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For many years I have enjoyed your very fine Audio magazine and am sure that a number of your readers would like to know that there is such a thing as a tape club still around, and has been ever since 1955.
We are not as big in size of membership as we have been in years past, but we have grown recently. Currently we have a membership of approximately 600 people, both blind and sighted.
Membership dues are $5.00 annually, and each member receives four quarterly magazines a year, plus a directory of members. If the member is blind, the dues are only $2.00 a year; instead of receiving the print edition of our publication, they receive the contents read on a cassette tape.
If anyone has questions about our club, please do not hesitate to write me and I will be glad to supply the answers.
Howard W. McClelland Assistant Secretary The Voicespondence Club 173 Highland Estates R2 Kutztown, PA. 19530, USA.
Too Many Mikes Spoil the O.R.T.F.
Your July issue contains a letter from Lewis Smith, who speaks of making recordings using the O.R.T.F. mike configuration. However, he mentions use of three mikes. While I do not doubt the excellence of his results, the O.R.T.F. method specifies only two mikes.
On the subject of coincident microphone techniques, Charles Repka's article (November, 1978) examines the M-S system and includes diagrams for the necessary matrix. Thoughtful readers will realize such matrixing can be carried out using any high-quality audio mixer and one out-of-phase patch cord. Very briefly, the M signal (center) is assigned to both left and right equally. The S signal (sides) is also split and assigned equally to left and right, but with the phase reversed in one side. When combined with the M signal in a stereo mix, the S signal thus provides a sum to one side and a difference to the other. The amount of S added determines the width of the stereo image.
-Doug Pomeroy Brooklyn, N.Y.
Facing the Music
I was thoroughly amused by Edward Tatnall Canby's fanciful and imaginative version of Mr. David Hagan's and my recording session of the Max Bruch Concerto for Two Pianos. In the November, 1979, issue he describes us as ... physically mild looking, with round amiable faces and close, long hair, near-double chins," vs. the Berlin Symphony whose members "cringe every time ... demoralized, they hang back, they play sloppily."
My mother would be so proud; I have terrified 80 Germans playing in precision!
This is also the first time I have ever had my physical appearance reviewed in a music magazine. It is only fair that I get a second chance (see photo).
-Martin Berkofsky; Paris, France
(Source: Audio magazine, Mar. 1980; )
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