Some of our readers would like more audio in our record reviews.
Predictably, that sets me off. I'm all for it-but with reservations, which I can put in very few words. In 99 percent of published recordings audio is but a part of the whole and not necessarily the primary intent. And there are also many aspects of audio.
I don't care whether a record is a disc or a tape, a classic, or jazz, pop, corn, even a sound effect-like the superbly artistic steam railroad recordings of the 1960s-every published recording embodies a composite of intentions, representing different sub-disciplines in the recording art and often enough, many different people, including the performers (or the synthesizer operators). Everybody is there to plug his own interest and specialty in the recording process. And yet in the final product all their efforts are frozen together into one result, in the singular--THE record. Inseparable-you get one aspect, you get them all.
That's what a record is.
Of course you can write about the separate aspects, the various intentions, one at a time. They are there, and they are good or bad, work together or swear at each other, depending. But you cannot forget that each element depends on the others, and the whole, the sum, is what counts-because that is the idea in the first place. Even a purely "audio" recording--short of a test record--must have some audio signal to work on, and the better the software, the more effective the audio.
I don't count the true test record as among normal published recordings.
It is a basic audio tool, extremely useful, but it is not a record in the usual sense, which means a recording meant for listening. Listening pain, listening pleasure, listening boredom, you name it! But listening is the name of the recording game.
Phew-a hi-fi sine wave! How interesting to hear. That ubiquitous 1-kHz tone. Or those dreadful warbles and howls they use to set up CD-4 balances and adjustments. Some listening! Fine tool, if you can take the sonics. And how about those ultra clean supersonics? Fine, too, if you enjoy meter listening. You'll remember that CBS Labs launched its line of direct-to-disc test records a good many years back and since then they have sold a comfortable number of these tools but, I suspect, have acquired remarkably few listeners, even though the CBS fi is astonishingly hi.
Really, we do NOT want to listen to pure fi, minus anything else! It bores us to death. Even when useful. This just isn't what we mean by recording.
What we often call a "hi-fi test record" is an altogether different thing, though occasionally useful as a tool. It is for listening, even if the auditor fancies he is hearing pure fi and not, say, music. Wrong! He hears the fi because the music is there and well chosen, if all too often in bits and pieces. Like all recordings, these "test discs" (and tapes) represent the telltale composite of interest and intentions which the true nature of the published record of every kind. Different aspects working or NOT working together.
Evaluating Records
So when we evaluate a recording, we have three aims, as I see it. First, we must be aware of the sum, the whole, the end result in all its aspects, whether musical or audio. Second, we should know what the record as a whole thinks it is doing-what are its aims, and whether it hits its apparent target, or whatever. Third, we must write not for one special group of listeners-even in our magazine--but far we can for all who might be variously interested. With priorities, depending, from one type of record to another and one reviewer to the next. And this because on the far side of the playback stylus and the magnetic head we have a sort of mirror image of the recording studio.
Many different listening interests, and highly trained ears to match.
Our best reviews, I think, are those which "get over the message" even to people who disagree, or who are negatively interested in some particular aspect. You want to find out what so-and-so record is like? So you read Canby, he says it's good and you know instantly that it's not for you.
OK-that's one you don't have to bother about. Useful info. Neither one of us is flatly wrong, we are just interested in different things.
There are so many subdivisions! Recording (for listening) combines two major arts plus a technology, the audio chain from start to finish. Two arts? One, of course, is the art of music, enormous in its scope; history, and present activity. The other is the art of recording, now also enormous in its complexity and subtlety, from the most straight-forwardly beautiful ambience techniques for classical music-mikes, balance, acoustic surround-through all the immense complications of pop mix-down and synthetics. And the one science, audio, makes the whole thing go. Talk of composites! Each of these vast areas is full of different specialties and different people pushing their own, towards that one final end result.
Wonder there aren't a million cat and-dog fights in every studio. There are a few. And a lot of bad records.
Most are due to lack of knowledge and/or skill in one or more departments; but many more simply represent internal warfare. The music at cross purposes with the mike setting and balance. The audio fighting the music it is supposed to represent. The musicians ignoring the necessities of the medium, or failing to take advantage of its special virtues. They will do that. The producers caught somewhere in between.
STOP, yells Audio through his squawk box. You're ruining my signal--I can't take that much dynamic range. I'm going to compress.
NO, SIR, says Producer, not at the expense of our music you won't! Well then, says Audio, tell 'em to play softer.
WHAT? Desecrate our sacred art? say the musicians, overhearing.
Never! (But they often do, resignedly, even so.) Too much bass, says Audio. Not enough piccolo, says Producer. I can't hear the violins, says Cello. What, not that same passage AGAIN? says conductor, to himself, of course, smiling cooperatively. By that time the musicians just look sodden. They're getting paid.
STOP! Right in the middle of a climax. That's the Musician in charge.
Break. You CAN'T stop the music right there, we'll have to do it all over, says Producer, inaudibly to self. Oh yes, you can, says Musician. And so they do. Everybody has his rights, after all.
Direct Disc Dilemma
Let's go direct-to-disc, says the Exec. NO! shrieks the Producer, whose life depends on the re-take, whose art, nurtured over a quarter century and more, is about to be junked. YES! shout the buyers out there, the listeners-some of them. More fi in the music! Isn't that what we want? NO! shout a few listeners and a lot of studio men. Not, please, at the expense of recording flexibility. For a tiny bit of sonic improvement you want us to go through all that jazz, no repeats, no mistakes, no coughs, "live" band separations in real time, the perfect performance every time, LP-long-and, of course, the perfect disc cut? Phew-it's more than human beings can stand. Musicians and technicians alike.
That is, unless that is the aim of a given recording, and people really feel it is worth the effort. If so-fine. A lot of buyers (not having gone through the agony) are avid for the stuff. It sounds good, very good. The musicians, also, can rise to the occasion and do their sweating best. But this is a very limited medium, however you look at it, and I don't think anyone expects it to supercede the conventional tapings. Keep improving the tape, I say.
Incidentally, speaking of reviews, you will note that Bert Whyte thought the first Umbrella direct-to-disc was technically superb, but he didn't much like the music. I thought it was technically superb but I did like the music. OK? You take it from there.
But remember those subdivisions. If you like big bass, stay away from Umbrella II. It just isn't that kind of music.
No thump, no bang-bang. Just super-fi in the upperworks.
To sum up direct-to-disc, just think figuratively. In the old days, that system required musicians (and technicians), so to speak, to hold their breaths a maximum of four minutes.
Now, everybody holds his breath for up to a half hour and can you imagine the strain of those last five minutes, when the goal is ALMOST achieved and one single, tiny fault ruins the whole shebang? No, this is for heroes only! We do have them, I'll have to admit.
Sound Reviews
So you want more audio in our record reviews. OK, you understand what we are up against. All those different aspects, and so many records for so little space! We all of us have to economize, in every magazine. Have to use best judgment as to which element to plug at the expense of most of the others. We mustn't get too carried away by our own specialties, and thus forget the guy whose ears are mainly tuned to record scratch, or to fi in the bottom regions, as above, or cleanliness in the upper. But if we continue to think composite-not only what's there or isn't there but how each aspect affects the others we'll come out with useful evaluations for all concerned. Except for the test record, the test tool, the composite review is the only one that makes sense at all. It simply reflects reality.
Yeah. I was going to add two or three typical reviews, specific examples from my own department, to round out these observations. On second thought, I think I'll put them back where they belong. So I have only one more pertinent thought to purvey. In record reviews, a complete listing of ALL the separate factors, for each record, is a literary no-no. Bore you stiff. Too many music minded reviewers put down such essentially useless terms as "recording: satisfactory," over and over again. To me, that just sounds snippy. The readers deserve better.
Better, I have long since decided, is to assume a lot, save space, and take it for granted that you get the idea: if the record is technically average in its audio-that is, OK for the music, perfectly good and useful, up to normal standards, acceptable though not especially stunning, easily hi fi but not superbly super fi, adequately balanced but nothing unusual to write home about good or bad, if the dynamics are normal, not too high, not too low, the surfaces at least moderately silent, if the thing is minus noticeable warps and woofs and flutters and groove-jumps, lacking bubbles, gouges, swishes, reasonably cut and cleanish in the peaks, clear in the valleys, sharp in the transients, and so on etc.--then I just say nothing. And go on to discuss the music, which is the primary message on most discs.
That is the situation a lot of the time. And do we save space! How many times do you want me to write "recording: satisfactory"?
(Source: Audio magazine, Oct. 1977; Edward Tatnall Canby )
==========
Vintage magazine ADs:
Nikko Audio
In a Class by Themselves
The Nikko Audio professional group of rock mount design stereo power amplifiers, pre amps and a remarkable new FM thin-line tuner ore truly in a class by themselves.
The Alpha I basic high-power amplifier and Beta I all-FET preamplifier are classics of power and operational ease. Although they have been available for only a few months, they hove already garnered critical acclaim.
Following in this tradition is the new Alpha II power amp, with a continuous power output of 110 watts* per channel, with no more than 0.03% THD. The "rock-steady" Alpha V "Class A" laboratory standard amplifier with AC/DC selector is shown in mate black. It delivers 100 watts* per channel, with no more thon 0.06% THD. Performance s so pure that the Alpha V is ne touchstone by which all other amplifiers will be tested.
The matching Beta V high voltage FET preamp, atop the Alpha V, is the last word in performance and reliability. t features 3-position mode switching, 5-tape position controls, adjustable impedance/ capacitance controls and subsonic filter.
Rounding out the expanded professional line is the thin-line Gamma I FM tuner. Its accuracy (1.8m V usable sensitivity), and features like IF bond selectivity, enhance o product virtually unmatched by any other manufacturer.
The professional group from Nikko Audio-each product crafted to provide the utmost in performance and reliability.
Minimum RMS, per channel, both channels driven into 8 ohms from 20Hz to 20kHz.
Nikko Audio For those who take their stereo seriously Nikko Electric Corp. of America
16270 Roymer St., Von Nuys, Calif. 91406
(213) 988-0105
Nikko Audio, 1977
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Cannon-TLS
The loudspeaker that listens to you
Most speakers reproduce sound with a certain, pre-determined timbre. Some are strong on bass for rock music.
Some accentuate midrange, for strings and vocals. Others offer flat response, preferred for classical music. But you can't adjust these "preset" speakers. They sound the way they sound, and that's that.
Cannon gives you a choice.
Full-access controls let you contour treble, midrange and bass, with an infinite number of combinations possible.
And all Cannon speakers have passive radiators for deep, tight, believable bass. A brilliant piezoelectric tweeter delivers crisply detailed highs over a wide angle of dispersion.
The 1230 three-way 12-inch system shown is just one of four superb Cannon speaker systems, priced from $169.95 to $399.95. Audition a pair of Cannons soon. Compare them against the names you know.
Listen critically. We're confident they'll speak for themselves.
Cannon TLS
TRANSLIINEAR SYSTEMS
8218 Lankershim Boulevard North Hollywood. CA, 91605
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AudioSource
Stylift ... an uplifting idea.
No more dropped tonearms, damaged cartridges and records. It's the Stylift a revolutionary new device that automatically lifts the tonearm off the record surface at the end of play.
Designed especially for manual turntables Stylift is a unique mechanical device that uses no magnets, solenoids or photoelectric devices. The precision device is absolutely maintenance-free no wiring is necessary and mounting the Stylift is simple and easy.
Stylift easily lifts tonearms tracking up to two grams and even has a special counterweight attachment for heavier tracking tonearms.
Stylift is made of polished chromium steel (no plastic)
and will provide years of trouble-free "protection" and convenience for your tonearm and cartridge.
Order Now
To order your Stylift, enclose a check or money order (NO CASH PLEASE) for
$19.95 for each Stylift desired, plus
$1.50 for postage and handling.
( California residents: add 6% for sales tax.) Use the attached coupon.
Please allow three to four weeks for delivery of your Stylift.
SATISFACTION GUARANTEED. If not completely satisfied, return within 10 days.
Stylift is distributed by AudioSource, Foster City, California.
AudioSource 1185 Chess Drive Foster City, Calif. 94404
---------------
Revox
We still make them like we used to!
We also still price them like we used to!
Two interesting events just happened that will change everything you thought about the price of tape recorders.
Most other machines will cost more. As new 15% tariffs push their price higher, those flashy inexpensive tape recorders will become just plain flashy tape recorders.
Revox machines will cost less. As we switch to direct US distribution, we are able to reduce prices to our 1974 level. Which will save you money on every product in our Revox line.
Times are rapidly changing. So you have to really keep your eyes open as well as your ears. When less costs more, and more costs less, here is the one name to remember.
Revox. You can't buy better at any price. Especially now that our price is less.
For more information about Revox contact.
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Next best thing to a vault for protecting your records:
Discostat Static Reducer gives you continuous, two-way cleaning action.
Grounded, ultra-fire copper brush cuts annoying clicks and pops, while the plush roller brush collects dust and dirt-all as record plays! Just 19.95*.
Realistic record care accessories
Realistic makes it easy to keep your discs clean and free of electrostatic charges, so those silent passages stay silent a lot longer. Whether you're looking for a low-cost cleaner for casual use or a sophisticated system for critical applications, you'll find it in the Realistic line. Compare our prices with what you'd have to pay for the other big-name brands. Then take the money we save you and ... put that in a vault!
Exclusive Hydro-Stor Disc Cleaners -- the most convenient manual system ever! Stores fluid for weeks, keeps correct moisture on cover for clean sweep every time. "Pro" model with stand, rosewood handle, $9.95 . Cylinder, 4.95 .
Discoclean is the economical way to keep your records clean. Tracks automatically, while record plays. Special dual bristle system collects even the finest particles. Weighted base for instant installation. Only 9.95 .
Deluxe Stylus Force Gauge helps you maintain correct tracking force for top cartridge performance and longer stylus life. Easy-to-read scale calibrated from 0-3.0 grams. Only 1.99*.
SOLD ONLY WHERE YOU SEE THIS SIGN:
Radio Shack
A TANDY COMPANY. FORT WORTH, TEXAS 76102
OVER 6000 LOCATIONS IN NINE COUNTRIES. Prices may vary at individual stores and dealers. FREE! New '78 Catalog
Come in for your copy and see what's really new in electronics. 164 pages 100 in full color. 2000 exclusive items.
-----------
SAE
In the Black II
Performance, beauty, quality three attributes that have always been the hallmarks of SAE products. SAE systems in the past have had them, this system's predecessor had them, and the new In The Black system has them and much more.
The 2900 Parametric Preamplifier offers our new flexible parametric tone control system, full dubbing and tape EQ. New phono and line circuitry results in unparallel clarity and definition with distortion of less than 0.01% THD & IM.
The 2200 Stereo Power Amplifier with fully complementary circuitry delivers 190 Watts RMS per channel from 20-20K at less than 0.05% Total Harmonic Distortion, from 250mW to full rated power.
The 8000 Digital FM Tuner has linear phase filters, phase-lock multiplex, and of course,, our famous digital readout tuning indicator system.
Combine these products together and you have a system that ensures superior performance in all areas, excellent control flexibility, and the sonic quality that is typically SAE.
Only by SAE Scientific Audio Electronics, Inc.
P.O. Box 60271 Terminal Annex, Los Angeles, CA 90060
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db Systems
We Make Much More Than Just An Excellent Preamp
As you can see, DB Systems takes care of everything between the cartridge and the speaker. Starting with the DB-4 Pre-preamplifier with its selectable gain for any moving coil cartridge, through the famous DB-1 Precision Preamplifier and the DB-5 Tone Control module which allows the tonal balance of the system to be changed without adding coloration, into the DB-3 Active Crossover which comes in bi- or tri-amped versions at any crossover frequencies you order, and finishing with the DB-6 Precision Power Amplifier with its vanishingly low distortion under actual use, even with reactive loads such as acoustic suspension and electrostatic loudspeakers, our products provide the discriminating listener with a full range of components whose ultra-low distortion is our trademark. Also shown is our DBR-15 Rack Mount Preamp and Tone Control, which combines the features of the DB-1 and DB-5 into an integrated unit.
DB Systems is a growing company whose products are sold world-wide, and is now in its third year of operation. Our founders and owners are audiophiles and perfectionists who were dissatisfied with available audio components.
Their solution was to design equipment so radically better that no significant improvement would ever be possible, yet maintain the lowest possible cost consistent with our demanding standards. Our preamplifier, for instance, has a typical total harmonic distortion at 1kHz of .0003%, a performance that is unsurpassed today even as it was when it was introduced. This unit is guaranteed to have a maximum THD (including the phono stage) of less than eight parts per million (.0008%) at any frequency from 20 Hz to 20 kHz, at any level below clipping. Our power amplifier is guaranteed to have less than .0008% THD at 1 kHz, and .005% from 20 Hz to 20 kHz. Every one of our products has a similar level of accuracy, guaranteed for five years. Each is extensively tested before it goes out the door, and performance must be well within our specifications. The testing and attention to detail which makes this sonic quality possible has not been sacrificed as we have increased production and introduced new products to satisfy a growing demand, and it never will be.
Come in and listen for yourself at your nearest DB Systems dealer, or circle the reader service number for more information.
P.O. Box 187, Jaffrey Center, NH 03454 (603) 899.5121
In Canada: Edon Acoustics, Ltd., 697 Bank St., Ottawa K1S 3T8
DB SYSTEMS
---------------
THE TOSHIBA 3060 WITH DOLBY FM. BELOW $200.
Usually, a tape deck with all these features costs you a lot more. But at Toshiba we make our own parts, so we can add all these extra features without charging you a lot of extra money. Before you buy any tape deck, get all the facts. They're right on this page.
You'll see that with the Toshiba PC-3060, you're playing with a loaded deck.
NOW ALL OUR COMPETITION CAN DO IS HISS.
Auto Play and Auto Stop Function. This lets the tape play all by itself. With the PLAY and REWIND keys pressed at the same time, the tape will rewind to the beginning of the cassette, stop, and automatically begin playback. The Auto Stop mechanism automatically switches the tape off at the end-so it protects the tape deck and your tapes.
Cue and Review. Your fingers will do less walking on the keys. When you're looking for a certain portion of the tape, just push down to find the place. And lift your finger to start the tape playing.
Timer Setting for absent recording. Now you can record Janis Joplin at home while you're out listening to Mozart.
Just use the PC-3060's timer setting switch with your own timer. Recording will begin automatically at the time you set. The Auto Stop mechanism will turn it off at the end.
Dolby Noise Reduction System and Dolby FM Selector Switch. On the PC-3060, all you'll hear is the sound of the music. Because the Dolby noise reduction system cuts hiss level by as much as 10dB -- so much that it's virtually nonexistent. And a selector push button instantly gives you the best of Dolby FM broadcasts.
Besides all the extras, the PC-3060 has all the ordinaries: Switched Bias/Equalization, Rotary Master REC Level Control, two recording level meters, an easy-to-operate vertical format, and low wow and flutter.
TOSHIBA ...In Touch with Tomorrow
Toshiba America, Inc., 280 Park Avenue, New York, N.Y. 10017
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ANALOG ENGINEERING ASSOCIATES, INC.
A.E.A
HEAVY
Heavy technology, Heavy music, and our Hero-the Heavy.
Demanding music requires audio components with advanced designs, high technology, and the best component parts. A.E.A. has it all.
One example is our new power amplifier, The Brute. The Brute weighs in at 72 lbs., half of that weight is the heavy duty power transformer inside. You see, the transformer used in an amplifier makes a decided difference in its sound quality-especially during heavy musical crescendos. So A.E.A. uses a heavy. In the 620 we use a four quadrant bridging output design to dramatically improve the amplifier's slew rate, and to enhance its power handling capability.
To make this Brute feel at home in a system we've added some creature comforts. Like peak following power output meters, transient LED indicators, and electronic speaker protection circuitry. All this adds up to a true Brute-an amplifier that will provide 325 watts per channel into 8 ohms all day long without the need for forced air fan cooling. (Our smaller A-610 at 150/150 RMS will do the same for smaller systems.) What to plug into our Brute low transient distortion ... and our pre-amplifier.
Analog Engineering has done some original research on transient distortion, a type of distortion that's particularly audible in preamplifiers.
The result was our A-520 modular stereo preamplifier with rated total transient error of 0.004%. (total I.M. distortion below 0.001%.) and a musical listenability that verifies the superior specs.
At A.E.A. quality is no accident.The520 pre amp also uses heavy technology. A 1% tolerance parts throughout. All modular epoxy sealed design. Highest grade, 24k. gold-plated plug-in interconnections. And all jack-to-printed-circuit board construction for consistent unit to unit excellence. The price of the A-520 is $590.00 -- one quarter the price of our main competitor. We recommend that you purchase the A-520. It would be hard to design a better preamplifier at any price. We know... we've tried.
AEA
On the cutting edge of technology, where nothing matters but the music.
For more information about A.E.A. and their advanced line of audio products, call 305/628-1665 or write direct to the factory.
SPECIFICATIONS:
POWER OUTPUT/325 watts/channel RMS (conforms to FTC rating requirements) both channels operating into 8 ohms (650 at 4 ohms).
FREQUENCY RESPONSE AT RATED POWER: 5 Hz. to above 40 kHz.
HIGHEST THD. from 1 watt to rated power is 0.08%.
SIGNAL TO NOISE RATIO: 110 dB.; INPUT SENSITIVITY: 2.0 volts.
WEIGHT: 72 pounds.
CIRCUIT DISCRIPTION: Four quadrant bridging outputs and differential FET input circuitry PROTECTION CIRCUIT: computer logic.
DIMENSIONS: 19” W x 16 1/4" D x 7" H.
PHYSICAL: 19" rack mounts with cast alloy handles.
CONTROLS: Meter sens., power on/of, electronic reset, gain.
METERS: Large 5" illuminated peak following meters with "ballistometric differential slope peak detector circuitry."
INDICATORS: LED (light emitting diodes) indicate transient peak overload.
REMOTE: Second line cord switches AC power, plugs into preamplifier and allows the Brute to be switched on from convenience outlet.
This circuit is optically isolated from preamplifier and pulls less than 5 ma. from preamp.
PRICE: With five year "limited warranty," $1,090.00.
ANALOG ENGINEERING ASSOCIATES, INC.
520 Park Avenue South Winter Park, Florida 32789
-----------------
AKAI
INTRODUCING SIX WAYS TO IMPROVE YOUR HEARING.
AKAI introduces just what the doctor ordered to improve your hearing: six great-sounding receivers that put real heart into your system, whether you listen to tape, records or FM. Choose from six power ranges 15 to 120 watts per channel with suggested retail prices from $189.95 to $649.95. So now, no matter what receiver you want--a good basic unit or a unit with all the features an audiophile demands--AKAI's for you. You can feel confident that dollar for dollar, spec for spec, you're getting the true-to-life sound you expect from the name AKAI. And a receiver that delivers better tuner sensitivity and less distortion at all volume levels is what a good receiver is all about.
Compare performance, features, design and value at your AKAI For [8' x poster of t hi. Charles Bragg etching. send $2 to AKA!, Dept. C . P.O. Box 6C dealer. And start hearing what you've been missing.
Watts/ Power
Model RMS OHMS Band Width
Total Harmonic Distortion no more than 0.5% no more than 0.3% no more than 0.2% no more than 0.1% no more than 0.08% no more than 0.08%
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OPTONICA
The Optimum
Free maxell tape just for listening to the t cassette deck that finds music automatically.
Now there's a cassette deck that plays it your way.
The Optonica RT-3535 Mark Il. It's the only cassette deck with APLD, the Automatic Program Locating Device that lets you select the songs you want to hear automatically, instead of manually searching for each cut.
But that's not all.
This Optonica cassette deck also has the kind of specifications that will impress the most dedicated audiophile.
The high quality tape transport features a 2-motor drive system, and a precision polished capstan shaft. Which results in a wow and flutter of an amazingly low 0.04%. Compare that figure with other top of the line cassette decks and you'll see why Optonica can honestly call the RT-3535 Mark II. The Optimum.
A built-in Dolby* System means you shouldn't have to worry about hiss and noise ruining the performance of your tapes. And the ultra-hard Permalloy head means you'll have greatly improved frequency response.
We invite you to listen to the optimum cassette deck and in return, we'll give you the Maxell UDC-90 cassette tape absolutely free.
Just call toll-free 800-447-4700 day or night for the name and address of your nearest Optonica showroom. Or write Optonica, Dept. CIOB .10 Keys Paramus, New Jersey O pick up your free copy of our ea log, listen to the RT-3535 Mark H and get your free Maxell cassette tape.
Come in soon... the free tape offer (good only at participating dealers while the supply lasts.) ends September 30 1977.
From the cassette deck that finds musical selections automatically to the unique turntable built on granite, find out why throughout Europe and Japan, Optonica is one of the fastest selling lines of high fidelity components on the market today.
OPTONICA-THE OPTIMUM.
*Dolby is a trademark of Dolby Laboratories. Inc.
----------------
JBL
You've never heard anything like it. Not from us. Not from anyone. JBL's new L212: a totally new picture of high performance sound, from the people who wrote the book.
You hear the whole sound first.
And when you catch your breath you search for words to describe the depth, the detail, the etched precision of the music.
That stunning pair of three-way speakers is sending clean, undistorted sound to every corner of the room. At every frequency. At every level. Loud or soft. High or low. It doesn't matter. The energy is constant.
You're experiencing three-dimensional imaging: Vocal up front. Lead guitar two steps back and one to the left. Drums further back. The piano closer, almost off the right edge of the sound.
Suddenly you're aware of a fullness in the music that you've heard before but never associated with recorded sound.
The bass! You've been hearing all of the bass, all of the fundamental tones you couldn't bring home from the concert. It's not only everything you've heard before. It's everything you haven't.
The music is rich with sound at the lowest limit of your hearing.
Then you see the third speaker. The hero of the piece: The Ultrabass.
The Ultrabass is a system in itself-woofer, amplifier, equalizer and enclosure-designed, mated, blended to do one thing perfectly: reproduce sound at the threshold of sub-sonic frequencies.
It brings all the low frequency music within audible range, balancing it perfectly with the rest of the music. Without boominess.
Without resonance. It also electronically sums left and right signals below 70 Hz-virtually eliminating turntable rumble and record warp noise. And, because of the non-directional character of the low frequency sound, the Ultrabass can be placed almost anywhere in the room. Without any loss of three-dimensional imaging.
The Ultrabass pays one final dividend: it allows the two three-way speakers to be specialists, too.
They can concentrate on the top 95% of the music. (Listen to the whole system, and you'll hear what that means. Even at a rug curling, rock concert loudness, you'll get a clarity, a smoothness, an enthusiasm for detail you've never heard before.) Finally, you look for the monster amplifier that's driving all that sound. There isn't one.
The L212 takes one fourth the power you'd need with a conventional low efficiency loudspeaker.
That's the story. What you've been reading about is, essentially, a no-trade-off loudspeaker system. Now we'll tell you the trade-off: The price is $1740. (The L212 may take a little while becoming a household word.) In the meantime we have two suggestions: If you'd like a lot more technical information, write us and we'll send you an engineering staff report on the L212. Nothing fancy except the specs.
Or call your JBL dealer and ask him when you can hear the L212.
You've never heard anything like it. Not from us. Not from anyone.
James B. Lansing Sound Inc., 8500 Balboa Blvd., Northridge, Calif. 91329.
High fidelity loudspeakers from $168 to $3510.
--------------------
LUX
Now... more audiophiles than ever can enjoy the sonic excellence of LUX Introducing the new LUX tuner/amplifiers.
Since we entered the U.S. audio scene in late 1975, LUX has been primarily identified with separates.
Now, LUX introduces three new components tuner/amplifiers, as we choose to call them-for those who want their tuner, preamplifier and power amplifier on a single chassis.
Our new tuner/amplifiers share the same special qualities that have given LUX separates a worldwide reputation for excellence. Each is designed by the sane LUX audiophile/engineers, whose ultimate concern is the way a component sounds under dynamic musical conditions, not just the way it measures during static lab testing.
Although the circuitry details that follow on the Luxman R-1050 may be of primary interest to only the technically-oriented, they suggest the quality you can expect from each of our new tuner/amplifiers.
Quality that is anything but ordinary.
Tuner section
For high sensitivity, there's a dual-gate MOSFET front end. And for excellent selectivity, lower distortion and higher stereo separation, the IF stage has a special linear-phase filter array. Wide stereo separation-45 dB at 1 kHz and 40 dB at frequency extremes-is enhanced by a phase-locked-loop multiplex IC.
Amplifier sections
With a two-stage direct-coupled amp, the preamplifier provides accurate equalization (RIAA: ± 0.5 dB) and a good phono overload capability (150 mV). Quiet performance is also assured: phono S/N ratio is 66 dB with a 2.5 mV signal (85 dB re: 10 mV, IHF A). The power amplifier is direct-coupled DC, in a true complementary symmetry configuration. This output design assures high phase linearity and excellent transient response in all three tuner/amplifiers. The basic difference lies in power output: 40, 55 and 12C) watts for the R-1040, R-1050 and R-1120 respectively, minimum continuous power per channel, with both channels driven into 8 ohms, 20 to 20,000 Hz. At rated output, total harmonic distortion is no more than 0.05 percent for the R-1040 and R-1050, no more than 0.03 per cent for the R-1120.
Features
The features of these tuner/amplifiers are anything but conventional. For example, all three models have 12 LED's (with adjustable sensitivity) to monitor power output. In the R-1050 and R-1120, tape facilities permit deck-to-deck dubbing while you're listening to either FM, AM, phono or aux. Speakers are protected by a turn-on time delay, plus an overload shut-down circuit. And, even the "standard" features have the special LUX touch.
Performance--the ultimate criterion
As for how these tuner/amplifiers sound, here's what the British magazine HiFi at Home said about the R-1050: "...a high standard of performance... treble quality was light and delicate-something LUX engineers always seem to achieve... bass output seemed plentiful and strong, as is often the case with enormous, low impedance power supplies..."
If we've encouraged you to experience the sonic excellence of LUX, your next step is to visit one of our carefully selected dealers. We'll be pleased to send you the names of those in your area.
LUX Audio of America, Ltd.
200 Aerial Way, Syosset, New York 11791
In Canada: White Electronics Development Corp, Ontario
----------------
Discwasher
Where the audio industry finds its new ideas.
The stylus cleaner and magnifying mirror that work Freon-free dry film micro-coating The Superior Record Cleaner with new D3 Fluid
Incredible tonearm damping system
Direct From Cleveland.
The world's first direct-to-disc recording of a full orchestra.
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Why Harman Kardon makes only ultrawideband components in a market full of narrowband components.
Why we do it is simple.
The sound.
You can buy narrowband components, with flat frequency response from 20 to 20,000Hz, from every major high fidelity manufacturer. In sonic terms, ultrawideband components deliver two Except one. important benefits.
Harman Kardon makes only ultrawideband Phase linearity and outstanding transient response.
components. Outstanding transient response is the ability of a component to respond instantly to the onset of a sound.
Our lowest-priced receiver gives you flat frequency response from 5 to 70,000Hz, while other Harman Kardon Narrowband components can't respond quickly enough, components 3o from 4Hz or below to 100,000Hz and beyond. softening transients and masking much of the clarity and excitement of the music.
Harman Kardon's ultrawideband components handle transients with ease. To give you a sound that's open, clear, accurate.
Phase linearity describes a component's ability to pass multiple frequencies without changing their time relationships.
Narrowband components tend to exhibit phase shift at low frequencies, which can dull the sound over the entire audible range. Bass may seem louder, but it will be less distinct.
Harman Kardon's ultrawideband components deliver near-perfect phase linearity at low frequencies. So you get a sound that's consistently open-clear on down to the bottom.
The way we check for phase linearity and solid transient response is to take our testing beyond the single-frequency sine wave other manufacturers rely on to the square wave made up of many frequencies, just like music. In square wave response, Harman Kardon components are unrivalled.
All of which leaves just one very peasant thing for you to do.
Go to your Harman Kardon dealer.
And listen.
Harman Kardon, 55 Ames Court, Plainview, NY 11803.
harman/kardon wide, open sound
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Cerwin-Vega
Thermo Vapor Suspension
The Cerwin-Vega S1 is the most elegant and exotic shelf speaker currently available.
The rare Yucatan rosewood' facade only hints at the marvels inside. A sophisticated sixth order Butterworth vent tuning, integrated with an active equalizer filter, increases the effective bass performance to surpass much larger enclosures. The wave of the future in quality shelf speakers surely will be such a system.
Even this is not good enough for the S1.
We have developed an elegantly simple improvement in bass enclosure technology; we call it Thermo-Vapor Suspension.
By filling the S1 cabinet with a soft, inert gas which is more compressible than air, a lower system response and more controlled damping is achieved.
The drivers are precision aligned die-cast units having the highest magnetic motor drive efficiencies in the industry. The low crossover of 300 Hz to a 6"'midrange driver assures low intermodulation at loud levels. A damped horn, high frequency unit (moving mass, .1 gram), operates at a low pressure density extending response to 20 kHz with vanishing coloration.
The S1 has impeccable technical credentials too numerous to detail here so write Cerwin-Vega for full performance specifications or see it, hear it, Feel it, at a selected dealer.
Cerwin-Vega!
Walnut is standard
Patent Pending
Cerwin-Vega! 12250 Montague Street, Arleta, California 91331, 213/896-07772
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Fidelitone record care
Introducing the Competition.
Purifier / Fluid
Just when you thought you knew what the best record care product was, along comes a little Competition. And Competition is what our new Record Conditioner is all about. The Record Conditioner by Fidelitone is simply a better product. For some very good reasons.
It has a more effective cleaning fluid. The Purifier Fluid. And in record care, the fluid is everything. In fact, The Purifier Fluid is so effective, it leaves no residue, reduces static charge and increases output sensitivity.
Record Conditioner has a unique, unidirectional pile pad, too. And our exclusive cherry wood handle (with a hand rubbed finish) that's guaranteed not to slip or roll. There's even a matching cherry wood holder that you don't have to pay extra for.
But here's the real clincher. The Record Conditioner has a surprisingly lower price than the leading brand. So when you combine value with all our quality, you have quite a bargain indeed.
Ask your hi-fi or music dealer to show you the Competition: The Record Conditioner with Purifier Fluid by Fidelitone. See our other fine record care products, too. Like the Spin 'n Clean Machine. The Rotunda. Or our Fidelicare Kits. Because if you thought you knew what the best record cleaning system was, it's time to think again.
Record Conditioner with Purifier Fluid by Fidelitone
Fidelitone, Inc., 207 North Woodwork Lane, Palatine, Ill. 60067
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Audioanalyst loudspeakers
PINPOINT IMAGING. SO ACCURATE YOU'LL WONDER WHERE THE OTHER SPEAKERS ARE.
The Phase Matrix Group: A family of four elegant and exciting new loudspeaker systems from Audioanalyst.
Our limited warranty covers all speakers in the Phase Matrix Group for a full six years.
Ever, speaker is enclosed in a genuine walnut veneer cabinet lacquered to a fire finish and faced with a subtly sculpted, projecting grille.
Working in conjunction with our unique Phase Matrix is a low loss crossover network so meticulously constructed its heart is a glass fiber printed circuit board.
Begin with two Audioanalyst Phase Matrix loudspeakers. Put on a record, close your eyes and suddenly the performers will seem reassembled in their places before you. With sound originating to the left, the right, even ahead of or behind where the speakers actually stand, you'll feel sure you're listening to more than just a pair of them.
Thanks to our unique Phase Matrix (patent pending), it only takes two speakers to recreate a three dimensional sound field with breathtaking accuracy. This frequency selective, sonically absorptive device surrounds the high frequency driver, preventing specified sound waves from being reflected off the speaker baffle in this critically important area and disturbing the radiation pattern of the primary waveforms. It virtually eliminates phase cancellation, the confusion in time relationships between various aspects of a musical performance that impedes the imaging characteristics of other speakers.
We call this uncanny precision pinpoint imaging. Experience it for yourself by auditioning a pair of loudspeakers from Audioanalyst's Phase Matrix Group. We give you four different models to goose from. For a descriptive brochure and the name of the Audioanalyst dealer nearest you, please contact us at the address below.
THE PHASE MATRIX GROUP
Audioanalyst, Inc., P.O. Box 262, Brookfield, Conn. 06804.
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Maxell
ARE YOU BIAMNG YOUR TAPE RECORDER FOR PROBLEMS CAUSED BY YOUR TAPES?
Every day people all over the country go into hi fi dealers with complaints about their tape recorders.
When in reality what they should be complaining about is their tapes.
Because the fact is, a lot of the problems that plague tape recorders can be attributed to bad tape.
HEAD WEAR IS CAUSED BY YOUR RECORDER. OR IS IT?
If you have to clean your tape heads more than usual, for example, it could be your tape doesn't have a special nonabrasive head cleaner.
Maxell has one.
If your recorder jams, it can be any number of things. Maxell does something to prevent all of them.
JAMMING IS CAUSED BY YOUR RECORDER. OR IS IT?
We make our cassette shells of high impact polystyrene. And then so they won't crack even after years of use, we finish them to tolerances as much as 60% higher than industry standards.
Inside, we use free rolling Delrin rollers so the tape doesn't stick.
And finally, we screw instead of weld everything together because screws make for stronger cassettes.
If your recorder frequently suffers lapses in sound, it could be the tape is of inferior quality.
And nobody's bothered testing the tape for dropouts before it leaves the factory.
DROPOUTS ARE CAUSED BY YOUR RECORDER. OR ARE THEY?
Maxell tape is made of only the finest polyesters. And then every step of the way it's checked for even the slightest inconsistencies.
So if you re having problems with your recorder, try a Maxell cassette, 8-track or reel-to-reel tape.
POOR TRACKING IS CAUSED BY YOUR RECORDER. OR IS IT?
You might find there's really nothing wrong with your tape recorder, just with your tape.
-----------------
ADS
The ADS 910 Reference System
A benchmark in loudspeaker performance.
For the first time, awesome dynamic capacity, widest bandwidth, high efficiency, and substantial power handling have successfully been combined in the ADS 910.
Equally important, it is a transducer of unprecedented musical merit incredible realism (regardless of playing level), stunning clarity and openness, pinpoint definition and stable imaging, identify this new standard of sound reproduction.
State-of-the-art materials technology and brilliant audio engineering allow the speaker to fulfill the demands of both active performers and recording engineers: their demands for "true to life" musical presentation.
Tasteful, functional design, expressed through choice woods and a meticulous furniture finish, elevates the ADS 910 to a showpiece in the well-appointed home of the discerning music lover. The speaker system's integrity and built-in flexibility appeal to the dedicated audiophile.
A new cost/performance ratio has been established by which all future studio speakers will have to be measured.
Coast to coast, the skilled and carefully selected team of ADS dealers will proudly demonstrate our new 910, as well as any of our other eight, smaller precision speakers.
Listen to the ADS 910 reference system; listen to music the way it was recorded: Live, authentic, real!
ADS 910's shown in the recoding studio of Deutsche Grammophon Gesellschaft at Symphony Hall, Boston.
ADS speakers range in price from $100 to $700 (approx). ADS 910 dimensions 33 2/3” (H) r. 19" (W) x 15 1/4" (D)
ADS, Analog & Digital Systems Industrial Way, Wilmington, MA 01887
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DYNAYECTOR. FOR THE UNCOMPROMISING.
High lateral mass assures steady tracking of frequencies below 300 Hz.
Low vertical mass means high performance in upper frequency ranges and with warped records.
Two separate damping systems eliminate subsonic resonance for surprisingly transparent boss.
Choose any one of three Dynavector high output moving coil cartridges.
If you refuse to compromise when it comes to high fidelity music reproduction, you owe it to yourself to discover Dynavector. Our remarkable bi-axial, mass-divided, dual pivot tonearm combines high lateral and low vertical mass. We also offer the world's first computer designed moving coil cartridge. All Dynavector models achieve resonance-free performance without need for a pre-preamp or step-up transformer, and the 20B employs a beryllium cantilever for unusually rapid rise time. Discover Dynavector.
Contact us today for detailed information.
THE DYNAYECTOR GROUP
Audioanalyst, Inc., P.O. Box 262, Brookfield, Conn. 06804.
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The Dahlquist System
For Bass.
Reinforcement
Many of today's state of the art loudspeakers owe their fine performance to the care the speaker designer took in matching and blending the transient characteristics of the drivers in the system as a whole. Often, he was forced to make some difficult decisions. For example, in determining the physical requirements for his woofer, he may have chosen between: 1) achieving very low bass response, at the sacrifice of upper bass definition, or; 2) sacrificing the extreme low response by using a lighter, faster-moving cone in order to achieve smooth continuity between bass and midrange frequencies. The last is, of course, the better choice-the smoothest possible transitions throughout the specified frequency range. This is a quality that critical listeners appreciate.
However delighted we may be with the overall performance of our favorite speakers-be they Dahlquist DQ-10's, Quads, Magnepans, ADS, etc.-we sometimes miss the very low bass detail we know must be in our recordings. The practical solution is a supplementary bass reproducer designed only for that purpose. In this way we can enjoy the benefits of both design approaches. The Dahlquist DQ-1W Low-Bass Module was engineered specifically for optimum performance at the lower recorded frequencies. Its operation is based on a critically damped air-suspension system since, correctly executed, this technique offers superior performance in transient behavior and distortion.
An external crossover is required for its operation. The DQ-MX1 passive crossover is the most economical method to use, and provides excellent results. For the no-holds-barred system, the DQLP1 electronic filter permits bi-amplified operation of bass modules either in stereo or mixed L + R modes. Visit your Dahlquist dealer, or write for literature about these fine products. They will add substantially to the quality of your sound.
Dahlquist
27 Hanse Ave., Freeport, N.Y. 11520
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KEF
One step nearer the reference
Model 104 AB
Computer-based analysis has led KEF engineers to a significant advance in speaker performance-the acoustic Butterworth (aB) filter network. Now, replacing conventional filter circuitry in the renowned Model 104, it transforms performance with reduced coloration, increased stereo depth and imaging. A difference you can hear. An advance radical enough to justify making the new network available for replacement in existing Model 104's see your dealer about this. Power rating is higher too-100 watts program with fuse protection for the tweeter. So KEF engineers have seemingly done the impossible-taken the superb 3 speaker system that reviewers already praised for its clean, uncolored 'reference' sound and improved it.
Model 104aB one step nearer the reference live sound.
KEF Electronics Limited Maidstone Kent England
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Ohm loudspeakers
Ohm's Law: 6
If you want speakers that fit on a bookshelf, you don't have to settle for compromised performance.
The new Ohm L is the first unequalized bookshelf-size speaker that makes no compromises whatsoever in bass response, efficiency, or output potential.
Although the new Ohm L is small (and attractive) enough to fit on a bookshelf without looking out of place, it delivers full-size bass response (down only 4dB at 42 Hz.) The Ohm L is approximately twice as efficient as an equivalent acoustic suspension speaker. And it can play four times as loudly.
How we did it.
Like the more expensive Ohm D2, C2, and H loudspeakers, the new Ohm L was designed using a computer, and the latest "filter synthesis" techniques.
The Ohm L features one extremely powerful, long throw, 8-inch woofer (made to exacting tolerances in our own plant). This woofer is optimized to perform in a ported, bookshelf-size enclosure.
High frequencies are reproduced by two superb cone tweeters, one serving as a low tweeter, the other as a high tweeter. A 3-position level control on the back panel varies the output of both tweeters.
"...sounded in every way like a full-size system."
Stereo Review* recently verified our unprecedented performance claims for the new Ohm L:
"The Ohm L, though diminutive beside many of the floor-standing or oversize "bookshelf" speakers we have seen, sounded in every way like a full-size system. Blindfolded, one would never guess its compact dimensions."
The sound of the Ohm L, concludes Stereo Review... "is easily good enough to meet the sort of critical standards usually applied to much larger and considerably more expensive systems." You can hear for yourself how we have defied the traditional laws of bookshelf speaker design at an Ohm dealer near you.
A 24-page brochure featuring the Ohm L, and the entire Ohm line, is available by writing to us at
Ohm Acoustics Corp.
241 Taaffe Place Brookline, N.Y.11205
Copyright 1977 by Ziff-Davis Publishing Co. Reprinted by permission. All rights reserved.
-----------------
Ultralinear
Not exactly a household word.
Yet.
Ultralinear. It's got a nice sound to it.
Still not a name on everybody's lips, but we're getting there. Fast.
Against some 200 competitors, Ultralinear now ranks within the Top Twenty! And any loudspeaker line that can grow 83% in twenty-four months, certainly bears checking into.
Sound out your options. Pick any Ultralinear system from our broad variety of bookshelf and big-system floor units. And play it against any similar competing speakers-comparably priced and more expensive.
We'll trust your own hearing to sort things out.
We've found Ultralinear is buyer-preferred: for the superb price/ performance package our "value engineering" delivers. At a more reasonable cost. Our resources are concentrated on sound values the human ear can appreciate-which leaves room for some pretty classy styling in the bargain. Like in the tempting models pictured here: Ultralinear 77. A small but mighty 10" 3-way system. With the resettable circuit breaker we build into every speaker for overload protection.
Ultralinear 225. Serious competition to the most ambitious bookshelf units. A stunning listening experience in a 12" 3-way monitor system.
Ultralinear 260. Our powerful 15" Disco Monitor: a dramatic 4-way floorstanding system, with our exclusive Dual Aperture Tuned Port.
For a closer look at our complete line, write for our color brochure and local dealer locations:
Ultralinear, 3228 East 50 St., Los Angeles, CA 90058.
Ultralinear
----------------------
HIGH BIAS.
These cassette deck manufacturers are highly biased for SA:
AIWA AKAI DOKORDER JVC KENWOOD MERITON NAKAMICHI OPTONICA PIONEER SANSUI SHARP 'TANDBERG TEAC TOSHIBA UHER YAMAHA
And are joined by these in recommending SA for use in their decks:
BANG & OLUFSEN DUAL FISHER HARMAN/KARDON LAFAYETTE ROYAL SOUND SANKYO AND MANY OTHERS.
There's been a quiet revolution going on in the cassette world. Leading makers of quality cassette decks have adopted TDK SA as their reference standard tape for high (CrO2) bias and equalization settings. Why TDK SA? Because TDK SA's advanced tape formulation and super precision cassette mechanism let them (and you) take full advantage of today's advanced cassette deck technology.
In addition, a growing number of other companies are recommending SA for use with their machines.
So for the ultimate in cassette sound and performance, load your deck with SA and switch to the "High" or "CrO2" bias/EQ settings. You'll consistently get less noise, highest saturation and output levels, lowest distortion and the widest dynamic range to let you get the best performance from any quality machine. But you needn't believe all this just because we say so. All you have to do is check our references.
TDK Electronics Corp., 755 Eastgate Blvd., Garden City, N.Y.11530. In Canada: Superior Electronics Industries, Ltd.
The machine for your machine.
---------------
WHY MOST CRITICS USE MAXELL TAPE TO EVALUATE TAPE RECORDERS.
Any critic who wants to do a completely fair and impartial test of a tape recorder is very fussy about the tape he uses.
Because a flawed tape can lead to some very misleading results.
A tape that can't cover the full audio spectrum can keep a recorder from ever reaching its full potential.
A tape that's noisy makes it hard to measure how quiet the recorder is.
A tape that doesn't have a wide enough bias latitude can make you question the bias settings.
And a tape that doesn't sound consistently the same, from end to end, from tape to tape, car make you question the stability of the electronics.
If a cassette or 8-track jams, it can suggest same nasty, but erroneous comments about the drive mechanism.
And if a cassette or 8-track introduces wow and flutter, it's apt to produce some test results that anyone can argue with.
Fortunately, we test Maxell cassette,8-tracka-d reel-to-reel tape to make sure it doesn't have the maxeliuo. 35-90 problems that plague other tapes.
So it's not surprising that most critics end up with our tape in their tape recorders.
It's one way to guarantee the equipment will get a fair hearing.
MAXELL.THE TAPE THAT'S TOO GOOD FOR MOST EQUIPMENT.
Maxell Corp of America:, 130 West Commercial Ave., Moonachie, N.J. 07074
--------------------------
Good medicine for clogged heads
Recorder Care Products by Nortronics
You recognize the symptoms...flat, mushy sound, poor frequency response, broken tapes. But you may be uptight about treating the problem yourself. The fact is, you can prevent many of the ailments that plague your recording equipment with good basic care.
Nortronics has a free Recorder Care Manual that tells you just what you need to do, when and why. And we make everything you need to do the job yourself, from head demagnetizers and bulk erasers to head cleaners and cotton swabs. We've developed our recorder care products with the same research and engineering skills that have earned us an international reputation for excellence in the manufacture of magnetic recording heads.
You'll find a Nortronics Recorder Care Center at better audio dealers. Stop by and see if you can't take care of some of those equipment headaches.
Recorder Care Division
NORTRONICS
Nortronics Company, Inc.
8101 Tenth Ave. North, Minneapolis, Minn.55427 Telephone (612) 545-0401, Telex 290304
----------------------
Take a close look at a better record cleaner.
Audio-Technica AT6002 (84x enlargement)
This is an A-T scanning electron microscope photo of the dirt that must be removed if your records are to sound clean. It's dirt that is falling on your records even as you listen.
(169g enlargement)
Our unique carbon fiber brush sweeps each groove literally hundreds of times as the record plays, just before the stylus touches the groove. The carbon fiber brush helps conduct static charges away, making groove cleaning easier. And the incredibly small 6 micron diameter reaches deep into the groove for the smallest particles.
(844x enlargement)
Immediately behind the brush, our velvet pad captures and holds dust particles as you play. And moisture released from an inner reservoir helps to dissolve stubborn deposits to prevent static build-up.
This 4-way attack on dirt (brush, pad, liquid, and conductive path to ground) is uniquely effective. For proof, clean a record with any other system. Then "play" it with the AT6002. You'll find dirt removed by the AT6002 that was left behind by other cleaners. Try it today. Just $9.95 at all Audio-Technica dealers.
audio-technica
INNOVATION PRECISION INTEGRITY AUDIO-TECHNICA U.S., INC.
Dept. 107A/1, 33 Shiawassee Ave.
Fairlawn, Ohio 44313
---------------
Introducing the new AT605
FEEDBACK FIGHTER!
Now, enjoy freedom from acoustic feedback with the new AT605 Audio Insulator System from Audio-Technica.
Add the AT605 System and stop howling from feedback at high sound levels, reduce distortion or cartridge mistracking from sound energy conducted from speaker to turntable.
Solve problems of outside vibration like subways, heavy trucks, or jarring footsteps. Or reduce transmission of annoying sound to adjacent apartments with the AT605 System under your loudspeakers. Gain new freedom of speaker placement, and improve performance especially of high-energy, low-frequency transients.
The slightly-curved bottom surface of each AT605 flattens as weight increases so that only the right number and size of resilient rubber projections support your equipment. Four insulators support up to 36 lbs. (9 lbs. each). The felt-covered upper support is easily adjusted for accurate leveling. A precision bubble level is included. And each unit is enclosed in an attractive brushed chrome housing.
If feedback limits the quality of your system, or restricts your choice of equipment location, the AT605 Audio Insulator System caners all24.5suggesca ted dealers for just $24.95 suggested retail. Win the fight against feedback today!
audio technica.
INNOVATION , PRECISION , INTEGRITY
AUDIO-TECHNICA U.S., INC. Dept. 107A/2, 33 Shlawassee Avenue, Fairlawn, Ohio, 44313
------------------
AR 107T, JBL L65, DAHLOUIST DQ-10, ESS AMT 1B, INFINITY IIA, OHM F
Six fine speaker systems that can help you decide it you should own the Ditton 66 instead.
Not all speakers are deliberately designed to be as neutral and uncolored as are Celestions. This led one audio publication to say of our Ditton Monitor 66: "...may sound unspectacular, even disappointing to the untrained ear." Of course. Speakers should not be "spectacular" or even impressive.
They should be accurate, precise and faithful to the program material, rather than serve some designer's notion of what would impress the unwary or untutored ear.
If your ear is anything like this reviewer's, you too will hear: "... no thump 178 or sizzle...just the neutral sound of musical instruments playing with nothing added by the speakers." Nevertheless, tastes do vary. Thus, we have selected six fine speaker systems priced within the range of the Ditton 66. Any of them is likely to prove acceptable to a reasonably discerning listener.
Even against such respectable competition, we feel a goodly number of people will prefer the performance of the Ditton 66.
Once you audition them, it's very likely that you'll agree. After all, they're our crowning achievement after fifty years as one of Britain's major designers and manufacturers of loudspeakers.
Cheers!
The Ditton Monitor 66 by Celestion Shown without black snap-on grille-cloth.
12" FC-12 woofer is acoustically coupled to the unique Auxiliary Bass Radiator (ABR) for distortion-free response at the lowest frequencies. MD-500 21/2" soft-dome mid-range and HF-2000 soft-dome tweeter provide exceptionally smooth response, wide dispersion and correct phase relationships throughout the middle and upper ranges.
Available in walnut or teak finish.
15" w x 11" d x 39 1/2" h. $499.50. Other Celestion speaker systems from $159.50. Celestion Loudspeakers for the perfectionist --- Celestion Industries, Inc., Kuniholm Drive, Holliston, MA. 017461
---------------
AUDIO-TECHNICA
Model T15Sa/H Dual Magnet Stereo Cartridge pre-mounted In Universal tone arm head shell.
To find out how much better our cartridge sounds, play their demonstration record! There are some very good test and demonstration records available. Some are designed to show off the capabilities of better-than-average cartridges... and reveal the weaknesses of inferior models.
We love them all.
Because the tougher the record, the better our Dual Magnet'" cartridges perform. Bring on the most stringent test record you can find. Or a demanding direct-to-disc recording if you will. Choose the Audio-Technica cartridge that meets your cost and performance objectives. Then listen.
Find out for yourself that when it comes to a duel between our cartridge and theirs...we're ready.
Even when they choose the weapons! What you'll hear is the best kind of proof that our Dual Magnet design and uncompromising craftsmanship is one of the most attractive values in high fidelity.
For their records...and yours!
audio technica.
INNOVATION - PRECISION – INTEGRITY
AUDIO-TECHNICA U.S., INC. 33 Shiawassee Avenue, Fairlawn, Ohio, 44313
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