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We invite rebuttal from those who produce the equipment we review. The comments printed here are culled from those responses. Inception Audio Mirage SM-1 loudspeaker, April 1981. As you pointed out, the SM-1 was designed for "real-room" performance. This is achieved by maintaining a uniform acoustic impedance throughout its frequency range; that is, the loudspeaker "sees" the same room load at all frequencies (when used with our T-I stands). This predictable interaction greatly reduces listening room compatibility problems. We also heartily agree that the SM-1's "crystalline stereo imaging" derives from phase integrity. A crossover characteristic near the optimum of 6 dB per octave is achieved by making the drivers themselves look (electrically) like simple resistors through the use of a complex impedance compensation network. This al lows very high tweeter power-handling capacity, even with such a shallow time-coherent crossover; these two conditions normally are considered mutually exclusive, prompting most designers to opt for the less accurate alternative. The range of the tweeter level control is admittedly wider than necessary. This particular control was selected for its quality and durability. We find its judicious use in correcting for "bright" low-cost cartridges more desirable than tone controls, which generally introduce time distortions. With regard to the 300-Hz buzzing that was noted, we ascertained a few months ago (after we sent the review samples) that this was caused by the grille attachment. A minor running production modification has corrected this anomaly. Please note that the optional T-1 stands, while not the most enjoyable kit to assemble (owner assembly significantly reduces the final cost), are supplied with rubber bumpers that, when used double thickness, do come into physical contact with the recessed rear of the speaker cabinet. -Kevin Voecks Design Engineer Inception Audio, Ltd. Nikko ND-790 cassette deck, April 1981. In order to eliminate any confusion concerning the bias adjustment, we recently produced a chart listing all popular tape brands and tape types, together with the adjustment of the bias control to match the performance characteristics of each tape. The chart has been supplied in quantity to all authorized Nikko dealers and is avail able to Nikko purchasers by writing to Nikko Audio, 320 Oser Ave., Hauppauge, N.Y. 11787. John Schroder Vice President, Marketing and Sales Nikko Audio HF replies: To our knowledge, Nikko is the first company in the land to follow a course we have been urging for years: local production of the tape-type list in and for the U.S. market. Only by following this course can deck importers keep abreast of the formulations and nomenclature that their customers will en counter when they come to buy tape. The alternative is all too familiar: lists prepared many months and thousands of miles away and including few tapes that can be purchased here and many that can't--even, in some instance, tapes that vary from one country to another though the name remains constant. Only if other manufacturers follow Nikko's lead will you be able to assume that the tape list accompanying your deck is a reliable instrument to help you make better recordings. -------- (High Fidelity, Jul. 1981) Also see:
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