We don't like to brag. But with the new ADC Integra Series: Integra XLM- III, Integra XLM- II and Integra XLM-I , it's hard to resist.
Let's start with basic design.
That's what our engineers did.
Though what they finished up with is far from basic.
The new ADC Integra is the first all carbon-fiber integrated headshell/cartridge designed to minimize tracking angle distortion two ways.
OVERHANG DIMENSION ADJUSTMENT
As your tonearm "sweeps" a record, the angle the stylus makes with the record groove constantly changes. The result is offset angle error.
Is it serious? An error as little as 2° can more than double cartridge distortion! That's serious! And that's why the new ADC Integra was designed so you can set the optimum offset angle simply by adjusting the overhang dimension.
It's easy. We've even included a Tracking Angle Gauge.
-------- Overhang adjustment Vertical adjustment
VERTICAL TRACKING ANGLE ADJUSTMENT
Nearly all records are cut with a vertical tracking angle of 20°.
That's the way they're made. That's the way they're meant to be played.
Sounds simple. But when you see how tonearm heights vary, from turntable to turntable, getting the exact vertical tracking angle suddenly isn't simple anymore.
Unless of course you chose a new ADC Integra. Its vertical tracking angle is adjustable. In calibrated degree increments from-8° to + 8° Enough to compensate for all bayonet-type tonearm heights. Including changers.
If all that sounds impressive, wait until you hear how the new ADC Integra Series actually sounds.
By minimizing what you don't want to hear, we've obviously maximized what you do want to hear. Music.
The new ADC Integras' response is clean, effortless and often astonishing. But why listen to a description? Audition a new ADC Integra for yourself at your nearest ADC dealer.
After you've heard us, we'd like to hear from you. Write or call the Customer Service Dept., Audio Dynamics Corporation, Pickett District Road, New Milford, Connecticut 06776. 800-243-9544.
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(High Fidelity, Apr 1980)
Also see:
Predictable Crises in Classical Music Recording, by Allan Kozinn