Dear Editor (Feb. 1972)

Mr. Allison Replies

The following is in response to a letter from Philip Bond, which appeared in the January "Dear Editor:" column.

Mr. Bond has touched on a basic problem in sound reproduction: What is heard as reproduced sound is the product of many processing steps. These include the concert hall (sometimes!), microphones, tape machines, mixing consoles, reverb devices, equalizers and cutters, stampers, the disc/pickup cartridge interaction, playback electronics, playback loudspeaker systems, and the listening room.

The response characteristics of many of these processes are known accurately and are controllable by the recording engineer. But he cannot control the characteristics of the playback system, and the one thing he can be certain of in respect to it is that the response is not flat.

What little work has been done on studies of loudspeaker/living room interaction demonstrates that the perceived sound field is primarily the total power output of the loudspeaker system, integrated and somewhat modified in balance by the room itself. On this basis, there are no flat loudspeaker systems in common use and there never have been. Even those with relatively flat direct-wave output, on axis, roll off in power response at the high end.

Monitor speakers are no better. Many are a good deal less flat than the best home-type systems.

Ideally every element in the reproduction chain should be flat, with deviations from flatness (when desired) controllable by the user. This should include loudspeakers too, of course.

But even if it were practical to make such loudspeaker systems at reasonable prices--which it is not what could be done about the hundreds of millions of loudspeakers in use now, all of which do have rolled-off high frequency power output? The answer is that you continue to make records that sound properly balanced when played on these loudspeaker systems, or you won't sell records. Thus records will continue to have inherently a "brighter" balance than is intended by the recording engineer to be actually heard. That will be true of `concert" recordings, jazz and chamber recordings, and even ambience-type four-channel recordings. Playing such records at home on truly flat loudspeaker systems will produce a sound considerably brighter than the producer had in mind.

How do you break this self-perpetuating cycle? I don't know; it seems unlikely that it could be broken suddenly even if the loudspeaker technology were ready to break it. More than likely it will be a slow, evolutionary change.

That prospect is the reason why AR's new LST monitor speaker system, the first system that is capable of flat acoustic power response up to extremely high frequencies, is equipped with a selector switch to yield optional degrees of high frequency roll-off as well as flat output.

Wants Cylinder Phono

Dear Sir:

I would like to obtain a cylinder phonograph (Edison or other) and would like to know if you are aware of any source in Canada or the U.S. where I might obtain such.

-Dave Noon 19 Honeysuckle Cr.; London, Ont., Canada

Living-Room Room

Dear Sir:

In four-channel stereo, there is a big question about its feasibility in use: Who has a living room in which they can put four speakers without upsetting the entire furniture arrangement in the room? Also, if a person is married, such as myself, is his wife going to stand for two more speakers in the living room? Especially if the speakers are each 3 by 5 feet? And, another question I would like to have answered: How can you get the best results unless you sit in a chair (by yourself?) in the middle of the living room with all four speakers the same distance from you? With all these questions, I wonder if four-channel stereo is practical.

-Jodie Selzer; Pico Rivera, Calif.

1000-Mile FM Tuner?

Dear Sir:

I was duly impressed with the November AUDIO review of the Sherwood SEL-300 tuner. Unfortunately, I do not believe technical perfection in FM reception is an end in itself.

Here in the wilds of western Pennsylvania, I find little that is worthwhile in FM programming, regardless of fidelity. There is a seemingly endless parade of manic disc jockeys, redundant rock bands, elevator music, Nashville city-billy, and conventional assembly-line pop music. There is only one local station that offers classical music daily, and it is strictly monaural and often low-fi as well.

I own a receiver with a fairly sensitive, noise-free and distortionless tuner, but it is usually turned off, period. Thank God for phonograph records!

-M. G. Balfour; Monroville, Pa.

Well, one of the advantages of a highly sensitive and selective tuner is the ability to receive worthwhile programs in fringe areas. Who knows, maybe you could even get Cleveland with a good tuner. -Ed.

We Like You Too

Dear Sir:

Just to say thanks for the valuable information. Your magazine has saved me not only time and research, but money as well. I only wish that other publications could offer as much as AUDIO has given. Please keep it up.

- Demrey Berliner Wald; Port, Ore.

Beating Inflation

Dear Sir:

Subsequent to my agreement to renew, I decided that I wouldn't save anything because of inflation. I still feel that way, but I have so enjoyed the last several issues that I decided to pay up as an endorsement of your editorial policy. Keep up the good work.

-Phil Blair; Euclid, Ohio

$ For Tapes $

Many readers must have tapes which they are particularly proud of. AUDIO will pay $50.00 for the best tape of the month-cassette or reel-to-reel. They will be judged on technical excellence and content. Selected tapes can be processed and marketed--if the owner wishes. Who knows, that old tape may make you a fortune! Please mark your entries TAPE COMP. and send them to AUDIO, 134 No. 13th St., Philadelphia, Pa. 19107.

(Source: Audio magazine.)

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