Editor's Review (May 1973)

The first mention of quadraphonic headphones appeared as long ago as June 1970 (in Audio where else?) and it was in the form of an article by Jon Fixler describing a patent. Well, as we expected, it provoked a very mixed response. We had numerous comments about "people with four ears"-that kind of thing, but we also had inquiries from recording engineers and prospective manufacturers. The engineers were concerned about the difficulty of monitoring 4-channel material--headphones are essential for studio use of course. A few weeks ago, we began collecting quadraphonic headphones for a survey or progress report, and we ended up with 12 pairs--and more on the way! These have been carefully checked with all kinds of program material--matrix and discrete tape--as well as pulse, square waves and so on. I believe many people will be surprised at our findings. Mr. McProud is now testing them for isolation, frequency response etc., and the full report will appear in our June issue.

Audio Recording Workshop

Brigham Young University are having a recording technology workshop from June 25 to August 16. There are two courses, one for those already in the recording field who want to know and understand more and the other designed for students who have some technical knowledge. Details can be obtained from Division of Continuing Education, Brigham Young University, 242 Herald Clark Building, Provo, Utah 84601.

Boston Audio Society

This society has more than 80 members and it publishes a monthly newsletter which pulls no punches. An extract from a recent issue is included with our survey of open reel tapes on page 21. Details of this go-ahead society can be had from Alvin Foster, Kenmore Square 7, Boston, Mass. 02215.

The articles on loudspeaker dispersion in our March issue produced some interesting reactions.

Some readers said they were too biased in favor of omni-directional systems, some thought they were prejudiced against omni-directional, while others maintained that a better case should have been made for a compromise wide-angle dispersion. All liked the idea of publishing various opinions and I am sure the majority of readers want to read all sides. So we will continue to print controversial articles and let the stones fall where they may.

And differing judgments serve but to declare. That truth lies somewhere, if we knew but where.

Books

I am often asked what books can be recommended to beginners. So here are a few that have our endorsement, so to speak. Understanding High Fidelity by Martin Clifford, Drake Publishers Inc., $5.95. Martin needs no introduction to our readers and his book is written for the absolute novice. Selecting and Improving Your Hi-Fi System, by Harvey Swearer. Tab Books, $7.95. This one is also written in non-technical language and contains a glossary. The next one is intended for the man (or woman) with some technical knowledge and is written from the British point of view. It is none the worse for that and needs little translation. (Said he, tongue-in-cheek.) Distributors are Transatlantic Arts Inc., North Village Green, Levittown, New York 11754 and the price is $8.75. Hi-Fi in the Home also hails from Britain and it was written by John Crabbe. Published in 1971 it is still one of the most comprehensive books on the subject. Distributors are Transatlantic Arts and the price is $9.16. (TA must have used a slide-rule!) And now two books for those with more technical knowledge. The first is Trouble-Shooting Solid-State Amplifiers by Ben Gaddis which deals with transistor theory and practice. The second is How to Repair Musical Instrument Amplifiers by Byron Wels. The author 'Writes in a most entertaining way and his book deals with a wide variety of things ranging from amplifiers to electronic organs and guitars to tone generators. He even tells you how to re-cover speaker cabinets! Both books are published by TAB, the first costing $4.95 and the second $5.95--and well worth it.

Humor in Advertising

From a loudspeaker ad in the British Hi-Fi News: ". . . It subjectively results in the bass staying within the box rather than generating pressure waves around the listening room."

-G. W. T.

(Source: Audio magazine.)

Also see:

Editor's Review (Jun. 1973)

Editor's Review (Mar. 1973)

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