -end
designers are
ing lately, VanderMarel agreed that it
was becoming harder and harder to
I CAN'T BELIEVE
THAT FIVE SPEAKERS
use real wood
cabinets at
the lower price
points, espe-
cially for six-
AND A SUBWOOFER
suggest you'd better get used to a looking at ways pack home
new material if you want to stay in in which they FOR $540 CAN SOUND theater speak-
this game without spending dearly. can continue to THIS GOOD. er systems
It's called "plastic." manufacture priced under
affordable a grand. But
Company Address: c/o Audio - speakers at the bottoms of their lines when I told him about listening to
Stream, M.P.O. Box 2410, Nia- and still bring a profit in the face of the cool little $400 Cambridge
rising production costs and cus- SoundWorks Ensemble IV package
gara Falls, N.Y. 14302; 905/632-
0180.
tomers who now want 5.1 good - of five tiny plastic satellites and a
For literature, circle No. 95 sounding speakers for what they shoebox subwoofer and how I
used to pay for two. thought it was the best value in a
AUDIO/NOVEMBER 1996
76
Rotel Report 4
RSP-985 THX Surround - RB-985 5 -channel amplifier
Sound Processor Whether building your
ni7C 7.3c- Do you already own a home theater from scratch or
high quality music system? adding to an existing system,
Do you loathe the thought of this amplifier is the answer.
relegating it to a dark closet? With 5 channels each deliver-
Then consider the new Rotel ing 100 high current watts,
The RTC -970 is a videophile's delight with an audiophile's soul. RSP-980 Surround -Sound the RB-985 puts plenty of
It combines a Dolby Pro -Logic surround sound decoder with a high - Processor for adding all the power in a highly efficient
quality AM/FM tuner for performance and convenience. performance and flexibility and convenient package.
you'll ever need to your exist- The RB-985 exemplifies
ing music system. Rotel's commitment to qual-
HOME THEATER Full THX® circuitry aug-
mented by precision A/D and
ity: A massive 1500VA toroid
transformer combines with
D/A conversion means you'll oversized, high capacity filter
hear a movie's soundtrack ex- capacitors and precision regu-
Home Theater: New Horizons, Old Concerns
actly as the director intended lators to provide extraordinary
Transitions are often difficult. Making any move - say, for you to. Wide -bandwidth smooth operating voltages.
instance, to a home theater system - is something of a balancing video switching for both com- Each of the RB-985's 20 out-
posite and S -video sources put devices is rated for 130
act. After all, what's the point of three or four more channels if
and special "Zone 2" outputs watts and 15 amperes of cur-
they don't sound as good as the two you already enjoy? That's increase your current system's rent. This high reserve design
why music lovers think of Rotel's award -winning sonic heritage flexibility. Audio circuitry fea- assures uncompressed and dy-
when facing the here -and -now reality of home theater. turing high namic repro-
precision The duction of
Consider Rotel's new RTC -970 Surround Sound Tuner/ metal film Surround Sound Processor expands today's music
Preamplifier, an impressive centerpiece for a home entertainment resistors, low your cherisheed music system. and video
system. The RTC -970 decodes Dolby® Pro Logic® sources with ESR capaci- sources.
tors, and Placing
precise all -analog circuitry to avoid the harshness common to high current the RB-985
most digital designs. A special Cinema Mode compensates for operational in your sys-
excessive high frequency energy in many movie soundtracks. And amplifiers tem is easy. A
means you multi -pin
the RTC -970's Music Modes add progressive spaciousness to
won't lose connector,
music while providing accurate and convincing reproduction. anything allowing
either. Of The THX approved RB-985
An informative on -screen display makes initial set-up and single -cable
delivers the powerful sonic boom
course, a of a movie explosion with hook-up,
calibration easy and also helps you get the most out of your sys-
DB25 con- 5 x 100 -watts of power. complements
tem every day. You can choose any of up to four audio -only and nector an array of
four audio/video sources for your main system while selecting a means you'll be able to add gold-plated RCA jacks. Rug-
Dolby Digital/AC-3 (or DTS ged, heavy duty binding posts
different one for enjoyment elsewhere in your home!
... or whatever) at any time, accept a variety of audiophile -
Regardless of the source you choose, your ears will applaud now or in the future. grade speaker cables.
Rotel's remarkable audio circuitry. Careful power supply design,
meticulous parts selection, and painstaking board layout lie at the Our point is simple: Rotel gives you several approaches to
heart of the RTC -970's outstanding performance. home theater. Each product is different because your needs
are different. But each one shares a common family heritage
The RTC -970 also puts discrete multi -channel digital audio
of extraordinary sound quality, backed by a five year warranty
squarely in your future. There's a connector specifically designed on amps, preamps, and processors. That's the Rotel tradition.
for outboard Dolby Digital/AC-3 processors like our soon -to - And, even in the midst of change, we'll never forget it.
appear RDA -980. That makes your upgrade path simple and to-
tally free of pre -planned obsolescence. Rotel of America
54 Concord St. North Reading, MA 01864-2699
tel 800-370-3741 fax 508-664-4109
THX` is a registered trademark of Lucasf ilm Ltd. ROTEL OF AMERICA
Dolby` and ProLogic' are trademarks of Dolby Laboratories Licensing Corp.
dp Copyright 1996 Rotel of America. All rights reserved.
home theater speaker combo under a grand, cabinet and still keep the price to just 70 converter), Kimber PBJ interconnects and
his Canadian eyes lit up like the aurora borealis. clams a pop. 4TC speaker cable, Canare 75 -ohm digi-
"Five of my Micro minispeakers and the The SB-90 subwoofer measures 153/4 x tal/video cable, and API Power Pack AC
matching SB-90 subwoofer list for $540, eh? 12% x 17 inches. Like many budget sub - line filters. Both the main and surround
That's only $140 more than the Cambridge woofers, the SB-90 is a bandpass design: pair of Micros sat on 24 -inch -tall stands,
system, and you get real wood -cabinet The 8 -inch woofer is mounted in a separate with the center -channel Micro sitting on
speakers and a much bigger subwoofer, eh? sealed box within the SB-90's cabinet, with top of the Pioneer big -screen TV, flipped
They're not video -shielded, but if you've all of the woofer's woofing vented out of upside down so the tweeter was closer to
got a rear -projection TV, that's no prob- two flared ports located on the subwoofer's the top of the screen.
lem-interested, eh?" I'd been duly impressed by the
You bet your back bacon I was inter- sound of the $400 Cambridge Sound -
ested! I hadn't heard anything under a Works speaker package last year, but
grand that was significantly better - the Paradigm system jumps perform-
sounding than the little Cambridge ance up several levels toward true, au-
combo, so I was eager to see if Para- diophile -approved sound. It's not per-
digm could really pull it off. A quintet fect, but I can't believe that five
of tiny plastic speakers and a shoebox- speakers and a subwoofer for $540 can
sized sub for $400 is one thing, but $540 sound this good. The CSW Ensemble
for five real -wood two -ways and an 8 -inch IV may be the best inexpensive sub/sat
subwoofer would be an Old Testament - speakers out there, but the Paradigm Mi-
grade miracle-if they sounded good. SUBSTITUTING A CC -50 cro/SB-90 system offers genuine entry-level
A few weeks later, two big boxes appeared FOR THE CENTER CHANNEL high -end sound for just 140 clams more (or
on my doorstep, one containing the SB-90 209 clams more with a CC -50 at center).
WILL PREVENT
subwoofer, the other the five Micro mini - Tonally, the SB-90 subwoofer dominated
speakers. Right off the bat, it was obvious SCREEN PURPLING the mix, giving the system a big, ballsy bal-
that this was a more audiophiliac system. ON A DIRECT -VIEW TV. ance. Coupled with the Micros' warm,
The Micros are full -bore, two-way mini - downward -tilted treble, this made for a big,
speakers with real wooden cabinets finished sweet, instantly likable sound that's all out
in black wood -grain vinyl. And instead of a back panel. In normal use with a Dolby of proportion to the Paradigm's bargain -
shoebox-sized sub with a 51/4 -inch woofer, Surround system, the SB-90 is hooked up basement price. The combination of the
the Paradigm SB-90 is much bigger and between the amplifier and the main pair of SB-90 and the five Micros sounded smooth,
more massive, with a Paradigm -built 8 -inch Micros, so its internal 100 -Hz crossover detailed, and so utterly free of the laundry
driver. All told, it was hard to believe the rolls off the bass before it gets to the satel- list of sonic problems that plague most in-
Micro/SB-90 rig was only $140 more than lites. The Micros used for the center and the expensive speakers that it was a pleasure to
the Ensemble IV combo. two surrounds are hooked up directly to leave the Paradigms hooked up for weeks in
At 8' x 6 x 8 inches, the Micro is Para- those outputs on the A/V receiver. my living room. Far from tolerating them, I
digm's smallest bookshelf speaker. A Para- The Micros are not video -shielded, so really enjoyed listening to them day after
digm -built 5 -inch woofer is crossed over at setting one on top of a direct -view TV may day and night after night as laserdiscs, CDs,
3 kHz to a 5 -inch OEM -sourced dome cause some screen purpling. Paradigm sug- and DSS audio all came through loud and
tweeter, while a small -diameter port on the gests substituting its shielded, two-way clear. Believe me, this is not a "cheap 'n'
speaker's back panel extends the system re- CC -50 center -channel speaker ($139) for cheerful" budget rig; I've heard "home the-
sponse down to a claimed 70 Hz. The Micro one of the Micros in systems used with a di- ater" systems from some of the best-known
looks a lot more expensive than any $70 rect -view CRT set. Rear -projection TVs high -end lines that sounded far worse over-
speaker should, and it's here where Para- aren't affected at all by this, and I certainly all than what I was hearing from this $540
digm's clever cost-cutting comes into play. had no problems using a Micro on top of Paradigm combo.
The wood -framed cloth grille looks remov- my Pioneer RPTV. The SB-90 proved itself to be an excellent
able, but it's not: If you're all dolled up and I listened to the Paradigm speakers in my budget subwoofer, with surprisingly high
ready for a night of cross -dressing, don't try living room, driven in turn by both a $549 output for its size. All things being equal,
to remove the Micro's grille or you'll break Harman Kardon AVR 20 MKII A/V receiver bandpass subwoofers like the SB-90 enjoy
a Lee press -on. Paradigm also shaves a few and my He -Man reference rig: Aragon 4004 greatly increased output capability at the
dollars by mounting the Micro's crossover Mk II and Acurus 200X3 amplifiers, a Cita- expense of signal linearity-lotsa deep -bass
components directly to the drivers' own tion 7.0 surround processor/preamp, Theta roar per cubic inch, but not nearly as tight
terminals and eliminating the added mate- Digital's Data III laserdisc/CD transport and well defined as good sealed or ported
rials cost of a p.c. board entirely. It's touch- and DS Pro Generation V D/A converter, an designs. And that's pretty much what I
es like these that enable Paradigm to design RCA DSS system (modified with an S/P heard from the SB-90. It's got a big, meaty
a speaker with good drivers and a wooden DIF digital output to drive the Theta D/A sound that goes real low and loud on movie
AUDIO/NOVEMBER 1996
78
We've all heard it before...music is the international language. So, all
audio components speak the same language, right? Wrong. You can't
get the translation right if you don't have the right equipment.
Introducing the ULTECH HDCD-10. A bold new D/A converter with a

twist...built-in HDCD' decoding. Benefiting from the HDCD5 chip
comes in two ways: decoding of the new HDCD-encoded CD's AND
incredible digital filtering for non -encoded CD's. And don't forget, the
HDCD-10 utilizes two 20 -Bit Burr Brown PCM 1702J D/AConverters
for impeccable sonic quality.
To speak the international language correctly, stop by your nearest

ULTECH dealer and audition the HDCD-10 as well as other fine ®t0 is a registered trademark of Pacific Microsonics, Inc.
ULTECH components. (Note: They're NOT priced out of this world.)
U LT O CH
a U D I O
ULTECH AUDIO components are manufactured and distributed by.

ULTIMATE TECHNOLOGY, INC.
401 Chaddick Drive, Wheeling , IL60090 Phone 312/328-1100 Fox: 312/808-9389 Email: ultech@concentric.net
soundtrack effects, but it does lack the taut- long-term listening enjoyment with movies girlfriend, Chloe. When I first hooked the
ness and clarity I'm used to from my refer- and music. Paradigms up in my listening room, I just
ence speakers. Still, just the fact that it can One thing you don't want to do is crank plopped them on top of my reference
deliver honest, room -rattling deep bass at the Micros up on bass -heavy program ma- speakers around the room and swapped the
all when the whole system costs just $540 is terial without the SB-90 subwoofer hooked speaker cables over to the budget speakers.
astounding. Although high -end home the- up in -line with them. I heard considerable After a few days of listening to them while
aters certainly deserve better bass quality, a driver doubling and porthole asthma when watching laserdiscs and DSS, Chloe turned
bandpass subwoofer like the SB-90 is unde- to me in the middle of a movie and asked
niably the best choice for a budget system me what the little speakers on top of the
that's trying to go as low and loud as possi- NHTs were doing there. I told her they were
THE SB-90 SUBWOOFER a set of speakers I was reviewing.
ble with a small woofer in a small box.
Driven full -range with the SB-90 out of DOMINATED THE MIX, "Are we listening to them or the big
the system, the Micros still sounded sweet GIVING THE SYSTEM ones?" she asked.
and slightly rolled off on top, with a very "Them."
A BIG, BALLSY BALANCE. "Well, how much do `them' cost?"
clear and open midrange that made for ex-
cellent intelligibility on soundtracks featur- "Five hundred and forty bucks."
ing complex dialog. Many cheap speakers "Wow, they sure sound normal for such
sound so muffled and nasal that dialog is the Micros tried going it alone at high lev- cheap speakers." That about says it all, I
hard to follow, but the Micros are excellent els, so rolling off the bass in the signal fed to think. At $540, the Micro/SB-90 package is
in this respect. And while I would've pre- them is mandatory if you want to be able to a serious steal. Without a doubt, this is the
ferred a bit more life in the upper octaves, reach near -theater levels at home. With the best -sounding home theater speaker system
the Micro's downward -tilted high -frequen- SB-90 subwoofer's crossover in the path, I've heard for under a grand. If you want to
cy balance was a blessing when listening to the Micros were able to handle just about get into home theater but thought all you
trebly laserdisc soundtracks and DSS pro- any action film I threw at them without au- could afford was Lilliputian plastic speak-
gramming. I think the 5/8 -inch tweeter that dible strain. ers, you need to audition the Paradigm rig
Paradigm uses in the Micro strikes just the Without a doubt, the greatest testimony before you flash the plastic. Wood I steer
right balance for a budget design meant for to the Micro/SB-90 system came from my you wrong? A
PURE SINGLE -ENDED CLASS A
ALEPH 5
2 CHANNELS
2 GAIN STAGES
60 WATT /CH OUTPUT
300 WATT IDLE
PASS LABS
24449 FORESTHILL ROAD, FORESTHILL, CALIFORNIA 95631 TEL (916) 367-3690 FAX (916) 367-2193
Our speakers
speak for themselves.
And they're not the only ones tallying.
The critics rave about our Optimus® LX5 speaker. Maybe you've read about it in audio publications. But
have you heard it? Quite simply, unless you've given this speaker a listen, you've heard nothing like it!
Its Linaeum-design, "wide angle" tweeter produces an incredible
360° dispersal pattern, with highs to 25,000Hz. The cast aluminum CR RadioShack.k.
enclosure's only 101/2" high, so a pair will fit nicely on a shelf, or under You've got questions.
the Christmas tree! For our store near you, call 1 -800 -THE -SHACK." We've got answers®
ANALOG INTERCONNECTS
TYPE FINISHED CABLES
U - Unbalanced
B - Balanced
aY
Co
,ai
.1 v4`
Q
C
a>`
m,ai;C:
MANUFACTURER . 1-.o
¿ CR
w Q
ACROTEC 6N -A2010 U 6N Copper RCA 1-1.5 meters 500.00-550.00 No Gold-plated connectors; bi-axial.
6N -A2030 B 6N Copper Neutrik XLR 1-2 meters 250.00-450.00 No Gold-plated connectors.
6N -A2040 LI 6N Copper RCA 1-1.5 meters 300.00-370.00 No
6N -A2050 U 6N Copper RCA 1-1.5 meters 160.00-190.00 No For high-RF environments; carbon shield.
6N -A2110 U 6N Copper RCA 1-1.5 meters 400.00-450.00 No
6N -A2200 U 6N Copper RCA 1-1.5 meters 250.00-300.00 No
6N -A2080 U 8N Copper RCA 1-2 meters 850.00-1495.00 No Gold-plated 6N copper connectors: bi-axial.
8N -A2090 B 8N Copper Neutrik XLR 1-2 meters 700.00-1200.00 No Gold-plated connectors.
ALPHA -CORE MI RCACU U Copper RCA 0.5-16 meters 60.00-1950.00 No

MI XLRCU B Copper XLR 0.5-16 meters 60.00-1950.00 No
MI AGRCA U Silver RCA 0.5-16 meters 270.00-1950.00 No
MI AGXLR B Silver XLR 0.5-16 meters 344.00-2950.00 No
AMERICAN HYBRID AHT Ultra Resolution U Copper WBT RCA 3.3-40 feet 330.00-790.00
TECHNOLOGY
AMERICAN NER U Copper Neutrik RCA 0.5-5 meters 59.00-119.00 Yes Mogami cable.
RECORDER
TECHNOLOGIES
APATURE PRODUCTS High Definition U OFC Accu-Lock RCA Any 40.00-500.00 Yes 407 -strand tri-axial.
AV -Poly U OFC RCA Any 20.00-400.00 Yes Single, twin. or tri-wire.
CD -1 U OFC RCA Any 10.00-200.00 Yes As above.
AUDIENT Cadenza U Copper/Silver RCA 1-5 meters 295.00-600.00 No

TECHNOLOGIES Cadenza Balanced B Copper/Silver XLR 1-5 meters 395.00-700.00 No
AUDIO ELECTRONICS High Definition Interconnects U Copper RCA 1-6 meters 62.50-125.00 No
AUDIO INSURGENTS Phi Beta Squared U Copper RCA 1-10 meters 189.00-783.00 No Custom lengths.
Phi Beta U Copper RCA 1-10 meters 139.00-589.00 No As above.
AUDIO MAGIC Dragon U Silver -clad Copper RCA Any 39.00/meter pair No Unshielded.
Sceptor U,B Silver -clad Copper RCA, DIN Any 69.00/meter pair No
Apprentice U Silver -clad Copper Lockable RCA Any 99.00/meter pair No Z -Core design.
Presto U Silver -clad Copper Lockable RCA Any 149.00/meter pair No As above.
Excalibur U.B Silver -clad Copper Lockable RCA Any 199.00/meter pair No As above.
Spellcaster U.B Silver Lockable RCA Any 399.00/meter; No As above.
balanced. 449.00
Sorcerer U.B Silver WBT Lockable RCA Any 649.00/meter; No As above.
balanced, 699.00
Illusion U,B Silver WBT Lockable RCA Any 1599.00/meter: No Ribbon conductors.
balanced, 1799.00
AUDIO MATIÉRE Naissance Silver/Copper Locking WBT 1-1.47 meters 289.00-356.00 Source to preamp.
Presence Silver/Copper Locking WBT 1-12 meters t Amp to preamp. t$498.00. first meter: $320.00
per additional meter.
AUDIO NOTE AN -A U Copper RCA 1-10 meters 50.00 up Yes Balanced conductors: Litz.
AN -C U Copper RCA 1-10 meters 100.00 up Yes As above.
AN -V U Silver RCA 1-10 meters 300.00 up Yes Litz.
AN-VX U Silver RCA 1-10 meters 900.00 up Yes As above.
AUDIOOUEST Emerald X 4 U Copper JIS to RCA 1.2 meters up 150.00/1.2 -meter set No Tonearm cable.
Pro U Silver JIS to RCA 1.2 meters up 275.00/1.2 -meter set No As above.
Jade U Long -grain Copper RCA 0.5 meter up 25.00/meter pair Yes CL -3 rated; symmetrical coaxial.
Turquoise U Long -grain Copper RCA 0.5 meter up 39.00/meter pair Yes CL -3 rated; double -balanced.
Topaz U Copper RCA 0.5 meter up 65.00/meter pair Double -balanced.
Ruby U,B Copper RCA, XLR 0.5 meter up 98.00/meter pair Triple -balanced.
Quartz U,B Copper RCA, XLR 0.5 meter up 165.00/meter pair As above.
CS -12 U Long -grain Copper RCA 0.5 meter up 25.00/meter pair CL -3 rated.
CS -32 U Copper RCA 0.5 meter up 45.00/meter pair As above.
Mini Adapter X U Long -grain Copper t 1 meter 39.00/meter pair No Connects portable to preamp t3.5mm miniplug
to RCA.
Mini Adapter Z U Copper t 1 meter 65.00/meter pair No As above.
Mini Adapter Pro U Silver t 1 meter 225.00/meter pair No As above.
Jumper Cables U Silver RCA 0.1 meter 39.00/meter pair No Replaces pre-out/main-in U connectors.
AUDIO RESEARCH LitzLink 2 U.B Copper RCA, XLR 0.5-9 meters 210.00 up No Available in 0.5 -meter increments.
AUDIOSTREAM A-400 U OFHC RCA 1, 7 meters 9.95-26.95/pair No Double -shielded; gold connectors.
A-500 U OFHC RCA 0.5, 2.0 meters 37.95-44.95/pair Yes Double -shielded; Turbo Ground gold
connectors.
A-600 B UCC RCA 1 meter 79.95/pair No As above.
AUDIOTRUTH Opal U.B Copper RCA, XLR 0.5 meter up 225.00/meter pair Air-Hyperlitzi triple -balanced.
Emerald U.B Copper RCA, XLR 0.5 meter up 350.00/meter pair As above.
Lapis U,B Silver RCA, XLR 0.5 meter up 495.00/meter pair As above.
Diamond X 2 U Silver RCA 0.5 meter up 725.00/meter pair As above.
Diamond X 3 B Silver XLR 0.5 meter up 975.00/meter pair As above.
AURAL SYMPHONICS AS -One Gen 5 U,B Silver/HCOFC RCA, XLR 1-13 meters 485.00-1445.00 No Helical signal path.
BEL "The Wire" P1 U Copper RCA 0.5 meter up 157.00 up No Custom lengths.
BRYSTON RCA 1 -Meter U Copper RCA 1 meter 120.00 No

RCA 2 -Meter U Copper RCA 2 meters 160.00 No
XLR 1 -Meter B Copper XLR 1 meter 120.00 No
XLR 2 -Meter B Copper XLR 2 meters 160.00 No
Custom RCA/XLR U.B Copper RCA, XLR Any meters 40.00/meter pair No
See October issue for company addresses AUDIO/NOVEMBER 1996

82
THE BR4STON ST SERIES AMPLIFIERS
Listen Past the Equipment
and Experience the Music
as Intended
Once in a while an idea
comes along which represents
a significant step forward in
advancing the current state-
of-the-art. We feel our new
ST Series amplifiers exemplify
this unique distinction.
A new approach to low -noise,
low distortion signal -path
has produced a line of
amplifiers which is actually
quieter and more transparent
than any source material
currently available.
Bryrton ST amplifiers, from the top: 8B ST 4 channel 120 wpc 5B ST 3 channel 120 wpc,
4B ST 250 wpc stereo, 7B ST 500 watts mono. Not shown is the 3B ST 120 wpc stereo.
The Bryston ST innovation: our Complete y separate power Switchable gold plated RCA
ultra -linear "input buffer -with - supplies fcr each channel elimi- unbalanced and XLR-1/4 inch
gain" substantially lowers the nate any crosstalk to ensure firm balanced inputs, with equal
distcrtion and inherent noise focus and completely accurate gain, allows flexibility for multi-
floor - hearing is believing. imaging of musical instruments. channel system configurations.
Music
for a
Bryston Ltd, P.O. Box 2170, 677 Neal Drive, Peterborough, Ontario,
Generation Canada K9J 7Y4 Tel: (705) 742-5325 Fax: (705) 742-0882 °SLiilLYI'Llf 0 )D]
U - Unbalanced
B - Balanced
/,i o
`/'/Á' Q
,--
CABLE TALK Improved 2 U Copper RCA 0.5-1 meter 69.95-79.95 Yes

Monitor 2 B Copper RCA 0.5-1 meter 119.95-149.95 Yes Signal return flow system.
Professional 2 B Copper RCA 0.5-t meter 199.95-259.95 Yes Multi -ground technology.
Reference 2 B Copper RCA 0.5-1 meter 359.95-449.95 Yes Three -core interconnect.
CALRAD 55-707 U Silver RCA 6. 15 feet Yes Dual oxygen -free cable; double -braided shield.
ELECTRONICS 55-1011G U Copper RCA 3, 25 feet Gold-plated connectors; dual cables.
55-1000 U Copper RCA 10 feet Yes Dual cables.
55-999 U Copper RCA 6 feet Yes As above.
55-930 U Copper RCA 1.5, 20 feet Yes
55-800 U Copper RCA 3, 6,10 feet Yes Gold plugs.
35-525 U Copper RCA 1 foot Yes Y -adaptor.
10-140 B Copper t 5, 10, 15 feet Yes tXLR plug to RCA and phone plugs.
CAMELOT Sir Galahad U Copper/Silver RCA 3-6 feet 85.00-115.00 Yes Custom lengths; custom Teflon connectors.
TECHNOLOGY
CAMPAIGN DESIGNS Aonacreon U Silver RCA 1-20 meters 250.00-3000.00 Yes
CARDAS AUDIO Golden Cross Interconnect U,B Copper RCA. XLR 0.5 meter up 550.00 up No
Cross Interconnect U,B Copper RCA, XLR 0.5 meter up 298.00 up No
Quadlink-Five Interconnect U,B Copper RCA, XLR 0.5 meter up 159.95 up
3008 Microtwin Interconnect U,B Copper RCA, XLR 0.5 meter up 85.95 up No
Crosslink Copper RCA, XLR 0.5 meter up 56.00 up Yes
CELLO LTD. String 1 U,B Copper Fischer, RCA, XLR t Yes t1 -meter pair (RCA), $320.00; 10 -meter pair
(Fischer), $1556.00.
CUSTOM Hi-Rez Audio U Copper RCA 1-5 meters 20.00-50.00 Yes Molded gold ends.
CONNECTIONS Hi -Band Audio Copper RCA 0.5-5 meters 35.00-75.00 Yes Custom lengths; silver -soldered.
Benchmark Mkl Audio U,B Copper RCA. DIN 0.5-5 meters 99.00-200.00 Yes As above; multi -pair.
Benchmark Mkll Audio U,8 Copper RCA, DIN 0.5-5 meters 129.00-250.00 Yes As above.
Groneberg Audio U,B Copper RCA, DIN 0.5-5 meters 239.00-400.00 Yes As above.
DISCOVERY CABLE TC-One U HPOFC RCA 1-4 meters 80.00-200.00 Yes Twisted pair.
Mark II U,B HPOFC RCA, XLR 1-8 meters 240.00-730.00 No As above; shielded.
Signature U,B HPOFC RCA, XLR 1-12 meters 450.00-1990.00 No Twisted pair; dual shield.
Plus Four U,B HPOFC RCA, XLR 1-12 meters 650.00-2850.00 No Twisted quad; dual shield.
DPA DIGITAL Slink U Copper/Silver RCA 1-5 meters 89.00-185.00/pair Yes Twisted pair.
White Slink U,B Copper/Silver Opt. 1-10 meters 149.00-635.00/pair Yes
Black Slink U,B Copper/Silver Opt. 1-5 meters 498.00-1338.00/pair Yes
DUNLAVY ULC-Standard U Copper RCA 1-7 meters 90.00-470.00 No 8-pF/foot capacitance.

AUDIO LABS ULC-Reference U Copper RCA 1-7 meters 225.00-675.00 No As above.
ULC-Balanced B Copper XLR 1-7 meters 395.00-995.00 No As above.
EMERSON AV2627 U Copper RCA 6 feet 9.00

AV2628 U Copper RCA 6 feet 4.00 Allows connection of two cables to one input or
output.
ENSEMBLE Supraflux U,B Copper RCA. XLR 0.5-20 meters 37.50 up Yes Triple -shielded.
ESOTERIC AUDIO Artus Hyper -Balanced U,B Silver-plated Copper RCA, XLR 0.5-6 meters 400.00-2050.00/pair No Custom lengths.
U.S.A. Primus Hyper -Balanced U,B Copper RCA, XLR 0.5-6 meters 325.00-1120.00/pair No As above.
Technus Twin -Symmetry U,B Copper RCA, XLR 0.5-6 meters 120.00-615.00/pair No As above.
Tech 2ii Twin -Symmetry U,B Copper RCA, XLR 0.5-6 meters 85.00-330.00/pair No As above.
Graphis II Tubular Geometry U Copper RCA 0.5-6 meters 55.00-220.00/pair No As above.
Musica 500 U Copper RCA 1 foot up 30.00-86.00 Yes Optional EasyLink RCAs.
Musica 200 U Copper RCA 1.5-16 feet 20.00-40.00 Yes Optional Musica 200 RCAs.
Musica 100 U Copper RCA 1.5-16 feet 10.00-26.00 No
Tech 2THX U,B Copper RCA, XLR No Home THX certified.
THX High Performance U,B Copper RCA Yes As above.
Line -Level Interconnect
THX Ultra Performance Silver U,B Silver-plated Copper RCA Yes As above.
Line -Level Interconnect
FINESTRA Argento Signature U 5N Silver RCA, XLR 0.5-5 meters 1400.00-6000.00 No Litz; Teflon insulation.
DESIGN GROUP Argento Series 1 U 5N Silver WBT RCA, XLR 0.5-5 meters 950.00-3800.00 No As above.
Argento Series 2 U 5N Silver RCA, XLR 0.5-5 meters 475.00-2000.00 No As above.
FM ACOUSTICS Precison Interface U,B Copper RCA, XLR 0.6-300 meters 990.00 up No
Technology
CA -25000 Series
Precison Interface U,B Copper RCA, 5 -Pin DIN, XLR 0.6-300 meters 990.00-1880.00 No
Technology
CA -25000 Phono Cables
GOLDMUND Lineal Interco U RCA 1 meter up 890.00 up No
HIGHWIRE AUDIO 700 Ai U Silver-plated Copper RCA 1-10 meters 398.00-1298.00 No RFI suppression.
700 Bi 8 Silver-plated Copper XLR 1-10 meters 448.00-1348.00 No As above.
700 Pi U Silver-plated Copper RCA 1-2 meters 398.00-498.00 No As above; phono.
HOVLAND Phono Cable U,B Silver-plated Copper RCA -RCA, RCA -DIN, 0.5-1.5 meters 795.00 No Optional balanced XLR, $40.00 additional.
XLR
JARRETT-WAUTERS Passage U,B Copper/Silver RCA -RCA, RCA -DIN, 1-8 meters 95.00-335.00 No Teflon insulation.
RESEARCH XLR-XLR
JENA LABS Soloist U Copper RCA 1.5-100 feet 130.00 up No $20.00 per additional foot.
Mini Twin U Copper RCA 2-100 feet 220.00 up No $27.00 per additional foot.
Gemini U Copper RCA 2-50 feet 300.00 up No $32.00 per additional foot.
Quad Helix U Copper RCA 2-50 feet 600.00 up No $48.00 per additional foot.
Sine -Weave Quad U Copper RCA 3-30 feet 1000.00 up No $80.00 per additional foot.
(Continued) Sine -Weave Seven RCA U Copper RCA 3-30 feet 2000.00 up No $180.00 per additional foot.
AUDIO/NOVEMBER 1996
84
Are you look- Eosone's Powered Subwoofer
{OSONL ing for a high
performance
gives the deep bass response,
and dynamic range necessary
INTERNATIONAL home theater for getting maximum enjoy-
system, but wondering ment from movies and
how to fit 6 speakers music. Discover the
into your room and "... skin tingling,
still leave room for room shaking bass-
Shielded satellites + furniture and family? which passive
powered subwoofer- subwoofer
perfect for home theater Audio Hall of Fame speak- systems simply
er designer, Arnie Nudell, has cannot match.
developed the perfect solution-
subwoofer/satellite systems, Radiant Surround FieldTM
featuring powered subwoofers technology creates a broader
and Radiant Surround Field"' listening area so everyone
technology. in the room, regardless of
"... ranks with position, hears superior sound
the best"'
and spatial effects. Surround
* Excerpted from review
of RSS702, Stereo Review, sound performance is raised
July 1996
to new heights through this
remarkable technology.
!!u ressuvePrD1.1r2filili.1112
Stereo Review, July 1996
Rear -firing tweeter ensures

the fullest sound possible
Shielded satellites
perfect for home theater
Eosone RSS systems are available in three configurations:
For more information

or store locations
call - i l- Ail 1111 1111
RSS105: 6 piece home RSS703: 4 piece home RSS702: 3 piece stereo
theater system theater front stage
CIFCLE NO 14 ON READER SERVICE CARD

U - Unbalanced
B - Balanced
.ro
m
MANUFACTURER
JENA LABS Radiant Path RCA

c
.o
U Copper
c>
RCA
vó
/i/i//s:;'/
3-15 feet
m
4000.00 up No
é
m
=o
$360.00 per additional foot.

(Continued) Trinity B Copper XLR 3-50 feet 600.00 up No $48.00 per additional foot.
Sine -Weave Five B Copper XLR 3-50 feet 1200.00 up No $100.00 per additional foot.
Sine -Weave Seven XLR B Copper XLR 3-30 feet 2000.00 up $180.00 per additional foot.
Radiant Path XLR B Copper XLR 3-15 feet 4300.00 up No $400.00 per additional foot.
Phono Soloist U Copper DIN -RCA 5-7 feet 190.00-210.00 No Optional right-angle, $50.00 additional.
Phono Gemini RCA U Copper DIN -RCA 5-7 feet 480.00-540.00 No As above.
Phono Gemini XLR B Copper DIN-XLR 5-7 feet 480.00-540.00 No As above.
Ultra Ground U Copper Bare, Spade 2-50 feet 46.00 up No Shielded; includes ground wire.
JPS LABS The Superconductor U Aluminum/Copper Locking RCA 0.375 meter up 154.00 up No Copper shield; copper -clad aluminum center.
JVC CN-630 HG U Copper RCA 3 meters 40.00 Gold-plated plugs.

CN-700 Pro Series U LCOFC RCA 0.5-2 meters 90.00-110.00 As above.
KIMBER KABLE PBJ U,B Copper RCA, XLR 0.5 meter up 59.00/pair up Yes Varistrand design.
KC1 U,B Copper RCA, XLR 0.5 meter up 78.00/pair up Yes As above; shielded.
Silver Streak -SE U Copper/Silver RCA 0.5 meter up 120.00/pair up Yes As above.
Silver Streak-Bal B Copper/Silver XLR 0.5 meter up 173.00/pair up Yes As above.
KCAG U,B Silver RCA, XLR 0.5 meter up 225.00/pair up Yes As above.
KCTG U,B Silver RCA, XLR 0.5 meter up 390.00/pair up Yes As above: larger conductor bundle.
KLYNE AUDIO ARTS Dragonfly Wings DWS U Copper RCA 0.7-6 meters 450.00-1250.00 No
Dragonfly Wings DWSh U Copper RCA 0.7-6 meters 495.00-1295.00 No Shield for phono.
Dragonfly Wings DWB B Copper XLR 0.7-6 meters 475.00-1275.00 No
LAT INTERNATIONAL C -200-D U Silver -clad OFHC RCA 1 meter up 139.00 up No Teflon insulation.
C -200-D B Silver -clad OFHC XLR 1 meter up 159.00 up No As above.
C -100-D U Silver -clad OFHC RCA 1 meter up 79.00 up No As above.
C -100-D B Silver -clad OFHC XLR 1 meter up 99.00 up No As above.
C-80 U Silver -clad Copper RCA 1 meter up 54.00 up No As above.
C-50 U Copper RCA 1 meter up 34.00 up No Double -shielded.
LEGACY AUDIO Legacy Lattice U Copper RCA 0.5-5 meters 85.00-250.00 No Shielded directional shunt.
LEGEND Legend VI U Silver RCA 1-3 meters 1200.00-2280.00

AUDIO DESIGN Legend IV U Silver RCA 1-3 meters 515.00-1135.00
Legend II U Silver RCA 1-3 meters 295.00-655.00
LINDSAY Gray Woven U Mu -Metal RCA 1 meter up 245.00 up No

AUDIOPHILE Gray Woven B Mu -Metal XLR 1 meter up 325.00 up No
Gray Satin U Mu -Metal RCA 1 meter up 345.00 up No
LINN Analog Interconnect U Copper RCA 1-50 meters 80.00/pair up Yes
LUMINOUS Synchestra Signature U 5N Silver RCA, XLR 0.5-10 meters 400.00-2270.00 No

AUDIO Synchestra U 5N Silver RCA, XLR 0.5-10 meters 190.00-1520.00 No
TECHNOLOGY Monarch U Silver -clad OFC RCA 0.5-10 meters 80.00-450.00 No
Lynx U Copper RCA Any 30.00 up No
MACH 1 ACOUSTICS Single Ended Flexible U Copper RCA 1-10 meters 250.00-1150.00 Yes Foamed -Teflon dielectric; double -shielded;
50 -ohm.
Single Ended Semi Rigid U Copper RCA 1-5 feet 250.00-450.00 No Foamed -Teflon dielectric; solid copper shield;
50 -ohm.
Balanced Flexible 8 Copper XLR 1-10 meters 350.00-1500.00 Yes Foamed -Teflon dielectric; triple -shielded;
100 -ohm.
MADRIGAL AUDIO CZ Gel -1 B Copper/Silver XLR 0.5 meter up 375.00 up No Controlled -impedance cable; custom lengths.
CZ Gel -2 U Copper/Silver RCA 0.5 meter up 375.00 up No As above.
MARIGO AUDIO LAB MR8.8 Fractal U Copper RCA 0.75-7 meters 545.00-2395.00/pair No 1 meter (standard), $595.00.
MIT MlTerminator 5 U Copper RCA 1-12 meters 40.00-100.00/pair No

MlTerminator 4 U Copper RCA 1-12 meters 60.00-135.00/pair No
MlTerminator Proline B Copper XLR 1-12 meters 195.00-575.00/pair No
MI -330 Terminator U Copper Locking RCA 1-12 meters 195.00-565.00/pair No
MI -330 Plus Series Two U Copper Locking RCA 1-12 meters 250.00-680.00/pair No
MI -330 Tube Terminator U Copper Locking RCA 1-12 meters 350.00-930.00/pair No
Series Two
MI -330 U Copper Locking RCA 1-12 meters 350.00-930.00/pair No
High Energy Terminator
Series Two
MI -330 Phono Terminator U Copper Locking RCA 1.5 meters 295.00/pair No
MI -330 Proline Terminator B Copper XLR 1-12 meters 495.00-1235.00/pair No
MI -350 CVTerminator U Copper Locking RCA 1 meter up 995.00/pair No Custom lengths.
MI -350 CVTerminator Twin U Copper Locking RCA 1 meter up 1295.00/pair No As above.
MI -350 CVTerminator B Copper XLR 1 meter up 1495.00/pair No As above.
Proline Twin
MI -350 CVTerminator U Copper Locking RCA 1 meter up 1995.00/pair No As above.
Reference
MI -350 CVTerminator U Copper Locking RCA 1.5 meters 2495.00/pair No
Phono Reference
MI -350 CVTerminator B Copper XLR 1 meter up 2995.00/pair No As above.
Proline Reference
MONARCHY AUDIO AR -2 U Silver RCA 3 feet 199.00/pair No Solid Teflon dielectric.
MONSTER CABLE M1000i U.B Copper RCA, XLR, 0.5-8 meters 150.00-980.00/pair Yes Bandwidth Balanced; Time Correct windings.
Ground Control
M756 U Copper RCA 1-4 meters 300.00.750.00/set No As above; Home THX certified.
M351 Sub Interconnect U Copper RCA 2.5-8 meters 40.00-100.00 No As above.
(Continued) Interlink Reference U Copper RCA 0.5-6 meters 75.00-350.00/pair Yes Bandwidth Balanced; Time Correct windings.
AUDIO/NOVEMI3ER 1996
86
Make enough trouble and
people always start talking
Carver Research Lightstar Reference Amplifier
Recommended Component, Stereophile, April 1996
(Vol. 19, No. 4)
"Innovative, powerful (350 Wpc) power amplifier

that impressed RD [Robert Deutsch] with its
dynamics and sense of power in reserve, while
sounding impressively neutral."
riMipx THX Amplifier

Stereophile Guide to Home Theater, Fall 1996
(Vol. 2, No. 3), Robert Deutsch
"It's very modestly priced but doesn't sound like

it...There are two groups of audiophiles to whom
I particularly recommend the TFM-35x: those
who are drawn to the tonal qualities of tube
amplifiers but don't want the responsibility
At Carver, we've found that making trouble is usually
of their care and feeding, and those who are
the first step in making real audio progress. For nearly attracted to the sound of the Carver Lightstar
twenty years we've built audio components around Reference but deterred by the price...ln the
controversial design concepts in order to break through right system, it can give the big boys a good
traditional price/performance barriers. run for their money."
The three amplifiers shown here continue that
tradition. The awesome Lightstar Reference is our most
Carver AV -806x Multi -channel Amplifier
articulate technical statement ever as well as Carver's
blueprint for the future. The lessons we learned during Recommended Component, StereophiA. April 1996
its development are now common denominators for (Vol. 19, No. 4)
every Carver amplifier design. As a result, people are "I was expecting competent performance; what
talking about the latest Carver amplifiers in terms usually I got instead was magic,' enthused TJN [Thomas
reserved for far more expensive models, such as J. Norton] about the six -channel Carver...
"innovative," "powerful," and even "magic."
`My favorite current multichannel amp."
To achieve this level of performance, technology and
value in a single precision chassis, we design and build
these amplifiers in our own factory just outside Seattle,
Washington. Hear the technology that has the experts
talking at your authorized Carver dealer.
© 1996 Carver Corporation. All rights reserved.

THX° is a registered trademark of LucasFilm. Ltd.
Q\RVER
Carver Corporation, P.O. Box 1237. Lynnwood, WA 98046
For authorized dealer locations call (206) 775-1202
http://www.carver.com
U - Unbalanced
B - Balanced
MONSTER CABLE
(Continued)
Interlink 406
Interlink 206
Interlink 201
/,/ ió
¿11
OafMANUFACTURERca
U
U
Copper
Copper
Copper
RCA, DB-25
RCA, 08-25
1-4 meters
1-4 meters
2.5-8 meters
140.00-210.00/set
80.00-140.00/set
Yes
Yes As above.
2o
As above; Home THX certified.
U RCA 30.00-60.00/pair No As above.

Sub Interconnect
Interlink 400 Mkll U Copper RCA 0.5-8 meters 35.00-100.00/pair Yes Bandwidth Balanced; lime Correct windings.
Interlink 300 Mkll U Copper RCA 0.5-8 meters 25.00-80.00/pair Yes
Interlink 250 U Copper RCA 0.5-8 meters 20.00-60.00/pair No
MUSICAL CONCEPTS Super Connect IV U Plated Copper RCA 0.5 meter up 59.00 up Yes Triple dielectric; custom lengths.
MUSICAL DESIGN Aura U Plated Copper RCA 0.5 meter up 125.00-195.00 Yes Triple dielectric; custom lengths.
MUSIC -LINK mage-.5FT U OFHC RCA 1-20 feet 195.00-2095.00/pair No Litz; unshielded; shielded version available.
mage-.5FT B OFHC XLR 1-20 feet 255.00-2725.00/pair No As above.
mage-1FT U OFHC RCA 1.20 feet 345.00-3670.00/pair No As above.
mage-1FT B OFHC XLR 1.20 feet 455.00-4825.00/pair No As above.
mage-2FT U OFHC RCA 1-12 feet 645.00-4220.00/pair No As above.
mage-2FT B OFHC XLR 1-12 feet 845.00-5520.00/pair No As above.
mage-2CD U OFHC RCA 1-12 feet 745.00-4870.00/pair No As above.
mage-2CD+ U OFHC RCA 1-12 feet 745.00-4870.00/pair No As above.
EMS -1 U OFHC RCA 1-20 feet 65.00-635.00/pair No As above.
EMS -1 B OFHC XLR 1-20 feet 85.00-845.00/pair No As above.
EMS -1.5 U OFHC RCA 1-20 feet 115.00-1160.00/pair No As above.
EMS -1.5 B OFHC XLR 1-20 feet 145.00-1570.00/pair No As above.
EMS -3 B OFHC XLR 1-12 feet 225.00-1490.00/pair No As above.
MUSIC METRE Silver U,B 4N Silver RCA, XLR 0.5-50 meters 250.00-2500.00 No
Signature U,B 6N OFC RCA, XLR 0.5-50 meters 175.00-1300.00 No
Calibre U,B DEC RCA, XLR 0.5-50 meters 115.00-865.00 No
Ill U,B OFC RCA, XLR 0.5-50 meters 95.00-545.00 No
THE NATURAL Dichord U,B Copper RCA, XLR 0.5-2.5 meters 175.00-315.00 No Custom lengths.
CHORD
NIRVANA AUDIO S -L Series U,B Copper WBT, XLR 1-25 meters t No Proprietary Litz geometry. t$695.00 first meter,
$200.00 per additional meter.
NORDOST Magic 1 U Copper RCA 1 meter 40.00 No Four -conductor flat cable: extruded Teflon
insulation.
Black Knight U OFC RCA 0.6-5 meters 70.00-240.00 No Eight -conductor flat cable; extruded Teflon
insulation.
Black Knight XLR B OFC XLR 0.6-5 meters 100.00-270.00 No As above.
Blue Angel U Silver-plated OFC RCA 0.6-5 meters 100.00-370.00 No Ten -conductor flat cable; stranded extruded
Teflon insulation.
Blue Angel XLR B Silver-plated OFC XLR 0.6-5 meters 130.00-400.00 No As above.
Blue Heaven U Silver-plated Copper RCA 0.6-5 meters 170.00-560.00 No 36 -conductor; extruded Teflon insulation.
Blue Heaven XLR B Silver-plated Copper XLR 0.6-5 meters 200.00-590.00 No As above.
Red Dawn U Extruded Silver OFC RCA 0.6-5 meters 330.00-1040.00 No 19 -conductor; Teflon insulation.
Red Dawn XLR B Extruded Silver OFC XLR 0.6-5 meters 360.00-1070.00 No As above.
SPM Reference U Silver Alloy RCA 0.6-5 meters 900.00-2700.00 No 16 -conductor.
SPM Reference XLR B Silver Alloy XLR 0.6-5 meters 930.00-2730.00 No As above.
PAC Pro Reference Interconnect Silver RCA 0.5-10 meters 120.00-880.00 No Twin -axial; Teflon insulation.
PARADOX Paradox U Copper RCA 1 meter 500.00/pair No
PARAVOIX A201 U OFC RCA 1-6 feet 50.00-100.00 Yes

A205 U OFC RCA 1-6 feet 25.00-50.00 Yes
PFANSTIEHL A -A U Copper RCA 1.5-20 feet 2.00-4.00 No

AA -AA U Copper Dual RCA 1.5-50 feet 3.00-27.00 Yes
PHOENIX GOLD Zeropoint Musical Ref B PC-OCC RCA 0.5-6 meters 50.00-200.00 Yes
Zeropoint Pro B OFC RCA 0.5-6 meters 30.00-75.00 Yes
Zeropoint OLX B OFC RCA 0.5-6 meters 40.00-90.00 Yes Twisted pairs.
Zeropoint TRX B OFC Molded RCA 0.5-6 meters 30.00-75.00 No As above.
A540 Transbalance U OFC Molded RCA 0.5-6 meters 15.00-45.00 Yes Optional Y -adaptors.
A 320 U OFC Molded RCA 0.15-6 meters 5.00-15.00 Yes As above.
PRECISION RCA30 U Copper RCA 0.75-20 feet Yes

INTERFACE 30R U Copper RCA 1.5-20 feet Yes Includes ground wire or turn -on lead.
ELECTRONICS P47 U Copper RCA 1.5-20 feet No As above; dual shield.
RCA50 U Copper RCA 1.5-20 feet No As above but triple shield.
PRISMA Dual Interconnect U Copper RCA 0.5-3 meters 49.00-75.00 Yes Custom lengths.
Quasi Balanced Interconnect Copper RCA 1 meter up 105.00 up Yes As above.
Balanced Interconnect B Copper XLR 1 meter up 149.00 up Yes As above.
PUREST Analog Link I U OFC RCA 0.6-5 meters 68.00/meter Yes EMI/RFI suppression.
SOUND SYSTEMS Analog Link II U HPOFC RCA 0.6-5 meters 85.00/meter Yes As above.
Hybrid Link U t RCA 0.6-5 meters 135.00/meter Yes tSolid-core silver with OFC copper.
Silver Link U Silver Cardas RCA 0.6-5 meters 185.00/meter Yes
PURIST Elements U,B Copper RCA, Neutrik XLR t t$180.00, first meter pair ($230.00 balanced);
AUDIO DESIGN $30.00 per additional 0.5 meter.
Aqueous U,B OFC/Silver RCA, Neutrik XLR t 1$380.00, first meter pair ($420.00 balanced);
$40.00 per additional 0.5 meter.
HDI U,B LC Silver RCA, Neutrik XLR t t$440.00, first meter pair ($490.00 balanced);
(Continued) $50.00 per additional 0.5 meter.
AUDIO/NOVEMBER 1996
88
SMALL.
POWERFUL.
THE NEW KLIPSCH REBEL.
Full Range sound from the only horn loaded
speaker system small enough to fit anywhere!
Klipsch Horn Technology delivers incredible sonic
performance because horn loaded speakers result
in greater efficiency, broad dynamic range and high
levels of output with low levels of distortion. The
Rebel KSS-3 Sub/Sat System achieves a full range
frequency response using two satellite speakers and
a subwoofer powered by a 50 watt discrete amplifier.
Sound is full and accurate from the trill of a piccolo
to the thwump of a bass guitar string. You hear
everything. Add a Rebel video shielded center
channel and surrounds for a home theater system
designed for people who demand great sound but Klipsch N
C.
prefer a compact system. 1-800-KLIPSCH The Legend Continues."

1996 Klipsch Inc.
ANALOG INTERCONNFfl TS
41i v?
U -Unbalanced
B -Balanced
C
2
cMANUFACTURER
sr
PURIST Maximus U,B Alloy/Silver RCA, Neutrik XLR t t$760.00, first meter pair ($810.00 balanced);
(Continued) Colossus U,B Alloy/Silver/Chromed RCA, Neutrik XLR t t$1130.00, first meter pair ($1180.00
balanced): $80.00 per additional 0.5 meter.
Proteus U,B Proprietary Alloy RCA, Neutrik XLR t t$2300.00, first meter pair ($2350.00
balanced); $160.00 per additional 0.5 meter.
Dominus U,B Proprietary Alloy RCA, Neutrik XLR t t$5000.00, first meter pair ($5100.00
balanced); $300.00 per additional 0.5 meter.
RADIO SHACK Premium Stereo Patch Cable U RCA 3-20 feet 8.99-19.99 Gold-plated pins.
Premium Stereo U RCA 3 feet 9.99 Jacks to plugs; gold-plated connectors
Patch Extension
Standard Stereo Patch Cable U RCA 3-12 feet 3.99-6.99
Standard Stereo U RCA 3 feet 3.99 Jacks to plugs.
Patch Extension
Standard Patch Cable U RCA 1.5-12 feet 1.79-3.49
Premium Patch Cable Ribbon U RCA 3 feet 16.99 Four gold-plated plugs at each end.
Standard Patch Cable Ribbon U RCA 3-6 feet 6.99-8.99 Four plugs at each end.
Premium Stereo U Mini -Plug 6 feet 9.99 Gold-plated 1/a -inch plugs.
Mini -Plug Cable
SILVER SONIC BL -1 U,B OFC/Silver RCA, XLR Any 95.00/meter pair Yes Teflon copolymer dielectric.
T -20X U,B OFC/Silver Any Yes Unshielded twisted pair.
SIMPLYPHYSICS Phaseline Pro B Copper/Silver XLR 0.5-125 meters 395.00-10,000 No Silver coaxial shielding; dual -phase line -isolated
design.
SOLID CORE SCT-04 (Cormorant) U Copper RCA 0.5-3 meters 114.00-189.00 No Capacitance, 135 pF/meter; inductance,
TECHNOLOGY 0.1 µH/meter; resistance, 12.5 ohms/meter.
SCT-04 (Cormorant) B Copper XLR 0.5-6 meters 124.00-289.00 No As above.
SONANCE MediaLinO Bronze U OFC RCA 7 inches 4.50 No Y -adaptor.

MediaLinO Bronze U OFC RCA 0.15-6 meters 5.00-13.75
MediaLinO Silver U OFC RCA 0.5-6 meters 21.75-37.50
SONORAN Cactus Connect Signature U,B Copper RCA, XLR 0.5-10 meters 250.00-1200.00 Yes Custom lengths.
AUDIO DESIGNS Cactus Connect Mkll U,B Copper RCA, XLR 0.5-10 meters 157.00-784.00 Yes As above.
SOUND IMAGES SI Signature U,B Copper RCA, XLR 1-2 meters 350.00-650.00 No Litz; proprietary geometry and shielding.
SI 1 U,B Copper RCA, XLR 1-10 meters 250.00-1600.00 No Twisted pairs; individually Teflon -coated
strands.
SI 99.99997% U,B Copper RCA, XLR 1-10 meters 140.00-590.00 No
SOUNDSTREAM Streamline U Copper RCA 1-5 meters 16.00-33.50 No High -density braided shielding; polyethylene
TECHNOLOGIES dielectric; gold-plated plugs.
DL1 U OFC RCA 0.5-5 meters 27.50-60.00 Yes Fine -stranded wire; nitrogen -foamed dielectric.
SL1 U Copper RCA 0.5-2 meters 36.00-60.00 Yes Silver-plated 22-AWG; Teflon dielectric.
HRV1 U Copper RCA 1-5 meters 18.00-35.00 Yes 75 -ohm.
4SP SN1 U Copper 500 feet .70/foot Yes Multi -zone AN cable; four shielded pairs.
SOUND & VIDEO AudiFlex Gold I U Copper RCA 0.5-3 meters 111.00-138.00/pair No Gold-plated connectors.
AudiFlex Gold II B Copper XLR 0.5-3 meters 118.00-144.00/pair No As above.
AudiFlex Gold V U Copper RCA 0.5-3 meters 118.00-144.00/pair No As above; directional.
SPECTRAL AUDIO MI -330 U Copper RCA 3-40 feet No For Spectral components.
Ultralinear Terminator
MI -350 U Copper RCA 3-35 feet No As above.
Ultralinear Terminator
STINGER Stinger Drone Series U OFC RCA 0.5-20 feet 4.50-12.00 No
ELECTRONICS Stinger Venom Series U OFC RCA 0.5-20 feet 7.00-23.00 No Double -shielded; 18 -gauge center grounding
wire.
Stinger Queen Series U OFC RCA 1.5-20 feet 15.36-31.60 Yes As above; gold-plated plugs.
Stinger King Series U OFC RCA 1.5-20 feet 22.50-49.30 Yes Triple -shielded; gold-plated plugs.
Stinger Dream Series OFC RCA 1.5-20 feet Yes Single -jacket, dual -twisted pair; double drain
system; gold-plated plugs.
STRAIGHT WIRE Virtuoso (IC) U,B Silver/Copper RCA, XLR 0.5-6 meters 300.00-1950.00 Yes Platinum or gold versions available.
Maestro II (IC) U,B Coated Copper RCA, XLR 0.5-6 meters 195.00-1075.00 Yes Symmetrical coaxial; microporous Teflon
insulation.
Solo (IC) U Silver/Copper RCA 0.5-3 meters 240.00-725.00 Yes Version of Virtuoso.
Rhapsody II (IC) U,B Coated Copper RCA, XLR 0.5-6 meters 120.00-450.00 Yes Dual symmetrical coaxial.
Encore (IC) U,B Coated Copper RCA, XLR 0.5-6 meters 80.00-300.00 Yes Symmetrical twin -axial; sintered Teflon
insulation.
Laser Link II (IC) U Coated Copper RCA 0.5-6 meters 56.00-210.00 Yes Symmetrical coaxial; Teflon insulation.
Symphony (IC) U,B OFHC RCA, XLR 0.5-6 meters 44.00-110.00 Yes Star -quad; dual shield.
Flexconnect II U OFHC RCA 0.5-6 meters 34.00-100.00 Yes Symmetrical coaxial.
Musicable II U OFC RCA 0.5-6 meters 26.00-70.00 Yes Star -quad.
Harmony U OFC RCA 0.6-6 meters 18.00-45.00 Yes
Concerto U OFC RCA 0.6-6 meters 13.00-36.00 Yes
SYMDEX SYSTEMS Beta U,B HCOFC RCA, XLR 1 meter 195.00/pair No Custom lengths.
Omicron U,B HCOFC RCA, XLR 1 meter 395.00/pair No As above.
SYNERGISTIC T.H.C. U Copper Matrix RCA 3-10 feet 49.00-90.00 No

RESEARCH Alpha U,B Copper Matrix RCA, XLR 2-50 feet 77.00-376.00 No
TARA LABS Prism 11 U OFHC RCA 0.6-2 meters 25.00-42.00 No Unshielded; gold-plated connectors.
Prism 22 U OFHC RCA 0.6-10 meters 33.00-204.00 No Gold-plated connectors.
Prism 33 U OFHC RCA 0.6-10 meters 52.00-239.00 No As above.
Prism 55 U,B OFHC RCA, XLR 0.6-10 meters 88.00-398.00 No As above.
Prism CD U OFHC RCA 0.6-2 meters 39.00-79.00 No As above; unshielded.
RSC-CD U,B OFHC RCA, XLR 0.6-10 meters 90.00-730.00 No Gold-plated connectors.
RSC Prime U,B OFHC RCA, XLR 0.6-10 meters 114.00-690.00 No As above; rectangular solid -core.
RSC Reference Generation 2 U,B OFHC RCA, XLR 0.6-10 meters 180.00-1046.00 No As above.
RSC Master Generation 2 U,B Consonant Alloy Locking RCA, XLR 0.6-10 meters 320,00-2142.00 No As above.
RSC Decade U,B Consonant Alloy Locking RCA, XLR 0.6-10 meters 497.00-3695.00 No As above.
AUDIO/NOVEMBER 1996
90
Imagine.
A muscular 600 watt amp with the soul of a 9 watt triode.
The new Sunfire stereo amp:
sonic
magic
by Bob
Carver.
Sunizre
Load Invariant High Fidelity Stereo Power Ampl!ter
It's not a 9 watt triode of course, and we wouldn't want it to be, but it does share a very important characteristic with one. It incorporates the
current -source (high output impedance) property of a triode-the very property that is the dominant factor (perhaps ninety percent) of the sonic
magic that makes listening to the classic vacuum tube amplifier so much fun. So when you choose our current -source output connections for your
system, you'll have a sumptuous high end, and a midrange that positively glows. At the same time, the new Sunfire Amplifier, with its uncanny
tracking downconverter, has the ability to raise goose bumps with its awesome power. Using 12 herculean International Rectifier Hexfets, it can
drive any load to any rationally usable current or voltage level.
;,lo-,xe
Choice of Outputs. oe eli

You can connect most speakers to the voltage source output, with its near zero impedance, to experience the powerful dynamics and tight bass
you've always wanted more of. Or let's say you own electrostatic, planar magnetic or ribbon speakers, then connecting the higher impedance
current -source output can coax forth a sensuoas, delicately detailed musical voice associated with low -powered lassie tube amplifiers. Or if you're
able to biwire, you may just arrive at the best possible interface: voltage output to woofer for incredible bass whack, current output to midrange
and treble for a huge three-dimensional soundstage with detail retrieval so stunning that you will often hear musicians breathing! Each choice will
reveal the delicate musical soul that complements this amp's astonishing muscle and control. And each will lead to a multilayered soundstage so
deep and wide it will take your breath away.
Performance that's difficult to believe.

The basis for all this is designer Bob Carver's sersatilin He's worked successfully for over 20 years with both tube and solid state designs, and he
understands the intrinsic subtleties of each. For the new Sunfire, he insisted on an enormous 138 ampere peak -to -peak output current capability
with 600 watts rms per channel continuously into 4 ohms and 2400 watts rms into I ohm on a time -limited basis'. Courtesy of 24 massive
Motorola triple -diffused ouput devices, each capable of 20 amperes without taxing current reserves. Imagine all that in a single amp. Or better
yet, visit a Sunfire dealer. That's where you'll hear for yourself how Bob Carver's Sunfire Amplifier makes it all come together.
Sunfire Y/ vnu are getting rein c

to spend more than $2,175
on an amplifier-don't-
at least not until vou've given
the Slay -ire a listen. Highly
nvummended in the $2000
to $25,000 price class"
F.I.C.. 300 wom cmmum p
dmM, both channdc driven oto
.. from the mind & soul of Bob Carver
8 ohm horn 20 ht lu 20 khr The Sensible Sound
it, O5o IMO
Issue Number Sr
For additional information on Sunfire, and especially the uncanny tracking downconvo:ner, use the reader service card or write to Sunfire Corporation, PO Box 1589, Snohomish, WA 99290.12061335-4748 MING 1195

FINISHED CABLES
TYPE
U -Unbalanced
B - Balanced
o g
m v/c>
c4`
,g) FF É0 F mm
mm
o ca
Fh
ém
.
km
hill
MANUFACTURER tia
OFC RCA 2-12 feet 75.00-105.00/pair No Custom lengths, $3.00/pair/foot additional.
TED'S Dimension U
Silver -clad Copper RCA 2-12 feet 190.00-460.00/pair No As above but $30.00.
EXCELLENT CABLE Dimension Reference U
OFHC RCA 1-6 meters 225.00-495.00 Yes TPT-treated jacket.

TICE AUDIO IC 1A U
OFHC XLR 1-6 meters 270.00-594.00 Yes As above.
IC 1A B
U Copper RCA 0.5-6 meters 80.00-350.00 Yes Coaxial; custom lengths.

TIFF ELECTRONICS TIC -1
U,B Copper RCA, XLR 0.5-6 meters 120.00-560.00 Yes Twisted pair; custom lengths.
TIC -2
U,B Copper RCA, XLR 0.5-6 meters 150.00-700.00 Yes Multi -conductor; custom lengths.
TIC -3
Copper RCA 1-6 meters 1900.00-2700.00 No Networked cable.

TRANSPARENT MusicLink Reference
Copper RCA 1-6 meters 4200.00-6000.00 No As above.
CABLE Reference XL Single -Ended
Musichord Copper RCA 1-6 meters 45.00-150.00 Yes
Copper RCA 1-6 meters 90.00-290.00 Yes
The Link
MusicLink
MusicLink Plus
MusicLink Super
MusicLink Ultra
Copper XLR 1-6 meters 210.00-735.00 Yes
Balanced MusicLink
Copper XLR 1-6 meters 470.00-975.00 No As above.
Balanced MusicLink Plus
Balanced MusicLink Super
Balanced MusicLink Ultra
Balanced MusicLink
Reference
Reference XL Balanced
Copper RCA 0.5-7 meters 19.00-70.00 Yes

VAMPIRE WIRE CC U
SC/II U,B Silver -clad Copper RCA, XLR 0.5-7 meters 78.00-175.00 Yes
SC/IV U,B Silver -clad Copper RCA, XLR 0.5-7 meters 110.00-305.00 Yes
Copper RCA, XLR 0.5-7 meters 45.00-110.00 Yes Continuous -cast copper.
CCC/II U,B
Copper RCA, XLR 0.5-7 meters 195.00-585.00 Yes As above.
AI/2 U,B
Silver RCA, XLR 0.5-7 meters 250.00-1550.00 Yes
SL U,B
Grain -optimized Copper RCA, BNC, DIN 0.1-200 meters 30.00/meter pair Yes Symmetrical coaxial; Teflon insulation;
WIREWORLD Solstice II U
CL-3/FT-4 rated; '/- and 1/4 -inch phone
connectors.
Grain -optimized Copper RCA, BNC, DIN 0.1-100 meters 50.00/meter pair Yes As above but MP Teflon.
Oasis II U
Grain -optimized RCA, BNC, DIN 0.1-100 meters 90.00/meter pair Yes As above.
Atlantis II U
PC Copper
Grain -optimized RCA, BNC, DIN 0.1-100 meters 130.00/meter pair Yes Symmetrical coaxial; MP Teflon insulation;
Equinox II U
PC Copper '/e- and'/8-inch phone connectors.
Grain optimized RCA, BNC, DIN 0.1-50 meters 200.00/meter pair Yes As above.
Polaris II U
PC Copper
Grain -optimized RCA, BNC, DIN 0.1-50 meters 300.00/meter pair Yes As above.
Eclipse II U
PC Copper
Grain -optimized PCSilver RCA, BNC, DIN 0.1-50 meters 600.00/meter pair Yes As above.
Silver Eclipse II U
Gold Eclipse II U Grain -optimized PCSilver RCA, BNC, DIN 0.1-50 meters 1000.00/meter pair Yes As above.
Grain -optimized XLR 0.1-50 meters 130.00/meter pair Yes Symmetrical coaxial; MP Teflon insulation;
Equinox II Balanced B
PC Copper CL-3/FT-4 rated.
Grain -optimized XLR 0.1-50 meters 200.00/meter pair Yes Symmetrical coaxial; MP Teflon insulation.
Polaris II Balanced B
PC Copper
Grain -optimized XLR 0.1-50 meters 300.00/meter pair Yes As above.
Eclipse II Balanced B
PC Copper
Grain -optimized PC Silver XLR 0.1-50 meters 600.00/meter pair Yes As above.
Silver Eclipse II Balanced B
Grain -optimized PC Silver XLR 0.1-50 meters 1000.00/meter pair Yes As above.
Gold Eclipse II Balanced B
OFHC RCA 1 meter up t Yes Four -conductor. t$100.00, first meter pair;
XL0 ELECTRIC XLONDO ER -4 U
OFHC RCA 1 meter up t Yes Two -conductor. t$50.00, first meter pair:
XLONDO ER -5 U
XLO/Pro Type 150 U Copper RCA 1 meter up t Yes t$49.95, first meter pair; $20.00 per
additional meter.
XLO/Pro Type 100 U Copper RCA 1 meter up t Yes t$99.00, first meter pair; $69.00 per
additional meter.
Copper RCA 1 meter up t Yes t$119.00, first meter pair; $69.00 per
XLO/Pro Type 100p U
additional meter.
4N OFHC RCA 1 meter up t t$175.00, first meter pair; $125.00 per
XLO Electric/Standard U
additional meter.
Type 0.1
XL0 Electric/Standard U 4N OFHC RCA 1 meter up t Floating Faraday -cage shield. t$240.00, first
meter pair; $190.00 per additional meter.
Type 0.1s
4N OFHC XLR 1 meter up t t$210.00, first meter pair; $150.00 per
XLO Electric/Standard B
additional meter.
Type 0.2
XLO Electric/Reference U 6N Copper RCA 1 meter up t t$275.00, first meter pair; $200.00 per
additional meter.
Type 1
XLO Electric/Reference U 6N Copper RCA 1 meter up t Floating Faraday -cage shield. 1'$375.00, first
meter pair: $300.00 per additional meter.
Type 1 s
6N Copper XLR 1 meter up t t$330.00. first meter pair; $250.00 per
XL0 Electric/Reference B
additional meter.
Type 2
6N Copper RCA 1 meter up t Phono cable; floating Faraday -cage shield.
XLO Electric/Reference U
t$400.00, first meter pair; $250.00 per
Type 3a
additional meter.
6N Copper RCA 1 meter t Teflon dielectric. t$625.00, first meter pair;
XL0 Electric/Signature U
Type 1.1
6N Copper RCA 1 meter t Teflon dielectric. t$725.00, first meter pair;
XL0 Electric/Signature U
Type 1.1s
6N Copper XLR 1 meter t Teflon dielectric. t$675.00, first meter pair;
XLO Electric/Signature B
Type 2.1
6N Copper RCA 1 meter t Teflon dielectric; full floating Faraday -cage
XLO Electric/Signature U
shield. t$750.00, first meter pair: $500.00 per
Type 3.1
additional meter.
AUDIO/NOVEMBER 1996
92
AUDIO... THE EQUIPMENT AUTHORITY
SOLD AT THESE SPECIALTY DEALERS
The following are just some of the fine audio/video dealers that sell
AUDIO Magazine:
Dealers, call:1-800-221-3148 if you are interested in selling
AUDIO...THE EQUIPMENT AUTHORITY
ESOTERIC AUDIO AUDIOMASTERS SOUND SYSTEM

4120 N. MARSHALL WAY 102 LAFAYETTE STREET 3201 STATE ROUTE 27
SCOTTSDALE, AZ 85251 ANMA, IL 62906 FRANKLIN PARK, NJ 08823
PACIFIC AUDIO & ALARM SOUNDS DESIGNS MARIO'S SOUND ROOM

2370 E. ORANGE THORPE AVE. 808 COLDWATER ROAD 176 FRANKLIN AVE.
ANAHEIM, CA 92806 MURRAY, KY 42071 FRANKLIN SQUARE, NY 11010
SOUND TECH/LOS GATOS GOODWINS AUDIO SOUND CONCEPT INC.

15330 LOS GATOS BLVD. 870 COMMONWELTH AVE. 264 EAST ROUTE 59
LOS GATOS, CA 95032 BOSTON, MA 02210 NANUET, NY 10954
STEREO PLUS NEW HORIZON BOOKS DALBEC AUDIO LAB

2201 MARKET STREET 20757 13 MILE ROAD 51 KING STREET
SAN FRANCISCO, CA 94114 ROSEVILLE, MI 48066 TROY, NY 12180
JACK HANNA AUDIO/VIDEO AUDIO -VIDEO ALTERNATIVES AUDIO ENCOUNTERS

6130 PACIFIC AVE. 4526 N. WOODWARD AVENUE 4271 W. DUBLIN GRANVILL
STOCKTON, CA 95207 ROYAL OAK, MI 48073 DUBLIN, OH 43017
SOUND EYE SOUND ADVICE INC. SOUND STATION

1317 SARTORI AVE. 3348 NILES ROAD 601 SE FRANK PHILLIPS BLVD.
TORRANCE, CA 90501 ST. JOSEPH, MI 49085 BARTLESVILLE, OK 74003
WESTSIDE INT'L NEWS INC. MATLACK COMMUNICATIONS SOUND SERVICE

11949 WILSHIRE BLVD. 2866 FOXWOOD DRIVE 621 NORTH MAIN STREET
W. LOS ANGELES, CA 90025 MARYLANE HTS, MO 63043 GUYMON, OK 73942
DURANGO MUSIC CO. HARVEY'S STEREO DAVID LEWIS AUDIO

902 MAIN AVE. 2646 SOUTH GLENSTONE AVE. 9010 BUSTLETON AVE.
DURANGO, CO 81301 SPRINGFIELD, MO 65804 PHILADELPHIA, PA 19152
VIDEO 7 WEST PRO AUDIO STEREO SHOPPE

22 KNEEN STREET 1630 COUNTRY CLUB PLAZA 900 WASHINGTON BLVD.
SHELTON, CT 06494 ST. CHARLES, MO 63303 WILLIAMSPORT, PA 17701
SOUNDS EXCLUSIVE/HANKS AUDIO VISIONS SOUND DECISION

757 N. MONTROSE STREET 136 MAIN STREET 3727 FRANKLIN ROAD
CLERMONT, FL 34712 KALISPELL, MT 59901 ROANOKE, VA 24014
BOB'S NEWS & BOOKS SOUND STAGE

1515 ANDREWS AVE. 5900 N. POINT WASHINGTON RD.
FORT LAUDERDALE, FL 33316 MILWAUKEE, WI 53217
DIGITAL INTERCONNECTS
U -Unbalanced
B - Balanced
0 - Optical
m h
v
G
CI,
m
C.
h C.
c°Fv m1
é Q. m
c
MANUFACTURER
ACROTEC 6N -D5010
.
p
, 6N Copper
I
RCA
I C .§
0.6-1 meter
é cS
m
200.00-250.00 No
;p .
=o
Gold-plated 6N copper connectors.
AMERICAN HYBRID AHT Ultra Resolution U Copper RCA 0.5-2 meters 175.00-250.00
TECHNOLOGY
ANALOG RESEARCH U -Byte 1 U Copper BNC 6 meters 50.00 No 75 -ohm.

U -Byte 2 U Copper BNC 6 meters 200.00 No As above.
APATURE PRODUCTS BL -4 Accusound Silver(2+2) U,B Silver RCA, XLR Any 70.00-1000.00 Yes
Digital Datalink U Silver RCA, BNC Any 60.00-500.00 Yes
Fiber Optic 0 Polished Glass Pre-radiused ST Any 120.00-1000.00 Yes SMA, mini-BNC, and angled connections
optional.
Black Beauty BL -2+2 U,B OFC RCA, XLR Any 50.00-500.00 Yes Black Beauty RCA connector.
AUDIENT Datrix Standard U Copper RCA, BNC 1.5-3 meters 185.00-250.00 No 75 -ohm; AES/EBU version available.
TECHNOLOGIES Datrix Reference U Copper RCA, BNC 1.25-3 meters 350.00-450.00 No As above.
SDI U Copper RCA, BNC 0.1 meter 60.00 No
AUDIO ALCHEMY DST U,B Copper BNC 1 meter 259.00 No Powered RS422; includes power supply.
Clearstream U Copper RCA 1 meter 89.00 Yes Transformer -coupled; removes digital ground
loops.
AUDIO INSURGENTS ByteRight V.5.1 U Copper RCA 1-10 meters 289.00-1063.00 No Custom lengths.
ByteRight V.4.1 U Copper RCA 1-10 meters 229.00-904.00 No As above.
AUDIO MAGIC Sceptor U,B Silver -clad Copper RCA, DIN Any 39.00/meter No
Spellcaster U,B Silver Lockable RCA, DIN Any 249.00/meter No
Sorcerer U,B Silver WBT Lockable RCA, Any 349.00/meter No
DIN
Illusion U,B Silver WBT Lockable RCA, Any 799.00/meter No Ribbon conductors.
DIN
Mystic Silver -clad Copper DIN Any 99.00/meter 12S interconnect for Audio Alchemy products.
AUDIOPRISM Digital RX U Copper RCA 1-3 meters 250.00-500.00 No
AUDIOQUEST Digital One U Silver-plated Long -grain RCA, BNC 0.5 meter up 30.00/meter Yes
Copper
Digital Two U Silver-plated Copper RCA, BNC 0.5 meter up 75.00/meter Double -balanced.
Digital Pro U Silver RCA, BNC 0.5 meter up 225.00/meter As above.
AES/EBU Two B Silver-plated Copper XLR 0.5 meter up 135.00/meter Triple -balanced.
Optilink X 0 Synthetic Toslink 1-12 meters 98.00/meter No
Optilink Z 0 Quartz Toslink 1-12 meters 245.00/meter No Brass ferrule.
Optilink Pro 1 0 Fused Silica AT&T ST 1-12 meters 175.00/meter No
AUDIO RESEARCH Digitalink U RCA, BNC 1-1.5 meters 200.00-250.00 No

Digitalink B Copper XLR 1-1.5 meters 130.00-145.00 No
AUDIOTRUTH Optilink Pro 2 0 Fused Silica AT&T ST 1-12 meters 295.00/meter No

Lapis AES/EBU B Silver XLR 0.5 meter up 297.50/meter Triple -balanced.
Diamond AES/EBU B Silver XLR 0.5 meter up 487.50/meter As above.
AURAL SYMPHONICS Aural Optical Gen 1 0 Glass AT&T ST 1-2 meters 200.00-300.00 No
Optimism 0 Glass AT&T ST 2 meters 595.00 No
Digital Standard Gen 2i U Copper RCA, BNC 1-2 meters 195.00-345.00 No 75 -ohm; includes ground wire.
Digital Standard AE B Copper XLR 1-2 meters 390.00-570.00 No Dual twin -axial design; includes ground wire.
Digital Statement Gen 2i U Copper RCA, BNC 1-2 meters 400.00-780.00 No 75 -ohm; includes ground wire.
Digital Statement AE B Copper XLR 1-2 meters 650.00-950.00 No Dual twin -axial design; includes ground wire.
BEL "The Wire" P1 D U Copper RCA 0.5 meter up 80.00 up No Custom lengths.
CABLE TALK Digital 2 Copper RCA, BNC 0.5-1 meter 179.95-224.95 Yes 70- or 110 -ohm.
CAMELOT Excalibur RCA 3 feet 125.00 No Includes "Stone" pulse -train optimizer.
TECHNOLOGY Excalibur II Copper/Silver XLR 3 feet 125.00 No Teflon construction.
Excalibur III Copper/Silver 5 -Pin Mini -DIN 3 feet 125.00 No As above; I2S interface cable.
CAMPAIGN DESIGNS Silurian U Copper RCA 0.75-2 meters 175.00-350.00 Yes
CARDAS AUDIO Lightning High -Speed Digital Copper RCA 0.5 meter up 215.00 up No
AES/EBU Copper RCA 0.5 meter up 215.00 up No
High -Speed Copper RCA 0.5 meter up 58.00 up No
Data Transmission
Video/Digital
CUSTOM Hi-Rez Video U Copper RCA 1-5 meters 15.00-40.00 Yes Molded gold ends.
CONNECTIONS HDTV Video Copper RCA 0.5-5 meters 35.00-75.00 Yes Custom lengths; silver -soldered.
Benchmark MkI Digital U,B Copper RCA, DIN 0.5-5 meters 69.00-150.00 Yes As above; multi -pair.
Benchmark Mkll Digital U,B Copper RCA, DIN 0.5-5 meters 79.00-180.00 Yes As above.
Groneberg Digital U,B Copper RCA, DIN 0.5-5 meters 129.00-249.00 Yes As above.
DANIELS AUDIO Alpha B OFC RCA, DIN, XLR 0.5-7 meters 39.00-339.00 No Litz twisted pair.
Epsilon B OFC RCA, DIN, XLR 0.5-7 meters 89.00-619.00 As above; shielded/tonearm cable available.
62mega B OFC RCA, DIN, XLR 0.5-7 meters 149.00-1329.00 As above.
DISCOVERY CABLE Digi-Cable U HPOFC RCA, BNC 1-10 meters 80.00-440.00 Yes
OPA DIGITAL Digi-Link U Copper RCA 1 meter 59.00 No

Opti-Link 0 Glass Toslink 0.75 meter 44.00 No
EIDOLON RESEARCH JB-4 U Copper RCA, DIN 0.5-10 meters 80.00-600.00 No

JB-8 U Copper RCA, DIN 1 meter 275.00 No
ENSEMBLE Digiflux 75 U Copper RCA, BNC 0.5-20 meters 75.00 up Yes Double -shielded.
See October issue for company addresses AUDIO/NOVEMBER 1996

94
ó
co CO
D D
0 G CD
a
o
POWERKORD
Patent #5108320 DV -30 w/RCA
MODEL 88 - THE BLACK PEARL
a ent#5376758
rim
A 16LPC 8LPC
o >
cz
°,1
D'a
co
V-21 w/F
..
.. ... __ ..
iiar¡1nrrt
FINISHED CABLES
()h
TYPE
U -Unbalanced
I
B - Balanced
c0.md
0 - Optical
ny h
1
mtió
Q,o,c
1.1
MANUFACTURER S
yai
vo co
c
Av Q ó
ESOTERIC AUDIO Numericus U,B Silver-plated Copper RCA, BNC, XLR 0.5-2 meters 165.00-450.00/pair No Custom lengths.
U.S.A. Graphis 75 U Copper RCA, BNC 0.5-6 meters 40.00-120.00/pair No As above.
GOLDMUND Lineal U RCA 1.5 meters up 495.00 up No
HIGHWIRE AUDIO 700 Di U,B Silver-plated Copper RCA. BNC, XLR 1-2 meters 196.00-248.00 No
HOVLAND Hovland -Pincus Interconnect U,B Silver-plated Copper RCA, XLR 3-25 feet 275.00-935.00 No Custom lengths; optional balanced XLR,
$40.00 additional.
ILLUMINATI DV -30 U Proprietary RCA, BNC, F 0.5 meter up 55.00 Yes

DV -60 U Silver RCA, BNC, F 0.5 meter up 213.00 No
DX -50 B Proprietary XLR 1.5 meters 350.00 No
Orchid B Silver XLR 1.5 meters 750.00 No
JENA LABS Gemini Digi-Link RCA -RCA U Copper RCA 3.8-6 feet 150.00-190.00 No
Gemini Digi-Link RCA-BNC U Copper BNC-RCA 3.8-6 feet 200.00-240.00 No
Gemini Digi-Link BNC-BNC U Copper BNC 3.8-6 feet 250.00-290.00 No
Integer S-PDIF RCA U Copper RCA 3.8-6 feet 400.00-590.00 No
Integer S-PDIF BNC U Copper BNC 3.8-6 feet 500.00-690.00 No
Trinity AES B Copper XLR 3-6 feet 360.00-432.00 No
Integer AES B Copper XLR 3-6 feet 720.00-864.00 No
JPS LABS The Digital Superconductor U Aluminum/Copper RCA, BNC 0.375 meter up 99.00 up No 75 -ohm transmission -line impedance.
The Impressionist One B Copper Mini -DIN Any meters 99.00 up No I2S bus.
JVC XN-100 HF Series U Glass Toslink 1-2 meters 20.00-25.00

XN-700 Pro Series U Glass Toslink 0.5-2 meters 100.00-150.00 Pure quartz glass fiber.
KIMBER KABLE OPT 0 Proprietary Polymer Toslink 0.5 meter up 40.00 up No

AGDL U,B Silver RCA, XLR 0.5 meter up 112.00 up Yes Varistrand design.
TGDL U,B Silver RCA, XLR 0.5 meter up 195.00 up Yes As above; larger conductor bundle.
KLYNE AUDIO ARTS Dragonfly Wings DWD U Copper RCA, BNC 0.7-6 meters 225.00-625.00 No
Dragonfly Wings DWDB B Copper XLR 0.7-6 meters 250.00-650.00 No
LAT INTERNATIONAL DI -20-D U Silver -clad OFHC RCA 1 meter up 69.00 up No Teflon insulation.
DI -20-D B Silver -clad OFHC XLR 1 meter up 79.00 up No As above.
LEGEND Legend Digital Reference U Silver RCA 1-2 meters 349.00-558.00

AUDIO DESIGN Legend Digital I U Silver RCA 1-2 meters 250.00-400.00
LINN Digital Interconnect U Copper RCA, BNC 1-50 meters 102.87 up Yes
LUMINOUS AUDIO Allegro U Copper RCA, BNC 0.5-10 meters 89.00-410.00 No AES/EBU available.
TECHNOLOGY Allegro Signature U Copper RCA, BNC 0.5-10 meters 130.00-690.00 No
MACH 1 ACOUSTICS Digital Flexible U Copper BNC 1-10 meters 195.00-1095.00 Yes Foamed -Teflon dielectric; triple -shielded;
75 -ohm.
Digital Semi Rigid U Copper BNC 1-5 feet 195.00-295.00 No Foamed -Teflon dielectric; solid copper shield.
MADRIGAL AUDIO MDC-1 Pro B Copper/Silver XLR 0.5-10 meters 243.00-1050.00 No

MDC-2 FatBoy U Copper RCA, BNC, XLR 0.5-10 meters 243.00-1050.00 No
MARIGO AUDIO LAB Apparition Series 2 U Copper RCA, BNC 0.75-1 meter 549.00-595.00/pair No
McCORMACK AUDIO Wonderlink Digital I U Copper/Silver RCA, BNC 0.5-1.5 meters 195.00-253.00 No Custom lengths.
Wonderlink Digital I Balanced B Copper/Silver XLR 1-1.5 meters 275.00-325.00 No As above.
Wonderlink Digital II U Copper/Silver RCA, BNC 0.5-1.5 meters 69.00-89.00 No As above.
MIT MlTerminator 3 Digital U Copper RCA 1-2 meters 100.00-125.00/pair No

Digital Reference U Copper Locking RCA 1-2 meters 325.00-395.00/pair No 75 -ohm.
Proline Digital 8 Copper XLR 1-2 meters 695.00-795.00/pair No AES/EBU.
MONARCHY AUDIO DR -1 U Silver RCA 3 feet 199.00 No Solid Teflon dielectric.

DR -2 U Silver RCA 3 feet 99.00 No As above.
DAB -1 B PCOCC XLR 3 feet 49.00 No
DR -3 U Copper RCA-BNC 3 feet 49.00 No
MUSICAL CONCEPTS Super Connect IV U Plated Copper RCA 0.5-3 meters 49.00-72.00 Yes Triple dielectric.
MUSIC -LINK DOC-1+ U OFHC RCA 1-12 feet 115.00-720.00 No Litz; unshielded; shielded version available.
DOC-1+ B OFHC XLR 1-12 feet 145.00-970.00 No As above.
DOC-2+ U OFHC RCA 1-12 feet 195.00-1295.00 No As above.
MUSIC METRE Fidelus Digital U,B OFC RCA, BNC, XLR 0.5-50 meters 150.00-450.00 No Air dielectric.
Signature Digital U,B OFC RCA, BNC, XLR 0.5-50 meters 87.50-200.00 No
NIRVANA AUDIO Transmission U Copper/Silver RCA, BNC 1.5 meters 595.00 No 75 -ohm.
NORDOST Moonglo U Silver RCA 0.6-1.5 meters 180.00-240.00 No Coaxial twisted pair; Teflon insulation.
Moonglo AES/EBU B Silver XLR 0.6-1.5 meters 225.00-300.00 No As above.
PARADOX Paradox U Copper RCA 1 meter 250.00 No
PARASOUND LightLine 0 Glass AT&T ST 1 meter 120.00 No

DataBridge U Copper RCA 1 meter 90.00 No
Balanced DataBridge B Copper XLR 1.5 meters 99.00 No
PRISMA Prisma -Link U Copper RCA 1-1.5 meters 75.00-95.00 No Custom lengths.
AUDIO/NOVEMBER 1996
96
U - Unbalanced
B - Balanced
0 - Optical
c.
a al -
a o
Vo
h cv a-
° 'ga`
co
aa, .
o
co moo` f
F ony F&
c
m
o / ao c k m h
MANUFACTURER ,, e c>o
.1
Q =ó
PUREST Digital Link I U OFC RCA 0.6-5 meters 45.00/meter Yes 75 -ohm.
SOUND SYSTEMS Digital Link II OFC BNC 0.6-5 meters 65.00/meter Yes As above; EMI/RFI suppression.
PURIST Colossus Digital U t 75 -ohm ±10%. 11340.00, first meter;

Colossus Balanced AES/EBU B t 110 -ohm ±10%. t$390.00, first meter;
Proteus Digital U t 75 -ohm ±1%. t$525.00, first meter;
Proteus Balanced AES/EBU B t 110 -ohm ±1%. t$625.00, first meter;
SILVER SONIC D-75 U RCA, BNC Any Yes 75 -ohm; foam Teflon dielectric.
0-110 B OFC/Silver XLR Any Yes AES/EBU; Teflon dielectric.
SIMPLYPHYSICS Byteline Ill U Copper RCA, BNC 1-20 meters 200.00-2100.00 No Silver coaxial shielding; Teflon dielectric.
SONORAN Cactus Connect Signature U,B Copper RCA, XLR 0.5-10 meters 125.00-600.00 Yes Custom lengths.
AUDIO DESIGNS Cactus Connect Mk11 U.B Copper RCA, XLR 0.5-10 meters 80.00-365.00 Yes As above.
SOUND IMAGES SI Signature U,B Copper RCA, XLR 1-2 meters 250.00-400.00 No Litz; proprietary shielding.
SI 1 U,B Copper RCA, XLR 1-2 meters 150.00-200.00 No Twisted pairs; proprietary shielding.
SI 99.99997% U,B Copper RCA, XLR 1-4 meters 100-00-250.00 No
SOUND & VIDEO DigiFlex Gold I U Copper RCA 0.5-15 meters 60.00-190.00 No 75 -ohm; gold-plated connectors.
DigiFlex Gold II U Copper BNC 0.5-15 meters 60.00-190.00 No As above.
DigiFlex Gold Ill U Copper RCA, BNC 0.5-15 meters 60.00-190.00 No As above.
DigiFlex Gold IV B Copper XLR 0.5-15 meters 76.00-222.00 No AES/EBU 110 -ohm; gold-plated connectors.
DigiFlex + PLUS U Copper RCA, BNC 0.5-3 meters 143.00-182.00 No 75 -ohm; gold-plated connectors.
STRAIGHT WIRE Info -Link Silver RCA, BNC 0.5-2 meters 200.00-540.00 Yes
Mega -Link Silver/Copper RCA 0.5-6 meters 85.00-470.00 Yes Coated conductor; foam Teflon insulation.
Silver -Link II Silver/OFHC RCA 0.5-6 meters 43.00-130.00 Yes Dual shield.
Video -Link OFHC RCA 0.5-6 meters 17.00-50.00 Yes 75 -ohm.
STX Glass AT&T ST 1-9 meters 250.00-410.00 No Kevlar-reinforced.
Toslink Plastic Toslink 1 meter 49.00 No
SYMDEX SYSTEMS Xi B HCOFC XLR 1 meter 195.00 No Custom lengths.
TARA LABS Prism Digital U Silver RCA, BNC 0.6-10 meters 85.00-695.00 No Gold-plated connectors.
Prism Luminary 0 Glass AT&T ST 1-2 meters 185.00-225.00 No
RSC Digital 75 U OFHC RCA 0.6.10 meters 180.00-1230.00 No As above; rectangular solid -core.
RSC Master Digital U,B Consonant Alloy Locking RCA, BNC, 0.6-10 meters 275.00-2050.00 No As above,
XLR
RSC Decade Digital U,B Consonant Alloy Locking RCA. BNC, 0.6-10 meters 370.00-2405.00 No As above.
XLR
THETA DIGITAL Digital Cable U Proprietary Alloy RCA 1-1.5 meters 180.00-225.00 No
Teflinque Balanced B Proprietary Alloy XLR 1 meter No
Digital Cable
Single Mode Laser Linque 0 Glass FCPC Single -mode 1-2 meters 250.00 No
Cable
AT&T Cable 0 Glass AT&T ST 1-2 meters 180.00 No
TICE AUDIO DC 1A U OFHC RCA 1-3 meters 125.00-200.00 Yes TPT-treated jacket.
DC fA B OFHC XLR 1-3 meters 200.00-350.00 Yes As above.
TIFF ELECTRONICS TDC-3 U,B Copper RCA, BNC, XLR 0.5-6 meters 90.00-300.00 Yes Solid -core; custom lengths.
TRANSPARENT High Performance Digital U Copper RCA 1-6 meters 90.00-260.00 No 75 -ohm.
CABLE Premium Digital U Copper RCA 1-6 meters 250.00-750.00 No As above.
AES/EBU Digital B Copper XLR 1-6 meters 400.00-1200.00 No 110 -ohm.
VAMPIRE WIRE DI/1 U Copper RCA, BNC 0.5-3 meters 100.00-250.00 Yes Continuous -cast copper.
WIREWORLD Starlight II Video/Digital U Grain -optimized RCA, BNC 0.1-100 meters 55.00/meter Yes Microporous Teflon insulation; CL-3/FT-4 rated.
PC Copper
Silver Starlight II Digital AN U Grain -optimized PC Silver RCA, BNC 0.1-100 meters 160.00/meter Yes Microporous Teflon insulation.
Gold Starlight II Digital AN U Grain -optimized PC Silver RCA, BNC 0.1-50 meters 320.00/meter Yes As above.
Silver Starlight II AES/EBU B Grain -optimized PC Silver XLR 0.1-100 meters 160.00/meter Yes As above; CL-3/FT-4 rated.
Gold Starlight II AES/EBU B Grain -optimized PC Silver XLR 0.1-50 meters 320.00/meter Yes Microporous Teflon insulation.
XL0 ELECTRIC XLONDO ER -6 U OFHC RCA, BNC 1 meter up t Yes 75 -ohm. t$35.00, first meter; $8.00 per
additional meter.
XLO/Pro Type 104 Copper RCA 1 meter up t Yes t$55.50, first meter pair; $35.00 per
additional meter.
XLO/Pro Type 104p Copper RCA 1 meter up t Yes 1$63.00, first meter pair; $35.00 per
additional meter.
XL0 Electric/Standard 4N OFHC RCA 1 meter up t 1$89.00, first meter pair; $64.00 per
Type 0.4 additional meter.
XLO Electric/Reference U 6N Copper RCA, BNC 1 meter up t t$175.00, first meter; $100.00 per
Type 4 additional meter.
XLO Electric/Reference 0 Glass AT&T ST 1 meter 165.00
Type 7
)(LO Electric/Signature U 6N Copper RCA 1 meter t Teflon dielectric. t$325.00, first meter;
Type 4.1 $250.00 per additional meter.
XLO Electric/Signature 6N Copper AES/EBU 1 meter t Teflon dielectric. t$375.00, first meter;
Type 4.1 b $280.00 per additional meter.
YBA Diamond U Copper RCA 1-6 meters 520.00-1320.00/pair No Twelve leads twisted three by three; three
shielding levels.
Cristal U Copper RCA 1 meter 300.00/pair No Four leads individually insulated, shielded,
and twisted together.
AUDIO/NOVEMBER 1996
97
L For recording producers, as for so
many other hapless individuals pe-
ripheral to Richter's career, he has
G S
never made life easy. To begin with,
he hates to record. If he does it at all,
he prefers doing it in live perform-
ance-but with no recording para-
Sviatoslav Richter in Prague I Hips collection-almost all these phernalia visible to him. That means
Various orchestras and conductors recordings date from considerably all sorts of technical disadvantages-
PRAGA CMX 354001-15 farther back-but for the sheer mu- makeshift, far from optimal micro-
15 CDs; AAD; 16:44:01
sic they offer, both command serious phone placement, background audi-
Sound: B, Performance: A
attention. Both Praga's and BMG/ ence racket, the impossibility of
RCA's engineers have accomplished retakes, etc. However, with an artist
Edition Sviatoslav Richter
Various orchestras and conductors prodigies of rejuvenation in using of Richter's supremacy, recording
BMG/RCA 74321-29460 digital technology to resuscitate old firms have to take what they can
10 CDs; ADD; 11:17:57 recordings-some of which I knew in get-and feel lucky to get it.
Sound: B, Performance: A their original, primitive LP versions, If you examine the fine print on
and would scarcely recognize here. this BMG/RCA set, you discover not
st March 20th, Sviatoslav
bserved his 81st birthday. Exotic Dances from the Opera: Music of Fritz Reiner's recording of Sa-
Rimsky-Korsakoti', .Richard Strauss, lome's "Dance of the Seven Veils"
eviewed Philips' boxed set
ter CDs (September 1995), Jchaikovsky, Mussorgsky, Rabaul, may have the raw emotion, but this
said he clearly regarded those selec- Rubinstein, Dtorák, and Saint -Satins rendition from the new conductor of
Minnesota Orchestra, Eiji Oue the Minnesotans reveals delicate de-
ions from his recorded repertoire as
REFERENCE RECORDINGS tails that were previously lost in the
is legacy. (I also pointed out that to- RR-71CD CD; DDD; 60:36
day, in the autumn of a life that per- work's dense sonic fabric. Keith
Sound: A+, Performance: A
mitted me, as a Juilliard teenager, to Johnson's miking captures a rich and
hear such keyboard titans as Josef The general concept of this col- natural acoustic that I've not heard
Hofmann, Vladimir Horowitz, lection takes me back to the early before on symphonic releases from
Sergei Rachmaninoff, Moriz Rosen- days of the LP or even the first prere- Reference Recordings. His miking
thal, et al., I have come to regard corded stereo tapes. But aside from channels the hall ambience as a clean
Richter as the equal, and in some in- the Samson and Delilah "Batch. and strong stereo difference signal,
stances the superior, of any of those.) nale" and The Snow Maiden's which (if you have an
Now two other labels have picked up "Dance of the Tumblers," I 1 DCD decoder) provides an
on the legacy idea and come out with these eight tracks are not xcellent surround sound
their own boxed Richter sets. What- potboilers as were those on I field through even the sim-
ever their sometimes considerable early spectaculars, so the CD plest of processors. This is
drawbacks, one must rejoice simply also cannot be pegged with a great demo disc and a
to have them available. the standard audiophile -record criti- fine sampler for those who prefer the
For sound, neither of these new cism of "great sound/lousy music or ballet episodes of many operas to the
sets can do more than approach the performance." vocal portions. John Sunier
AUDIO/NOVEMBER 1996
98
218 THX stereo power amplifier
worth looking into

The NAD 213 THX stereo power amplifier
is one of the most sophisticated
hi fi components we have ever
produced. Yet for all its brilliant
features and astonishing levels of
performance, it remains true to the
NAD "no nonsense" design philosophy.
.
-he very first feature you'll notice s supply because sevecal smaler previously
the weight c f the 218 THX, due capacitors have a faster re:o+er/ of - produced and he
partly to the heavy c=nstru:tion of time and hue less equimien series the lad down exacting
lie chassis aid iron- panel inductance and resin:ante than a peaks, specift Lions coverinc
designed far -act mounting. (its single pair. prsvertir g distort on. noise, power etc. to
advanced specifcaticn makes the The 218 THX ircorpoates fu :y "dynamic encourage marutacturers
218 THX idea for preessiomal balanced XLR inpAts. al ovrin3 he overload' art to develop produc:s which will
studio use). But the increase in use of long uns cf cable. be:ween head ng of1 reproduce his sound tracks to the
weight is largely due :o the massive pre an( power damage k yoar standard th_y deserve.
Holm yen tcroidal mains sages, ea's and your NAD was first vith a
transformer wthoul the speakers, wi' bout losing he sense power amplrier vh ch
risk of of musical dk ma.
H X
met these chaIler g ng
interferer ce This thouc ht ul yet Hard Clipping standards and wen the right to carry
simple feature offers the opp.rt_ni y the THX badge. -he 218 THX
to set your systerr Lp more -Ex ply continues the prnciple of quality first.
and of ccure it's a benefit if +ou are Pr WER
surPli
bridging :wc 218 THX's for rnonc
IJrRS
and locatin3 them nearer yyr So what do +ou 3et for your not
sneakers insubstantial irvenment at the end
WHY SO LIRG= AID of the day?
WHY HOLI'IGREN? Soft Clipping A thougltfull+ designed. utterly
Apart from being the deal design for The circuitry includes lea arc ri:ht reliable, acoastica ly stunning 2 <
tie huge arrounts of Sower it is channel pcbs, offering his o' 200 watts. b idgea ale to a more than
POWER
likely to hard e, the liolmgren offers benefits. Trey indude less you'll ever need ?CO watts mono.
surpli
cther advan ages: ccmplica-ed pcb's rreaninc e:tr-_ with more heacracm than your
A corwentional trans-yrmer can be reiability, none window frarres nil thank you foL
affected by .\C mains to produce separation of which coulc eves change the wa/
hum or ever buzzing whereas a ca cuits, so like Th.re are otter more hidden you perceive nesi:.
Holmgren tnnsfcrmer isn't. Plus. a the Hoingren features too vhic i provide specific But with al hs capability none
Holmgren transfcrmer because of its transforme-, be petits Typ tally. tie 218 THX of it is a fast ion statement. The 218
unique desiyr. w II not affect other less incorporates exler live non intrusive THX is designed rot designer.
adjacent components is erference protefion circ uitr-. This prevents Every featur a of -he 218 THX
A feature which doesn't add going o it cr damage f-om accidental Overload or enhances perfcr nance and
much to the weight of the 218 THX czming in Al misuse which can lead to reliability.
but certainly adds to the we ght of th s, plus ower overheating or circuit failure. That's why our slogan "pure and
its performance is the bank of eight tatild cast bct. =Inal y for *hos.3 for whom the simple" is as relevant today for
capacitors. le her than a single pai'. neans more savings again tovards let.ers TI -X a -e somewhat of a equipment as advanced as the 2-8
This is a comparatively low :ost tie specification of better mystery. et L, brief y explain. THX as it was Me i NAD was
benef t which mases a belle' powe' compone its George Lucas. creator of the created more than 20 years ago.
Any amp which is overd i.Pn 'Star bars' ep cs, vent
(anlikely on 'he 213 T -IX becalrs_ it to xtaoklina-y lergths
is so powerf iI) can n rod ace to ensure that the sound
cistortion o"clipp ng . The NAG' quality cf his films
Ecft Clipping circuit gen ly exceeded anything
transforms :he wave -our, row ad ng Ho lyruood had
NAD ure.and simple.

NAD, 89 DOUG BROWN WAY, HOLLISTON, MA 01746. TELEPHONE 508 429 2525
only that all the recordings come from the sic of Béla Bartók: the relatively innocuous 15 merklavier" (Op. 106)-to say nothing of the
erstwhile state-owned Melodiya recording Hungarian Peasant Songs transcribed for pi- great "Diabelli" Variations. From Brahms
firm but also-issued in 1996!-from the long ano. Few major virtuosos would deign to come the esoteric Variations on a Hungarian
bygone days of monophonic recording. So do record Beethoven's Choral Fantasy for Piano, Song (Op. 21, No. 2), from Mozart five
many choice items in the Praga set, which Chorus, and Orchestra; here Richter does- Sonatas, from Rachmaninoff eight etudes -
mines tapes made from broadcasts of live just as he does César Franck's symphonic Tableaux, from Schumann the Symphonic
Richter performances in Czechoslovakia be- poem Les Djinns, with its important but not etudes and the great four -movement Fantasy,
tween 1954 and 1988. In both sets, some of conventionally solo -piano obbligato. The and from Scriabin the Sonatas No. 2 and No. 5.
those live performances seem to have coincid- Chopin ration includes the C -Sharp Minor Genuine rarities, at least from Richter, in-
ed with serious epidemics of respiratory mal- Polonaise and the Second Concerto in F Mi- clude the Weber Sonata No. 3, unfairly forsak-
adies. Nevermind: Richter remains Richter, nor. Four further, characteristically esoteric en by most contemporary pianists, and two
and we will not soon-if ever-hear his like concertos include those by Glazunov and surprise Ravel recordings: the complete
again. "Miroirs" suite (including an "Alborado del
Rimsky-Korsakov, the Prokofiev First, and the
He does still perform in public, but rarely gracioso" rivalling Dinu Lipatti's legendary
Saint-Saéns Fifth. Five of Liszt's etudes d'Exé-
(in repertoire far less demanding than the py- cution Transcendante run the musical and recording) and the "Valses Nobles et Senti-
rotechnics he once tossed off with such negli- technical gamut from introverted poetry to mentales."
gent finesse) and only if all peripheral condi- extroverted razzle-dazzle. Hardly anywhere Both these sets' notes carry bylines un-
tions fully conform to his demanding tastes else today will you encounter Tchaikovsky's orthodox by U.S. standards: Pierre -E. Barbier
and preconditions. He for the Praga, Prof. C.
never liked many as- BRIAN: SYMPHONIES going Havergal Brian cycle on Marco Rueger for the BMG/
pects of the U.S.A. and NO. 20 AND NO. 25; Polo, sponsored by The Havergal Brian RCA. The professor ev-
years ago eliminated FANTASTIC VARIATIONS Society. idently knows a lot
it from his touring ON AN OLD RHYME That connection may account for the more about Richter's
itinerary. Especially National Symphony Orchestra of Ukraine, oddball track numbering. Though the CD complicated biography
for Americans, these Andrew Penny comprises three works, with a total of sev- than Barbier seems
recordings-many of MARCO POLO 8.223731, CD; DDD; 62:44 en movements, there are 35 tracks. Each to-including some
them both musically Sound: A, Performance: A is referenced in the booklet's analytical tidbits new to even
and pianistically breath- notes, which makes detailed study easy. such an old Richter
taking-will forever Since his death in 1972, Havergal Needless to say, if record producers had hand as me. Barbier's,
bear witness to the Brian's music has become something of a stuck to Philips' original guidelines, the in- while adequate, per-
Richter phenomenon. cult object. It may have been out of fash- ternal cues would have been index points, haps primarily demon-
Here we have a ion earlier because he never partook of not tracks. As it is, current hardware re- strate the ability of a
unique pianist who modernism's most tortuous elements; now, flects the producers' sloppy ways, so in- good computer word-
combined most of the I suspect, it is credited with more dex points would be useless. But processing program's
best characteristics of profundity than it can legitimate- in order to play just Symphony ability to block, copy,
all his leading contem- ly claim, though it is certainly lis - No. 20 you must program 14 paste, and recycle ma-
poraries. As for tech- tenable and attractive. Call it tracks into your player! terial from one piece of
nique, he took on with proto-postmodern. The orchestra is a fine one, writing to another.
consummate ease any- The early (1907) Variations and the pickup captures it in a So here, dear reader,
thing most virtuosos are a bit of a romp (and, as the very convincing concert -hall you pays your money
except Horowitz shied notes point out, rather Sibelius - soundstage, moderately close -to. and you takes your
away from-but Rich- like). The two symphonies, dat- Why the exotic venue for such choice. In a situation as
ter brought them to ing from the 1960s, are more serious in in- quintessentially British music? In choosing atypical as this one,
life with less brittle- tent and fairly classical in form. They are the Ukraine, Marco Polo may have been other considerations,
ness and more poetry played knowingly by the National Sym- trying to contain costs on what cannot be particularly technolog-
than that other phe- phony Orchestra of Ukraine, guided by a a best-selling series. If so, they have found ical, simply have to
nomenon himself did. British conductor, and are part of an on- a real bargain. Robert Long fade into second place
If you think of Franz to the paramount fact
Liszt as a barn -burner, for instance, Richter's Grande Sonate; certainly nowhere will you of the music itself. Some of these perform-
interpretation of his music will prove to you find a more grandiose, majestic performance ances may force you to reconsider the relative
the unfair limitations of such a conception. of it than Richter's. importance of the very latest, up -to -the -ab-
The limited scope of a single review forces Both these boxed sets contain their own solutely -last-minute state of the recording art;
the reviewer to give this coincidental, duplex performances of an all-time Richter specialty: a few others may arouse homicidal emotions
blockbuster merely a lick and a promise, com- Mussorgsky's "Pictures at an Exhibition." towards the apparently terminal respiratory
paratively speaking. The BMG/RCA set con- They also overlap with separate but equal cases in the near background, uninhibitedly
tains a generous portion of Bach: Richter's fa- recordings of Schubert's D -Major Sonata (Op. barking away like walruses. Musically, though,
vorite English Suite (No. 3, in G 53, D. 850); the BMG/RCA set provides the A - many of these miraculous performances will
Minor-recorded in 1948!), the D -Minor Minor Sonata (Op. 42, D. 845), to boot. The carry you to unprecedented heights, causing
Concerto, and (with Anatoly Vedyernyikov) heaping Beethoven helping includes two Con- almost overly familiar works to sound fresh,
the Concerto for Two Claviers and Orchestra. certos (No. 1 and No. 3) and no fewer than 10 new, and vital and also making you feel fortu-
Until fairly late in Richter's life, Soviet stric- sonatas-including the "Tempest" (Op. 31, nate to have shared the same century with the
tures against much contemporary music No. 2), the "Appassionata" (Op. 57-ostensi- Ukrainian -born, German -Russian -Polish -
caused Richter to chafe badly, but here we bly Richter's own favorite among his several Swedish -Tartar pianist known as Sviatoslav
have conceivably his first venture into the mu- recordings of it), and the mighty "Ham- Teofilovich Richter. Paul Moor
AUDIO/NOVEMBER 1996
100
ORIGINAL MRS TER RECORDING
M
t.lLá. -n> ,K1 C"

--W.-The GAIN System
NATURE'S
MpSL
Exclusive
..,n 680 ENCORE
MOTHER'S MILK
NEvr tFiiLLiLASe UDCD 683 IVtW iitLtAst UDCD 684
BETTER SOUNDING MUSIC. UPGRADE TO ULTRADISC IIT^^
Your favorite artists sounJ surprisingly better on Ultradisc II `: Why? Because Mobile Fidelity's mastering technology These great
is a cut above-and yoi can hear the difference. As the creators of the 24k gold audiophile CD, we have
developed major advances such as The GAIN System a proprietary master ng system that uses the
titles and more
highest grade of digital technoogy available. Starting with the original master tapes, we are able to capture every available at:
last nuance of the original reccrding. What does this mean? You'll hear music like you've rever heard it before!
Ultradisc T" The Original 24K Gold Audiophile Compact Disc.

To receive a c,lor catalog or The GA N System" technical paper, call 800.423.5759.
105 Morris Street Sebastopol, CA 95472
t-iobiled WWW URL address: http://www.moh.com/
epon In Canada call 800-267-1216 (Music Retailers)
a am:., o+MIasL. t..c. or 800 465-4434 (Hi -Fi Retailers)
Monteverdi: Vesperae in Nativitate Sti. manticism of the 19th Since it also uses a variety of compositional
Joannis Baptistae century. styles, Monteverdi's Vespers can be difficult to
Hassler Consort, Franz Raml But Monteverdi also perform with consistency. The Hassler Con-
MDG 605 0593, CD; DDD; 74:04 infused his new style sort, under the direction of Franz Raml, has
Sound: A, Performance: A+ into the church music of overcome these difficulties to present an out-
his day. He spent many standing interpretation that could be consid-
Born in 1567, Claudio Monteverdi was the years as the choirmaster of St. Mark's in ered a definitive version. The group's atten-
principal link between the music of the 16th Venice and composed a number of outstand- tion to every detail is exemplified by its use of
and 17th centuries. Because of his monumen- ing sacred works. Unlike most of his contem- a quarter -comma mean -tone temperament.
tal contributions to the dawning of baroque pories, Monteverdi treated Biblical texts with The ensemble, playing on original instru-
opera (notably his great Orfeo) and the vitality the same originality that characterized his sec- ments, is tightly knit and flawlessly in tune.
of his Italian madrigals, he is credited with ular music. His Vesperae in Nativitate Sti. Even listeners leery of early music will instant-
leading music out of the renaissance and into Joannis Baptistae contains an abundance of ly notice the resulting beauties of this perfor-
the baroque. In this regard, he can be com- virtuosic vocal and instrumental technique, mance's intonation.
pared to Beethoven, who heralded the Ro- stark contrasts, and vivid word painting. Of the many excellent soloists, the coun-
tertenors are particularly fine. Overall sound
quality is impressive, and great care was taken
in balancing the voices and the instrumental
accompaniments. Patrick Kavanaugh
Messiaen: Et exspecto resurrectionem

mortuorum; Couleurs de la Cité Celeste;
Stravinsky: Symphonies of Wind
Instruments
Percussion Group of Strasbourg; Orchestre du
Domaine Musical; New York Philharmonic,
Pierre Boulez
SONY CLASSICAL SMK 68332
CD; ADD; 57:01
Sound: B+, Performance: A-
Carter: A Symphony of Three

Orchestras; Varése: Déserts; Ecuatorial;
Hyperprism
New York Philharmonic; Ensemble
Intercontemporian, Pierre Boulez
SONY CLASSICAL SMK 68334
CD; ADD; 48:34
Sound: B+, Performance: A-
PAQUITB
Boulez: Pli Selon/Livre Pour Cordes

BBC Symphony Orchestra; Strings of the New
Philharmonic Orchestra, Pierre Boulez
SONY CLASSICAL SMK 68 335
CD; ADD; 70:50
Sound: B+, Performance: C+
You have to admire Pierre Boulez. While

other composers have been swayed by the
minimalist trends of the last
"...this album is his
[Paquitc D'Rivera] 30 years, he has resolutely
set of the very sweetest stayed the course of 20th cen-
and magnanimous tury atonality. He's a champi-
of remembrances...
...a jazz classic..." on of things that go skarack!,
Fred Bouchard whether it's Elliott Carter or
jazz Timm, Sept 1996 Frank Zappa. Like the archi-
"Give the reedm n credit for brilliant
1 Crng - ...
programming and his roost no-nonsense work...
tect O'Rourke in Ayn Rand's widely read
me ra.,,tng>_ Grysy Aarr,c. is a mare -. The Fountainhead, Boulez will not give in.
a project that inspire. all of its partiúpants...
Eau w:U .ne pulse recording of amtaang mnlc.
on the more except onalorder of Ssetches of SpOn."
perruss rece-ded
BO) Brmenthol,
Buy it immediately.. - These three recordings are part of a Sony
Wes Phlkps, StereopMe.
n aound recereP^; Boston Glofr May 6, 996 Vd.19, No. 6, h.1e 1996 Classical series of Boulez reissues illustrating
010144 jr 45 W0126 his conducting and compositions. As a com-
poser, he has charted major musical trends of
YoL Can Hear The Difference the 20th century, from atonality to works in-
pesky Records Radio City Stamm. P.O. Bo> 1261 New York. NY 10101 fluenced by world music. Olivier Messiaen's
fora free catalog - to order I-100-131-1437 or 313-5B- 7577 Intee and learn http:llwwwtoesky.com; m..
-».:'wlaa.-. eatr1.._/w._'BlBlt
.a AUDIO/NOVEMBER 1996
102
"Et Exspecto Resurrectionem Mortuorum" Berners: Les Sirénes; Stravinsky praised
("And I Await the Resurrection of the Dead") Cupid and Psyche; Berners' music, which is
and "Couleurs de la Cité Céleste" ("Colors of Caprice Peruvien closest in style to that of
the Celestial City") are dramatic, sometimes RTE Sinjonietta, David Lloyd -Jones Walton and Constant
frightening works employing stringless or- MARCO POLO 8.223780, CD; DDD, 69:23 Lambert. Like Kurt Weill,
chestras with lots of percussion. "Et Exspec- Sound: A, Performance: A his earliest work was his
to," in particular, sounds like the score for a most avant-garde, and these later ballets are
blasted, post -apocalyptic landscape. The Baron Berners spent the early part of much more accessible. Berners involved him-
Igor Stravinsky's Symphonies of Wind In- his adult life in diplomatic service and the rest self in music for the cinema, and some of this
struments shares the same discordant sonic as an eccentric country gentleman with liter- CD's music will suggest that connection. The
terrain, in a work for winds and percussion ary and painting skills. But prior to his death opening scene of The Sirens sounds like an
that varies from the militaristic to the drama in 1950 he expressed that it was mainly as a English Daphnis et Chloé. The Irish Radio -TV
of a Balinese barong dance. It's only at the end composer that he wished to be remembered. Sinfonietta performs the witty ballets with
of the piece that Stravinsky waxes contempla- (He motored with a clavichord in the back great élan, and the sound quality is beyond
tive with a chorale -like hymn. seat of his Rolls!) reproach. John Sunier
While these composers
were looking to Asia for in-
spiration, Edgar Varese
looked to the future of mu-
sic made with electronic in-
Better AUDIO for your VIDEO !
struments. "Ecuatorial" uses
VA\D /k,D O
the familiar and eerie Ondes
Martenot. Employing extensive percussion
and sounds from the industrial world, like RST
sirens, Varése's 1923 work "Hyperprism"
Model 1 Model 2W
sounds thoroughly modern. Elliott Carter
used conventional instrumental forces, but the Phase -correct Three driver,
main speaker 300 watt amplified
expanded use of antiphony and the coloristic Model2
"The standard subwoofer
orchestrations of his A Symphony of Three
Orchestras owe an allegiance to Varese. Phase -correct lo: affordable "Rocks the
main speaker speakers." foundation."
Boulez's own music is indebted to the com-
posers he champions including one of his "Legendary
teachers, Messiaen. But there's a sense of de- performance
tachment and intellectual play in Boulez's on both films VCC Phase -correct
music that always keeps it at a distance. His and music." center speaker
pointillistic techniques rarely "Ultimate realism."
instill the kind of emotional
resonance that you can hear
in Varése's yearning compo-
VSM
sitions or Messiaen's exotic Phase -correct
tone poems. The rarefied do- wall -mount
main of Boulez's "Pli selon
MoSPT3 loudspeaker
ph," a setting of poems by Stéphane Mallarmé Ultra Pigh- "The ideal
is a wonder of sound painting and design, but In its pursuit of per- performance surround
fection, specialty phase -correct speaker"
it is ultimately a tedious and unrewarding lis-
main speaker
tening experience. audio has estab-
The ultimate embodiment
Boulez will be remembered less as a compos- lished high-fidelity of the VANDERSTEEN
er than as a facilitator, in conducting the works standards that only boxless full -range design.
of others and in engineering the electronic and the best speakers "lncon-parable detail
new -music laboratory at IRCAM (the Institute can reach. and revolution."
for Musical and Acoustical Research and Coor-
dination, in Paris). Now your home theater system can meet these standards. A VANDERSTEEN
The production values in these recordings, phase -correct home theater system creates a coherent and expansive sound -field
made in the years 1966 to 1983, clearly reflect with exceptional detail and superior dialog intelligibility. You will hear
Boulez's influence. The wide dynamic range why "boxless" is definitely better as the system's incredible realism heightens
will have you jumping out of your seat at your emotional involvement in your films.
times, and the soundstage-even in stereo-
shows his predilection for surround -sound For almost 20 years, VANDERSTEEN AUDIO has built affordable loudspeakers true
performances. to both science and music If you are looking for a system that convincingly
These releases are important historical reproduces every nuance of a film as easily as it conveys the essence of music,
recordings not only for the breadth of the we can direct you to your nearest carefully selec. ed VANDERSTEEN dealer.
compositions and the stunning performance,
but because their future as recording reper- UIMLNSIONAI PURITY \ //\ II 1L1. -)y I LLN. I If
toire is dubious. John Diliberto
Please write or call for a brochur-3 116 West Fot_rth St, Hanford, CA 93230
AUDIO/NOVEMBER 1996 and the name of your nearest dea'er.
(209) 582-03x4
103 CIRCLE NO. 34 ON READER SERVICE CARD
on that album, a bristling, in -your -
face response to the fluid folk of her
earlier material, seemed to indicate
that she'd had it with prettiness.
Fortunately, the pendulum has
swung back in favor of a more pleas-
antly conventional aesthetic on Nine
Objects of Desire. With startling ver-
satility and chilling accomplishment,
Vega successfully spans a spectrum
of styles from understated bossa
nova to jazzy swing and from ghoul-
ish folk to hip -hop inspired pop. But
if that sounds like a bumpy ride,
Vega paints all 12 of these tracks
from a muted pallette, with her mel-
low voice and excruciatingly tasteful
instrumentation the colors at its axis.
Assisted by husband Froom on
keys, Pete and Bruce Thomas of Elvis
e Costello's band (The Attractions) on
drums and bass, percussionist Jerry
Marotta, and members of Soul
Coughing, Vega strips each of these
songs down to its core groove and
feel, an approach that insinuates her
folk past, but also a style that inches
toward the audacity of 99.9F°. The
spare arrangements on "Birth -day
(love made real)," with its vaguely
juju-syle guitar theme, and the
$x
á
NEVER Stop
From the biblical ("With Our
Blood," "Back in the Twentieth
Century") to the maniacal ("Don't
Be So Strange," "Whatchu
SMUT PEDLERZ/BOMP
Think!?!"), provocative ("Proud to
FOR (.010, L3:57
á Sound: A, Performance: A-
be Human"), and hilarious ("Idiot
Son of 007"), Stop's debut infuses
Nine Objects of Desire Mickey Leigh and Simon Town- intelligence with potent rock 'n'
Suzanne Vega shend could both write books roll energy. And though Leigh goes
A&M 31454 05832, 38:52 about having 'amois, legendary for (and attains) dramatic ambi-
Sound: A-, Performance: A older brothers (respectively, Joey ence on two echo -drenched, gui-
Ramone and Pete Townshend) and ta -vocal songs, "With Our
overcoming the inevitable lood" and "The Ballad of
ne Vega knows a lot can "living in the shadow" sti. ickey Leigh," Never, oth-
in four years. She married ma-something that's e erwise, never digresses from
u r Mitchell Froom, gave birth pecially real when your the guitar -driven, power -trio
to aughter named Ruby, and then life's calling is the some as mplate.
gay th to another remarkable off- your famous sib ing's. He's been called "a
spring'ia new record named Nine Leigh, however, doesn't sound -alike little brother,"
objects, if Desire. need a book: lie ha; Stop, a kinet- but Mickey Leigh emerges here
ic trio that combines power -pop - with his own, distinct voice and ap-
a' the industrial pretense of punk influences with off -kilter quirk- proach. While Never is a band ef-
1992's ambitious but off-putting iness and humor reminiscent of fort, it's truly one person's sound
99.9F°, Suzanne Vega-the one-time early Zappa and Eeefheart. The and vision. Play it loud and never
literate, coffeehouse folkie-scared net result has n -ore in common with stop. (Available from Smut Pedlerz,
us into thinking she aspired to be a the Brit -invasion thin New 'York P.O. Box 3419, Chino, Cal.
female Tom Waits. Her abrasive work punk. 95927-3419) Mike Bieber
AUDIO/NOVEMBER 1996
104
ORIGINRL MR TER RECORDINGr"
ORIG. iPi. MRSIER RECORDING
The Sweet Sou d

of Vinyl is Ba
MFSL 1-251 MFSl. 1-253
Original Generation Master Tape urce
Half -Speed Mastered with
The GAIN System -M
Specially Plated and Pressed on
200 grams of High Definition Vi 1
Dust -Free, Static -Free Rice Pa , - r

Inner Sleeves
Special Protective Board NFSL 1-255 MFSL 1-261
Heavy Duty Protective Pack g
Super ' -
, i ion
-BE GEES
'FR/ FALGAR
MFSL 1-261 ,MFSL 1-263

ORI G/NR( MR S IEF RECORDING MRSTER RECORDING
Frampton Comes Alive!
2 LP Set
ó U-' - fidelitY
nnNUV Ww`rNVIMMnrvwnNV.'
sourtd lab
a , MFQ.INc.
105 Morris Street Sebastopol, CA 95472

890.423.5759
e-mail: mofi@mofi.com
WWW URL address: http://www.mofi.com/
In Ca 'ada phone
(800) 267.1216 (Music Retailers)
or (800) 455-4434 (Hi- ti Retailers)
CIF CLE NO. 2C CN READER SERVICE CARD
hushed acoustic mystery of "Honeymoon
ii:
Suite" see Vega embracing the folk idiom but r (IC1
not succumbing to it. And cuts like

"Caramel," a loungy bit of bossa nova, and the
breezy pop of "No Cheap Thrill" possess a L J
sensuality we haven't seen before from the easy -listening strings, turntables scratch
songwriter. The only problem on Nine Objects DGC DGCD-24823, 54:15 over wailing harmonicas, and distorted
of Desire lies within Vega's narrow vocal range. Sound: B, Performance: A clavinets solo over hep vocals. Many sound
Given the breadth of musical diversity on the
snippets (including Zappa, Jobim, and '70s
album, it's silly to think that Vega's hushed vo- inventive wordplay juggler, trash - soul band The Emotions) glimmer through
cals can swing some of the further stylistic can -sampling guru, and slacker extraordi-
reaches. On both "Tombstone," a prowling, the mix, but word has it that much of
naire, Beck Hansen is not your typical Beck's sampling mania was shelved because
understated song that hauntingly yearns for a
workaholic. It's been almost four years of clearance problems. Still, it's his free -as-
growling voice at its center, and "My Favorite
since his anthem -for -the -era, "Loser," sociation rambling, along with the musical
Plum," which needs something equally gruff,
topped the charts and made him a star, but tomfoolery, that keeps Odelay together.
Vega is unable to keep pace with her own
heady arrangements. Beck has been slow to record a follow-up, Cryptic, unfathomable lyrics create
But regardless of this minor incongruity, stubbornly defying corporate convention Beck's otherworldly scenarios. Some are
Nine Objects of Desire rates as Vega's master- while polishing his next enigmat- simply inane ("Got a devil's
work thus far, an album that rewards repeated ic message to the masses. Full of haircut in my mind"), and oth-
listens and a coup de gráce that both advances zonked-out lyrics and surreally - ers arise from Beck's homeless
and perfects her pursuit of a singular pop mu- melodic choruses, Odelay is well past ("Karaoke weekend at the
sic expression. Bob Gulla worth the wait. suicide shack/community ser-
More focused than Mellow vice and I'm still the Mac").
Broken Arrow Gold (which contained "Loser"), While most of Odelay is upbeat,
Neil Young with Crazy Horse Odelay captivates with charismatic silliness occasionally Beck retreats inside, revealing
REPRISE 2-46291, 47:43 while proving that Beck's phenomenal hit a sad soul under the clown's mask, such as
Sound: A, Performance: A was no fluke. He may still sound like a on the Beefheartish "Derelict" and the
slacker with his sleepy vocals and simple mournful "Ramshackle."
Neil Young first hooked up with Crazy country -blues allusions, but Beck is a gold- Depending on your audiophile con-
Horse on 1969's Everybody Knows this is en -penned songwriting machine. cerns, Odelay is either a wonder of disasso-
Nowhere, and in the intervening 27 years, their Beck's sampling wizardry determines ciated soundbytes or a rather unnerving
on-again/off-again relationship has yielded Odelay's sonic surprise. Over a slew of lo -fi menagerie. But no one can contest the
some, maybe even most, of Young's finest
"funky drummer" loops, he grafts a zany author's sampling genius or songwriting
work: After the Gold Rush, Rust Never Sleeps,
virtual orchestra. Saucy guitars dance with skill. Ken Micallef
Ragged Glory, Weld, Arc, and Sleeps With An-
gels. This new one's certainly near the top of
the heap of this long -running hit series.
In contrast to his last few records, Young's Load the band draws from a fresh array of styles
glass of water is now half -full. Broken Arrow Metallica without straying far from its roots. "Poor
begins with a declaration: "I'm still living the ELEKTRA 61923, 79:00 Twisted Me" and "2 x 4" celebrate boogie
dream we had/For me Sound: B+, Performance: A blues, while "King Nothing" and "Wasting My
it's not over." This opti- Hate" update dark, primal rhythms with state-
mism runs throughout Metallica ruled the heavy-metal circuit for of-the-art guitar effects and "Mama Said"
Broken Arrow, he has more than 10 years until it decided to take a takes an incisive and poignant stab at country
found satisfaction just four-year hiatus after the last record (1991's music.
staying on life's high- Metallica). During this absence, a new sonic Most notable, however, is the way Metallica
way. Young's visceral pollutant called "alternative" took over the has kept up with the times. "Until It Sleeps"
guitar hasn't lost any of its edge over the years, charts, and kids who once banged their heads draws surreal guitar lines from the workbook
and when you add some Crazy Horse to the to Guns 'N' Roses and Megadeth began losing of Angelo Badalamenti, and the surging gui-
equation, it's like strapping a supercharger their minds to Nirvana and Smashing Pump- tars and sinister vocal
onto the beast. The band's definitely in "pile- kins. Heavy metal seemed doomed to an ex- harmonies of "The
driver" mode as it lays down some killer tinction more permanent than that of the di- House Jack Built" and
grooves on "Loose Change" and "Slip Away." nosaurs. So Metallica's members, unwilling to 4.
"The Outlaw Torn" are
When Young finally downshifts into his adopt the moniker Alternica, put their more than a bit reminis-
folkie roots on "Music Arcade," he finds him- troglodyte heads together to fight metal's last cent of Alice In Chains.
self musing over the long roads travelled: "I stand. And Load, the new album, is a not -so - True, some of Metalli-
didn't really mean to stay as long as I have/So secret weapon. ca's older fans might be disappointed by
I'll be moving on." After that, there's nothing Like the last disc, Load is loaded with Load's lack of barnstorming thrash numbers,
left to do but play some blues. It's just Young scream -along choruses, razor-edged rhythms, and "Hero of the Day" is a bit wimpy for any
and the guys in some rowdy, noisy club dig- and the energy of a generation that feeds off authentic headbanger. But overall, Load is a
ging into the Jimmy Reed classic, "Baby What bitterness and anger. But the record is more disc that shows tremendous growth and ma-
You Want Me to Do." Hey Neil, is that a multidimensional. Instead of relying primari- turity while ushering heavy metal into its next
rhetorical question? Steve Guttenberg ly on staccato guitar riffs and tuneless growls, critical phase. Jon Wiederhorn
AUDIO/NOVEMBER 1996
106
DISC PLAYERS/AU KS/EQUALIZERS/HEADPHONES/AMPLIFIERS/COMPACT-
ORDERS/COLOR TELEVISIONS/VIDEO/PROCESSORS/CAMCORDERS/CA
S/PORTABLES/TELEPHONES/ANSWERING
wwwwww m
MACHINES/RADAR
ww"w"rw
DETECTOR
ORDS/COMPACT DISr" 'STEREO RECEIVERS/TA
KS/EQUALIZERS/HE,
Bose Speakers JBL Specials MUSIC'
LAR WORLD JBL
62% OFF
Mfr. Sug. R m.
High Performance Cassette Deck Super Special

Bose` Acoustimass 5 Series II
Speaker System 50%
JVC' Mir. OFF
Seg. trial,
JVC TDV661 3 -Way Bookshelf Speakers
JBL ARC7O
2 -cube speaker arrays provide direct 3 -Head Cassette Deck 8" cast -frame woofer Titanium
& reflected sound in an ultra -compact ,411 Closed -loop tweeter 150 watts power handling
size Acoustimass' module provides dual -capstan drive 8 ohms Black woodgrain finish
deep bass Black or white cabinets provides gentle handling Mfr. Sug. Retail $659.90
$54 90O
Bose° 201° Series IV
IBOS AM511-BKI/BI«k
BOS ÁM511-WH)/White of your valuable tapes
Dolby B & C noise
$14 993/Pr. (JBL ARC70)
JBL Performer
*Compact, Direct/Retlecting', 6.5' woofer ...pr. 519800 reduction *Dolby HX-Pro *Compact, 4.5' fulkonge driver, shielded pr 5990$
Bose' 301' Series IV extends headroom for more JBL SC305
*Bookshelf, Direct/Reflecting", B" woofer pr '318°° ea '129"
Bose' Acoustimass' 3 Series ID
dynamic recordings Full logic silent mechanism Cassette shell JBL P560
Center (bonne!, shielded, block
2 cube speakers +Acoustimass" boss module .. '399°' stabilizer Convenient center -drive mechanism *Fluorescent digital r ' enfer, 6.5', 50 watts eo '179"
Bose' 501V peak display Mfr. Sug. Retail $399.95 JBL MR38
...pr '518°'
Dnect/Reflecting", for floor, S.25" woofer pr '249"
19 995
L. cabinet
Bose' Acoustimass' 7 was $899 JBL 4312BK
*Home Theater Speakers, bass module + 3 subes '69900 $ (JVC TDV661)
'" heavy-duty woofer pr 549995
CD Playors/04 Converter Receivers Speakers

Technics DENON 53% OFF YAMAHA
Mfr. Sog. Retail (5130
RATED
BEST BUY
Denon DCD-3000 Technics SL -PD 1010 Denson AVR-3000 Yamaha NSA -636
Compact Disc Player 5 -Disc CD Changer A/V Surround Receiver 3 -Way Speakers
ALPHA processor Real 20 -bit super Front -load carousel design allows 4 1 10 watts x 2 + 110 watts center & Acoustic suspension design
linear converter 8x oversampling discs to be changed while 1 is playing 35 watts x 2 rear 13 surround modes 8" woofer *Magnetically shielded
Optical & coaxial output 20 -track MASH 1 -bit D/A converter 32 -track including Dolby Pro Logic Deluxe & 10-140 watt power rating Pebble
programming Remote control programmirg Remote control simple remote controls black finish
$5995 (DNN DCD3000) $ 1 99" (TEC SLP01010) $ 5 9 995 (DNN AVR3000)
$9995/Pr (YAM NSA636)
RCA CD -1051 RCA RP -8055 Technics SA-GX290 Pinnacle PN5+/Oak
Midsize CD, 20 -track pr ramming, remote 579°5 .5 -disc, 32 -track programming, remote '109°5 Home Theater, 70 watts e 2, Dolby Pro logic . 0169" *Compact, 2 -way, diaduct port pr '99"
Technics SL-PG350 Technics SL-PD987 Technics SA-EX100 Design Acoustic P5.66 -Oak
*CD, MASH 1 -bit DA, 20 -track programming '129°' 5 -disc, 32 -track pr ramming, pitch, remote 5189" 100 watts per channel, remote control 0169" 2 -way, 6.5" woofer, oak color cabinet pr '9900
JVC XLV -282 JVC XLM418 JVC RX-817V Wharfedale Diamond VI
*CD, 1 -bit, 32 -track programming, remote '149" ó+,disc, 32 -tack programming, remote '199" Audia/Videa, 105 wars z 2, Dolby Pro Logic .. 5299°0 Highperfr- - compacts, 5.75' woofer .. _pr.' 149"
Dynaco CDV-1 Technics SL-MC50 Technics SA-EX700 Technics SB-LX90-BK
*CD, tuhe output, remote '559" 613 -disc plus single CD play, remote '22995 *Home Theater, 120 watts x 2, Dolby Pro Logic 034905 '.'r, black pr '199"
Denon DA -500 Technics SL-MC400 Aiwa AV -X300 Cerwin-Vega AT -15
0/A Converter, ALPHA processor '199" 11Odisc plus single CD play, remote '269°' '.rower/5{D Nog" 100 watts z 3+ rear CALL '599°5
DCC/Cassette Decks Double Cassette Decks Separates/Equalizers

OP'.
rAAirs Suo. hod
Frampton Comes Ali s e!
Philips DCC900 TEAC W -485C Dynaco Stereo 80

Digital Compact Cassette Recorder Duel Cassette Deck Vacuum Tube Power Amplifier
Records & plays DCC tapes Plays Dolby B & C Normal/high-s eed Enjoy warm, pleasing tube sound
analog cassettes with either Dolby B or dubbing Continuous playback (deck 40 watts/channel Simple controls
C Auto -revere Headphone jack 2 to 1) Peak -level meters with indicators allow you to tweek xn MOB 678
Remote control output tube bias Peter Frampton
419995 (PHI DCC900) $6995 ,TEA W485C1 $ 8495° (DYO STERE080)
Frampton Comes Alive!
Technics RS-BX501 TEAC W -515R dbx XB150
*Cassette, Auroreverse, Dolby B/C/HX-Pro '199" *Deck #1 auto -reverse, Dolby B
19vs Subwoofer Power Amp, 140 wats RMS '179"
Teac V-1030 TEAC W -760R Cream: Goodbye
JoLida 51502A
3 -Head Cassette, Dolby S/B/C/HX-Pro, fine bias .'299" *Deck fl auto -reverse, Dolby B '159" Integrated Amp, tubes, 60 watts per channel . CALL MOB 681 co $ 24.99
Fostex XR5 NC TDW-318 Dynaco PASO 50% OFF' REM: Reckoning
*Multi -track Cassette, 4-(rack/4inoets, pitch '379" Dual auto -reverse, Dolby B/C/HX-Pro, pitch '179" Tube Preamp, MM phono, *Soo. Rod 5999 54995° MOB 677 co $ 24.99
Luxman K-373 Technics RS-TR575 TEAC EQA-110
'549" 5690,
3 -Head Cassette, Dolby B/C/HX-Pro *Dual autorev. retort/play, Dolby B/C/HX-Pro '229" *Graphic Equalizer, 10 -bands per channel CALL TO ORDER Music
TEAC V-80305 TEAC W -6000R AudioSource EQ-14
3 -Head Cassette, Dolby S/B/C/HX-Pro, remote . '699" *Dual A/R re./play, pitch, Dolby B/C/HX-Pro '449" Equalizer/Analyzer, 10-bonds/ch., test mic . 5249°: REVIEWED IN THIS ISSUE
CALL US TOLL FREE FOR ITEMS NOT LISTED IN THIS AD SE HABLA ESPANOL
SEND MONEY ORDER, CERTIFIED OR CASHIER'S CHECK, MASTERCARD, VISA, AMERICAN EXPRESS or DISCOVER CARD (include
Interbank No., expiration date and signature) To: J&R Music World. Dept. AU61 1, 59-50 Queens Midtown Expwy, Maspeth, Queens, Visit WOR wó co] at 31 Park Row, NY, NY
NY 11378. Personal and business checks must clear our Authorization Center before processing. Shipping, handling and Insurance
Charge (Continental US) is 5% of the total order with a $4.95 minimum for orders up to $500; 4% for orders over $500 to $1000; and
IT Shop By Phone or
3% for orders over $1000. For heavyweight/over-sized items, shipment by air, or to Canada, Hawaii, Alaska, Virgin Islands & Puerto to order a FREE CATALOGUE
Rico please cal for information. DO NOT SEND CASH. Sorry, no C.O.D.'s. NY residents please add sales tax. ORDERS SUBJECT TO
VERIFICATION & ACCEPTANCE. NOT RESPONSIBLE FOR TYPOGRAPHICAL OR PICTORIAL ERRORS. ALL MERCHANDISE SHIPPED 24 Hours A Day, 7 Days A Week
BRAND NEW, FACTORY FRESH AND 100% GUARANTEED. Some quantities may be limited. Copyright 1996 J&R Music World.
City of N.Y Dept. of Consumer Affairs License Numbers 0900310/0900615/0700616/0900617
CS DEC til ua 1-800-221-8180
JAZZ -BLUES ing plant). So, the large group or-
chestrations heard on these six discs
were, at least in part, Columbia's re-
action to Prestige's approach of
recording Miles in loose, small -
group blowing sessions. Columbia
opted to use its resources and pre-
sent him in a grand context, and
thankfully, Miles had his choice of
arranger in Gil Evans.
Vi11J tiP
AHD UVU
Floyd Dixon
ALLIGATOR RECORDS
ALCD 4841, 58:24
Sound: A-, Performance: A
Is it 1996 or 1956? Listening to

Floyd Dixon's rollicking Wake Up and
Live!, it's easy to mistake it for a lost Del -
mark or Aladdin recording of the '50s.
He's best known for his jump blues hit of
1954, "Hey, Bartender"; yes, that's the one
the Blues Brothers covered. Dixon even
takes another swing at it,
these 42 years later, and
with extra meat on his
bones, this new version
sounds even better.
Dixon's a triple threat: a
mean piano thumper, a
powerful, bluesy vocalist, and on the 16
original tunes in this collection, he
proves he's still writing music that boo-
gies with the best. The music's power and
authenticity was captured (analog) using
vintage mikes and tube preamps, yielding
t
the warm sound of an old blues LP but
The Complete Columbia In fact, everything about this also a beautifully produced modern
Studio Recordings package offers a giant leap for jazz recording.
Miles Davis & Gil Evans Way back when, Dixon convinced his
lovers. Similar in packaging to The
COLUMBIA 67397, six CDs; 7:28:51 old buddy Ray Charles to drop his Nat
Complete Billie Holiday on Verve box
Sound: A, Performance: A+ King Cole affectation and reveal his true.
set, the Miles & Gil package is a
bluesier self. And there are traces of
thick, cloth -bound book with exten- Brother Ray's style in Dixon, particularly
he only disap- sive liner notes and CD jackets con- the phrasing on "A Long Time Ago"; its
pointment (and tained within. Knowledgeable histo- not mimicry, just more of a gospel color.
it is slight) from rians and producers contributed to Eddie Synigal's miraculous tenor sax solo
this long-awaited the annotation, great photos elevates this tune to an even higher level.
boxed set per- The instrumental "Gettin' Ready" is sim-
abound, and original cover art graces
ply Floyd and the band limbering up; the
tains to sound the CD slip covers.
rehearsal was so good they had to put it
quality; the emphasis on upper par- Although Miles's 1955 signing on the CD.
tials may be cause for moderate with Columbia was met with some Floyd Dixon, a k a "Mr. Magnificent
equalization. But when considering resistance because of the trumpeter's makes great music the old fashioned way;
Columbia's track record of near dis- ongoing drug problems, it was no se- he fills it with warmth, masterful tech-
regard for the sound of its early jazz cret that his records sold well while nique, and fun. Cross your fingers and
reissues on CD, the inclusion of a hope that those qualities never go out of
he was under contract to the Prestige
fashion. Steve Guttenberg
high end is a giant step forward. label (which used Columbia's press-
AUDIO/NOVEMBER 1996
108
new
west
ELEC rh RO ICS Call today for special prices
on our entire stock of
The Audio/Video Specialist

AC3 Audio Separates A/V Receivers
Camcorders DSS DVD Industrial
Laser Disc Mobile PTV Speakers Acoustic Research
THX TVs VCRs SPEAKERS!
All Major Brands Including
AR Altec Lansing Aiwa Audio Authorized
Alchemy B&K Celestion Harman Kardon

Hitachi JBL JVC Kimber Kable
MonsterCable Panamax Premeir
RCA Toshiba Technics
New West Credit Card

Card holders enjoy special discounts & benefits.
Call 1-800-733-1366 for application & details.
Complete Altec Lansing
Honest Prices - Friendly Service THX Home Theatre Package for:
Delivered
149995 FedEx!
800-488-8877
All Prices Include Delivery!
Suggested retail 299502
(Fedral Express on all packages under 20 lbs)

COD's & PO's Welcome!
Looking for more info?
tool
ANIE NIUNI FeCEIr http://www.newest.com
A Division of Clarity Electronics LTD.
4120 Meridian Bellingham WA 98226 Fax (360)734-3314
All Times PST: MON-FRI 7:OOA to 6:00P SAT & SUN 8:OOA to 4:00P
It's not new*. Their first three collaborations, encom-
passing the years 1957 to 1959, yielded clas-
It's not a gimmick... sic results. Miles Ahead (in stereo here for
the first time), Porgy and Bess, and Sketches
It doesn't require a of Spain virtually defined the jazz concerto,
decoder or processor... with Miles as the only soloist. Regarding its
influence on the quickly developing field of
Yet it provides the most jazz orchestration, West Coast arranger
astonishing sonic realism Marty Paich once stated that Miles Ahead
you have ever experienced! was studied as "the Bible for years and
years."
Backed by a jazz rhythm section-usual-
Il0 WOG' G7(lú pm tree o ;I14
MT (el oQ Qa4491% _, ly minus piano-and an assortment of col-
orful winds, Miles exhibits extreme lyricism
on trumpet and flugelhorn, obviously at-
THE BINAURAL SOURCE tuned to the array of expressive timbres
surrounding him. Beautifully written dou-
and a pair of headphones! ble-reed, flute, lower -brass, and French -
Call or Write for FREE Catalog horn parts were the emphasis of Evans'
meticulous musicianship. But when in-
800-934-0442 Box 1727 Ross, CA 94957 clined, he added the roar of the big band to
Over 100 true binaural recordings from Europe and the U.S. complete the tapestry.
Each of the first three CDs of this set pre-
a variety of music all are also loudspeaker -compatible and
sents one of the above mentioned LPs and a
provide startling surround sound with ambience decoders
Visit us at: http: www.btown.com binaural.html complete set of alternate or rehearsal takes.
* = it's been around for 115 years! Disc four features the less heralded Quiet
Nights, along with different sextet sessions
with vocalist/pianist Bob Dorough and sax-
ophonist Wayne Shorter, which appeared
on anthologies years later. Two previously
unissued pieces follow: 1963's "The Time of
the Barracudas" (written for a stage play of
the same name) and the experimental
AUDIO Alchemy "Falling Water" from 1968 (the last of the
a/d/s/ Advent Audio Control Aiwa AKG Altec Lansing Evans/Davis studio collaborations). Several
Acoustic Research e Audio Alchemy Audio Quest Audio Source alternates from the Miles Ahead session
Atlantic Technology B&K B&O Bazooka BRE round out disc four.
dZ Beverdynamics Bell'oggetti Bose Brother
Audio Alchemy DIM Disc five gives us more alternate takes
Canon Canton Caner Cerwin Vega Dac-in-the-Box
Celestinn Clif Designs CodeAlarrn 5/V International Grand Prix Winner - 1995 from Miles Ahead and an enlightening
the world's best selling D -to -A converter
Coustic CWD Perfect upgrade for ANY CD based glimpse into the recording process by way
or LaserDisc A/V system
of blocks of rehearsal time that include stu-
Dynan
Grado Haller
Accepts both TosLink
and coaxial inputs
Stock #16101
199 dio chatter from the sessions.
Disc six presents more pieces of the per-
Hannan/Kardon Hitachi
Hughes Infinity lamo IBL vasively interesting, unquashable Miles
ihjVC K40 Koss Lexicon Monitor Ahead sessions, alternate versions and re-
Audio Monster Cable Nakamichi Car hearsal material from Porgy and Bess, and
Niles OmniMount Orion Panasonic Surround Sound Processor rehearsal takes from the Sketches of Spain
PhilipsPinnacle Pioneer Home/Car Dolby® Pro Logic decoder with
Panamax PPI Pmscan PS Audio PSB I built-in discrete amplifiers sessions.
Additional Dolby® 3 channel, hall
Rane Rockford Fosgate Bunco Spatializer and stadium surround modes Although Davis and Evans were further
Soundstream Sennheiser Sherwood ;0W/Ch 80 for center Limited caught on record with live versions of some
Sharp Sony Sonance SSI Stewart Tannoy
LOW/Ch x 2 80 for rear Quantities
Adjustabledigital delay of this material, no new ground was bro-
Tar et Technics Terk Thorens & More! Programmable remote 1229
{ Stock #3235 ken. What's in this box is the real McCoy-
the best of large ensemble jazz, appropri-
Shopping for Quality Audio, Video or ately presented and painstakingly researched
Car Stereo Products at Affordable Pricing? by producer and jazz historian Phil Schaap.
Please Call Us Toll -Fr -81 1-r d- It's Grammy time. James Rozzi
CIRCLE NO. 29 ON READER SERVICE GAHI AUDIO/NOVEMBER 1996
110
AUDIO, November 1996, Volume 80, Number 11.
AUDIO (ISSN 0004-752X, Dewey Decimal Num-
AD INDEX
ber 621.381 or 778.5) is published monthly by
Hachette Filipacchi Magazines, Inc., a wholly .0
owned subsidiary of Hachette Filipacchi USA,
Inc., at 1633 Broadway, New York, N.Y. 10019. Firm (Reader Service No.) Page
Printed in U.S.A. at Dyersburg, Tenn. Distributed Acrotec (1) 66 (r1
by Warner Publisher Services Inc. Periodicals Adcom (2, 3) 15, 47 N
postage paid at New York, N.Y. 10019 and addi-
tional mailing offices. One-year subscription
rates (12 issues) for U.S. and possessions, $24.00;
Canada, $33.68 (Canadian Business Number
I26018209RT); and foreign, $32.00.
AUDIO® is a registered trademark of Hachette Fil-
ipacchi Magazines, Inc. 01996, Hachette Filipacchi
AudioQuest
Audio Research (4)
Axiss Distribution (1)
B&K(5)
B&W Loudspeakers (6)
Bose/Acoustic Wave
Cover IV
Cover II & 1
57
66
71
19
M
.2,
Magazines, Inc. All rights reserved. The Editor as- Brystonvermont (36) 83
sumes no responsibility for manuscripts, photos, Cambridge SoundWorks (7, 8, 9) 11, 35, 63
or artwork. The Publisher, at his sole discretion, re-
serves the right to reject any ad copy he deems in-
appropriate.
Subscription Service: Postmaster, please send
change of address to AUDIO, P.O. Box 52548,
Boulder, Cob. 80321-2548. Allow eight weeks for
change of address. Include both old and new ad-
dress and a recent address label. If you have a
subscription problem, please write to the above
Carver
Chesky Records
conrad-johnson (11)
Crutchfield (12)
Definitive Technology (13)
EchoStar
Eosone(14)
Esoteric Audio (35)
87
102
59
58
38, 39
19
85
13
L
3
0
address or call 303/604-1464; fax, 303/604-7455.
Back Issues: Available for $6.95 each ($8.25 Cana- J & R Music World (15) 107
da; $13.25 other foreign) in U.S. funds. Please add Jensen (16) 49
$1.00 for the Annual Equipment Directory (Octo- Kimber Kable (38) 95
ber issue). Send a check or money order to Klipsch 89
ii«
ISI/AUDIO Magazine, 30 Montgomery St., Jersey Krell 43
City, N.J. 07302, or call 201/451-9420.
gO
Legacy Audio (17) 75
r Marantz
Martin -Logan
Mitsubishi (18)
67
65
73
Mobile Fidelity (19, 20) 101, 105
Monsoon 55
Music Interface Technologies (21) ... 2 & 3
CO
SUBSCRIBER SERVICE NAD (10) 99
NEON (22) 37
New West Electronics (23) 109
Paradigm (24) 4
PLACE LABEL HERE Parasound 51
Pass Laboratories (25) 80
We, at
Pioneer 9, 40-41
Polk (26) 53
MOVING? Please give us Radio Shack 81 specialize in
8 weeks advance notice. Attach Rotel of America (27) 77 audio, video and
label with your old address, and Sennheiser (28) 74 car stereo products.
write in new address below. Smirnoff 7 With over I S years
Sony 33
of experience
Sound City (29) 110
NAME
Southern Comfort Cover III
selling top brands
ADDRESS Sunfire Corporation (30) 91
to retailers,
'Fandberg (31) 25 we have decided
CITY
Thiel 24 to open our doors
STATE Toshiba (32) 45 to the general public.
Ultimate Technologies (33) 79 Please call us toll free at
ZIP
U.S. Air Force 16 & 17
1(303) 604-1464 Vandersteen (34) 103 1=800-370-3156
FAX 1(303) 604-7455 Velodyne 61 for thousands of name
Wholesale to the Public (37) 111 brand products
AUDIO Yamaha 21, 23 at the best prices!
P.O. Box 52548, Boulder CO 80322
AUDIO/NOVEMBER 1996
111
SAGS
DES
A U O l o/ V I o E o FUIRIVETUIRM
G Home
"We will even design o piece to
your exact specifications". Office
(all us today for your local dealer c.
and a copy of our Newsletter with
product photos and specifications. Travel
America's best disc, tape and
component storage system
Free rrailorder brochure
(pleise mention Audio)
Per Madsen Design (415) 822-4883
PO. Box 882464, San Francisco, CA 94188
The City CD Towers

MO D U LA R Desgn your own entertainment center. This modular grouping accommodates
a large rear projection 7v & AN equipment and up to 1,600 CDs or
360 videos, lasers L°s. 'iquc; photos, etc. All for only $1,394.
Mighty CD storage. STORAGE Let your inagination run wild.
Available in 6
diferent sizes. C Open Wide & Say Ahhh
This
Eay to assemble.
A Cabinet
B holds
BOO
CDs
N
E
T
S s,ll>.Air
4141-A Transport St. . Ventura, (A 930)3

The Look of Leather
805.644-2185 Fax 805.644-0434
CAN -AM
The Strength of Steel 800-387-9790 or 905.475.6622 http://www"io.org/-canas
CD sToRAGE+ The Art of CD Storage

HOME THEATER/A Stylish Solution
SORICÉ SYSTEMS Include...

Video, Cassette, LP, Laserdisc
and Component Storage Units. . lluld, 186,1..
Horizontal 41kí
4 Our A300 Model shown stores 300 CD's. calalopng system

Optonall
+ Impeccably crafted in these Premium Solid Easy
fo
Solemn, quiet 31,0
rotation
Hardwoods: Oak, Walnut, Teak or Cherry. Qualrty fenSlmcllnn
+ Adjustable Shelves store any combination of veal ws 4 oak
CD's, Videos & Cassettes - all in One cabinet. Shipped fully

assembled
4 Adjustable Solid Brass Bookends keep Discs & Available in
All black
Tapes upright and in place. All oak
- Oak a black
4 Cabinets can be stacked, wall mounted or left Made In USA
free standing.
4 Optional Wood or Glass Doors are available.
b Enclosed back provides dust protection. o
4..
4 Compact size: 391/.."H x 23112"W x 71/2"D.
Cabinet comes assembled.
PATENTS PENDING STARTING @ $249.00
soRice
Credit cards, checks, and money crders accepted.
For FREE Color Literature & Prices For orders or a free color brochure,
on our Full Line of Quality Products call 1-708-331-7355
PO Box 747-22, Nutley, NJ 07110 or fax 1-708-331-2781
Credit Cards, Checks and Money Orders accepted. Call: 1-800-432-8005 GEO-TEC DESIGNS
30 Day Money Back Guarantee and a Full One
\Year Warranty on all Models. Fax: 1-201-667-8688 P.O. Box 1402
South Holland, IL 60473
CALIFORNIA CALIFORNIA
We don't sell
EXPERIENCE perfect systems.
After IS \cars, we'Ae learned
OUR 25 YEARS OF EXPERIENCE
no perfect system exists. It has to be built-
DESIGNING QUALITY AUDIONIDEO
to your specifications, within your budget.
SYSTEMS WILL PROVIDE YOU WITH THE s today...
To get s _
BEST EXPERIENCE IN YOUR OWN HOME.
OFFERING YOU THE BEST VALUE

Stores ON OVER 40 QUALITY LINES INCLUDING:
306 CD's
The Cube or any combination
Admrn. Angstrom, Apogee. Atlantic Technology, Audible Illusions,
by Lorentz Design of CD's. CD-ROM VHS Cassettes. etc
Audidab, Audioprism, AudioOuest. AudloTruth, Definitive
Featuring ,mr patented AI.1.51111' S'I ORAOli SY S I L.M.
Technology, Denon, Grado. Hitachi, Lexicon. Lovan, Mc Commack
ar plastic molds. no wasted space Fu11-exlensr,n drawer M 8 K, NAD, NEAR. Paradigm, Parasound. Pioneer, Power
slides Enna high mutiny oak vcrsxn and hardwood Wedge, Rotel. Runco. Stax, Sumiko, Sunfire, Theta. Totem.
23"11 s IC 1/2" W x 17 IC" D Fully assembled SlackaMc Toshiba. VAC, Velodyne. XLO, and morel!
Available in Light. Medium, Dark Oil Stain($2251 & Black

($2351- Plus shipping and handling.
n1 1
(310) 370-8575
310
to order or for a free, color brochure
ca" 800-933-0403
Syterns 1310 Kingsdale Ave 310 51
WI, Inc. P.O. Box 277 Lanesboro, MN 55949 Design Redondo Beach, Ca
90278
18214 DALTOS APES I
GARDENA, CA 90241
Fax: 507-467-2468 Or e-mail us your bmehure

request at lorentz @ polaristel.net
Grou¡ Tue-Fri 11 am - 7 pm
Sat 11 am - 6 pm
CALIFORNIA GEORGIA
Audio Research Snell
The DISC BLOCK,.' When you want a Theta Digital Aerial
good deal more McCormack ProAc
$14.99 than a good deal! Pass Labs Marantz
+ $3.50 s&h Aragon Micromega
WC, VISA,
Acurus Eggleston Works
Chk. or M.O.
Authorized Dealers Adcom Audible Illusions
Accuphase Acurus Aragon Marantz Mirage
Convenient and
attractive method
for organizing up to 5 jewel boxes after loading
CD player Milled from a 2" block of solid Rock
Citation Jamo Epos E.A.D.
Threshold PS Audio NHT (So.Cal. Only) Runco

A.D.A.
Audio Solutions
Maple hand rubbed to a beautiful satin finish Proton PSB Sonance JBL Infinity Audio 5576 C/aanzblee Dunwoody Rd.
Unique inclined design allows you to easily Power Creek Vidikron timber Straightwire Dunwoody, Georgia 30338
identify titles of CD's in play Rubber feet grip Munster Synergistic Research Billy Bags Magro
tight and prevent marring of fine furniture or
stereo components Target Standesign Grado Speakercraft (770) 804-8977
AI_ P.O. Box 91402,
Santa Barbara, CA 931 ,
Mitsubishi Pioneer Elite
J http://www.audiosolutions.com
NewnPland
,,,A . Call l-800-910-OOh-
, I t
Visit Our Website! www.definition.com VPI Synergistic Research
CALL ABOUT OUR MONTHLY SPECIALS! Magnum Dynalab
SOTA
Definition 2901 West 182nd St.
Redondo Beach
California 278
Grado
Sumiko
Sound Dynamics
Kimber Kable
AUDIO VIDEO CALL(310)371-0019 Sony ES Wire World
Retail Sales'Cuscom Installarion/Acoustics
Sony Video Target
ILLINOIS MAINE
Acurus ...Aragon ...Audio Research

... Creek ... CWD ... Denon ... Grado
Jamo ... JM Labs ... Jolida ...
YOUR IISUNING EXPERIENCE Lexicon ... Magneplaner ... Magnum
Dynalab ... Mark Levinson ... NAD ...
STORADISC '- See why CD Review picked our Library Prometheans PSB ... Revolver ...
Series as their "top choice". Fine -furniture quality in a variety Rotel ... SME ... Sota ... Sound
of finishes and sizes. Call or write DAVIDSON-WHITEHALL.
555 Whitehall Street, Atlanta, GA 30303. 1-800-848-9811 Connections ... Stax ... Stewart ...
Sumiko ... Symdex ... Synergistic
Research ...Thoren ...Transparent
Audio ...And Much More!
The AUDIO
CD STORAGE CONNECTION
puts manufacturers of CD storage units in touch
with the ideal audience...CD purchasers unsur-
passed in size, buying activity & the need for
storage of their ever-growing CD collections! FOR YOUR FREE CATALOG
Hi Fi EXCIIANqE
For advertising information call: CALL 1.8 00 FORESIDE MALL ROUTE ONE
1.800.445.6066 AUDIOFII A LI DI - U FALMOUTH, ME 04105
(Monday -Friday, 9-5 EST) ( 1-800-28346441
3021 SANGAMON AVE.
SPRINGFIELD, IL 62702 . (207) 781-2326
or Fax 212-767-5624 . '7 ,7 a'III0V:244>3
VISIT THESE SPECIALTY RETAILERS FOR PROFESSIONAL CONSULTATION.
DEALER SHOWCASE
MASSACHUSETTS NEW YORK PENNSYLVANIA
The Best Values In Hi End Hi -Fi.
SHOP US 21 I
spectacular show rooms in our
new, state-of-the-art facility!
audio studio
Authorized sales and service for:
LAST SDUNDEX
1 100 Easton Road
Audible Illusions, Audioquest, B&K, FACTORY AUTHORIZED DEALERS
Willow Grove, PA 19090
Beyerdynamic, Counterpoint, Dual,
215-659-8815
Klyne, Maplenoll, Marantz, Mirage. HOME THEATER
Mission, Monster Cable, Morel. SINCE 1979 Acurus Anthem Aragon Audio
NAD, Nakamichi, Oideion Products. ADS ALPINE ATLANTIC TECH Alchemy Audio Research B&K
BOSE CARVER DENON INFINITY
Ortofon, Project, Proton, QUAD. KENWOOD NAKAMICHI Cal Audio Labs Dunlavy Audio Labs
Renaissance Audio, Revox, ONKYO SONANCE SONY ES Dynaudio Faroudja Forté
Sennheiser, SME, Shure, Stax,
VELODYNEYAMAHA Grado Krell Lexicon Magnum
and man we can't .rinl!
Straight Wire, Sumiko, Thorens. Dynalab Mark Levinson Mirage
Velodyne, VPI, and many more. CAR STEREO Niles Audio Onkyo Pioneer Elite
ProAc Proceed Sonic Frontiers
Sony StraightWire Sumiko Tara
414 Harvard St., Brookline, MA 02146 The Sound Approach Labs Threshold Tice Audio
(617) 277-0111 6067 Jericho Tpke., Commack, NY 11725 Transparent Cable VPI Vidikron
FAX (617) 277-2415 Wilson Audio
1NTERNATIONs; T0CFPTFfl 800-368-2344
*in store warranty only.
AND MANY MOREI
PENNSYLVANIA TEXAS VIRGINIA
MO PLUS AUDIO AUDIO

BY DESIGN
WE DELIVER THE BEST
SPEAKERS & St BS At DIO CO)IPO\E\TS MAKE USANOH-tR... f WE DEIJVER'
Acurus Mirage IN HOME GROWN
Angstrom Niles
Aragon Onkyo
Arcam
AudioQuest
Paragon
Parasound
AUDIO
VIDEO
Bryston Quicksilver With over 20 years of experience in
EQCIP)IE.\T CAL Audio Ruark
hi -end audio equipment, we proudly
HOME THEATER PACK
Citation SharpVision
We carry too many
Enlightened Audio Snell inventory the following products:
products to list. Denon Sonic Frontiers
Stop in our Melos Stand Design
showroom at Jolida Threshold Quad Spendor
6533 Roosevelt Blvd..
Philadelphia, PA 19049 FACTORY AUTHORIZED Rccuphase Coda
MON.SAT 149 SUN 12-5
CALL FOR LINES NOT LISTED
or call us for door to door delivery
OCM Kimber
800-226-6784 (800) 285-5884 Magnum BR
911 W. Anderson Ln. #116
http://www.videoplusaudio.com/-VPA Austin, TX 78757
email: info@videoplusaudio.com Cardas Rcrotec
VERMONT Epos Tara Labs
WISCONSIN
Uon Schi.ueikert Ron
PERSONAL HI FI ADVICL,
Sonic frontiers Creek
TOLL- FREE
IRE IN VERMONT PEOPLE DEMAND
We haue a huge assortment of accessories and
ME DORY WA FE CUSTOMERS' MONEY,
AND NEITHER OD PIESE FO,,:
Authorized Dealer For:
many more brands to choose from. We also
Auaolll, ACCOM KICKER PS8 offer a large inventory of used equipment.
ADCp1' CASTLE
IPA CASTLE GRADO ALTEC LANSING LEXICON RECOTON
ATLANTIC TECIWOLCCr ROCKFORD FOSGA'F
MONSTER NAD ONKYO
AUDIOCONTROL
MONSTER CABLE
MTX SANUS SYSTEMS
Call For Information Toll Free:
ORACLEL PSBT ROTE L*
TARGET
CARVER
CELESTION
NAD
NAKAMICHI
SONY DSS
SONY ES
1.800 .752.4018
JTANDESIGN
CLARION NILES AUDIO SONY VIDEO
TD i WIARFEDALE
CWD
-e.<na 800 456-4434 NITTY GRITTY SOUND ANCHORS
GRADO OMNIMOUNT SOlWS1AEPA4
^...uGAYNIARIE
(502257-585` HARMAN KARDON ONKYO STAX
JAMO PANAMAX TARGET
KEF POLK AUDIO THORENS
:=e w,atA PROAC
-...H
SCIENTIFIC
2808 Cahill Road, P.O. Box 224 Hl-FiFarm
Marinette, WI 54143 (715) 735-9002
STEREO 616 Plaza, Suite 5, Moneta, VA, 24121
1.800.826.0520 Or Order On Line At:
http://www.hififarm.com
FOR ADVERTISING INFORMATION, CALL I-800-445-6066, 9AM-5PM EST

DEALER SHOWCASE
WISCONSIN
PLEASE NOTE: It is impossible for us to TIPS FOR MAIL ORDER
verify all of the claims of advertisers,
including product availability and exis- PURCHASERS
1ITECflJRA1 AUDIO
the ' FIELD RECORDERS V tence of warranties. To confirm that an
DAT 'DSS advertiser is authorized to sell a product, It is impossible for us to verify all of
' IAINIDISC
Happy ' SONY DST we suggest you contact the manufacturer
the claims of advertisers, including
' WORLD BAND RADIO CUSTOM INSTALLATION directly. Please review our Tips for Mail
' PRO WALKMAN HOME THEATER Order Purchasers in this section. product availability and existence of
CABLE, Medium ' ACCESSORIES warranties. Therefore, the following
E rp.nsne Elean'ns'abut Re Epe.ee'
information is provided for your
'ADS ' NAKAMICHI AUTHORIZED protection.
ATIANIIC TECHNOLOGY ' NILES AUDIO
' BANG & OLUFSEN
'CARVER
ONKYO
' POLK AUDIO
AUDIOPHILE & SCHOLAR 1. Confirm price and merchandise
UNIVERSITY AUDIO SHOP, MADISON, WI
'CELESTION ' PSB AUDIO RESEARCH. KRELL, Linn, YBA, Aragon, Acurus,
information with the seller, including
' ENERGY PROAC B&K, MARTIN LOGAN, VANDERSTEEN, NHT, PARA- brand, model, color or finish, acces-
' GRADO SANUS DIGM, Spica, Hales, Totem, Von Schweikert, Ariel, Creek, sories and rebates included in the
' HARMAN KARDON ' SONY DSS EAD, Micromega, CAL, Golden Tube, Tara, Lexicon. price.
JVC ' SONY ES (608) 284-0001. 2. Understand the seller's return
KEF ' SONY VIDEO AUDIO UNLIMITED in Colorado offers Accuphase, Acous- and refund -policy, including the
' LEXICON SENNHEISER tic Energy, Acrotec, AirTight, Airtangent, Audio Meca by allowable return period, who pays the
MONSTER CABLE ' TARGET Pierre Lurne, Audio Note, Basis, Benz -Micro, Bitwise, postage for returned merchandise, and
'THORENS Chang, Char!o, CODA, Zoethecus, Day-Sequerra, Dynavec-
NAD
430 State SI Madison WI 53703 FAX 11608)2554425
tor, Ensemble, Graham, Harbeth, Ikeda, JM Labs, Kuzma, whether there is any "restocking"
Magnum Dynalab, Magro, Micromega, Wilson Benesch, charge.
1-800-906 HI-FI (4434) Morch, Musical Design, Music Metre, Muse, Symphonic 3. Understand the product's warran-
Line, Onix, RoomTunes, Solid Steel, Sonoran, Sound An-
ty. Is there a manufacturer's warranty,
chor, SOTA, Dacca, Totem, Unity Audio. Vimak, Wheaton
Triplaner, YBA and more...PHONE/FAX John Barnes at and if so, is it from a U.S. or foreign
WISCONSIN (303)691-3407. Audio Unlimited, 2341 West Yale Ave., En- manufacturer? Note that many manu-
glewood, CO 80110. VISA and MC accepted. facturers assert that, even if the
AUDIO VIDEO SPECIALTIES. Authorized dealer for AMC product comes with a U.S. manufac-
Aubiophile's Arcam Audio Magic Conrad -Johnson Dynaudio
Elac Grado Jamo Janis Panamax Platinum Proton
turers warranty card, if you pur-
chase from an unauthorized dealer,
Audio Sanus Sonographe PH: (414) 963-9928. 3801 N.
One of the FINEST and LARGEST, Oakland Ave., Shorewood, WI 53211.
you are not covered by the manu-
individually owned facturer's warranty. If in doubt, con-
STEREO WORLD IS YOUR DIS- tact the manufacturer directly. In
AUDIO/VIDEO SALONS COUNT SOUND SOURCE SUPER DEALS ON: SONY, addition to, or instead of, the manufac-
in the Country. PYLE, DENON, ADS, CLARION, JVC, HIFONICS, POLK, turer's warranty, the seller may offer its
BLAUPUNKT, PIONEER, SCOSCHE EFX, ORION, KITS, own warranty. In either case, what is
BASSBOXES, AND MUCH MORE! CALL OR WRITE FOR
15 Private Listening Rooms FREE SALES FLYER. FREE UPS! OUR 8TH YEAR. VISA/
covered by warranty, how long is the
MC; COD. P.O. BOX 596, MONROE, NY 10950. warranty period, where will the product
with 9 Home Theatre Rooms (9141782-6044. be serviced, what do you have to do,
and will the product be repaired or
Custom Design and Installation FOR SALE replaced? You may want to receive a
Specialists for over 22 years. copy of the written warranty before
NEW JERSEY'S BEST SELECTION placing your order.
Sales and Service 4. Keep a copy of all transactions,
STATE OF THE ART SYSTEMS FROM $1,300+ including cancelled checks, receipts
for Wisconsin and the Nation. and correspondance. For phone
Vandersteen Rotel Wadia
2014 Main St. (Hwy. 14) B and W
Proac
Sonic Frontiers
Audible Illusions
Cary
Arcam
orders, make a note of the order
Audio Alchemy including merchandise ordered, price,
Cross Plains, WI 53528 Epos
PSB
Naim
Quicksilver Ayre order date, expected delivery date and
Platinum Music Reference Audiolab
(608) 798-3455 salesperson's name.
615 Bloomfield Avenue, Verona, New Jersey 07044 5. If the merchandise is not shipped
FAX (608) 798-3359 Phone: (201) 239-1799 Fax: (201) 239-1725 within the promised time or if no time
was promised, 30 days of receipt of
HI Fl EXCHANGE. Large selection of quality USED highend the order, you generally have the right
components at huge discounts. We buy, sell & trade. Call for
inventory list. (718) 423-0400 or visit our showrooms at to cancel the order and get a refund.
DEALERS... 251-11 Northern Blvd, Little Neck, NY 11363. 6. Merchandise substitution without
ABARGAIN: STAX SIGN/LAMBDA $1,350; OMEGA/ your express prior consent is not
The best place to be seen is where people. allowed.
SRMT1 $2,900: SIGN/LAMBDA SRD/7$499: ED -1; AUDIO-
are looking. And each month, both enthu- TECHNICA AT -0C9 $259: ALL UNUSED (212)966-1355. 7. If you have a problem with your
siasts & dealers read AUDIO for informa- order or the merchandise, write a
tion. MUSICAL CONCEPTS letter to the seller with all the pertinent
"Setting standards for natural sound." Adcom, Audio
Alchemy, B&K, Dyna and Hafler modifications, rivaling
information and keep a copy.
The AUDIO Dealer Showcase is an ideal expensive exotica! PA -2 Cascoded Class -A circuit for 8. If you are unable to obtain satis-
forum to reach interested audio/video Haller amps-budget bliss! We offer two CD players, faction from the seller, contact the
enthusiasts who are active buyers them- one Transport-"Musical Concepts has put the fun back consumer protection agency in the
into CD playback." says The Audio Adventure maga-
selves, and who advise others on stereo zine. Marantz, Rotel and Pioneer CD mods. Musical
seller's state or your local Post Office.
and video purchases. Concepts, 5749 Westwood Dr., St. Charles, MO 63304.
(314) 447-0040. If, after following the above guide-
The Dealer Showcase is an exclusive sec- lines, you experience a problem with
tion designed to showcase your advertis- a mail order advertiser that you are
SAVE 40% ON HIGH -END home speak-
ing in AUDIO. unable to resolve, please let us know.
ers, subwoofers, amplifiers. FREE CAT-
To place your ads, or for further infor- ALOG, 3021 Sangamon Avenue, Spring-
WRITE to Susan Ross, Special
mation call Toll Free:
Marketing, 45th floor, Hachette
field, IL 62702. 1-800-283-4644. Filipacchi Magazines, 1633 Broadway,
1-800-445-6066 ONKYO, PIONEER ELITE, many more! Call for our list of
Demo's and Trade-ins. CHAMPAGNE AUDIO: (217)
NY, NY 10019. Be sure to include
copies of all correspondence.
(9am to 5pm est)
355-8828.
FAX 212-767-5624
AUDIO/NOVEMBER 1996
115
FOR SALE FOR SALE FOR SALE
REMOVE VOCALS from music-Tanco Voice Decod-
Long /a/oxó' EaCiloia,reat Erspr, er -$79.95. Fully guaranteed. Call (813)847-9319 for pre-
recorded demo/ordering information. WHOLESALE CONNECTION
AudioveN .REMOVE
SINGERS .VOCALS
Unlimited Low Cost, Instantly Available
Background Music from Original Standard
TO ORDER CALL 1-800-226-2800
http://www.wholesaleconnection.com
JVC BOSE
Recordinggs! Does Everything Karaoke RX518 .Call l RX718 .. .Call AM511 Ca 901 Cal
Knowledgeable Service, Exceptional Products . . . .
does... BeUer and gives you the RX618 . .. .Call l RX818 . . . .Call AM7I1 Call 701 Cal
Thompson Vocal Eliminator Call 501 Cal
and Competitive Prices Call us ! Free Brochure & Demo Tape.
TEC NICS LS12LS20
Cae 301 Cal

SAEX500 Cat. SAEX900 .Call
40
.
LT Sound Dept AU -1
.
SAEX700 Call SATHX50 ..Call 100BK ....Call 151 BK Cal

Acurus Mesa 7980 LT Parkway Lithonia,GA 30 KENWOOD
.
INFINITY
Internet-http:/% Itsound.com -
KRV6080 . Cat KRV9080 Cat RS2000.2 ..Cal SM65 Cal
Adcom Mirage 24 Hour Demo/Info Request Line (770)482.2485-Ext 51 KRV7080 ..Call KRV990D ..Call RS2000.3 ..Cal SM85 Cal
When You Want Somethin Better Than Karaoke! RS2000.4 ..Cal SM105 Cal
Angstrom MIT KRV8080 ..Call KRX1000 ..Call
PIONEER
RS2000.5 ..Cal SM125 . Cal
RS2000.6 ..Cal SM155 Cal
Aragon Nakamichi FOR TWENTY-FIVE YEARS WE HAVE BEEN THE
VSX455
VSX505S ..Cat
. .Call VSX0704S .Call
VSXD903S.Call
RSVIDEO ..Cal VIDE01 Cal
B.I.C.
Audible Illusions Paradigm ** SOURCE FOR ALL OF YOUR BLANK AUDIO/VIDEO VSX604S ..Call VSX03S _.Can ADATTO ...Call V802 Cal
TAPES AND ACCESSORIES, EVEN REEL-TO-REEL HARMOt(KARDON V52si ....Call V504 Cal
BAT Proceed TAPES FOR STUDIOS, AT DISCOUNTED PRICES. CATA-
AVR20
AVR25 ....CaII
. .CaII AVR80
FL8300 .
. . .Call V52clr ....Call V604 Cal
..CaII
REL Powered Subwooter
B&W ** LOG AVAILABLE. SOUND INVESTMENT CORPORATION, AVR70 . . .CBII FL8450 . _ .CaII
ONKYO INFINITY Bun Cal
CAL Rotel ** 3586 PIERCE DRIVE, CHAMBLEE, GA 30341. (800) 659 - TXSV525 ..Call I DXC220 _Call INFINITY BU2 Cal
TAPE (8273), IN GA (770) 458-1679. FAX: (770) 458-0276. TSXV727 Call I DXC320 ...Call MTX ...PSW101 Cal
Citation Sonus Faber
.
CALL FOR OTHER BRANDS KENWOOD SW200 Cal
Definitive Tech. Sonic Frontiers STEVE'S CONSIGNMENT JVC

KENWOOD
B.I.C.
B.1 C
SW300
V1000
V1200
Cal
Cal
Cal
Dunlavy Theta SHOP HI Fl FARM AND STEVE'S AUDIO ADVICE
XLF152
XLF252
...Call I XLM218 ...Call
...Call XLM418 ...Call
AIWA TSW5 Cal
AIWA TSW9 Cal
Elite Pioneer Velodyne NOW OFFERS CONSIGNMENT OPPORTUNITIES FOR
SLPD887
TECHNICS
Cat SLMC400 ..Can
THE USED AUDIO MARKET. TOP DOLLAR OFFERED. .
Magnepan Vidikron CALL FOR INFORMATION. NEW EQUIPMENT ALSO.

SLP01010 .Call I SLMC50 AIWA
NSXV8000 .Call I NSXAV800 .Call
KENWOOD
Marantz Von Schweikert CALL 1-800-752-4018. DPR4080 ..Call DPJ1070 ..Can NSXV9000 Call NSXAV900 .Call
DPR5080 ..Call DPJ2070 ..Call PIONEER PANASONIC

Mark Levinson Yamaha COUNTERPOINT, Snell, NHT, CAL. serving Los Angeles, DPR6080 ..Cat CCS205..Cat SCCH64
PIONEER CCS305 ...Call SCCH94
McIntosh ** In Store Only Orange County, for best deals CALL Stan: (818) 333-9500. PDF605 ...Cali I PDF905 ...Call JVC
24 hours. PDF805 ...Call I PDF1005 ..Cat UXC30 ....Call I MXD7T Call
MXD47 ....Call MXDBT ...
Visit Our New Location ! AFFORDABLE JITTER -FREE SOUND! Our Basic Player
CALL FOR OTHER BRANDS
2845 Middle Country Road - Lake Grove New York 11755 ($549) and the Reference One transport ($649) have made JVC JVC
BOUND FOR SOUND'S Components of Merit List. Jitter TDW218 _ .Cali TDW718 . Call KSRT404 ...Call KDGS711 Call
TDW318 ...Call I TDV662 ...Call KSRT414 ...Cat KDGS911 Call
reducing updates and kits also available. Dealer inquiries
516 - 585 - 5600 welcome. G&D TRANSFORMS, (602) 650-1155. E-mail
transforms @ aol.com
TECHNICS
RSTR252 ..Call I RSTR575 ..Call
RSTR373..Call
KENWOOD
KDMK78RF Call
KEHP404
KEHP505
PIONEER
Cal
Cal
KDMK79RF Call
DEH53
DEHP625 ..Cal
...Cal
AUDIO BY VAN ALSTINE 12MEGA Ill active feedback ampli- KXW4080 ..Call I KXW6080 ..Call KEHP606 Cal DEHP725 . Cal
PIONEER KEHPe08 Cal DEHP825 ..Cal
fiers, full function buffered preamplifiers, basic line - CTW505 ..Call I CTW704RS Call DEH49 . Cal DEXP88 ...Cal
headphone preamplifiers, phase inverters, and parallel pro- ONKYO DEH59 Cal CDXFM67 Cal
Buy -Sell -Trade

.
cessing DACs provide stunning clarity and musicality with TARW411 a I TARW505 ..Call
DEH43 Cal DDXFM128 Cal
CALL FOR OTHER BRANDS KENWOOD
economical prices, rugged engineering, and long-term dura- KRC302 Cal KDC5005
DAT RECORDER
bility! New ultratransparent BIRO LOUDSPEAKERS give Portable 8 Home Call
KRC502 Cal KDC6005.. Cal
KDC7005...Cal
$6000 performance for under $1600. FET-VALVE hybrid
tube DACs, amplifiers, and preamplifiers achieve ultimate
Clean, Tested, Guaranteed MINI DISC RECORDER
Portable 8 Home .Call
KRC702
KRC802
KRC902
Cal
Cal
Cal
KDC8005 ..Cal
KDCPS905 Cal
KDCC604
faithfulness to the spirit of the music. Active feedback circuits
for DYNACO and HAFLER amplifiers set new standards for
High End & Vintage Audio DV D - Now Available
DSS - All Brands Available
Cal
Radar Detectors
KDCC803 Cal
transparency, dynamic range, and liquidity. Recycle your BEL

PAS, PAT -4, PAT -5, and ST -70 with AVA circuits (kit of wired) Since 1979 JVC
8401
85058
Cali
Call
945, ...Call
615st, ... .Call
from $199 including new cards and precision controls. Free Featuring products from: Accuphase, Accurus, GRAX810..Call IGRAX1,tú a. 85551 all
illustrated catalog with reviews. Audio by Van Alstine, 2202 GRAX910..Call GRVDt WHISTLER
AR, Adcom, Air Tight, Altec, Apogee, Aragon, PANASONIC 143OSWH . Cat 1149OSWH ..Cat
River Hills Drive, Burnsville, MN 55337. (612) 890-3517. Fax:
(612) 894-3675. E-mail: avahifi@aol.com Audio Alchemy, Audio Control, AudioQuest, PVD406 . . ,Call I PVD506 1465SWH Call
UNIDEN
SHARP
Audio Research, B&K, B&W, CAL, Cardas, VLE39 .Call I VLE49
.
.. .Call . LRD6199 Cat I LRD6499 .Call
CANON SONY LRD6399 Call
High -end audio components. All brands Carver, Cary, Classe, conrad-johnson, ES5000 Ca' I CCDTRV30.Call
available. The lowest prices. Friendly Counterpoint, Crown, dbx, Dahlquist, Denon,
SONY SONY
Dunlavy, Duntech, Dynaco, Farichild, Fisher, .. ..Call I D844 _Cat SPP0120 CallI SPPD900 . Cat
service and advice. Call today. AUDIO Golden Tube, HK, Hafler, Heath, Infinity, JBL,
D247
D242CK ...Call D848 ... .Call SPP025 Call I SPPID910 ..Cat
PANASONIC
AMERICA (Virginia). 1-540-745-2223. Jensen, Joseph Audio, KEF, Klipsch, Krell, DPC662
KENWOOD
Call I DPC861 ..Call KXT9500 Call I KXT9550 ..Call
KXT9520 .Call KXTC930 Call
Levinson, Lexicon, Magnepan, Magnum-Dynalab, PANASONIC
SLS241C ..Cat I SLSW202 .Can
Marantz, Martin -Logan, SLS341C ..Cat SLSW404
FREE SHIPPING! PLUS: McIntosh, Mesa,
Perreaux, Phase Linear, PS Audio, Proac,
CALL FOR OTHER BRANDS
.Cali
CLDD505
PIONEER
Ca I CLDD704 Call
FRIENDLY ADVICE! MIRAGE, PS, KEF. PARA - Call for Brands & Models Not Listed
SOUND, KINERGETICS, NAD, AUDIOQUEST, CARV- Proceed, Quad, Rotel, Rowland, Sequerra, 24 HR. FAX (718) 997-6652 P.O.'s Welcome
ER, KIMBER, STRAIGHTWIRE, MORE! READ Spectral, SOTA, Soundcraftsman, Sound -Lab, We accept M C. Visa. Amex & C 0 D We ship UPS & FEDEX
BROTHERS, 593 KING, CHARLESTON, SC 29403. WHOLESALE CONNECTION 63-48 108th St Forest Hills NY 11375
(803) 723-7276. Stax; Sunfire, Tandberg, Tannoy, Theta, Thiel,
VAC, VTL, VPI, Vandersteen, Velodyne, Wadia,
JPS LABS, The GOLDEN FLUTE Bass Alignment Filters,
Western -Electric, Wilson & many more.
DJ & Nightclub AUDIO CLASSICS
The SUPERCONDUCTOR line of unique cables; analogies
for beautiful music. Please ph/fax 716-685-5227 or visit
http://iypn.com/jpslabs anytime.
Sound, Lighting & Video CATALOG LOWEST PRICES! ADCOM, ARAGON, B&K, B&O, B&W,
Limited
FREE 88 -Page Catalog with a BRYSTON, CARVER, CELESTION, CITATION, CLASSE,
huge selection of name brand
professional gear for DJ's,
FREE condensed catalog! DEFINITIVE, DENON, DYNAUDIO, H/K, KEF, LUXMAN, MI-
RAGE, NAKAMICHI, NHT, ONKYO, POLK, SUNFIRE,
Clubs 8 Musicians all at 8AM-5PM ET M -F THIEL, VELODYNE, WADIA, YAMAHA & 36 MORE. IN-
CORPORATED 1964.
discount prices!
Call Today
800-672.4268
607-865-7200 NORCROSS, INC.
Mail Order (enter: 11711 Monarch St., Fax: 607-865-7222
(770) 772-7700
Garden Grove, CA 92841 Retail Super
HOME THEATER SPECIALISTS!!! 70 premier
Store Music To The Man
14200 Beach Blvd., Westminster, CA 92683
www.audioclassics.com brands. Alon, Angstrom & Carver to HK/
34 Gardiner Place, Post Office Box 176AAA,
171413791994 Citation & VMPS. 30 subwoofers!!! Honest
PRO SOUND Walton, NY 13856
OUR 20th Advice. TECH ELECTRONICS (352)
a STAGE LIGHTING.'" YEAR!
376-8080.
AUDIO/NOVEMBER 1996
116
=' FOR SALE
QUICKSILVER M60 AMP AND QUICKSILVER LINE
STAGE PREAMP. ALSO VAC 90C 1 AMP 51995. CALL8AM
TO 11PM CST. (214) 434-2820.
AUDIO CABLES & MORE
DON'T PAY EXORBITANT PRICES

! FOR TOP QUALITY !
We have equaled the high-priced brands. Sonic
equivalents at a fraction of their cost. We demysti-
fy wire technology. Ask for literature.
AND MORE! DACS, Anti -Jitter Units, CD
Players/Transports, Speaker Stands. Speakers,
Home Theater, Prologic, Accessories-& MORE.
Call 800-321-2108 24hrs./day for free catalog.
TRUE SUBWOOFER
With phenomenal
true deep bass
extending below
20Hz with low
distortion at a very
affordable price.
The HRSW12V
will extend the
bass of your
stereo or video
system for that
"air shaking all
around you"
effect.
FOR SALE
CUSTOM ACTIVE ELECTRONIC CROSSOVERS. 6 to 36
dB/Oct. Also Snell, Magnepan versions. DB SYSTEMS,
POB 460. RINDGE. NH 03461. (603) 899-5121.
HSU Research HRSW12V

FINALE
A DYNAUDIO SPEAKER KIT
Big speaker systems can usually produce a big
sound, though this is no guarantee of rich and
dramatic music. Dynaudio has built much of
its reputation with small systems that produce
the vibrant sound that larger systems promise
but rarely achieve. But to those who demand
the sound of Dynaudio with extreme low bass,
we are proud to offer the FINALE system. It
offers Dynaudio quality sound, but in a sound
stage that extends below 30Hz!
The Drivers
L A T INTERNATIONAL Here's what experts are saying about the HRSW12V.
Dept. A 317 Provincetown Road
The FINALE woofer sys-
'...the Hsu has to be considered an outstanding bargain."
Cherry Hill, NJ 08034 Robert Deutsch, Stereophile Guide to Home Theater tem uses the 30W100XL
MONEY
Vol. 1 No. 2. 1995
'Prodigious bass that shakes the walls". .'one heck of a
woofer, a new and special
thunder buster." version intended for a bass
John E. Johnson, Jr., Secrets of Home Theatre and
High Fidelity, May 1995 reflex alignment. This
SPENT SOUNDLY "...this woofer achieves a combination of extremely quid(
speed and gut massaging bass impact that I have seldom woofer is combined with a
experienced from any subwoofer. specially designed passive
Peter Mitchell, Stereophile Vol. 18 No. 1, January 1995
AUDIO EXCELLENCE, INC. "has developed an enviable reputation in its few short years
of existence'
radiator.
THE BEST AUDIO 8 VIDEO EQUIPMENT FROM All MAJOR MANUFACTURERS Thomas J. Norton, Stereophile Guide to Hare meow Volt No. 1, i 99' The midrange utilizes the
Hsu's HRSW12V is a wonderful subwoofer. Ifs good
DENON NAKAMICHI ONKYO looking and simple to use, and its performance invites 15W75 and the D52AF.
SONY ES YAMAHA BOSE KLIPSCH nothing less than superlatives, especially given its price'
Tom Nousaine, Sound 8 Image, February/March 1995
The lower midrange is re-
B+W VELODYNE AND MORE! 'The HRSW12V is one of the most potent subwoders we have produced by the 15W75
used. Sonically, it is all one could wish tor, and the price is right -
SPECIALISTS IN HOME THEATRE SYSTEMS & HIGH -ENO AUDIO Julian Hirsch, Stereo Review, December 1994 with a 3" voice coil. The
"...all of the non-boomy. stomach.massaging bass energy was unique design principle of
CALL Now (212) 229-1622 coming from a single 12.inch powered subwooter..'
Peter Mitchell. Stereophile Vd. 17 No. 4, April 1994
this driver allows for a wide
145 West 24th Street, New York, NY 10011 "...delivered enough punch to shake the sturdiest shelf..."
Brent Butterworth, Video Magazine, April 1994 dynamic range and an airi-
All Major Credit Cards Accepted
Send for full details on the 12V and the new 10V. ness in reproduction which
Witte or call: can master even the most
HSU RESEARCH
LOUDSPEAKERS HSU 14946 Shoemaker Ave. Unit L complex musical passages
Santa Fe Springs, CA 90670
LOUDSPEAKER COMPONENT - KITS. Audio Concepts, 1-800-554-0150 (Voice) with ease.
Research 1-310-404-3848 (Voice/Fax)
Dynaudio, Eclipse, Eton, LPG. Vifa. more! Crossover parts, The upper midrange is cov-
design books & repairs. "MENISCUS", 2575 28th St., Sold factory direct with a 30 day trial - money back
S.W., Dept. A.. Wyoming. MI 49509. (616) 534-9121. guarantee. 5 year manufacturer's detect warranty. ered by the D52AF. This 2"
meniscus @ iserv.net dome midrange seamlessly
STATE OF THE ART CROSSOVER NETWORKS. UP- fills the gap between the 15W75 and the
GRADE ANY SPEAKER. SOFTWARE AVAILABLE. FREE
DESIGN GUIDE. ALLPASS TECHNOLOGIES. INC.. 2844 tweeter, without the use of radical filter cir-
Save $S$ with original kitl
CHARMONT DR., APOPKA, FL 32703-5972. (407) Kits to fit any speaker-Advent. AR, JBL. cuits.
786-0623. Bose, Infinity, EV, etc.
Surrounds. adhesive & instructions The Dynaudio Esotec D260 tweeter, is used to
MC/VISA/Discover-no CODs
ROTTEN FOAM? Ph make & modelfor best price cover the upper frequency range. The unique
Simply Speakers - Factory
Authorized Service- All Brands
Phone
nee 24 hrs. 704-697-9001
or Toll Free 800-747-3692
pa Box 1088 *Flat Rock NC 28731
STEPP chambering of this tweeter ensures faithful
JBL, Bose, Advent, EPI, CV, AR. musical reproduction with an airiness usually
fo
Infinity & More I
Worldwide Service - Reconing & only obtainable with an electrostatic speaker,
Refoaming.
Huge selection of D.I.Y. Foam yet the D260 still possesses the dynamic range
iN
Kits - We Ship Daily !
Foam Rot Preventative Kits. JBL and power handling of a dynamic loudspeaker.
CALL TOLL FREE TODAY ! The Result
1-800-767-4041= SIMPLY SPEAKERS. MCNISA/NOVUS/
AMEX. 11203 49TH STREET N., CLEARWATER, FL The FINALE is a concept for the music listener
34622. E-MAIL: Simplyspkr@AOL.COM. D.I.Y. KITS IN- who demands the absolute best, and enjoys the
CLUDE: ILLUSTRATED INSTRUCTIONS, ADHESIVE &
TECHNICAL SUPPORT. BEST PRICES / SERVICE / challenge of building an exacting state-of-the-
WARRANTY-GUARANTEED!! art system for the reproduction of music.
ND The kit price for all parts without cabinets is

ONLY ONE B=
$1675.00 per pair. Oak veneered cabinets are
$499.95 FOR PR. OF JBL available for $950.00 per pair. Cabinets have
4312CBK STUDIO MONITOR SPKRS! BRAND NEW!
USED BY 70% OF ALL RECORDING STUDIOS FOR MIX- 1" oak veneered walls on all sides and come in
ING & EVALUATION. 3 -WAY WITH 12" WOOFER. 5" MID- natural oak or black stained oak finishes.
RANGE & DOME TWEETER. 100 WATT CAPACITY. MFC.
MADISOUND SPEAKER COMPONENTS
Speakere0m LIST $950/$1380 WALNUT. JBL PARAGONS $19,995.
HARTSFIELD 085s $6,999(REPRO)-$20,000(ORIG)/PR 8608 UNIVERSITY GREEN
w -O
OLYMPUS S8 -R $4.999/PR-L200 $1,999/PR. 300B AMPLI- PO. BOX 44283 I \
Service. upgrades, trades and new speakers. Factory FIER KITS $999! SHIPPED WORLDWIDE. VISA/MC. HAL MADISON, WI 53744.4283 U.S.A.
direct from Ohm Acoustics, 241 Taaffe Place, Brooklyn, COX. SINCE 1947. (415) 388-5711, FAX: (415) 388-3359. TEL 608-831-3433 FAX: 608-831-3771
NY 11205. (718) 783-1555; FAX (718) 857-2472; email 164 TAMALPAIS AVENUE, MILL VALLEY, CA 94941. SAN e-mail: madisound@itis.com
IU
OhmSpeaker@AOL.com FRANCISCO AREA. Web Page: http'/www.itis.com/madisound
AUDIO/NOVEMBER 1996
117
FOR SALE RECORDS WANTED TO BUY
NEEDLES/CARTRIDGES & Belts --Expert Consultations, WANTED: TUBE HI FI, CORNER/HORN SPEAKERS! Al-
All Major Brands, One of Largest Stocks in Country including tec, Jensen, Marantz, Leak, Quad, McIntosh, Western Elec-
ZALYTRON Old/Obsolete Models. NEEDLE EXPRESS. 1-800-

982-2620.
tric, EV, JBL, Tannoy ETC. Sonny (405)737-3312. Fax 3355.
WANTED: REAR PROTECTIVE METAL

Focus on Focal ! HALF MILE VINYL. Large Inventory Quality Preowned LP's
cleaned and graded. Send SASE for catalog to Box 98, East
Wareham, MA 02538. Call 508-295-2508.
SCREENS FOR DAHLQUIST DO -10 SPEAK-
Open season on Focal ERS. WILL PAY TOP DOLLAR. CONTACTJIM
for the speaker builder W00DWARD AT (916) 771-2486.
bargain hunter. AUDIOPHILE RECORDS
We have quality INVENTIONS WANTED
speaker drivers at The #1 source for audio I hile LP's & CD's
cheap, cheap prices, HAVE AN IDEA? National company submits ideas, in-
Analogue Productions, Mobile Fidelity, Reference, Chesky. ventions to industry. National exposition. Patent ser-
so that anybody can Sheffield, Classiol, Audioquest, DCC. Golden Strings vices. 1 -800 -288 -IDEA, Code: AUDIO.
build a speaker that HDCD's, [RCA LSC. Mercury,
sounds great and EMI & Decca originals &
won't put you re -issues] & much more!
PARTS AND ACCESSORIES
in the poor house! CATALOG
$5 USA, $10 elsewhere,
ITEM PIECES PRICE refunded with order. 1-800-716-3553 WELBORNE LABS
T9OTI 48 $35.00 200 PAGE CATALOG and DESIGN MANUAL OF
T120TI02 96 50.00 HIGH QUALITY AUDIO KITS and SUPPLIES!!!
T124TD 62 50.00 WANTED TO BUY we've got Vacuum Tube and mosfet Amplifiers, Linestages
T120ZLT 200 50.00 Phonostages, Active Crossovers, Power Supplies, AC Line
4C211 112 39.00 MARANTZ & ALL VINTAGE EQUIPMENT, HIGH -END. No Conditioners and many other Audio Kits and Schematics.
4C212 100 39.00 one pays MORE, working or not! N.Y.S.I. (718) 377-7282, Parts and Supplies
4C228G 24 45.00 2-6pm, WEEKDAYS. Hovland MusiCaps, Kimber Kaps, MIT MultiCaps, Solen
5NZLT 250 45.00 'MMA and Wonder InñniCaps; Caddock, Holco, Mills and
6C211S 198 39.00 Integrated buyer, David Yo, since 1977 always buying: vin- Resista resistors: Golden Dragon, NOS RAM Labs, Sovtek
6C211 S1 270 39.00 tage tube Marantz, McIntosh, ARC, Quad, Leak. Vintage and Svetiana tubes; Cardas, DH Labs, Kimber Kable
6P211S 108 35.00 speakers, units from Western Electric, JBL, EV, Jensen, AI- Neutrtk, Vampire and WBT connectors and wire; Alps
7CZLT 300 45.00 tec, Tannoy, Thorens TD -124, Garrard 301. P.O. Box 80371 Noble and stepped volume controls; Enclosures, Books and
AUDIOM 8/2 10 169.00 San Marino. Ca 91118-8371. Tel: 818/441-3942. other Supplies for DIY'ers. International Orders Welcome.
8C012DBG 89 60.00 For our Catalog and Manual, send $12 (US/Canada) $18
8K515 10 75.00 WANTED-JBL HARTSFIELD, EV PATRICIAN, Paragon (International) or call (303) 470-6585, fax (303) 791-5783 or
8K511DB 8 80.00 and other speakers; Western Electric theatre equipment: e-mail to: wlabs©ix.netcom.cow with your Visa/Mastercard.
Audiom 10/2 10 169.00 tube equipment by Marantz, McIntosh etc. Bob Aranyi, 500 WELBORNE LABS
10K617H 34 139.00 Satinwood Terrace, Buffalo Grove, IL 60089. (847) P.O. Box 260198, Littleton, CO 80126-0198
10V617 20 110.00 634-3199. Visit our Website for more info. http:// wvw.welbomelabs.corn
165 C Kit 50 135.00
W21B 30 60.00 CASH for USED AUDIO & VIDEO EQUIP.
IF YOU WANT TO SPEND EVEN LESS,
WE HAVE THESE BLOWOUTS BUYING and SELLING by PHONE. CALL for Premium Grade Parts
SEAS P17RCY / 4 OHM $29.00 HIGHEST QUOTE. (215) 886-1650 Since Best Prices, Fast Delivery!
SEAS CAI7RCY 29.00 1984. The Stereo Trading Outlet, 320 Old Absolutely the best selection of audiophile grade parts
SEAS 382 1"ALUMINUM TWEETER 15.00 at fair prices! Extensive deep in stock inventory
AUDAX HT130FO 26.00 York Road, Jenkintown, PA 19046. featuring these vendors and many more. Free catalog'
AUDAX HT13OG6 20.00 Wr MULTICAP, INPINICAP, HOVLAND, SOLEN, SCR, REL-CAP,
AUDAX HT170G2 21.00
NICHICON MUSE, BLACK GATE, CAnoocs, VISHAY, MILLS,
AUDAX HT11OGO UNCOATED 15.00
HO CO, REsuTA, TDK, ALPS, Noels, EAR, DEHec PArms,
AUDAX HT13OMO
3.3 MFD MYLAR CAPS 250V
ZALYTRON INDUSTRIES CORP.

15.00
3/$1
CASH PAID CARDAS, KIMBER, ACROTECH, & pure silver chassis wires,
HEIaRED diodes, Soto foil inductors, all types of audio
connectors, silver contact toggle & rotary switches,
469 JERICHO TURNPIKE, MINEOLA, N.Y. 11501 for Hi -End & Vintage Audio stepped attenuator kits, hospital grade plugs, tubes,
tools, IC's, super selection of damping materials & feet.
TEL. (516) 747-3515 FAX (516) 294-1943 WANTED: Accuphase, Accurus, AR, Adcom, International/overseas orders are especially welcome!
Our warehouse is open for pick-up 10AM to 6 PM daily. Air Tight, Altec, Apogee, Aragon, Audio Phone (415) 669-7181 or fax (415) 669-7558 for a catalog.
Saturday 10 AM to 5 PM Michael Percy, Box 526, Inverness, CA 94937
UPS orders shipped same day Minimum order $50.00 Alchemy, Audio Control, AudioQuest, Audio
Call or Write for your Latest Catalog mailed FREE in USA. Research, B&K, B&W, CAL, Carver, Cary,
Canada $5 P&H, Worldwide $10 P&H Classe, conrad-johnson, Counterpoint, Crown,
dbx, Dahlquist, Denon, Dunlavy, Duntech,
D.I.Y. NEW FOAM KITS Dynaco, Farichild, Fisher, Golden Tube, HK,
A JOURNEY OF A 1000 HERTZ., Haver, Heath, Infinity, JBL, Jensen, KEF,
BEGINS WITH A SINGLE KIT. Klipsch, Krell, Levinson, Lexicon, Magnepan,
Magnum-Dynalab, Marantz, Martin -Logan,
N EW-FOAM CALL TOLL FREE

McIntosh, Mesa, Perreaux, Phase Linear, PS
Audio, Proac, Proceed, Quad, Rotel, Rowland,
Sequerra, Spectral, SOTA, Soundcraftsman,
rcaker Repair 8c Replacement Par11, t- Sound -Lab, Stax; Sunfire, Tandberg, Tannoy,
Nationwide Service Since 1979
Theta, Thiel, VAC, VTL, VPI, Vandersteen,
1 -800 -NEW -FOAM = 1-800-639-3626 NA- Velodyne, Wadia, Western -Electric, Wilson & o
TIONWIDE SPEAKER REPAIR. PARTS, AND many more.
ACCESSORIES. Call us with your speaker
problems. VISA/MC/AMEX/DISC. EMAIL AUDIO CLASSICS
NEWFOAM@msn.com Limited ...audible results with the finest
RECORDS FREE condensed catalog! in connecting components!
8AM-5PM ET M -F
LV/CD/RECORD COLLECTOR'S SUPPLIES. Jewel boxes, SOUND CONNECTIONS INTERNATIONAL INC
record jackets, sleeves, storage boxes, 78 sleeves, dividers,
much more! Free brochure: CABCO PRODUCTS, ROOM
663, POB 8212, COLUMBUS, OH 43201. (614) 267.8468.
607-$65-7200 203 Flagship Dr. -Lutz FL USA 33549
PH: 813-948-2707 Fax: 813-948-2907
PRESERVE + ENHANCE + RESTORE'"'

Fax 607-865-7222
We Sell Audio Dynamite!
From Spinning 78's To The Outer Limits of Hi -Fidelity! Sound
E-mail: info@audioclassics.com CABLE TV
Enhancers by Philips NuReallty Aphex Free Catalog 34 Gardiner Place, Post Office Box 176WTB, CABLE DESCRAMBLERS-FM VIDEO COMMUNICA-
KAB Electro -Acoustics, P.O. Box 2922, Plainfield, NJ Walton, NY 13856 TIONS: 30 -DAY TRIAL, 1 -YEAR WARRANTY. LOWEST
07062-0922 (908)754-1479 VISA/MC. PRICES! C.O.D., VISA, MC, DISCOVER. 1-800-805-8464.
AUDIO/NOVEMBER 1996
118
CABLE TV CABLE TV TUBE COMPONENTS
LINK YOURSELF TO THE FUTURE WITH OUR
SOUND VALVEStM-Quality AFFORD-
EXPERIENCE! CABLE TV CONVERTERS & CABLE TV ME ABLE U.S.-Made Tube Components!
DESCRAMBLERS. QUALITY, SERVICE & DESCRAMBLERS Best Buys FREE CATALOG. Internet: www.sound-
SATISFACTION GUARANTEED! VISA/MC/ valves.com. E -Mail: jopets19©
Best Service
AMEX/C.O.D. ACCEPTED. QUANTITY DIS-
COUNTS. CABLE LINX, INC., MIN-
NEAPOLIS, MN: 1-800-501-0095.
S Full Warranty mail.idt.net. SOUND VALVES, 185N. Yale
Ave., Columbus, OH 43222-1146.Fax:
C.D. ELECTRONICS IS NOW SELLING

800-835-2330 (614) 279-0368; (614) 279-2383,10-4
Eastern.
CONVERTERS/DESCRAMBLERS DIRECT TO FREE CATALOG - NEW TECHNOLOGY BREAK-
THE PUBLIC AT WHOLESALE PRICES! 30 - THROUGH - T.V. CONVERTERS AND DESCRAMBLERS AUDIO ENHANCEMENTS offers: Custom
SAVE $1000's. CALL NOW - MEGA 1-800-676-6342.
DAY TRIAL. QUANTITY DISCOUNTS! Handmade pure tube preamps and pow-
1-800-842-9670. CALL 1(800) -72 -BOXES FOR UNBEATABLE eramps, S.E. and Push-pull, 300B,
PRICES ON CABLE CONVERTERS & DE - 6B4G, 2A3, 211, 845, EL -34, 6550,
WIZARD COMPONENTS SCRAMBLERS. MONEY -BACK GUARANTEE. KT -88, 6L6. Custom enclosures. Finest
'`DE CRANIBLERS DEALERS WELCOME. VISA/MASTERCARD/ components available. LOW OVER-
DISCOVER/C.O.D. QUALITY ENTERTAIN-
WOW at!! MENT. WE WILL NOT BE UNDERSOLD!
HEAD=LOW PRICES. 638 Nanticoke
Court, Dept. AU, Abingdon, MD 21009.
E -Z CABLE DESCRAMBLER-ANYONE can build in (410) 515-4492.
SEVEN STEPS with RADIO SHACK parts. PLANS/KIT
All Makes FROM 55.00 plus FREE BONUS!! 1-800-818-9103.
And Models Avail able HOME THEATER
SERVICES LCD VIDEO PROJECTORS- GIANT 5' - 25' PICTURES!!,
CABLE TV DESCRAMBLERS-We beat all
ULTRA BRIGHT SCREENS!!! UNBEATABLE PRICES'"
prices...get cable direct! Boxes Guaranteed
ACCUPHASE FREE CATALOG!!! POLI -VISION, 187-A CYPRESS.
2 years!! Professional, Friendly & Quick AUTHORIZED SERVICE AND PARTS for all Accuphase THROOP, PA 18512-1429 (PH: 717-489-3292).
Service. Order Toll Free: 1-888-595-5456; products. Contact: ACCUTECH, 206 E. Star of India Lane,
Carson. CA 90746. TEL. (310) 324-7406, FAX (310) PARTS AND ACCESSORIES
Ext. 61. 324-7422. Hours: 9am-4pm Pacific Time.
Audio Equipment Built, Repaired, Modified and Restored
-=II
III He
Wu, Re4? by Richard Modafferi, independent consultant to Audio Clas-
sics, Ltd., inventor, and former Senior Engineer at McIntosh.
AUDIO CLASSICS, LTD. POB 176RTM, Walton, NY 13856
SPEAKER CABLES
II
Wm
Phone: 607-865-7200 8AM-5PM EST Mon. -Fri., FAX: GET THE MOST FROM YOUR AUDIO EQUIPMENT
CABLE TV 194884NrP.t
607-865-7222. WITH GOLD LINE CABLE AND INTERCONNECTS
CONVERTERS & BLANK TAPES SPENCER AUDIO TOLL FREE 1-888-421-9881

The Affordable Aficionado)
SAVE DESCRAMBLERS 1 -800 -TAPE WORLD or 1-800-245-6000

VOL We II beat an price! 5.95 SHIPPING FREE CAT.
ABSOLUTELY LOWEST SONY A ELL TDK FUJI
DA7120 5.99 XLiI-90 1 59 0-90 c
WHOLESALE/RETAL PRICES! DAT-124 PRO 8.99 XLII -S 90 1.99 SA -90 1.49 HI8120 59;
T.120V 1.69 1120 HGX 2.49 SAX -90 1.99 8MM-120 344
750BTHG 3.99 ST 120 6.99 SAX -100 2.49 DCC-90 6.94
MASTERCARD VISA DISCOVER AMEX COD ST -I60 7.99 DAT-124 No 7.99 T120EHG2.49 DR -I-90
TOLL FREE CDR -74 6.49 UD35-90 8.99
MD -74 6.99
DAT-120
CDR -74
6.49 JVC ST120 5.99
6.49 XEII- PRO .99
.60
Reach proven
1-888-430-4301 TAPE WORLD
mail order buyers!
SATELLITE TV They turn to us when they
are looking for purchasing
de NU-TEK information and advise.
A ELECTRONICS 11111
Leading the way to excellence Advertise your products and
Now Descram t led
Cable TV services in a low-cost
E1(hannels, Movie, Local Blackout
Converters & DESCRAMBLERS Sports, Special Events, EiSports
environment that sells.
Buy New Mess or. To ay
Where To Gel One & How Much
S0?Y Millions of your prime
Send 519.50 lo: D55 DESCRAMBLERS prospects can be found in the
Unit 133, 6822 22nd Ave. No. St. Petersburg, FL 33710
industry leading titles of
3ai DAY MONEY BACK
GI'ARANTFE
dONE YEAR HELP WANTED Hachette Filipacchi
WARRANTY
Magazines, Inc.
I ILEA': (' %TALOG SALES OPPORTUNITY. Our fast-growing high -end audio
equipment company is looking for the right person to join our
To place a classified ad,
1-800-956-8835 2°.; sales team. Experience in high -end audio sales is manda-
tory. Position offers salary plus competitive commission simply call toll free and reserve
structure and benefit package. Must be willing to re -locate to
southeastern US. Send resumé s to: Occupant. 616 Plaza. your space today!
Suite 5, Moneta, VA 24121.
in converters NEW PRODUCTS

1-800-445-6066
descrombler-
Call: TIRED OF BROKEN JEWEL CASES? Discover (9am - 5pm EST)
FOX the Allsop StrongBox"! A unique new jewel or FAX: 212-767-5624
ELECTRONIC case "guaranteed not to break". For a FREE
tenn_eee_er - STRONGBOX' SAMPLE call
1-800-426-4303; ask for CD offer #102.
AUDIO/NOVEMBER 1996
119
Biró ttc Digital Interface
Trying to put a Toslink optical digital cable into a coaxial RCA

digital jack is like the proverbial square peg in a round hole. It just
can't be done, unless you have a box like the biró t2c digital
interface, distributed through Audio by Van Alstine. This little box
is the least expensive interface ($75) I know of that allows a DAT,
CD, or other piece of digital gear with a Toslink digital output to
complete a connection to a coaxial digital input.
Now this box is nothing fancy, just a useful electronic tool
powered by a simple wall wart. (However, since jitter is said to be
higher via long optical connections, using the t2c to shorten the
KIMBI:R KI.IBI.Ii optical link between your components might reduce jitter in
Speaker Cables your system.) It came in real handy when
trying to connect a laserdisc player
I first used Kimber Kable speaker wires in my old with only a
apartment because their braided construction let me flatten Toslink out-
them a bit to fit under my rug and they were reasonably GRADE: B+ put to a pre -
priced. When I buried cables in the walls of my new amp's co-
house, I picked Kimber Kables again, for several axial digital input. The preamp also
reasons: I could still afford them. Their jackets are of had an optical input, but the distance
fire-resistant high -temperature Teflon. And since the
from the player to the preamp was well
cables would run near some AC lines, I liked the fact
that their braided construction resists hum pickup,
in excess of 10 feet-about the
much the way multiple shielded pairs would. maximum distance recommended for
Rather than have loose cables hanging out of my optical cable runs. So I ran the 6 -foot Toslink
walls, I had my installer place wall plates with binding cable from the LD player to the biró box, then a
posts at either end of each cable run. I use shorter lengths coaxial cable to the preamp. Problem solved.
of the same cables to connect the speakers to the posts. I would have given the biró t2c an "A" if it were
I terminated the cables with Kimber's PostMaster bidirectional (optical-to-coaxial/coaxial-to-optical). I wanted to take a coaxial
spade connectors ($16 per pair). The PostMasters CD output to a professional DAT Toslink input, but the biró works in only one
sandwich a silicone wafer direction. John Gatski
between plated contacts, so
GRADE: A they'll stay snug against For literature, circle No. 121
binding posts that are only
finger -tightened.
The PM -25 fits Castle Acoustics Isis Speaker
binding posts
from 0.20 to The made -in -England Castle Acoustics Isis ($529 per pair, standard finishes,
0.265 inch in $629, custom finishes) is a nice little speaker. The second smallest speaker in the
diameter; the nine -member Castle family (14 x 7 x 7' inches), the Isis has a 5 -inch woofer and a
PM -35s fit into I -inch composite dome tweeter. Bass is reinforced by a front -mounted port.
posts measur- Frequency range is from 60 Hz to 20 kHz. Sensitivity is listed
ing 0.28 to at 87 dB (1 watt at 1 meter). Castle speakers come in nine
0.345 inch. different wood -grain finishes, so they can be matched to GRADE: B+
Both fit wires
almost any decor. My sample pair came in a very attractive oak.
ranging from
AWG #16 Mounted on 24 -inch metal stands
(the smallest with their grilles removed, the Isis pair
you should sounded fairlig," with some audible
consider using for speakers) to AWG #6 and deep bass, detailed treble and midrange,
come with heat -shrink boots and Kimber's and a spacious stereo image. They seem to
WonderSolder. be more suited for acoustic music, jazz,
The Type 4PR cables I used in my and classical than pop, as bass on some pop
apartment, equivalent to AWG #14, are $26 recordings got a little plump. There also
for a precut 10 -foot length, $34 for 15 feet. In was a bit of midrange/low-treble hardness
my walls, I use both AWG #9 Type 8TC ($10 on loud dense rock music.
per foot) and AWG #13 Type 4TC ($6 per This is a great speaker by itself, but using a
foot), in case I decide to biamp or bi-wire compatible subwoofer, such as the Velodyne
my system someday. Ribbon -flat versions VA -1012X, to relieve it of the low bass duties
are now available; confusingly, the flat would make a killer system for under $1,500.
version of the 8TC is the 16LPC ($14 per The only real minus was the cable connection. The recessed rear compartment was too small
foot) and the flat equivalent of 4TC is for my Alpha -Core 10 -gauge flat cables with spade lugs to reach the terminals. I swapped the
8LPC ($8 per foot). Ivan Berger spades for banana plugs to make the connection. John Gatski
For literature, circle No. 120 For literature, circle No. 122
AUDIO/NOVEMBER 1996
120
WithVideoQuest Cables,
It's What You See On The
Screen That fln'mts.
I\ I ow that "Performance Video" is a hot bpic, more people know that
I v every step from the source to the scree n is important, and that many
r
of those steps are wires. But, with many logical sounding stories of
engineering competence, pretty graphs anc even prettier cables and B
plugs... how can you know whose cables a -e worth using? The answer
has always been to look for yourself... this time "look" really means look! C
Looking Backward or Forward?
By itself this chart ins nothing. It
In 1976 Polk Audio woke up the US audio world with a most unusual you see on your screen that counts.
speaker cable. Since then, many cable suppliers have introduced
innovative and often effective ways to reduce the various types of cable -induced distortion. There have been some
bad ideas and some just plain "make it big and they will buy" products... but, there has also been real progress.
Unfortunately, the video arena includes companies touting how their cables solve problems that had
been solved by others decades ago. After all, a lot of very competent people have been supplying the
world of high -frequency commLnication for a very long time!
These backward -looking companies claim that "characteristic impedance" is important. This is
awfully safe ground... everyone nas agreed about this since before most of us were born. CATV cable at
the hardware store gets this part ight, there's no reason to pay a premium for old news. However, there
When a DSS receiver, are many other significant, and often more important variables.
VCR or video camera
has "S';,outputs, Video
It is ironic that some of the same designers who properly argue that "while measurements are
S/Two will outperform important, they don't tell the whole story," are now retreating to the test bench instead of working to
composite cables. provide new solutions.
Composite, RGB, V/C (S), YIK (DYD), RF - We've Got Them
VideoQuest cables use a combination of the best techniques and materials available from today's high -
frequency cable industry, with our own desgn innovations to "push the envelope."
After 18 years of designing distortion mechanisms out of audio
cables, and eight years doing the same for video, digital and RF cables,
VideoQuest continues to expand the boundaries of this frontier.
tiiúeotuest Video Iwo Pushes the Envelope
Twin -axial construction includes two iden-ical
conductors, ensuring equally low distortior paths
,-,k1
for positive and negative... something not possible h
with conventional coaxial construction.
Hard Cell Foam (HCF) insulation minimizes dielectric
involvement (the way insulation creates distortion by
storing and releasing energy). HCF also minimizes damage caused
by applying hot plastics to the surface of metal. And, HCF Video Two's twin -axial construction uses
special Silver Plated Long Grain Copper
minimizes cold -flow (the deformation of a material under and Hard Cell Foam dielectric.
pressure, changing the cable's electrical characteristics and
compromising performance).
Special Silver Plated Long Grain Copper reduces distortion and improves signal flow... which in the
world of audio would cause a blight and irritating sound. However, in the high frequency domain, SP-
LGC provides a dramatic and ccst-effective improvement over even the highest grades of pure copper.
There are many more technical details and underlying theories as to how to reduce distortion in video
How does a signal cables. For more of this information, please ask for our Cable Design brochure... or better yet. go "see"
become distorted? the cables for yourself.
P.O. Box 3060 San Clemente, CA 92674 USA. Tel 714-496-2770, Fax 714-498-5112. info@@audioquest.com CIUCJIOCIueSt

Bad Sound

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Bad Sound

Uploaded by

Copyright:

Available Formats

GOOD SOUND

THE EQUIPMENT AUTHORITY

1)IUI CTOI:Y 1)1)ENI)A

Audio Publishing, Editorial, and Advertising Offices,

was being demonstrated continuously emancipated by the growing reliance on

"The Cambridge SoundWorks dipole

glirk The Powered Subwoofer.

Try MovieWorks in your own home, with your

No -Compromise Home "Cambrt a SoundWorks' Powered

Theater Surround Sound Subwoo er was clearly the best

The Center Speaker.

HOW DOES MovieWorks COMDARE TO THE COMPETITION?

CIRCLE NO. 7 ON READER SERVICE CARD

m.á95 1B 1 o aE.3 s;rk]-7 e7'al

It Up The quail of the

Carr ' -¡n,. e it . o,

In our never ending quest for

ADCOM details you can hear

CIRCLE NO. 2 ON READER SERVICE CARD

Your dad thinks YOU

Your B rothert hinks yo 2ughtta

ANYBODY EVER ASK YOU WHAT YOU WANT TO DO?

job0 at the airport.

The coaxial speakers we con-

rO 2o And the woofers' tiple drivers-spaced far enough

oo`......1 handle: The long-

lengths are the traditional C-60, C-90,

AUDIOPHILIA Quad because of the company's cur-

ANTIQUARIUS original Quad electrostatic loud-

"a landmark"... "the best"

What keeps us in the foreground is our background.

Jason Scott Distributing, Inc.

Nearly 10 years ago, to pinpoint the cause. This is as it should

4m1iflcr way to measure it. No matter how sincere

&und I would emphasize that many

Tomlinson Holman is the President of TMH Corporation. He is a Fellow of the

PHOTOGRAPH: ©1996 LEE FRIEDMAN/GRAPHISTOCK

with audio -band noise from which a por-

around without a subsequent call Y

as circuits stabilize. Across the way

Parasound HCA-2003 - 113 -octave Noise 100w¡

Cambridge SoundU órks'

No Magic Formula. No Secret

Plymouth Neon Expresso $13,370 (Nicely equipped.) And that's a great

1 -800 -PLYMOUTH or surf by on the Internet's World Wide Web at www.plymouthcars.com.

One clever idea after another_ That's Plymouth_

the fat, glugging tinge that even an

0.00i MI1IIIIII1IIIIII1111I to display. Clean, natural -ambi-

Audio Connection: Virginia Beach. Audiolronics: Roanoke.

CIRCLE NO. 13 ON READER SERVICE CARD

1996 Vionce: i.... .ics i_SA> i,. - La..Dc..

DIGITAL PHASE two end reeds are attached to the sides of

AP -2.1 SPEAKER All internal surfaces of the cabinet, ex-

ated Frequency Response: 35 Hz to 20

Integrated is the key word here. The KAV-300i The KAV-300i-Out of

The Leader In Digital Video Technology

CIRCLE NO. 32 ON READER SERVICE CARD

7000 IMartroo Mot

Adcom's 5 -channel GFA-7000 amplifier is playing to rave reviews.

Distributed in Canada by Pro Acoustics, Inc. Montréal, Québec (514) 344-1226

NO ONE WILL COMPLAIN ABOU

This matched home theater system

Polk Audio's new RT2OP