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HI+FI
N s
RECOR EVIEW

TILSON THOMA CONDUCTS DEBUSSY

HIGH- END DSP
THE LEXICON CP-3

BACK VIOPIe'e

HOW C PLAYE

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EGAS OW REPORT

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TS ON AM, MARANTZ, AUDIO RESEARCH, NAD, MUSICAL FIDELITY

Ringing telephones, vacuum cleaners, traffic -- and you thought CDs meant the end of background noise. Think again. At Sennheiser we have been putting thought into producing high-quality headphones since the RD 414s (released in /968). We're also highly thought of -- worldwide critical acclaim has included six awards in What HiFi magazine. The new Sennheiser range continues to excel in terms of sound quality. All our headphones come with atwo year warranty, plus our assurance that all parts are and remain replaceable ( nearly aquarter of acentury on, spares are still available for the HD 414s). And with all products entirely developed and manufactured by us, backed up by 100'4 quality te 1/41ing, th Ecraftsmanship is guaranteed too. "1 hat's the background. Now listen. Unbeatable sound quality -- no noise.
Sennheiser UK Ltd, Freepost, Loudwater, High Wycombe, HP10 8BR. Fax 0628 850058. Telephone 0628 850811.

NHIEFFS1

contents

RECOR EVIEW

FEATURES

MARCH 1993

26 LAS VEGAS: Ken Kessler reports from the 1993 Winter Consumer Electronics Show

57 MEET DR BOSE: the founder of one of the world's biggest speaker firms talks to Alvin Gold

58 BIT BY BIT: CD basics. Dave
Berriman explains the workings of the digital to analogue converter

62 BUDAPEST/MILAN: Ken Kessler visits the first-ever Hungarian hi-fi show, and reports from TOP, the Italian high-end show
EQUIPMENT
32 LEXICON CP-3: the top-of-therange pre-amplifier/DSP unit is reviewed by Peter JComeau

COVER: Lexicon combines high-end performance to multi-channel home theatre capability, including THX, with the CP-3 pre-amp/ processor. Review: page 32. Photography: Tony Petch

36 ARCAM ALPHA PLUS: CD player tested by Martin Colloms

39 MARANTZ CD52IISE: after the Mk11 comes the 'Special Edition'. Ken Kessler listened to it

40 A SWEETER THETA: Martin
Colloms on the Theta DsPro Basic II DIA converters

45 NEW BABY: THE NAD 302:
Alvin Gold reviews NAD's successor to its classic 3020 budget amplifier

48 AUDIO RESEARCH D400: Martin Colloms tests this big solid-state stereo power amplifier
51 MUSICAL FIDELITY's The Preamp 8and MA65 Monoblok power amplifiers reviewed by Steve Harris

A new CD player from Quad: 'News', page 15

52 MARTIN LOGAN CLSIlz: electrostatic loudspeaker reviewed by Alvin Gold
54 POTPOURRI: short reviews cover the Denon PMA250 III integrated amplifier, Philips AZ68I9 personal 'CD player system', Sony D303 Discman and Sennheiser HD44011 and HD480 stereo headphones

Ken Kessler in Budapest with show organiser Istvan Csoruos:
see page 62

FREE SUPPLEMENT Make sure that the special fullcolour Home Theatre supplement
has been supplied with your copy of this magazine

Sony D303 Discman, reviewed on page 54
Arcam Alpha Phu CD player: see page 36

Caron and Tilson Thomas: page 69
64 RECORD REVIEW INDEX 65 MUSIC NEWS
Yuri Temirkanov talks to David Nice 69 RECORD OF THE MONTH Michael Tilson Thomas conducts Debussy 69 CLASSICAL REVIEWS 87 ROCK/POP/JAZZ 106 FINALE Dizzy Gillespie on CD
REGULARS
5 COMMENT by Steve Harris 9 VIEWS letters to the Editor 15 NEWS innovations and events 21 TECHNOLOGY by Barry Fox 23 RADIO by Trevor Butler 25 HEADROOM by Ken Kessler 56 SIDELINES by John Crabbe 95 BACK ISSUES order form 95 COMPACT DISC SERIVCE 97 ACCESSORIES CLUB offers 98 REGIONAL DEALER GUIDE 103 ADVERTISERS' INDEX 104 CLASSIFIED ADS

Las Vegas CES: cable madness and the rest of it, page 26
Charles and Eddie: page 87

HI-FI NEWS & RECORD REVIEW

MARCH 1993

3

The new Audiolab 8000T Tuner
The Audiolab product range: 8000A Integrated amplifier 8000C Pre-amplifier
8000P Stereo power amplifier 8000T FM/AM tuner
8000M Monobloc power amplifier 8000DAC digital-analogue convertor Winner of '92 What Hi-Fi? award for "Best CD upgrade" Winner of '92 Audiophile award for excellence

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Cambridge Systems Technology Limited 26 Roman Way Industrial Estate Godmanchester, Huntingdon Cambs PE 18 8LN. Tel 0480 52521

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Editor

Steve Harris

Music Editor

Christopher Breunig

News Editor

Trevor Butler

Editorial Secretary Penny Keogh

Contributing Editors Ken Kessler Peter JComeau

Consulting Editor John Crabbe

Technical Advisers

Angus McKenzie MBE Martin Colloms Stanley Kelly Malcolm Hawksford Rex Baldock

Design Consultant Flick Ekins

Advertisement Manager

Beverley Simpkins

Advertisement Sales Executive

Sophia Meliniotis

Ad Copy Manager Angela Weekes

Ad Copy:

Abbie Greenwood

Ad Sales Secretary Carol Walker

Subscriptions

Carlyn Rainford

Publisher

Colin Gamm

Editorial and Advertising offices: Link House, Dingwall Avenue, Croydon CR9 2TA. Tel: 081-686 2599. Fax: 081-760 0973 or (direct) 081-781 6046. Hi-Fi News & Record Review incorporates: Stereo, Tape & Tape Recorders, Audio News, Record News, Audio Record Review, The Gramophone Record and Which CD. Member of the Audit Bureau of Circulations.
Microfilms & Indexing
Microfilm and microfiche copies of HFNIRR or articles therefrom are available commercially from University Microfilms International. North American applications to: 300 N. Zeeb Street, Ann Arbor, Michigan 48106, USA: UK and rest of world: White Swan House, 60 High Street, Godstone, Surrey RH9 8LW. Technical articles of full page length or over in Hi-Fi News & Record Review are detailed in the Current Technology Index. Binders Loose-leaf binders for annual volumes of HFNIRR are available from Binders, 78 Whalley _Road, Wilpshlre, Blackburn, Lancs. BB I 9LF. 1971 to 1982 are covered by two binders (Jan-June/July-Dec): subsequent years require one binder each. Pried £5.50 each (post paid). For earlier years, please ask for quotation.
Hi-Fi News & Record Review is published monthly on the second Friday of the nsotuls preceding cover date by Link House Magazines Ltd, Dingwall Avenue, Croydon CR9 2TA UK: Link House Magazines is a member of the United Newspapers Group C) Link House Magazines Ltd 1993, all rights reserved. Reproduction in whole or part is forbidden, save with the permission, in writing, of the publishers. Distributed by UMD, 1Benwell Road, London N7 7AX. Tel: 071-700 4600. Typeset by Marlin Graphics, Sidcup, Kent. Printed by Passmore International, Maidstone, Kent. ISSN 0142-6230. Subscriptions HFN/RR Subscription Department, Link House Magazines Ltd, 1st Floor, Stephenson House, Brunel Centre, Blachley, Milton Keynes MK2 2EW. Tel: 0908 371981.
Annual surface mail subscription rates. £26.40 (UK) and £37.00 ($62 US ) overseas surface. Europe and Eire airmail £39.00. Overseas airmail £55.00 ($92 US). USA Postmaster please send address corrections to US mailing agent: Mercury Airfreight Int. Ltd, 2323 Randolph Avenue, Avenel, N.7 07001. Tel: (908) 396-9555 Fax: (908) 396-1492. Second-class postage paid at Rahway, NJ or additional entry.
Itilt AUnited New.papers publication

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ACanadian company's CD patent claim could affect all CD manufacturers...

ust afew days after the judgment in the Pavel y Sony case ( see 'News') we learned that the trial had been scheduled in the same court in another case with vast implications for the audio industry, this time over a claim relating to a 1976 British patent, which could affect all manu-
facturers of CD. The Canadian Optical Recording
Corporation is claiming patent rights
in all compact discs and players. If successful, millions of pounds in back patent royalties may have to be paid by the manufacturers of CDs and CD players. The prices of discs and players could be forced up as a result. According to anews agency report, apatent expert said, after a
recent preliminary hearing in the Court of Appeal: 'The implications of the case are colossal. If it goes against the CD producers it will throw the finances of this side of the record industry into turmoil.·
The joint trial for two separate
actions is expected to last at least five weeks. One case is against Hayden Laboratories, subsidiary of Nippon-
Columbia, and Conifer Records, the other against Thorn- EMI. The Optical Recording Corporation alleges infringement of its patent in
CDs and CD players. A spokesman for London solictors Stephenson Harwood, acting for Hayden and Conifer, said Optical was claiming UK rights to asystem of reading and
playing digital information which, it was claimed, was used in all CD manufacture.
Similar cases are pending in other

countries, but this hearing will be concerned with alleged infringement of a patent granted in the UK in 1976. The court will be asked to find whether the patent was valid and whether it had been infringed, said the spokesman.
Thorn-EMI said Optical appeared to be claiming that the patent applied to the manufacture of all CDs and players in the country. `We are contesting the claim and do not think we need a licence,' said a spokesman.
In apreliminary dispute over the number of expert witnesses who should be allowed to be called in the case, the Court of Appeal ruled that the judge who is to hear the matter had been wrong to limit it to one expert for each party.
Lord Justice Steyn and Lord Justice McCowan were told by Mr Andrew Waugh, counsel for Hayden and Conifer: 'The amount at stake in terms of potential damages in the six-year limitation period prior to the issue of the summons on 19 September 1991, and continuing, is vast. The action is thus of considerable importance to the defendants.'
THE HI- Fl SHOW: 9-12 SEPTEMBER Sponsored as always by HFNIRR, The Hi-Fi Show this year will be open to the public on Saturday 11 and Sunday 12 September, while trade days are Thursday 9and Friday 10. Now in its 11th year, The Hi-Fi Show is the only independent national exhibition which caters specifically for the hi-fi industry and the hi-fi enthusiast. Put it in your diary now!
NEXT MONTH: ASPECIAL ISSUE Inside the April issue, there will be a special 16-page extra devoted to valve equipment, with reviews covering Trilogy, Beard, Woodside, Audio Research, Conrad Johnson and many other tube products, plus more on Quad II mods.
But the April cover story is an exclusive review on Quad's very latest product, the Quad 67 CD player (see ' News', this month). Other equipment reviewed in April includes the Naim NAC82/NAP180 amplifier combination, Philips' digital loudspeaker and the longawaited Marantz ' special edition' DCC recorder.
There will be a packed music section with reviews, classical music qews and even alook back at 20 years of Bruce Springsteen.The April issue goes on sale on Friday, 12 March. -44-

HI- Fl NEWS & RECORD REVIEW

MARCH 1993

5

Photography by David Gamble
Music never felt this good before.
You are alone with the music of your mood. Its sound takes you onto a higher plane, into another world. This is music as it's meant to be heard. The KEF experience. Superb loudspeakers; beautifully constructed for unerringly faithful reproduction. And the only colouration is of your feelings.
Featuring KEF Uni-Q technology the Reference Model 105/3 creates the perfect tonal balance, wherever you are in the room.
Ill The experience of sound
ICEF Audio (UK) Limited, Maidstone, Kent ME15 6QP. For further information please telephone 0622 672261

Reviewers world-wide use Krell as aref-

erence. Without doubt-- Krell

produces the finest solid state

amplifiers in the world.

So when Krell builds a

product called the Krell

Audio Standard

amplifier the world listens.

The 4- chassis KAS power amplifiers make a

dramatic visual and musical statement. These definitive Class A

power amps, products of I8- month's intense development, offer unique

answers to common problems with sonically superior Class A amplification--

massive heat build-up and mains power consumption.

Sustained Plateau Biasing gives five bias levels, switched as the amplifier

constantly monitors the input. Pure Class A operation is maintained regardless,

up to astaggering 350 watt output. A Krell developed Anticipator circuit adjusts bias ahead of needs to fulfil peak

demands. The KAS is the first Krell to have aregulated power supply where the

Anticipator circuit triggers the supply to increase its voltage for improved sonic

stability in the most dynamic musical conditions.

KAS means Instantaneous power. There are Krell amplifiers waiting to breath life into awhole range of systems-- stereo and mono chassis designs including the awesome MDA300 reviewed by

Martin Colloms as defining 'areference performance' with 'masses of extension

and great power with real control'-- Hi -Fi News & Record Review Nov I992.

Krell pioneered balanced line working for audiophiles--atechnique long used in

the pro music industry. Balanced operation gives more gain with less noise for

better dynamics and more detail. There is also adecrease in system noise with improved stray field rejection; music from abalanced system is more alive.

Enter the Krell KRC Remote Controlled Preamplifier--uncompromised audio-

phile sound with simplicity of operation. Digital logic circuits operate

gold- contact relays for positive switching with absolute signal integrity. Power

supply and gain stages are refinements of classic Krell Class A complimentary

circuits for new levels of transparency and resolution. The KRC-2, astripped

version of the KRC, will shortly be available. Krell's other company--Krell Digital--produces today's source components for

Krell electronics. Front and top- loading reference quality CD transports match the

-- fl''1i --L._

all- new I8- bit x32 oversampling Studio converter. A commitment to excellence, unsurpassed build qu ality, ageless elegance and reference sonics--reasons Absolute

Sounds has backed the Krell brand over the years. Our

experience in system building and matching is unrivalled. Our dealers under-

stand the Krell balanced philosophy and will demonstrate this equ pment at its

best. Discover where Krell can work for you -- contact Absolute Sounds.

Absolute Sounds

58 Durham Road

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Telephone

081-947 5047

Facsimile

081-879 7962

Dear Have you t should s so- call produ

leave of your senses? the levels of id'
in you
rom o
HEARING NOT DIGITAL Dear Sir, In his otherwise-excellent article about data compression (actually data reduction, but never mind), Peter Comeau states that human hearing is digital. Like most people, he thinks that datatransmission systems using pulses (pulse-frequency modulation in the case of the ear), are ipso facto digital. Nope.
When it comes to digital, ' We don't need no steenking pulses'. It's the quantization ofdata that
determines whether asystem is digital. ( Emitter-coupled logic is digital, but uses sine waves.) There is no quantization in the inner ear; human hearing is wholly analogue. William Sommenverck, Bellevue, Washington, USA

PEBBLES FOR ROCK MUSIC? Dear Sir, Your partial tells us about equipment spikes, cones and seismic sinks; and the shops try to sell them. However, for my system (Micromega Fl digital, Radford DAC, Nairn 01, 3L5/70, 135s, Linn Isobariks), there are six feet for my CD turntable and DAC; 24 feet for the Naim boxes; and eight feet for the Linn Isobariks: 38 feet in all.
Micromega's literature recommends agranite slab to go under its CD player because ' the nature of the support placed under a CD player fundamentally affects its replay'. Enquiries at my local granite supplier indicate that a1000nun 500mm slab would cost about £ 100. My units would need three slabs, and Iwondered if Ishould order my family gravestones early and put them to good use in the interim.
But, being too doubtful about any benefits to launch into that idea, I collected some flat pebbles and put them under the system units one by one; success followed success until every unit now stands on pebbles. The sound has been transformed for radio and CD; it is now as wonderful as the designers must have intended it to be. The difference is so fundamental Iwonder if your equipment reviews are carried out on 'standard feet' or 'standard supports', or could some of the variable results you report be accounted for through this effect? Robert Mills, Devon

HANDS-OFF APPROACH Dear Sir, Quoting from p52 of HFNIRR January, Inote that the Velleman constructional manual is
. . . actually written in Belgish.' As anybody in Europe should know, the Belgians are divided into French, Flemish ( Dutch) and German-speaking tribes and this has proved enough so far to keep us busy both with educational and political problems. So please, keep your hands off this topic and don't introduce afourth idiom in this complicated patchwork! But go on publishing constructional articles, either from scrap or in kit form. Many are we who still own asoldering iron and are eager to employ it. Gerard Capelle, Belgium
RMcD was referring to avarient of Franglais, of course -- Ed.
FLASH OF INSPIRATION Dear Sir, À little happening that I thought might interest HFNIRR readers.
Afriend, also living in south-west France, rang recently to ask if Ihad any idea why half of his cassette recordings had become unplayable, whilst his better, commercial recordings were more or less all right.
Iremembered his house had been struck by lightning during the summer. It was areally hefty discharge that not only wrecked all electrical equipment, blowing fusebox, switches and water heater off the wall, but also blowing 30 yards of water pipe out of the ground outside. Fortunately they'd been out at the time!
Isuggested that the undamaged (?) tapes were probably chromiums and their higher coercivity saved them from being wiped by the electromagnetic pulse. He confirmed this and said that whilst the music was

views
okay, they now all had pre-echo! To finish, Iwas able to reassure him that the damaged tapes were reusable -- just treat them as though they were new, virgin tapes.
Imet him yesterday and he said he'd already successfully put adozen of his old black discs on to these cassettes. Ralph West, Villereal, France
BENEFITS OF BUYING BRITISH Dear Sir, Over the past decade Ihave purchased and enjoyed awide range of high-end equipment, including items by Krell, Audio Research and Rowland. Recently Ihave been struck by the manner in which some small manufacturers in Britain have been able to produce equipment which competes with such internationally famous names, both in sound quality and build. Martin Colloms has praised the new range of Chord amplifiers but Iwonder how many readers have had the opportunity to hear just how remarkable these units are? Certainly Iregard my Chord 1200 as superior to the Krell 150 Iused to own.
Iwould also mention the Ultra Analogue DAC produced by Audio Synthesis and the phono stages of LFD down in Clacton. What each of these items has in common is worldclass performance at about half the price of comparable imports.
For the first time Ifeel able to buy British equipment which concedes nothing, except cost, to the best of the foreign brands. Long may this trend continue. Peter Skinner, London SE20
HIGH-COST CUTS Dear Sir, There has been much discussion lately on the subject of CD pricing, the prevailing opinion among buyers appearing to be, perhaps not surprisingly, that discs are over-priced, and the evidence put forward in support of this argument being that the cost of pressing each disc is only about 80p.
Of course, anyone who has any knowledge of the business of producing CD recordings realises that there are considerable costs incurred before one reaches the stage of actually pressing the discs themselves -- hire of recording venue and instruments, payment of artists, producers' and engineers' fees, transfers, glass masters, design and artwork of inserts, commissioning of sleevenotes, photographs, translations, and so on -- so that it is difficult to produce the minimum quantity of 1000 discs of even solo instrumental music for anything less than £6-8000 let alone orchestral or choral recordings; and this is not even allowing for the advertising and

HI-FI NEWS & RECORD REVIEW

MARCH 1993

9

Only 23/4"slim. Sequence speakers stand close to awall, or hang like pictures.

"the answer to aprayer... abargain in the extreme".
Hi-Fi News RR

"the speakers almost disappearing.., afeeling of

naturalness unlike the normal ' listening to

loudspeakers' experience".

"admirable presence making vocal music and piano, for

example. come very much to life.., all kinds of music.

pop and classical, benefit from this lively midrange

clarity.., agenuine bargain .

Gramophone

-Wall mount winner?.., they're not just room and user

friendly, they're ear friendly... areal hoot: abrand new company. a brand new design. all British. and a bargain in the extreme".
Hi-Fi News RR

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Sounds like

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Clements Reference Loudspeakers Ribbons plus transmission line.
Hearing is believing -- from £ 1,300.

Clements Spatial Image Loudspeakers Transmission line bass loading in any size box
--from £350 to £ 1,100.

Maplenoll Turntables Incredible sonics, incredible value. Airbearing turntable
complete with airbearing arm from £2,500.

Audio Synthesis Passion The ultimate passive preamp ( with active option) - £560.

Audio Synthesis UAD2A Ultra analogue D to A 20 bit converter. Match with the best ancillaries -- £ 1,250.

Available from Wollaton Audio and selected dealers. Tel/Fax: (0602) 284147

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iondon's Leading Wear 111-fi Store
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Established brands stocked by KJ
Accuphase · Acoustic Energy · Albarry · Alchemist · Apogee · Arcam Audio Alchemy · Aura · Audiolab · Audio Research · B&W · BBAP · Chord
Croft · CPA · Deli · Epos · Gradient · Impulse · KEF · Krell · Marantz Martin Logan · Meridian · Micrornega · Michell · Mission Cyrus
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HI-FI NEWS & RECORD REVIEW

MARCH 1993

views

promotion of the end product or the staff costs and overheads of those who would make their living from producing it. On top of that it is worth remembering that the money the purchaser parts with in the shop does not all find its way into the pocket of the manufacturer. There is postage and packing, royalty payments, adistributor and retailer each taking their cut and, last but not least, 17 1 /2 % VAT to be deducted.
However, one thing that continues to baffle me is why atwo-disc set almost invariably costs twice as much as asingle disc, particularly in cases where asingle work of 80-90 minutes 'spills over' onto asecond disc but is
offered without afiller. In such cases, the recording costs are no greater than for asingle disc, nor are most of the other expenses, apart from an additional £300 for another glass master, afew pence extra per copy for adouble jewel case and asecond insert on the front, alittle more for postage and packing and, of course, another 80p for pressing the second disc -- atotal of maybe £ 1/set.
How then can acompany justify charging £25 or so (in the case of full-price releases) for adouble CD of, say, aMahler symphony when the same symphony conducted by someone else, who happens to prefer it to go alittle quicker so that it fits neatly on to asingle disc, sells for exactly half the price?
Admittedly, there are afew 'special price' double CDs on the market, but these are very much the exceptions that prove the rule. If there is acase for CDs being overpriced, this is surely it. K Mildenhall, Ipswich
FOUR ON FM Dear Sir, Are Radio Four listeners a race apart? Listeners to Radios Two and Three have adapted to the change to FM with the minimum of difficulty. So what's different about the vociferous Radio Four lobby? Are they so complacent and conservative -- should that be a capital 'C'? -- that they thought it would never happen to them?
Would one of them please tell me whether he --or better 'she' -- watches television? What happened when television transmission standard changed from 405 to 625 lines, and the frequencies changed from VHF to UHF? Ifor one cannot recall any great public outcry. No questions in the House. No lobbying of MPs. No! People went out and bought new
sets, and eventually embraced colour television.
Iwould like to bet that afair number of those complaining about Radio Four are now secretly enjoying Classic FM on, believe it or not, FM!

That amathematics teacher, from Winchester of all places, is alleged to be leading this revolt is beyond belief. With the Rowridge transmitter virtually on his doorstep, why is Mr MacKinnon whingeing?
Chippenham, where Ilive, was a notorious VHF blackspot until a low-powered filler for BBC channels was commissioned two years ago. For Classic FM Istill have to tune to the Rowridge frequency. If Mr MacKinnon would care to look at a road map of southern England he would appreciate how much further from the transmitter Ilive than he does; and yet Ican get acceptable reception even on the `ghetto-blaster' in the kitchen. Dennis Chapman, Chippenham
CONFUSED TURN-ON Dear Sir, Your reviewer Richard McDonald makes avery common mistake in his review of the Velleman K4000 amplifier [HFNIRR January] when he assumes that the least inrush current is taken by a transformer is lowest when it is switched on at the mains zerocrossing. In fact this is the condition under which the maximum in-rush current is taken.
The flux in the core of a transformer is the first integral of the applied voltage. In aperfect transformer, switch-on at zerocrossing results in apeak flux of twice the normal working peak flux: in areal one the core saturates before this flux is reached, the primary inductance drops rapidly and the input current rises dramatically. In conventional transformers the fall of primary inductance (and hence the rise in current) is limited by the leakage inductance and the fact that the core is not normally run particularly close to saturation. In a toroidal transformer there is very little leakage inductance, the better flux distribution in the core means that the normal operating point is set nearer saturation, and the in-rush curent can reach very high levels.
Mr McDonald got through several standard fuses before missing the zero-crossing by asufficient margin! K C Gale, Electronic Design Manager, Ferranti-Thomson Sonar Systems (UK) Ltd
REFLECTIONS ON THE MANA Dear Sir, Iwas delighted to read Martin Colloms's report last July on the use of Mana stands with his high-end system, where he reported an improvement of 15-20% in the overall sound quality. I'm surprised that this confirmation of the importance of proper support from such an authoritative source has not resulted in any comment.

The most immediate question must be how this is going to affect his numerical scoring system, and whether he will in future be testing run-of-the-mill equipment ( which has even more to gain from proper isolation) on similar stands, so that their scores retain the proper relationship with the high end.
As to Mana stands with their glass
shelves, my own experience with wall-mounted slate shelves is that such reflective materials can add a brightness to the sound -- which may be due to standing waves between the shelf and the equipment. Ihad a Luxman 'Brid' amplifier where sliding different materials, like carpet, into the gap between the feet acted just like atreble control; I found that aribbed rubber mat (with cut-outs for the feet) placed upside down -- so that the air pockets acted as energy absorbers -- gave the most neutral sound. The same effect is apparent with much other equipment, particularly CD players. Other people may prefer the extra brightness, but it is acheap and easy experiment to see which you prefer. I would doubt if any designers (if they
thought about it at all) intended their products to be used on glass shelves, or tested them like that.
Some manufacturers, like Sony with their 'Gibraltar' base plate or
Pioneer with their honeycomb chassis, have tried one approach to these problems, others (particularly
the French) have concentrated on damping and 'earthing' equipment
through spikes. ( Isee that Krell has now joined this movement.) Unfortunately, most manufacturers have ignored resonance problems, though they may occasionally make informal recommendations if you ask. But the customer has aright to
expect something approaching the best from his equipment without having to explore various expensive
tweaks. When you consider how much Martin has been missing all these years, what hope is there for the average buyer?
On the subject of resonance, I discovered some years ago that damping integrated circuits -- from op-amps to D/A converters -- with
pieces of adhesive Sorbothane sheet brought asurprising improvement in fme detail, especially in areas like stereo focus and hall acoustic. Although Iconfirmed this by an accidental double-blind experience, it wasn't until several friends made independent tests that Iceased to
doubt my ears. (One of them who used headphones for his test established that the resonance was internal and not caused by acoustic
feedback.) Fresh confirmation has now come from the TGi group; a

HI-FI NEWS 8. RECORD REVIEW

MARCI11993

II

Sennheiser · SME · Spendor · Spica · Stax · Tannoy · Target · Wharfedale · Yamaha ·
oipny Jovuovy · uo!ssm · nultim · j3)I · Lower · So!JPI0D· sod3

fro leg

A & R · Audiolab · Audio Technic. · B & W · Beyer · Creek · Cyrus · Denon · Dual ·

Hi-Fi Separates

Compact Disc

Yamaha CDX460

179.95

Neon DCD590

179.90

Target

Swifter Stands

120

or T30

140

or T50

Accessories

Audioquest

Interconnects - Per Pair

51.95 Turquoise 1Metre

32.95

53.95 Toper

1 Metre

42.95

AWU

Yamaha CDX580

199.95

Donee DCD690

199.99

Denon DCD890

269.99

Momenta CD52 II Se

299.90

Mission DADS ·

299.99

NakamicM CD4 New

299.99

Yamaha CDC625 - 5 Discs 299.95

160

or T70

HS12

or HS16

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No, It's no mirage. It's the very relaxed atmosphere of probably the finest Hi-Fi Store in the area, with areputation for friendly, personal and knowledgeable service.
Whether you are choosing from our vast range of quality products, your first modest system or the most expensive Hi-Fi, the latest Compact Disc Player or aset of speakers, we leave you quite imply spoilt for choice. So retreat to atrue Audio Oasis and chat to our consultants John Trim, Robbie or Tristan - you'll not be disappointed.

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HI-FI NEWS & RECORD REVIEW

MARCH 1993

views

READERS' LETTERS
We reserve the
right to edit or shorten letters for
publication, which should be addressed to the Editor and must contain no other
material or enquiries. Letters
seeking advice will be answered,
resources permitting, at our discretion, but we regret that we are unable to
answer questions on buying
specific items of hi-fi. We cannot
answer queries
over the telephone.

press report on Creek products revealed that their demonstration

in my CD player -- although of the required Philips heritage -- was

equipment had its integrated circuits and capacitors damped with Blu-

pronounced incompatible with the newly reviewed Orelle DA 180 DAC.

tack. Now Tannoy's 605 LE speaker has its single crossover capacitor

But HFNIRR and Martin Colloms came to the rescue yet again. I

wrapped in their own 'Tan-Tak'.
Tweak your own equipment if you dare, but let us hope that TGi will set

remembered that, when approving
the Audio Synthesis passive controller, he had also reviewed the

an example to other manufacturers to DSM (DAC) and at the time had

do the job themselves. David Foxon, Oxford

scored it only just below the Accuphase DP-70V, his current top

reference.

NOISE CANCELLING Dear Sir, With reference to the letter from PW Tarling on `LF Tinnitus'

Again Ireceived afurther up-todate and beautifully finished DSM ultra-analog DAC from Audio

[HFNIRR February] and his problem with traffic noise, we do manufacture headphones with active noise compensation 'Noise Gard' for home and mobile use. If Mr Tarling would care to contact me Iwould be
happy to give him full details. John Willett, Technical Manager, Sennheiser (tel: 0628 850811)

Synthesis. Playing all types of music made up my mind for me: Iwas absolutely thrilled and only needed
three days (Icould have had 14) to be sure. Iam now better set up than I ever thought possible on my budget. My sincere thanks go to all concerned
for guiding me in the right direction and particularly to Audio Synthesis, not only for their good-looking, lifelike and musical-sounding

THANKS WHERE IT IS DUE

equipment, but also to their very real

Dear Sir, With retirement coming up interest. If Ihad been on both ends of

next year, Iset about up-dating my

the transaction at the same time I

hi-fi equipment. Ialready possessed a could not have looked after my own

good pair of electrostatic hybrid loudspeakers and my plan was to

interest better. James Hayes, Seaford, Sussex

keep my existing tuner and tape recorder, drop vinyl, and use all the

NAD 'BRITISH DESIGNED'

cash available to obtain the best CD

Dear Su., Trevor Butler's comments

reproduction Icould.

regarding NAD [HFNIRR

Iapproached several dealers who, February] bordered on the

although polite, completely lost

pernicious. In his highly subjective

interest when Imentioned apassive

and deeply personal review of four

controller (no, an LP input would

tuners, which included the NAD

not work!). With no help from

4225, Mr Butler finds it necessary to

dealers it just left me and the writings ridicule NAD for claiming what is

of Martin Colloms! Ihad already

simply the truth -- that NAD

taken afancy to the Meridian 605

products are British designed. All

amplifier he had reviewed in such

NAD products are researched and

glowing terms and, after ahome

designed at the company's Finchley

audition, Ibought one without

headquarters. From then on they are

hesitation. Iwas also persuaded at

normally built in the Far East. So the

the time to listen to a £ 1500 pre-amp NAD 4225 was not 'conceived' in the

(not Meridian) but, though

Far East, as Mr Butler implies.

transparent, it failed to perform in

NAD is not the remotest bit

rhythm and timing as well as the one interested in Mr Butler's ramblings

Iwas about to replace.

regarding the quality of the 4225. His

Ithen remembered that my

views are his and he is entitled to

favourite reviewer had also endorsed hold them. It is somewhat surprising,

the findings of Trevor Butler who

though, in the light of Mr Butler's

had earlier reviewed apassive

caustic comments, to find that NAD

controller -- by Audio Synthesis of

has been successfully selling the 4225

Manchester. After reading both

tuner in huge quantities to satisfied

reviews again, and receiving heartwarming interest and concise replies

customers for nearly ten years with the lowest return/failure rate of any

to my queries from Audio Synthesis, product in the range. Mr Butler's

Iobtained one on their 14-day
approval plan. Ireceived an up-todate, beautifully finished piece of

insulting remarks regarding the internal construction of the tuner: `Servicing would be anightmare'

equipment now called 'Passion'

surely become nonsense when one

which performed outstandingly in all looks at the facts. Servicing the 4225

respects as per reviews, and

--not very often required, it must be

complemented the 605s as though it said -- is, contrary to the opinion of

was made for them.

Mr Butler, quite simple.

Here my dream began to sag a

Andy Giles

little, when Ifound that the transport PR Consultant to NAD

HI- Fl NEWS & RECORD REVIEW

111ARC111993

PERSONAL LISTENING
CENTRE

At Audio Technica we enjoy a

worldwide reputation for producing the

delicate transducer products which

turn soundwaves into electrical

impulses and vice versa. Our

headphone range makes the most of

these skills and today offers the keen

listener a model to suit any budget or

situation.

From the top there's the 900

Series, offering a ' larger than life'

sensation courtesy of large diameter

drivers and copper clad aluminium

voice coils. Highly technical stuff you ,I

agree, but so do the hi-fi press 'the

ATH 911 performs very well overall

and it would be a safe

recommendation for anyone who

wants good. detailed sound,

remarkable comfort and extremely

high standard of manufacture'

GRAMOPHONE.

Featuring many ' high end'

advances, ATH 309/308 are perfect

mid- sized

headphones.

High

sensitivity, low weight and extreme

comfort make them stand out from the

competition. For the totally modest

audiophile, our ATHL1 a takes some

beating. In fact nothing else did

according to What Hi -Fi?, who

proclaimed it to be the very best

budget heaphone.

Call into our Personal Listening

Centre soon at good specialist audio

stores nationwide.

eATH-911SV
SO VE RE IGN eiefer

ATH-911

ATH- 910

ATH-309 ifATH-909

MR Fa Fr.
ve ..........,e«,
UNDER t30'
ATH-L1 a

ATH-308

audio-technica

. INNOVATION

PRECISION

INTEGRITY

Tear.. Howe. Royal Union Indstnal Estd, Leeds CSII BAG
TA 0532 17141 Fax 0532 704836

13

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TEL: 0494 441736, FAX: 0494 461209

news

Spendor
is sold
Mixing console specialist Soundtracs is reported to have paid £300,000 cash for the highlyrespected British speaker manufacturer, Spendor Audio Systems. Founded by a BBC engineer, the late Spencer Hughes and his wife Dorothy, in the late 1960s, the company will remain intact following the sale. While Dorothy Hughes has retired as company secretary, son Derek remains, and plans to devote more time to R&D. Spendor made apre-tax profit of £28,000 last year.
Linn's
new lines
Linn Products has announced additions to its range. The Kairn Pro is a simplified version of the Kairn pre-amp and saves £360 by omitting the phono stages. Named after a Scottish dance. the Keilidh is Linn's new £492 floorstanding speaker using the ceramic tweeter from the Kaber and Keitic Linn, tel 041-644 5111.

Quad replaces its existing

CD player model as part of

JAI)

a general reappraisal of its electronics range

REPLACES

PLAYER

One of the country's most famous hi-fi manufacturers has been

forced to replace its CD player, introduced just two years ago,

after obsolete parts led to a potential maintenance problem.

Such is the pace of development in digital technology that only

the plastic window from the earlier design remains in the new

Quad 67, which will be priced at around £800. The selected

chipsets, transport mechanism and even the mother board from

the ' 66 are becoming increasingly hard to source.

Work went back to first principles as sourced components, including the

an electronics design team of four, CDM9 engine, to retrieve the signal

overseen by engineering manager from the disc. The remainder is Derek Jones, was assisted by two Quad designed and built, apart from

mechanical engineers where compu- the Crystal CS4328 D/A converter

ter-aided design played alarge role. Mr Jones joined Quad two years ago bringing experience from Plessey and

which was chosen with further products and interfaces in mind.
Quad has continued its simplistic

Dowty. His first project was the operation approach found on the

recent 66 FM tuner and he has now recent 66 FM tuner. The 67 CD

been made technical director,

player features just one front panel

Jan Ertner from Denmark worked button for open/close: even this is

on the CD circuit layout while disguised as it also forms the IR Andrew Lake concentrated on high- remote window. With aCD in the

level language custom software, work tray a push will prompt play from

which also formed part of his MSc track 1, otherwise use should be

course at Hatfield. Designer Sue made of the system remote. Quad has

Hubble was ably assisted by Debbie therefore had to supply the 67 with a

Rose on the aesthetics and mecha- separate remote to allow it to be used

nical aspects which were overseen by as astand-alone player. We hope to

team leader Rodney Mead.

carry a full technical review next

Although the project was first month. In the meantime contact

mooted in December 1991 and approved in February 1992, pressures on the R&D department meant

eQuad, tel: (0480) 52561. Quad took the opportunity to redesign its famous 606 power ampli-

that work didn't start for several fier when the original pressure dieweeks. Seven months on, the product casting tool wore out after producing

reached pre-production status and more than 25,000 units. The appear-

manufacturing began in January.

unce has been altered to match the 66

The new player uses Philips series, while a thorough design

Quad used the latest computer-aided design and nseasurement eguspment clop right) to develop the 67 CD Player (centre). The design team (bottom) comprised electronic and mechanical engineers, including Sue. Debbie and Jan
review has resulted in a toroidal mains transformer to replace the ageing C-core type, larger reservoir capacitors, plus some changes to the high-pass filter front-end. However, Quad does not feel the changes warrant existing 606s being returned to them for modification.

HI- F1 NEWS & RECORD REVIEW

MA1011993

15

B&W REWORKS 600 SERIES

Customer feed-back and the availability ofnew tec hnology have been
incorporated in a re- launch of B&W's 600 series oflou dspeakers. Originally intended solely for th e UK market, the designs soon found
favour in export markets world-w ide.

Crossovers are hard- wired and biwire terminals are offered on the `new' DM600 (£ 170) an d £ 220
DM610. The improved floor standing DM620 (£370) features a

new bass unit with injection-moulded cone/surround assembly. Adjustable carpet-piercing spikes are also fitted
here. Full details from B&W UK Sales, tel (0903) 750750.

-41111111.111.1.1111111111111111111.

C:ZI

11=1 ICJ I I a

More
from
KAR
Having launched the Figaro loudspeaker last year
['News' March '92], Keswick Audio Research announces new models. Dean Hartley has produced two-way designs: the £209 compact Aria is intended for bookshelf placement, while the Alto, at £359, is a 900mm-tall floor- standing transmission line. Both are constructed from 18mm MDF
throughout, using 160mm mid/bass units and 19mm soft dome tweeters. Details from KAR, tel: (0924) 870606.

PAVEL PATENT
'INVALID'
The Patents County Court has rejected Andreas Pavel's long-running legal battle against Sony over alleged infringement of his personal stereo patent. Had it been successful, he would have
received royalties on every Walkman. Following a trial lasting 95 hours, Judge Peter Ford handed down a 63-page written judgment on 13 January. While it concluded that there had been minor infringements,
the Court found that the patent itself was invalid and may not be amended, so infringement is only theoretical.
The litigation began in the High Court in 1988 and was transferred to
the specially created patents court in 1990, making it one of the longest cases of its kind.
Solicitors Baker & McKenzie said Sony was pleased that Mr Pavel's case had been completely dismissed and that their position had been vindicated, stressing that Sony had
maintained throughout that the claim was groundless. At Sony's UK head-
quarters, communications director Bill Vestey did not wish to crow about the outcome, saying only: 'it is all finally over, we've won'.
Mr Pavel, 47, was at his Milan home when the judgment was issued and told The Guardian that he planned to appeal, saying: 'the Walkman came out of the blue and was abig surprise to the industry'. He
remained convinced that it was an invention rather than an 'evolution'.
Mr Pavel has 28 days in which to lodge an appeal.

Celestion Leprosy aid

411·11Mmummumminimi

MORE ACCU PHASE DIGITAL
rile latest additions to th e Accup hase range of digital products are

law available in the UK. Distributor MPI announced the arrival of the DP-90 CD transport at £5099 an dth e £ 7499 DC- 91 D/A converter-

cm-signal processor just before last Christmas.

The transport is supplied w ith com- channel in parallel configuration.

prehensive digital connecti ons including HPC balanced and ST

There is also adigital audio interface to transmit signals up to 24 bits, and

optical from Hewlett-Packard. An RF amplifier incorporated in the
laser pick-up generates large signals

aprovision to automatically lock to
one of the three sampling frequencies for CD, DAT, DCC, MD and DSR.

to eliminate noise interference in the minute signal path.
The DIA converter relies on a multiple multi-bit system, employing

An absolute phase switch is provided, operating in the digital domain, for those who feel so
inclined. Full details from MP! in

16 selected 20-bit converters per Manchester, tel: 061-777 8522.

Celestion SL12Si loudspeakers
were first prize at acharity
nail held on 31 January in aid of World
Leprosy Day. Lepra, an international charity dedicated to education about the disease, is based in Chelmsford,
12 miles from Celestion.

16

AMSTRAD's sales and
technical directors sold their company shares minutes before aboard meeting,
suggesting they have no confidence in the future of the company which reported aloss ofe lm last year. Shareholders earlier rejected Alan Sugar's plan to buy all the shares. AD BLUMLEIN'3 papers may be turned over to the Royal
Society following 'delicate negotiations', allowing the long-overdue biography on
the man who invented stereo to be written.
DIXON announced a19% fall in pre-tax profits for the six months ending
November '92, down to £14.2m from £17.5m the year before. The results were
slightly better than forecast

HI- F1 NEWS & RECORD REVIEW

MARCH 1993

news

BOX OR

PANEL?

Rooms up to

30m2 are ideal

for a new loud-

speaker from

Steve Hutton.

Xenophon Acro-

mat is the result

of over three

years develop-

ment involving

computer

simulation and

exhaustive

listening to

incorporate the

advantages of

both panel and

conventional box

loudspeakers.

The main

driver is a20cm 2

dipole radiator

with dynamic

mass under 2g.

Low frequencies

are augmented

by a reflex-

loaded 180mm

moving-coil bass

unit. An unusual

ROGERS REVAMPS lA MONITOR
Work is underway at Rogers to develop asuccessor to the famous Studio la

quasi first-order crossover obvi· ates the need for

loudspeaker created by Richard Ross. The new Studio 7will be launched later this year and, while housed in abitumen-damped medite cabinet similar to the old la, uses a25mm soft dome tweeter from Scanspek. This has arear-loading cavity and is mounted on an aluminium front plate. The design is currently front

bi-wiring, while the design is said to be relatively insensitive to cable type. UK

ported -- although work is underway to evaluate the effects of arear port. A dealer and con-

price ' well below £ 1000' is anticipated. A new crossover network has been designed using metallised polyprop capacitors. Swisstone, tel: 081-640 2172.

sumer enquiries (0793) 881240.

BRIE

ING

and bated on a £873.4m turnover, up from £871.1m in 1991. The group said it would dose 45 shops in its Silo US chain. FM ACOUSTICS is moving to Horgen on Lake Zurich at Seestrasse 5A, CH-8.910 Horgen, Switzerland, Tel 010 41 1725 7777 . HIT FACTORY New York has purchased aDCS 900B AI D converter featuring 24-bit AESIEBU, SDIF-2 and SIPDIF digital interfaces, noise shape truncation to 16bit, and remote overload monitoring. Tel (0223) 423299.
LINN has introduced a freephone telephone service for use by end users and to support direct mail advertising. The number is
0500 888909.

·MAXELL has added magneto optical Mini Discs to its range using technology developed for its 5.25in and 3.5in MO computer memory discs. Contact Maxell, tel (0923)77710. JAMO has been awarded IS09001 European quality standard after considerable investment over two years. ROKSAN's operations have come together to create Roksan Digital Ltd. The company has moved w new premises in West Drayton, Middlesex, bringing manufacture and administration under one
roof. Telephone (0895) 436384, fax 436385. SILIECH announces anew type of cable, the FTM-4 gold. The signal is conducted through specially

treated wires nutcle ofpure gold (punfied 24carat) and pure silver, combined with a dual silver ribbon ground and PTFE insulator. Contact UK agent Absolute Sounds te1081-947 5047 for
details. 'MAC UK has confirmed the
price of van den Hul's mewl-less interconnect ['Pot Pourri' Feb '92]. A Im stereo pair ofThe First is
£170, and 0.8m lengths are available for.£140. TEAC, tel (0923)819630. TOI, Tannoy's parent, sold its remaining investment in Goodmans Industries for £1.55m, £1nz over book value. Goodmans, the subject of amanagement buy-out in 1991, returned pre-tax profits of £432,000 at year end January 1992.

EVENTS
20-21 FEBRUARY: Hi-Fi ' 93, Marriott Hotel, Bristol (formerly the Holiday /nn). Further details from Audio T, tel: (0865) 60844. 12-15 MARCH: Le Salon de la Haute Fidelité. Palais des Congres, Paris. SPAT, tel: 010 33 I4557 3048. 12-14 MARCH: Stereophile High End Show, San Francisco Marriott. Tel: 010 1914 476 3157. 16-19 MARCH: 94th AES Convention at ICC, Berlin. UK contact, tel: (0628)663725. 16-18 APRIL: Academy for Advancement of High End Audio Awards Weekend, New Orleans. Tel: 010 1707 542 7040.
17-18 APRIL: Chesterfield Show. Tel: Wentworth Audio (0709) 873667. NB new date. 30 APRIL-3MAY: 3rd Video Show, Olympia. Now cancelled. 31 MAY-5JUNE: Audio-Video '93, St Petersburg. Contact Lenexpo on fax 0107 812 22 348. 1-5 JUNE: SIAM '93, Seoul'pal Audio Show. Tel: 010 82 2551 0114.
MARANTZ DCC WINNER
Winner of our Marantz DCC competition held in December is Michael Hensbrey from Dunstable. Mr Hensbrey will be receiving his DD92 digital recorder shortly. He correctly identified the answers as being 1.b; 2.c. 3.d; 4.d. Congratulations to him and thank you to all who participated in our Digital Compact Cassette competition.
Erasable CD, when?
Philips has side-stepped an earlier suggestion that it was planning to sell erasable CD discs within four years. The announcement, made by a Philips executive in an unguarded moment during aDCC conference, was for a system ready for sale by 1996. CD-erasable would offer the compatibility of compact disc without the write- once problems of existing CD-R technology.
Philips's head office in Eindhoven said the disclosure of any such date was premature. Angelique Hoogakker said the format was coming, but it was ` a bit too early' to talk about a market introduction.
Several proposals exist for rerecordable CD systems, based either on crystal technology where the disc is heated or on Magnetooptical systems similar to Sony's MiniDisc.

WM NEWS & RECORD REVIEW

MARCH 1993

owe

REFERENCE GRADE
AUDIOPHILE

you've ever experienced outside of the concert hall.
Prices from £950. See reviews Audiophile 9/91, Recording Musician 9/92, Gramophone 8/92.
XL0 RS Cables
XLO Electric Reference Series audio cables are " The Best in the World." They offer, without

favourably against those DAC's that cost many times it's price. An optional AT/ST input is available at extra cost and the sound quality is even more impressive. See review HFN/RR 3/92.
AVI S2000MC CD Player
Utilising the Burr-Brown PCM63 20 bit multi-bit converter and 8times oversampling

COMPONENTS

exception, the highest level of total system performance achievable today. It is also important that they are easily

filters, this AVI CD player also features the latest Phillips CDM 9engine. It is available right now for £999, giving the finest audio quality at an affordable price.

YOU CAN AFFORD
'At

affordable. XL0 Electric RS cables are not system dependent, so most audio systems can use them to sound their best.
In systems of the very highest quality, RS cables deliver unmatched freedom from sonic coloration at component interfaces, and achieve near

AVI S2000MP Preamplifier
With aTHD and IMD distortion figure of - 120 dB, this preamplifier betters the majority of its' competitors by 40dB. This pre-amplifier will substantially outperform models that are many times it's price of £599.

Wilfred Audio offers aunique approach to the appreciation of top quality audiophile products. Our passion for music is such that we are forever seeking out those components that best convey the true feeling and sound of the music, while at the same time representing real value. The products described here are such, and we guarantee listening satisfaction.
If you are in the market for reference grade components and you have a passion for music, please call Wilfred Kok on (081) 698 7386 to find out more about these fme products:
ATC Loudspeakers
ATC design and build demonstrably the finest sounding loudspeaker system in the world. In professional and audiophile circles, ATC are renowned for tremendous clarity, neutrality, dynamic range and imaging capability. That is why you'll find many of

perfect clarity, timbral accuracy, imaging, focus and retrieval of spatial and ambient field information.
See reviews Stereophile 2/92 & 12/92, The Absolute Sound 4/92.
Audio Synthèsis
Passion
The ultimate passive control unit that represents the pinnacle of line-stage technology: TRANSPARENCY GUARANTEE.
Price £558. See forthcoming issue of HFN/RR
Audio Synthesis
Digital Sources Module DAC
DSM produces reference grade conversion characterised by alarge and deep soundstage, life-like transparency and treble purity without the usual grain. The DSM is competitively priced at £ 1234 and compares

LFD Amplifiers
"An extremely lucid, crystalline performer. Both instrument and vocals were diamondedged, discs coming through with transparent clarity, every facet firmly in place... Records were extremely lifelike, perfectly proportionally scaled and holographic... Ambience and depth were reproduced near perfectly, with pinpoint imagery and extremely stable positioning" -Hi-Fi World 9/92. See also Audiophile 1/93
Priced from £699
orelle DA 180
Anew reference standard DAC is now available in it's improved 1993 edition, with anew torroidal power supply, ALPS switch and higher standard case and facia finish. The resulting sound is agenuine breakthrough at £549.
See review HFN/RR 11/92.

the world's most respected professionals,

including the BBC, Chandos, and the San Francisco Symphony Orchestra monitoring through ATC systems. In adomestic system, you will be able to simply sit back in com-

Wilfred Audio
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London (081) 698 7386. MON-SAT 9AM-7PM.

18

HI-FI NEWS & RECORD REVIEW

MARCH 1993

news

AIR TOMORROW
The famous Air Studios,
founded in 1970 by George Martin, left its Oxford Circus
site after 21 years to move
to new multi- million pound
facilities in north-west Lon-
don. A Victorian Congregational church in Hampstead
has been transformed into one of the world's most
advanced multi- media
recording studios.
Rebuilding the 27,000ft Lyndhurst Hall, built in 1884 and an impressive example of Victorian architecture, was made possible only after financial aid from Chrysalis Group and Pioneer.
Many features have been carefully preserved under the guidance of English Heritage. The main hall is agrand domed structure, hexagonal in plan, with seating on the upper floor which extends out in three bays and is surrounded by amassive stained glass window. This hall

The control room (above) features aNove Legend mixing console and thetal multi-track recording. Manttanng is by Andy Mu= using

Dynauelio drive units. The domed hall ( top right ) seats 600 and offers fine acoustics for classical and contemporary recordings. Moving in we studio manager Malcolm Atkin, chairman George Martin, managing directorJohn Burgess and project leader Dave Harries

was used late in the building programme for agala performance of ' An Evening with Dylan Thomas' in aid of the Prince's Trust and in the presence of
His Royal Highness The Prince of Wales. The programme included Under Milk Wood

sung by Tom Jones before an audience of 600 and was
recorded on a48-track digital machine.
Air Studios is officially opened on 4March when it will also have post-production video
and editing facilities plus artiste

accommodation. Chairman George Martin said Lyndhurst Hall would offer clients from around the world something
that either hasn't been offered
before or can't be offered elsewhere. ' It is truly astudio for
the 21st century,' he said.

SOUTH WEST SHOW PREVIEW: HI-FI '93, BRISTOL

There's increased optimism about this year's Bristol hi-fi show which takes place at the renamed Marriott Hotel in the
city over the weekend of 20 and 21 February. There is no Friday
opening this time, reportedly at the request of manufacturers who successfully prevented a transfer of the event to Cardiff last year, when the regular Bristol
venue was unavailable due to the
hotel's rebuilding programme, this has resulted in extended conference and banqueting suites that now incorporate the
adjacent former cinema. Opening hours for Hi-Fi '93 are 9am-6am on Saturday and 10am-6pm on Sunday, with an admission charge of £5adults, accompanied under 14s free.
With anumber of manufacturers still to commit to the
event as we go to press, the line-up so far promises ahost of exciting new products, many
seeing aUK debut after being previewed at the CES in Las Vegas. Predictably enough
there will be DCC and MiniDisc, astrong audio-visual presence from Denon, Marantz,
Sony and Yamaha, plus ashowing of THX by recent licensee, Celestion. Pioneer plans Dolby Pro-Logic on astunning largescreen projection TV.

Mission's new Cynu electronics line will beseen, including this two-box CD player, on

show after aworld première in Las Vegas

Valve fans will welcome a
host of new products from Audio Note including the £999 DAC2 and DAC3 at £ 1650: both with valve analogue output stages. Acoustic Research
is using the event to demonstrate Holographic Audio Visual, ahome theatre system featuring the baby M.5 speaker and the bigger M4.5. Also featured by Entel will be additions to the AKG headphone range plus models from AR's Classic
series. A new tuner heads the
Arcam line-up at Bristol. The £350 FM-only Delta 280 features 20 pre-sets, signal

strength meter and choice of narrow or wide IF bandwidth.
It is designed to partner the company's new Delta 290 amplifier, and a forthcoming system remote control at £60 may be used to operate both.
Chord Company promises C,odac digital link and solid Chord cable plus a180CD stor-
age rack. A new RDS tuner is expected
from Denon, the TU -580
(around £200). Accessories feature strongly at Goldring,
which represents Disc-washer and Mifty. Introduced will be CD Hydrobath, CDL-2 lens cleaner, Perfect Sound's Crystal

cones and CDC treatment. NAD Marketing is taking the
opportunity to show products which will form part of an entire new range of audio separates: the £ 159 302 amplifier, 502 CD player at £ 199, and the
505 CD multi-player with a five-disc drawer (at £269).
The Bristol event is well timed for the UK arm of Revoit which is breaking with hi-fi
tradition. Evolution has been seen at European shows last summer, but Hi-Fi '93 will be its first UK appearance. There
are no trailing wires or obtrusive controls on a product which is aimed four-square at the Bang & Olufsen customer. A large LCD panel shows operational status. Facilities pro-
vided include CD player and RDS-equipped tuner in abasic £2000 package.
New from Sennheiser will be the HD1000 Charleston headphone with a 1920's art-decor
styling, plus the latest IS490 infra-red system.
TEAC, distributed by RAM,
has concentrated on products designed using its vast Tascam professional experience.
Yamaha will major on its DSP-A100 with Cinema DSF Plus S-bit CD players and the company's cassette decks. 4-

II

HI- El NEWS & RECORD REVIEW

MARCH 1993

Golden Dragon

Precision Audio Tubes
To attain apremium tube, sonic quality must be designed in from the start. As with any fine audio component, vacuum tube design is both an art and ascience. With the closing of the legendary tube manufacturers it seemed that the magic combination would be forever lost. Fortunately, agroup of British audiophiles and engineers have worked diligently with the Shuguang and Beijing tube factories in China to create tubes of the highest sound quality and reliability. No aspect of design or performance has been neglected. Countless prototypes were auditioned in the creation of custom audio tubes that rival the finest ever made. The results of these efforts are now available as Golden Dragon precision audio tubes.

Please enquire for any tube types not listed. We have an inventory of over 2.500 different types in stock.

RETAIL PRICE LIST

Golden Dragon Pre-amplifier Tubes

Singles

·6A08/ECC85 £6.50

12AT7A/E81CC/ECC81 £6.50

12AU7A/E82CC/ECC82 £6.50

12AX7A/E83CC/ECC83 £6.50

6a..18/E88CC/ECC88 £ 10.95

Special Duality Golden Dragon Pre-Amplifier Tubes Singles

*E81CC-01 Gold Pins

£9.50

*E82CC-01 Gold Pins

£9.50

*E83CC-01 Gold Pins

£ 9.50

*E88CC-01 Gold Pins

£ 14.50

Golden Dragon Triodes Singles

Pairs

Osado

2A3 4PIN £22.50 £47.50 £95.00

2A3 OCTAI £22.50 £47.50 £95.00

211

£28.50 £59.00 £ 118.00

300B

£69.00 £ 140.00 £280.00

811A £ 11.50 £25.00 £50.00

845 £36.50 £75.00 £ 150.00

Golden DragonPowerTubes Pairs EL34/6CA7 £ 18.50 *E L34S/6CA7S £25.00

Quads £37.00 £50.00

Octets £74.00 £100.00

Golden Dragon Power TubesPers

Quads

EL84/61305 £8.50 £ 17.00

E841../7189A £ 12.50 £25.00

KT66

£25.00 £50.00

KT88

£49.50 £99.00

*KT88 SUPER £59.00 £ 118.00

6L6GC £ 18.50 £37.00

6550A £39.50 £79.00

·Denotes New Design or New Type

Octets £34.00 £50.00 £100.00 £198.00 £236.00 £74.00 £158.00

Carriage charge C2 50 on any order Si ewes plus var e17 5% Payment Cash with order or Visa Mastercard Amertcar Express 24 Hour Answerphone Service

Golden Dragon Select Tubes. A new range of tubes specially sourced from other factories,

ECL86 EF86

6.50 6.50

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8.50 8.50 750

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For further details please contact:

P.M. COMPONENTS LTD., Springhead Enterprise Park, Springhead Road, Gravesend, Kent DA11 81-10, England

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Radlett Audio

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Radlett Audio Consultants 141 Watling Street, Radlett Hertfordshire, WD7 7NO.
te 0923-856497
\care on the A5I83 close to Junction 5, MI & Junction 22, M25
We stock fine equipment from:ALBARRY, ALPHASON, AMC, APOGEE, ARCAM, A.R.T., Alt, AUDIO ALCHEMY, AUDIOLAB, AUDIOPLAN, CASTLE, COPLAND, CROFT, DALI, DENON, EAR, EPOS, FURUKAWA, GROOVE TUBES, IIARBETH, JADIS, J.PW., LYRA, MADRIGAL, MAGNEPAN, MARK LEVINSON, MARTIN LOGAN, MENTOR, MERIDIAN, MICHELL, MUSICAL FIDELITY, ORTOFON, PRO AC, PROCEED, QUAD, REGA, REVOX, ROTEL, ROWLAND, RUARK, SME, SONIC LINK, SPACE DECK, STAX, SUMIKO, TARGET,
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No. 27.5 Dual Mono Power Amplifier
100W Stereo

HI-FI NEWS & RECORD REVIEW

MARCH 1993

technology

short, BTP threatened legal action vehicles or people working close to

against all the main critics of FMX. heavy industrial machines. Very

Bose referred to evidence against large mufflers are needed to block

FMX gathered from 15,000 measure- low frequencies.

ments and challenged anyone who

Attempts at actively cancelling low

disputed them to carry out their own frequency noise in aroom or cabin by

A/B listening tests.

generating an exactly matching, but

'Faced with extensive theoretical out-of-phase, noise signal have so far

and experimental evidence that is in failed. The generated sound may

direct conflict with the advertised start off exactly 180° out of phase

claims of FMX,' wrote Amar Bose with the unwanted noise, but as the and research colleague William sound-waves reflect off the walls,

Short, 'it is encumbent upon any their phase relationship changes.

manufacturer contemplating the sale Overall reduction is only around

of FMX receivers to independently 5dB. The subjective effect may even

conduct at least the minimal set of be worse because the human ear

listening tests described above.' This identifies the source of the anti-sound

challenge was published in advertis- as aseparate noise source.

ing space in the Consumer Electronics

'Once sound escapes into the

Show Daily, in June 1989, paid for by room,' says Amar Bose, 'there is very

the Bose Corporation.

little you can do to reduce it. The

MIT, Bose Corporation and Amar answer is to work on it before it

Bose then went into self-imposed escapes into the room. The best place

silence. Everyone thought FMX was is in a small cavity by the ear.'

dead. But no, said Amar Bose at the

Five years ago Bose engineers

recent meeting: 'Unfortunately FMX developed noise-cancelling head-

is not dead. The National Association phones for the pilots of the Voyager

of Broadcasters, which has taken a aircraft. This headphone set has now

10% interest in the system, is trying been modified to make it suitable for

to revive it, even though communica- industrial use and will be built in to

FMX, the CBS system designed to extend the FM broadcasting range, looked to be dead in 1989. But it won't lie down...

wo interesting points on technology emergel when,
recently, the Bose Corporation flew reporters from the UK to its base near Boston for abriefing on the
company's plans. The first dates back to January
1989, when the Bose Corporation flew journalists from US cities to
Boston for atechnical conference on a paper published by the Massachusetts Institute of Technology, where Amar Bose is a professoi of
electrical engineering. The paper was on the FMX radio transmission
system. FMX -was a system developed in
the 1980s by CBS, to extend the range of FM stereo by companding the stereo subcarrier for noise reduc-
tion. When the CBS Labs closed, a consortium called Broadcast Technology Partners took over FMX.
Said Amar Bose during the recent briefing, ` We were using the MIT transmitter to research digital audio
broadcasting and used it also to test FMX. The measurements were made by MIT, not the Bose Corporation. They showed that FMX transmis-
sions sound worse on aregular radio receiver and they sound worse on an FMX receiver too. We proved that
FMX was theoretically worse, too. The paper was published by MIT, because we thought it would deflect flak from the Bose Corporation. But
it caused a lot of controversy.' So much controversy, in fact, that
Bose later published aresunié document, telling what had happened
before and after the MIT seminar in 1989. To cut along and juicy story

tion theory shows that FMX is worse than FM.'
If the NAB is trying to revive
FMX, then it is certainly not having much success. Denon planned to sell asuper-tuner which included FMX, but abandoned the idea. Very few
radio stations adopted FMX. Now the US and Europe are moving towards digital audio broadcasting. The BBC should by now have run secret DAB tests from its Crystal Palace transmitter, using frequencies at the bottom of the UHF TV band. The BBC wants apermanent allocation towards the top of the VHF TV band. For the NAB and BTP still to be pushing FMX in the 1990s makes aclose parallel with the situation in the early 1980s when CBS pushed the CX noise reduction system for LPs as an alternative to compact disc.
NOISE CANCELLING Bose has just won acontract with the US military to make equipment which removes excess sound.
Said Amar Bose: 'The US government pays out $200 million ayear in compensation for hearing loss caused by military service. Hearing loss is a common reason for early retirement of pilots, second only to psychological stress. There will also be an
enormous market in industry for the noise cancellation system.'
People who work in a noisy environment can wear ear plugs, but then they cannot hear what is said to them. Ear plugs do not shut out low frequency, throbbing noise of the type suffered by light aircraft and helicopter pilots, drivers of tracked

military helmets. The headset has a conventional
miniature loudspeaker for feeding wanted sound into the ear. Close by the loudspeaker asmall microphone picks up the mix of wanted sound with any unwanted sound which has penetrated from the outside.
An ancillary circuit processes the signal from the microphone to subtract the wanted sound and thus isolate the unwanted noise. It then
reverses this noise signal in phase, amplifies it and adds it to the wanted sound signal which is being fed to the loudspeaker. So the unwanted sound is cancelled as it enters the ear.
Because the headset cavity is so small, internal reflection paths are short and have no disturbing effect on noise with a relatively low frequency and long wavelength. At fre-
quencies above 1kHz the noise wavelength is short enough to be
affected by reflections. But passive noise blocking is feasible at mid and high frequencies. The walls of the headset are made from heavy damping material, and the headset has a rim made from a sack of silicone fluid, similar to the material used for breast implants. This sack mates neatly with the user's ear and head. So noise below IkHz is actively cancelled and noise above this frequency is passively blocked, with the
headset a manageable size. Bose now sells anoise cancelling
headphone set, attached to a microphone, for around $ 1000. The company also plans to develop a battery-powered version for airline
passengers to use.

21

HI-FI NEWS 8. RECORD REVIEW

MARCH 1993

EXPENSIVE TUNER??

THEN HAVE THE AERIAL IT DESERVES
You spend many hours and quite alot of money choosing that new tuner, so don't ruin the whole effect by fiddling with bits of wire or old aerials. Have the full benefit of the multipath-free, clean signal which only awell designed and properly installe dunit can achieve. If D.X. is your scene, then go for the ultimate in rotating high gain narrow beam systems like our G.23 with 19dB forward gain, 38dB F. to B. and Acc. Ang. down to 15 Degrees or have a "one off" special built, up to 32 elements.

GALAXIE CIRCULAR 17- ELEMENT STEREO GAIN 159dBF to B 33 7d6 L 74"

WE DESIGN, MANUFACTURE, SUPPLY AND FIT
* FM arrays from 4to 23 Element. TV from 10 to 92 Element.
* British- built and designed to withstand our weather. * Interested D I.Y. advice freely given, backed by our complete range of
masts, brackets, rotors, cables and aerials. Systems available for chimney, loft, wall, or through roof mounting. * Professional installation service available within anominal 200- mile radius of LUTON. Full details of this service available on receipt of a large S.A.E. which will bring you our complete " Aerial Guide" which is more than lust alist of our products and prices, and carries details of all our services, including MAIL ORDER and site surveys.
CONTACT US ON 0582 36561 or-WRITE To:
RON SMITH AERIALS 98, ASH RD, LUTON, BEDS, LU4 8AQ
Personal Callers: Shop Hours Mon.Fri.Sat. 9.00 to 6.00. Lunch 12.30.1.00 Tuesday & Thursday 9.00 to 10.30. Wednesday Closed
(On Tue/Wed(Thurs/ we are often available: Phone to check. Mon/Fri/Sat we are always open). 5minutes from exit no 11. on M.1. MotorwaY.
NAIM AUDIO U.K. RECOMMEND OUR FM AERIALS AND THEIR DEALERS CAN OBTAIN YOUR CHOSEN MODEL WITHIN 48 HOURS, OR SUPPLY EX STOCK.

LOUDSPEAKERS MATTER!
If, like us, you really care about music rather than the abstract pursuit of " Hi -Fi" excellence, you will come to understand something we have been preaching for many years: while it is clearly important that one's basic components -- CD player, record deck, cassette deck and amplifier or receiver -- should be of decent quality, only the loudspeakers can seriously affect the final outcome and ensure that what you hear bears agenuine resemblance to the real thing, as heard in concert hall, opera house or church.
At our studio, we offer a wide selection of the basic components, ranging from modestly- priced systems like the delightful Denon D-70 and ' separates' by JVC, Pioneer and Yamaha to the renowned products of Quad ( not forgetting their world-famous Electrostatic speakers!), but what we really care about is our small handful of lovingly selected loudspeakers. Our famous three-way system, featuring the BBC's longestablished LS3/5A speakers and the Audio Pro Sub- woofer ( which we alone import from Sweden), has been further enhanced by the alternative choice of the Harbeth HLP3 speakers and by the fact that the new Audio Pro model, the B1-20, is much, much smaller than its predecessor, while its performance remains equally sensational.
Excitingly new to our range, however, is the Sequence 30 -- a loudspeaker of remarkable originality which not only represents superb value for money at £ 200/220 per pair (depending on finish) but also solves many a domestic problem by being only 2.7in deep ( its other dimensions are 33.5 and 10in) and thus able to hang flat on the wall. The Sequence 30 can be used in afree-standing mode, but we suspect that most people will share our delight at its 'flatness' on the wall.
When you visit us you can listen unhurriedly to our chosen equipment and discuss musical and audio topics. Nor should it be forgotten that everyone who purchases equipment from us is thereafter entitled to 20% discount on all compact discs, cassettes or video 'software' -- indeed TV and Video, including Laserdiscs, nowadays play an increasingly important role in our scheme of things!
Thomas Heinitz Ltd musIC IN THE HOME
35 Moscow Road Queensway London W2
Telephone 071-229 2077 Opening hours: 9.30 to 5.30 ( Thursday 9.30 to I; Friday 9.30 to 71

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NI-FI NEWS 8. RECORD REVIEW

SIAM 1993

radio
120'

10
-15 -120'
BBC regions will play a more prominent role as centres of excellence: just one response to the government green paper
Ingrid Kelly (left), Helen Boaden and Mark Halliley pictured receiving the Howard League's Media Award from president, John Mortimer, QC, (centre) for their programme on Feltham young offenders which uncovered the menace of thug rule

18ft fencing topped with razor wire, away from its studio base to the

holds 300 young offenders and 500 Adrian Boult hall in Birmingham

aged between 14 and 21 on remand. Conservatoire for aconcert on their

In nine months four prisoners at recently acquired Javanese gamelan.

Feltham hanged themselves. File on Not just one instrument, the gamelan

4gave achilling account of thug rule, is awhole orchestra which originated

where it was common to see coshes in Indonesia, including tuned single

made from bed frames or socks filled bronze gongs, metallophones,

with batteries, and where use of pool drums, flutes, and small cymbals.

cues had to be rigidly supervised.

A new year means a new set of

Produced by Ingrid Kelly, the
judges said they felt the programme . . . accurately portrayed the com-

broadcasting schedules, although it seems like old times on Radio Two as
Terry Wogan returned, after aseven

plexities of life in apenal establish- year absence, to fill his old breakfast-

ment and showed that bullying was time slot. Other moves mean Brian not just an individual problem'. They Hayes appears thrice weekly, on

concluded that the programme Tuesday, Saturday and Sunday.

brought home the iniquities of the Sarah Kennedy gets her first regular

prison system for young people.

spot, on the early morning weekday

The success of the Manchester- show, while David Jacobs takes over

made series delighted editor Helen Saturday night's Easy Does It.

Boaden. She said it was atribute to

Over on Radio One, the Sunday

the hard work and high standards of lunchtime oldies slot is hosted by

journalism in the team.

reggae presenter The Man Ezeke. He

One new year treat was the Radio takes over the show vacated by Alan

Four commission Wide Awake in `Fluff' Freeman. Ezeke joined the Ireland, a three-part series by Irish station in October 1990 with a

writer John Walters. It provided a Wednesday night reggae hour. His different view of the country while new programme, The Number One

esponding to the government discussion document on the future of the BBC, the Cor-

attempting to pinpoint amore useful way of looking at itself. Ireland, we are told, has awild enthusiasm and
exhilarating possibilities if only it

Show, features charts not only of music, but also of the most popular films, television, fashion and videos
from particular years.

poration's own, high gloss reply Extending Choice: the BBC's role in the new broadcasting age repeatedly
states that the BBC is the British Broadcasting Corporation, not the London Broadcasting Corporation.
Centres of Excellence are to be created in the BBC regions which hitherto provided abase for journal-
ists working on localised news output. These network production centres, which currently contribute a few gems to the wealth of Londonsourced material on BBC network radio, are to become teams of specialists concentrating on subjects as diverse as natural history and light
entertainment. Award-winning material is already
being produced by some regions.

could shake off the poor opinion it
has of itself. The first programme, `Stuck in the
Groove', looked at whether Ireland's Sixties' generation will ever give way, while `The Unexpected Crossroads' asked if Ireland's political system can be as modern as its people. The final programme, ` The Irish "Thing", concluded that, in order to move forward, Ireland needs to appreciate what it is now.
Birmingham probably contributes more to BBC networks than any
other single region, with Bristol coming aclose second. Apart from the obvious like The Archers, there's also a wealth of musical output from
Pebble Mill, including the R3 Lunchtime Concert series, which moved

STOCKING FILLER
One of the more useful gifts I received at Christmas was the 1992/ 94 edition of George Wilcox's handy guide to European radio broadcasting. Dial Search, which is now in its 7th edition, is aimed primarily at home listeners.
Set orientation is made simple by two unique maps: Europe and the Mediterranean, and the British Isles; and, while the booklet majors on medium-, long-wave and VHF, a selection of the world's short-wave is given along with a timed list of broadcasts in English. In an AS format, the 45pp publication sells for £4.25 through booksellers or £4.70
by mail: call (0323) 482419. .44-

Just before Christmas, the Radio

Four current affairs series File on 4

received the Howard League's media

award, an accolade established to

encourage responsible media discus-

sion of the penal and criminal justice

system. The 1992 award was given

for a programme about Feltham

young offenders institution, sited just

to the west of London.

The visit of reporter Mark Hal-

liley, who had access to inmates for a

week, came after adamning report

on Feltham by chief inspector of

prisons, Judge Stephen Tumin.

Halliley explored the two- storey

red brick units whose surrounding

lawns and gardens gave the appear-

ance of sheltered accommodation for

the elderly. Instead Feltham, with its

NM NEWS &RECORD REVIEW

MARCH 1993

23

QUAD
ESL 63
LOVERS

Please Note

(K J West One are sole U.K. distributors for Gradient)

In our experience owners of Quad ESL 63's are a devoted bunch and

Up not parted easily from their speakers
vihen looking for cri upgrade path. If you like the sound they give where can you go for improvement? to now there

hasn't been much on offer but Graded (the Finnish cistributors for Quad) have

come up with asub-woofer system (model SW63) to give extra bass eidension that

many ESL 63 owners would regard as the only red shortcoming of the speaker. If

you want to know more you don't need to take our word for it, just read on for

independent opinion.

HI-R NEWS - MARCH 1992 mien conclusion....
The Gracient woofer has not transformed the ESL 63 - rather if has released it from restrictions determined by a need to make the s-tandard speaker a full-range device. (Min the SW63 Me electrostatic blossoms into a true high erid speaker of such integrity ciel ability that no sensible criticisms are worth voicing. This is a most graceful performer which °gains shows the fundamental quality of Peter Walker's marvellous creation. It comes strongly recommended.
1can think of no better upgrade path for a 63 owner with ambitions. while as an oil-in- one purchase the high review rating equally applies.

TESTIMONIALS FROM SATISFIED OWNERS
Dr. Robson of Manchester
"Put simply, the &mien, sub woofers improve the sound of the Quad ESL 63's... the bass is perfectly integrated and the crossover point is not audible."
Mr. Davidson of Co. Durharn it really is adelight to listen to this combination of ESL 63's and SW 63's. The music seerns to be more solid cnd Ifind the imaging properties of the Quads are enhcnced. The extended bass is a boon when listening to large orchestral and organ works, yet the treble is dearer. Altogether a most successful marriage."
Mr. Tyler of Basingstoke
"Wlth the SW 63's raising the Quad ESL 63's some 15 inches from the
floor, the effect is to create an excellent tond balance with a truly
authoritative fern bass combined with on opening up of the sound which is wholly beneficid.. The results ore redly beyond criticism over a whole range of material."
NV Hastings of Oxfordshire
The subwoofers and crossover have dearly been designed by somebody who knew and loved the ESL 63's: The upgrade is more sympathetic to the original than any previous attempts.... The speed and dynamics of the system as awhole should open up anew market for Quad among lovers of pop music and jazz."

Demonstratiors are available by appointment - so come and listen for yourself! Afull literature pack is available on request.

SW 57 Subwoofer for ' original' ESL -- full details on application

k

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24

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HI-FI NEWS it RECORD REVIEW

MARCH 1993

headroom

Mike Nesmith exploits the evolution of Dolby Surround on his latest CD

rue, some readers would rather suffer boils, frogs and famine than glance at the rock reviews at the back, but do me afavour: look up my review of the latest Mike Nesmith CD. Write down the cata-
logue number (or wait for the pending UK release). Order acopy. And listen to it as it's meant to be heard: surrounding you with sound.
The review was written a week before Christmas; as Iwrite, it's New
Year's Day. And everyone -- not just Clive James, Rory Bremner and the couch foliage on breakfast TV shows
--is rendered contemplative at year's end. You're entreated to reflect on the previous 12 months. And on what
does a hi-fi scribbler reflect? My January 1st mind game involved cataloguing the year's launches, and one item stood out like no other. Not DCC, which Ithink is ashamefully backwards step perpetuating recording as acontact sport. Not MiniDisc, which I think is the most clever,
elegant system yet but, like Betamax, will probably die for all the wrong reasons. Like not being given a chance. And not home theatre, which is hardly new; 1992 merely saw its popularity reach critical mass through the availability of inexpensive surround-sound decoders and affordable LaserDisc players offering NTSC as well as PAL.
Nesmith's disc was the I1th hour
reprieve during a gloomy year. So awful was 1992 that even the joy of
Krell's best-ever electronics, delicious CD hardware from Wadia, Vimak and Marantz, the Harmonix

accessories, Trilogy's debut and other delights couldn't provide me with a shred of optimism for '93.
Then, in dark December, Ifound the former Monkee's country-rock CD, recorded in Dolby Surround.
So what's the big deal? you're thinking. After all, there have been numerous audio-only Dolby Surround CDs, straight off the soundtracks. Aah, but there's the rub. Aside from film music using known works or new soundtracks made up of songs, why listen to soundtracks for musical pleasure? Ninety-second bursts of blaring brass which mean nothing without the visuals? Gimme abreak. However much Iadore the music of Hermann, Williams and
Schifrin, I'm hardly likely to listen to the stuff on its own. It's the same for most people. So, aside from soundtrack addicts who are entitled to the fetish, no one has ever used their
Dolby processors for anything other than decoding the rear channels on tape or LaserDisc.
Dolby Surround works, and works well, and there are now audiophilecalibre processors ( Lexicon, to name but one) for those who wouldn't dream of listening to (visuals-free) music with amid-fi black box in their otherwise-purist systems. So why not apply it to studio recordings which don't accompany afilm? Ican only dream about how my hippie days would have been enhanced if I'd been able to hear Sgt Pepper, After Bathing At Baxter's and all those Firesign
Theater LPs through four speakers instead of two. Wouldn't have needed to roll up a single leaf . . .
But Nesmith's brave step isn't an exercise in psychedelic self-indulgence, or just some Pink Floydian head trip with sound effects, channel swaps and the kind of sonic gimmicks that were used to sell SQ and QS. Then again, those systems only worked properly with four-channel
open-reel tape, so few will ever know of their possibilities. And the British,
true to form, were incapable of bringing the brilliant Ambisonics to the marketplace. But we do have Dolby Surround, which has evolved to a state of true viability, and Nesmith exploits it with understatement.
I don't know if Nesmith is an audiophile in the civilian sense. Rather, I'll assume that he -- like Frank Zappa -- is a clued-up, seasoned studio veteran. And yet he's recorded asemi-acoustic set using the rear channels for atmosphere rather than as agosh-wow-pass-the-bhong, whatthehellwasthat!!! sideshow. For once, amusician/producer has pandered not to the lowest common denominator but the highest, knowing fully that the music-in-the-home experience has nothing to do with

making an ears-only version of Sonic The Hedgehog. Nesmith has returned to the original concept of high fidelity: faithful reproduction of a musical event. And, as everyone knows -- even Amar Bose -- sound surrounds us. What Nesmith has issued is arecording that, while just dandy in two-channel form, becomes so much more convincing in Dolby mode you'll wish all of your cherished recordings offered the same degree of realism.
This one's gonna be ahard idea to sell, precisely because Nesmith opted for subtlety rather than drama. Ican picture the CD demo'ed in hi-fi shops with the salesperson switching off the front channels to 'show the effect'. The listener will hear what amounts to adrastically reduced version of the front channels, complete with aslight phasey-ness, aversion of the recording which does not work on its own any more than does the sound of the rear channels in a film's Dolby soundtrack. But put it all together and you hear something richer, fuller, bigger than before. It's allembracing. It puts you there with the performers. Which is all anyone can want of sound in the home.
Just in case some of you are either too anti- rock or too lazy to turn to the 'Rock, Pop, Jazz' section, here are the details so you can order acopy from the USA, though Awareness should have the UK version out later this year. The disc is Tropical Campfires, Pacific Arts PAAD-5000. The address is 11858 La Grange Avenue, Los Angeles, CA 90025, USA. Don't waste your time with Our Price, which charges just under £20 for imported CDs from the USA, but do try Virgin, HMV or Tower, which may be more aware of the £=$ relationship. I bought my copy in Canterbury from Parrot Records for £11.99. And it's the best £ 12 Ispent in 1992. lit
An extremely youthful Mike Nesmith, pictured here before his split from the Monkees

HI- Fl NEWS 8. RECORD REVIEW

MARCH 1993

25

Will Home Theatre carry all before it? Yes, but there is still hi-fi lee
in Las Vegas . . .
by KEN KESSLER
LAS VEGAS

Is this really aspeaker? Martin Logan's ESL Hybrid Centre Channel

Okay, so Istayed in aterrific hotel, ate like aking and won abit on the slots. Yet

There it was on page 9, where you find the floor plans of the various hotels and the Conven-

I left Las Vegas wondering tion Center. Next to each little

'Whatever happened to hi-fi?'. map is a category description;

Was Iattending one of the hi-fi the Sahara Hotel bi-level com-

industry's most important plex, for example, is dubbed

events, or had I accidentally 'Specialty Audio/High End

wandered into Comdex, the Audio'. But next to the map of

computer world's main hard- the Mirage, which I knew

ware fair? Maybe Ihad stum- hosted the bulk of the British

bled upon atoy convention. Or audio contingent, were the

flown for an hour too long and words 'Home Theater' and 'Cus-

landed in Hollywood. Whatever tom Installation'.

my warped recollection of the

What's so ominous about

past three days' events, all Ican that, you might be thinking. For

say for certain is something was the past five years at least, those

happening here. What it was categories have been integral

ain't exactly clear. While there subdivisions of what we know as

may not have been aman with a audio. But not anymore. Now

gun over there, something was they are audio.

telling me to beware. And it all

The only conclusion at which

started with the otherwise inno- Icould arrive, after seeing how

cent-looking CES pocket direc- Tannoy and KEF and even Linn

tory, the guide to the thousands had joined 'em rather than be

of exhibitors.

beaten, was too obvious to

ignore: recorded music as a
stand-alone source of pleasure as we know it is dead. If a pure hi-fi-only brand is to survive into
the next century, it must be involved in either the A/V sector or the multi-room market. And that confirms my fears that music on its own is no longer enough. Today's consumer just can't listen to music minus embellishments. This pathetic creature, with the attention span of atwo-year-old, needs visuals
or push-button convenience. Better still, ajoystick. Whatever you think, there's no goin' back to LPs.
Judging by the overall feel of CES, home theatre didn't simply grow during 1992. It
emerged as the salvation of the home entertainment market,
while presupposing that everyone is afilm buff. But lest you
think I'm on areal downer about

this, Ifind great joy in noting that the British hi-fi industry is in on it at the start; this is not merely a Japanese/American revolution. Celestion already had ahome theatre offering; in Las Vegas, sister company KEF joined in with magnetically shielded versions of the 101/2, 102/2 and 103/4 speakers and the Model 90 and Model 100 'centre channel' speakers. Both feature 6.5in Uni-Q drivers and either will nestle nicely on top of or below the monitor in your surround sound set-up.
Even more indicative of the company's commitment to home theatre are the forthcoming THX speakers, already granted provisional approval by LucasArts. KEF's demo room was all AN, with asystem incorporating aDenon 3030 A/V Surround Receiver, the ubiquitous and unanimously revered Faroudja LD100 Line Doubler, a Kinergetics surround sound processor and the like.
Tannoy's contribution to the home theatre market is almost more pro than audiophile,
because the company has opted for 'cinema-style dynamics' as its goal. Shown was the biggest centre-channel speaker I've seen yet, the £ 1000 D350 'dialogue' model employing a full-range driver rather than one which only covers the midband; asubwoofer will follow. Behind the
screen were enough woofers to satisfy an HM bass-player. And in the more domesticated Definition range, the company has what amounts to acomplete battery of Dolby Pro-Logic speakers in the guise of the D700 floor-standing system with a 10in dual concentric driver, the smaller, shielded D100 with a6.5in dual concentric speaker and the DlOOS -- yes, ashielded
version of the D100 in a 'lying on its side', faceted cabinet.
The move to A/V doesn't really place too great aburden on straight hi-fi manufacturers, aside from qualifying for THX suitability. NAD showed amplifiers ready for the format, but most are content with what
they've been doing for years: labelling one line input 'video' and leaving it at that.
But before we get to the hi-fi, digitalia, multi-room and the rest, let me finish up with afew observations about this move to turning everyone's living room into the Roxy.
First, you must accept that this trend is US-led, even if you

26

HI- F1 NEWS dRECORD REVIEW

MARCH 1993

can afford the stuff, tiny lounges

do not a Gaumont make. The

hottest projectors used by

exhibitors not manufacturing

their own light throwers --

Ampro and Vidikron for the

high- end, major Japanese

brands for the rest -- are bulky

things which need either aback-

room set-up like a projection

booth, coffee-table style place-

ment or ceiling mounting, and

they are not easy to hide in a

small room. Vidikron is one of

the few attempting to prettify its

projectors; the new VPF 40 HD

was styled by Pinifarina and

owes much to the look of the

Ferrari Testarossa, so much so

that it's available in the right

shade of rosso. The screen to

own? Probably a Stewart. But

one thing on which everyone

agrees: you must employ a

Faroudja line doubler, as fea-

tured in the Cello system in our

Home Theatre supplement.

Ihave no qualms in crediting

JBL with the coolest A/V demonstration of all. The Synthesis system really is acomplete home theatre system, featuring

V8 power plant (above) from Wavestream and (right) the whisky-still- style Tri Turr speakers

true THX capability but with a market for asingle design. One

twist. Having recognised that pleasant offshoot is arevival in

conventional stereo music play- satellite systems, originally

back is incompatible with THX, designed for space-saving pur-

and that you must install THX poses. In A/V terms? You get

speakers if you want the system your compact left and right

to work, JBL has found away to speakers plus acentre bass sys-

spare the consumer of having to tem which just so happens to fit

buy two sets of front left-and- under a TV trolley. Latest to

right speakers. The Synthesis join the fold is Monitor Audio

system automatically switches in with an affordable three-piece

or out certain drivers as applic- suite which differs from the rest

able, one set designed for in one key area. Instead of

cinema-style listening, the other cheap'n'cheerful black ash

for purist stereo. What made the boxes, Monitor Audio's babies

JBL demo so convincing was the look like what they are: smaller

display, which Igather you can versions of the immaculately-

actually purchase. Complete clad larger siblings [see the

with a ticket kiosk, motorised review in Hume Theatre -- Ed].

red velvet curtains in front of the The set on show was finished in

screen and 14 genuine cinema rosewood and looked expensive

seats, the set made you feel like rather than desperately `budget'.

you were in a genuine if tiny Natch, there's a metal dome

movie house, not a converted tweeter, and the veneer looks

lounge, and it enhanced what like Mo Iqbal himself did the

was astunning experience even polishing. Cute.

without the dressing. A clip

from Disney's Beauty and the SPEAKERS

Beast proved enthralling, the If Iarrange the brochures col-

sound spread was seamless and lected at aCES in piles stacked

enveloping. There are lots of according to component type,

complete home cinema systems the speaker pile always equals all on the market; JBL's is the only the rest combined. There was no

one which could actually justify shortage of new designs, most of

the hiring of usherettes.

them with some application for

The speaker builders have, of the 'install' sector. And the

course, been laughing all the slickest item Isaw was a pro-

way to the bank because of home totype from Martin-Logan

cinema: it means the purchase of which you would probably mis-

extra (especially rear-channel) take for an oversized, indoor,

speakers. It also means adouble floor-standing aerial. Finished in

HI-FI NEWS & RECORD REVIEW

MARCH 1993

SHOW REPORT

New Cyrus electronics from Mission included this CD player (above) and the new Cyrus /I/ amp; Acarian had the baby Alon I (right) as well as a fem-dont monster (see text); Tara Labs offered its Passage line stage ( below) and (bottom)Mark Schifter ofAudio Alchemy with the bare bones of his new room correction system. (Note that Mr Schifter is not wearing the watch sold to him by Mr Kessler.)
28

black and consisting of aplinth

As if to prove that you don't

and achunky pillar from which have to learn from others' mis-

sprouted two curved panels, it's takes, Sierra Audio Systems

an electrostatic-hybrid (here we showed speakers disguised as

go again) audiophile-calibre cen- paintings and photographs. The

tre-channel speaker. The ESL drivers are conventional, yet the

Hybrid Center Channel, to give 'enclosures' are still only 7cm

it its clumsy name (why not deep. As for the matching sub-

Electro-Lux? Statistic?), is woofers, they're disguised as

simply gorgeous, the kind of coffee tables. But whatever

speaker which will be mistaken shape comes along, the look of

for anything but aspeaker. Yet the show was pyramidal -- tall

its real potential is something and pointy, or truncated, or

else entirely. If the company can dumpy...but pyramidal none

be persuaded to develop it the less. Close behind came the

further, the two 'wings' could followers of Avalon, which ori-

represent left-and-right speak- ginated the angular, faceted

ers, the curve being severe look. Then come the Clonus

enough to allow the signal Fabers, lots of compound curves

spread to convey reasonable and gorgeous wood, speakers

stereo separation. At $ 1500 in which proliferated alarmingly

mono form, it's a steal. Even since the last CES.

upping the price by another

The real Avalon launched the

third for making it a single- new Radian, athree-way design

chassis 'satellite' system, it

would be the answer to every

-sr

electrostatic lover in acramped

SOFT WARES

flat. Also on show for city dwel-

Over two dozen CDs were

lers and those mean with floor

pressed into my hands at this

space is the Wall Mount ESL

show, including one which

Hybrid, which is probably the

represents what might be the

world's first hang-on-the-wall

dawn of anew era. Reference

electrostatic. And it looks like

Recordings' HDCD Sampler

every other gorgeous M- L mas-

(RR-S3CD) is ashowcase for

terpiece, only in 2-D instead of

new digital technology. The

3-D. Price is circa $3000, so now

abbreviation stands for High

there's no excuse for not having

Definition Compatible

a dipole. Weirdest speakers I've ever

Digital TM , aprocess created by Keith Johnson and

seen, designs which make

Micheal Pflaumer which is

Acapellas and Plasmatronics

used in both recording and

seem common, are the Tri-

playback. It's said to cancel

Toffs, available in three sizes

additive distortions while

and therefore differing only in

providing additional data to

scale, from 45in tall up to 82in.

restore the losses created by

Imagine you're in a distillery.

subtractive distortions. The

You see large, onion- shaped

process is asecret, but word

brass vats. Take three of them in

on the street is that the good

small, medium and large, with

Professor and his colleagues

the smallest at the top, hanging

have worked miracles. And

on springs, Roksan-tweeter-

while it will be some time

style, in an open tubular frame.

before CD players contain

The drivers are mounted at the

the necessary decoding chip,

top and bottom of each onion,

note that the name features

firing inward. My powers of

the word ' compatible'.

description stop there. But I

Apparently the sound quality

loved 'em, because these are

gains can be heard even when

exactly what Jules Verne would

the CDs are played on con-

have listened to had there been

ventional machines, though

high-end audio in the 19th-

the gains are not as great.

century. Speaking of weird, The

Work is already under way to

Kind Horn Co has restyled its

assign licenses for use of the

organic-looking horns, due to

circuitry. The sampler CD

popular demand. Speaking of

uses HDCD technology and

weirder, yet another company

is said to be an ear opener.

showed speakers disguised as

Reference has issued

rocks for outdoor placement.

another Dick Hyman CD,

Only Stereostone made one

following his popular Fats

small mistake if camouflage is

Waller tribute. This time,

the goal: rocks don't have rows of slots along the front. That aside, they look like, well,

it's Dick Hyman Plays Duke
11i1 Ellington (RR-50DCD) and -- like the earlier volume -- it's

rocks.

HI-FI MEWS & RECORD REVIEW

MARCH 5993

SII0WREPORT

with dual 9m Nomex/Kevlar woofers, a3.5in Nomex/Kevlar cone mid-driver and atitanium dome tweeter. Although slightly less angular than the Ascent, it's still unmistakably an Avalon.
Among the copycats, Ipreferred the Odyssey EE from Spectrum Dynamics, which looks like someone cut an Ascent into its constituent bass and mid/ treble halves. Among the pyramids, I noted the Chateau Research Reference Monitors which resembled Wilson WATTs but with less front-toback depth, Vella Research's VR-1 two-section pyramid with awhacking great 15in passive as well as a 12in woofer in the plinth section, and the Green Mountain Audio Diamante. This deseves special mention for Mimickry Beyond the Call of
direct- to- CD. And it's recorded with HDCD. New from DMP is another big band extravaganza by the Bob Mintzer Big Band, Departure (CD-493). Unusual for aspecialist label, this CD features artists you've heard of before, including Michael Franks. Sheffield Lab has issued another Pat Coil CD, Just Ahead CD- 34) and Michael Ruffs Speaking In Melodies (no cat. no. yet).
All too rare are releases from Kavi Alexander's excellent Water Lily Acoustics label. At CES, Kavi was handing out not one but two new discs, including A Gathering of Elders (WLAAS-25-CD) and A MeetingBy the River (WLA-CS-29-CD) featuring no less than Ry Cooder.
Audioquest continues its run of knockouts with Victor Lewis's Family Portrait (AQCD1010) and the Bruce Katz Band's Crescent Crawl (AQCD10 12), while Wilson Audiophile has issued a500copy-only limited edition in gold of the National Symphonic Winds' Center Stage (WCD-8824).
Unbelievable are new CDs from VTL which I'll actually listen to more than once! Yes, dear readers, they've taken a breather from selfindulgent, dull, audiophile jazz. Enter abrace of bluesy, torchy discs from the charming Vickie Lee, Vickie (VTL 012) and More Vickie

Duty: overall a pyramid, but price is low, the sound stagger- hybrid DSP speaker, actually

with recessed sections and facet- ing, and it begs to be shipped to designed to work only with a

ing, or Avalon Goes To Egypt. the UK. These are among the DSP, an intrinsic part of its

My fave launch, speakerwise, most open-sounding of conven- basic design. The session was

came from Acarian. The Alon tional-driver'd designs.

remarkable, the tall column pro-

Phalanx is the new flagship, a Other notables in speaker- ducing superb sound in aroom I

monster of aspeaker using the land included Mavrick's Ebony can only describe as 'sonically

same sealed-box/open-baffle Ribbon System, a satellite challenged'. The partnering

architecture featured in all the featuring ribbon drivers in the CQ-10 Digital Loudspeaker and

company's designs. But this 8x16x 10 in (whd) enclosures, Room Correction Processor can

monster has its five upper sec- Newform Research's ribbon be fitted with 'personality mod-

tion drivers arranged on abaffle hybrids, with slim ribbon arrays ules' to allow instant suitability

which is shaped, well, er, like a perched on top of sealed bass for any Snell speaker past or

female torso, with uh, two driv- enclosures, Hales' System present. Snell also introduced a

ers placed mammarially at the Three featuring a proprietary THX set-up designed for proper

top. And no points for the wag metal dome tweeter (made in small-scale private cinemas in

who suggested aport at the front Europe) in asmall enclosure and the 10,000-20,000 cubic feet

just above the woofer. But that priced at circa $2300 per pair, range, as opposed to rooms in

wasn't the speaker which daz- another ribbon in the form of domestic homes of typically

zled me, as top-end wonders are Eugenex's elegant Waveguide 18 x24x 8ft dimensions or

a dime-a-dozen at CES. The series of hybrids in wood, metal roughly 3500 cubic feet.

thrill was the Alon 1, the baby of and stone enclosures, and the

Meridian, meanwhile,

the range and looking exactly long-awaited smaller models seemed nonplussed, having

like apre-shrunk Alon IV. The from Oracle -- available as either beaten everyone to the finishing

the single-cabinet Thalia or the line with a DSP-controlled

equivalent of the upper half of speaker. Meridian's new goodies

(VTL018), former- Seeker

the Thalia called the Mentor, included the 604 tuner with

Karen Knowles' Moonglow4 which can be upgraded by the digital output -- abig deal since

(VTL-017) containing'".

addition of a subwoofer.

one of the major buzzes at CES

luscious standards, Jim Daw-

Paragon Acoustics' jubilee is the pending launch of digital

son's Independence (VTL

places a 19nun Dynaudio twee- broadcasting in America. Latest

016) containing real songs, . ter in its own round enclosure generation CD transports from

Josh Sklair with josh (VT1.411 atop a cubist sealed woofer Meridian include the 200 at £850

013) -- Sklair being Etta

cabinet containing a7in driver. and the 602 at £ 1750, while a

James' musical director and a

AR took time out from the new Delta-Sigma DAC, the 263,

mean blues guitarist -- and

Limited Series launch to intro- has been introduced at £495.

Jim Christopher & Brown

duce the Classic series, featuring Perhaps the most important info

Burnett's Main Liners (VTL

tightly configured drivers for to be collected in the Meridian

019) with amix of Delta ancil near point-source operation. suite is the news that the com-

Chicago blues material. , The speaker for the Limited pany has opened Meridian

Chesky Records has gone

Series has been fine-tuned and is America Inc in Atlanta, Georgia.

into overdrive with no less

now in finished form. TC

than nine new titles plus

Sounds showed arange of mod- DIGITAL TO ... YAWN

another sampler. On the clas-

els featuring flat drivers in nicely DACs up the kazoo. That's what

sical side, there's the Cone sculpted, 'soft-look' cabinetry. you get now at aCES, and Ifind

necticut Early Music FestivaM New from Magnepan is the it something of ayawn. A couple

Ensemble/Igor Kipnis per-

MG10/QR at the lower end of of years back, anew DAC with

forming Vivaldi's The Four

the price table. Measuring 5ft novelty elements would make

Seasons (D78) and Kipnis

6in tall and 10'/un wide, the you sit up and take notice

again with The Virtuoso Scar-

MG10 is ahybrid, but emphasis because CD was so desperately

latti (CD75).

has been placed on a lower in need of tweaking; now CD is

A number of Chesky regu-

crossover point to minimise the good enough to mean that we're

lars, including Ana Carom

effects of a mixed-techonology at astage where the gains arrive

Phil Woods and Paquito

design by crossing over from in smaller degrees. And, despite

D'Rivera appear on jVC

cone to dipole at alow 80Hz. A aplethora of DACs at both ends

Jazz Presents A Night ol blast from the past: Bozak is of the price spectrum, there's a

Chesky Jazz Live At Town

well and truly back with nine continuing battle both to lower

Hall New York City (JD82).

models, ranging in price from the entry fee, and see who can be

Other new items include

$395 to $5000. Rush Sound's the first to top the ludicrous

Lumamba and Rabello's - Monument II is asmall monitor pricing of certain current high-

Shades of Rio (JD85), Red/ containing two Sin woofers end converters.

Rodney's Then and Now

above and below ahorn-loaded

Theta didn't merely launch a

(JD79), another Orquesta

compression driver with a surprisingly inexpensive DAC,

Nova release, Salon In New

diaphragm made of vapour it also launched anew company

York (JD86) and Caribbean

deposited beryllium on copper. called Cobalt. And the kick-off

Circle from Monty Alexander

A subwoofer is available con- product, the delightfully-named

(JD80). Full marks to

taining two 8in drivers.

307 Disclaimer (or maybe that

Chesky for anew Peggy Lee

The hot news at the show for was the title of the press release),

recording Moments Like This

speakers had to be the greening is asmart little device selling for

(JD84) and -- at last -- ablu

of DSPs. Sigtech and Audio amere $599. And yet it features

disc, John Cephas and Phil

Alchemy offer 'universal' room 'the lowest jitter data recovery

Wiggins' Bluesmen (JD841 a correction systems, while Snell IC in the industry', the highest-

demonstrated the Concept IV grade of the latest Burr-Brown

HI-FI NEWS & RECORD REVIEW

MARCH 1993

29

hybrid DAC, a computer- than the unit will ever need', a

fabricated chassis with an ele- two-box chassis made from

gant 1/ 4 in thick fascia, blue stainless steel, ad infinitum.

LEDs to indicate power on and Admittedly, Howie Hyperfy is

lock, Vishay resistors, two trans- as aptly-named a tweak mer-

formers and more.

chant as I've ever met, but for

Bitwise Audio Technologie once his flood of `Merda di Toro'

showed the stylish Musik Sys- seems justified. And the piece is

tem Zero and the AT&T equip- about as gorgeous a device as

ped Musik System Zero Plus I've ever seen.

using 20-bit co-linear DACs, 20-

At one-tenth of the the price is

bit filtering and 8x oversam- the Dodson Audio DAC-263

piing, short signal paths, phase which, like every other new

inversion in the digital domain, model, concentrates on jitter kil-

etc, plus the CD- 1 transport ler, 20-bit Burr-Brownery, 8x

which operates in synchronous oversampling -- are we seeing a

clock and data mode with the trend or something? Museatex's

matching DAC for lower jitter. Meitner-designed IDAT boasts

One of the rising stars is the a proprietary DSP algorithm

Forsell Air Reference CD Tran- and is described as the only

sport, ahuge black machine with upsampling processor which

gold accents, intricate hardware, achieves frequency and transient

a massive lid and a matching accuracy with no coloration. It

DAC. The main feature of this uses four 20-bit DACs per chan-

transport which distinguishes it nel. Another fave digital trinket,

from all others? The disc rotates though, just has to be the nifty,

on an air-bearing . . .

minuscule Micromega transport

Vimak celebrated the release and DAC shown at The Hi-Fi

of the finished version of its Show in mock-up form. The

transport with MK II editions of tiny units are pretty, compact,

the DS1800 and DS2000 conver- clever, and sensibly priced, the

ters, and Icould only gaze in top-loading Microdrive featur-

amazement as Mike Koulo- ing the Philips CDM 9assembly

poulos turned the transport on and achoice of matching mini-

its side while in use and then DACs, the bitstream Microdac

upside down while the disc was or the advanced version, the

playing, without it skipping Variodac.

even once. Melos showed the

But the real killer is the drop-

latest stage of its MAX- 1two- dead gorgeous, this-must-be-

box, tube converter with made- by- a-Japanese-camera-

balanced outputs and the MAX- company, Iwant one, gotta have

I single-bit, single-box tube it, look at that amazing LCD

DAC, while NAD unveiled the panel Discmaster and Dacmas in

010D ' Digital To Analogue Mission's Cyrus range. Refined

Interface', an 18-bit, 8x over- even further from the early sam-

sampling design with superior ple seen at the factory re-

regulation, class-A internal cir- opening, the two sections of this

cuitry throughout and anewly CD package are Cyrus-sized to

developed receiver to minimise match the new integrated amp,

jitter -- all for £399.

tuner and PSX power supplies --

At the other end of the Uni- in other words, 215irun wide

verse, Howie Hyperfy of Altis front panels. A top loader with a

was haranguing all and sundry power lid and puck, the Disc-

with lurid details about his master features monolithic glass

admittedly gorgeous Reference, optics, Hall-effect motor, dyna-

Signature and Ultima Bitstream mically balanced disc drive,

processors, which looked hewn enough socketry on the back to

from solid. The Ultima boasts a double for an old-style phone

price tag not unadjacent to that exchange, brilliant new control

of a Levinson No. 30 with an icons, adiecast magnesium alloy

extra two grand added on top for chassis and acopper alloy sub-

effect. At $ 15,000 is this the new chassis, CDM-9 Pro transport,

King of the Bank Balance Bus- dedicated communication with

ters? Anyway, the key ingre- the rest of the Cyrus gear and

dients include latest generation XLR connection to the Dacmas-

SAA-7350 from Philips, aSigne- ter. The latter shares the same

tics SM580AP filter, three dual- physical details as do the tuner

triode tubes in the analogue and integrated amp, uses 20-bit

section, MIT output caps, extra DACs, star earthing, 8x over-

high gain to drive any passive sampling, amaster clock when

pre-amp, two 100VA custom- used with the Discmaster and 16

made iron-core transformers power supplies. The package

providing ' 300% more power should sell for under £2000.

AMPLIFIERS The Cyrus III Integrated is a completely new unit, sharing only the basic shape and size of its best-selling predecessor. Rated at 50W/channel or boosted to 70W/channel with the optional PSX power supply, it offers phono and five line inputs, Cyruslink system conuns and aneat volume control which doubles as the balance, with the corona of green LEDs changing function according to mode. The matching tuner, like the CD player, employs a custom LCD which shows signal strength and centre tuning on an easy-to read arc, simplified station storage, and both rotary and press button tuning.
Dynaco, having revived its tube gear, has also reissued the Stereo 400 solid-state amp in
revised Series II form. This 200W classic now offers front panel control for increasing or decreasing current output to match different speaker loads. Restyled, it sells for under $ 1000

....11110111F

IIITS'N'BOBS

y cable moratorium

tends to even mentioning

e damned things, but I

an't let you down. Ray

"mber told me -- or Ithink

e did -- that he has a

15,000-per-metre intercon-

ect. Tara Labs, bless 'em,

ent the other way with a

ew group of affordable

bles, including the Quan-

m CD Interconnect for

9. Full marks as well to

at company for introducing

dedicated in-wall wire for

2.95 per foot, Omni 4TM,

ith four cores to allow for

i-wiring from asingle cable;

t's been designed for easy,

o-snag pull- through. At

ast adozen people brought

pthe subject of carbon fibre

bles; Iheard 12 different

opinions. NBS announced a

-special cable for AES EBU

r o*gital connection, as well as

version of Wilson's WATT

ppy Tail. Andrew Chow

howed me The Cable

ket, which is just that: a

.loth garment you slip over

,ypoeurrfocramblaells

which is said to manner of mira-

cles, including the filtering of

I, the damping of internal

resonances and more. They

nook like oriental willy war-

ers, but too many people

in the USA. Another revival concerns McIntosh, back in force with everything from home theatre to multi-room to something we never thought we'd see, the limited run of the reissued MC275 tube amp. The company showed a series of comprehensively equipped A/V amplifiers, and they still bear the distinctive black front panel which defies time. The best thing that ever happened to the company just may be the acquisition of Ron Fone, who is as dynamic as the firm is conservative. But who would have thought he'd front the reissue of a tube amp?
Both Classé and Threshold unveiled remote control preamps, the former having an input configurable by the user for either line, m-m or m-cjust by changing jumpers. Price is a ridiculously low $ 1200. Threshold's T2 is a luxo job, fully balanced and offering two sets of balanced inputs and six unbalanced; a front panel dis-
said they were 'Amazing!!!' to allow to much mickeytaking. Synergistic Research came up with the neat idea of a 'cable library' which allows consumers to try cables at home, sparing the dealers from keeping large stocks of weird lengths. An 800 number reaches the company, a credit card keeps the punters from doing arunner with the cabel, and the deposit is refunded should no cable be purchased. The company's own cable is notable for featuring a pair of trailing earth leads to allow the user to experiment with earthing.
Avalon introduced a pointy foot called the Apex TM, fabricated from
non-ferrous stainless steel. Rank Video Services announced anew video tape duplication system called Master SharpTM, said to produce superb quality on 6hour tapes in EP mode. Product Not Ever Likely to Be on KK's Wants List: Nikkodo's Ninja TM Portable Karaoke System. Neat Accessory Dept: AudioSource added a couple of functions to their CD Laser Lens Cleaner Disc. The LLC3 also tests the CD player through the use of

30

HI-FI NEWS 8. RECORD REVIEW

MARCH 1993

SHOW REPORT

play communicates the function but the sheer flood of new pro-

and volume setting. Linn ducts and manufacturers. Audio

floored me with the next stage of Research, in the far-flung Gol-

its system programme: wall- den Nugget, unveiled its first

mount key-pads (indoor and non-hybrid, all-tube products

outdoor versions) for accessing for ten years, the long-awaited

the multi-room capabilities of an Reference series Models One

all- Linn system. (And seen in and Two. Model One is the

the room but not really/coulda power amplifier, rated at 100W

been my imagination/this is off and using aunique blending of

the record was aprototype Linn the company's proprietary par-

in-wall speaker...) Gryphon tial cathode-coupled output

showed a prototype of a new, stage and ultra-linear connection

smaller power amp, while fellow of the screens. Tube options

country company Primare include every major output tube

merely had to show the flight such as the 6550 and acluster of

cases used to ship its stainless KTs, up to the new 90, 91, 99

steel beauties to dazzle visitors. and 100. The Reference Two

(Primare also demo'ed a wild pre-amp brings back the days of

new speaker which has me Audio Research control units

praying that my camera worked sporting more glass than than a

okay...) Archidee of Italy fol- milk float at dawn. Twelve --

lowed its stylish integrated count 'em -- tubes ensure that

amplifier with the F68 six-input transistorphobes can return to

remote control pre-amp and a the ARC fold with confidence.

pair of power amps, the B24 And those who crave SP-11/SP-

with 80W/channel and the B25 15 mission-control useability

with 100W/channel.

will delight in afascia containing

I'm at aloss to explain not the every worthwhile function you

survival of my beloved valves could want. By the way, this

system is balanced throughout,

so say bye-bye to your RCA

tones including aDolby Pro Logic set-up procedure, channel identification, alocalization test, polarity check and more, along with five full music tracks.
Non-gag accessory of the show? Harmonix's latest tuning device goes nowhere near the hardware. Packed in a small wooden box are the new self-adhesive discs which tune the room, (old) 10p- piece- sized felt- like affairs which -- were you not told otherwise -- would pass for the stick-on pads used to prevent items from scratching the surfaces on which they might rest. But, no, these are for real, and the room at the show was treated with the pads placed at specific points. And one soul told me that he heard that a visitor to the room -- tha belonging to the US distri tor for Jadis -- asked why di the room sound so much better that any of the others, without having been told that the Harmonix pads were in use. Rubbish? Nonsen Wishful thinking? I don suppose that it's any more farfetched than Sonic the Hedgehog outselling the current Number One audio-only CD . . .

phono plugs . . . Other tubed goodies include
The Valve Amplification Com-
pany's (how's this for an oxymoron?) new Vintage Series, including the Williamson Power Amplifier, asingle chassis stereo amp based on the classic 45year-old circuit with modem touches, an integrated version, a monoblock and aline amp. LA Audio of Denmark added another monoblock to its range, the 500W P-5 Gold, weighing a mere 50kg and deriving its juice from a dozen KT88s.
Gold Aero introduced new tubes: the KT99A, similar to a
KT88 or 6550, the E34L Power Pentode and the 6FQ7. Sharing the room was Hovland, with a massive 14.5 x14.5in cube of an amp delivering 100W/channel
from EL34s; it's bridgeable to 100W operation. Convergent Audio Technology finally released an amplifier to match the CAT- 1pre-, all-valve, with eight 6550s (or KT-series tubes) producing 125W. From Sonic Frontiers is the SFC-1 Control Amplifier (Canadian for 'inte-
grated line amp'), basically an SFL-1 line amp with a 100W stereo amp in one handsome chassis. Conrad-Johnson now has aspecial limited edition of the Evolution 20 called the SE, with upgraded OFC socketry, pure silver internal wiring, etc,

making it 'essentially aPremier

Ten with a phono stage'. The Premier Eleven power amplifier is described as a 'baby Premier Eight' and was seen in Chicago as the MV70 but has been upgraded to warrant the Premier status. At $2995, this represents Premier's entry level.
Air Tight made good with the gorgeous ATC-2 pre-amp, afullfunction beauty seen only as a drawing in Chicago. Unison again showed the amazing and gigantic bronze/wood sculptures I'm afraid to call mere integrated amplifiers. From Yakov Aronov, a 60W stereo amp for under $2000. Solo Electronics offers a pretty integrated amp, the 320 delivering either 2x 8W in triode mode or 2x50W in pentode. First Sound made an active version of the delightful passive pre-amp by adding some valves to create the Line Stage 1. But all seemed, well, conservative when you consider Wavestream's 200W all- triode

Linn showed ahost of new products including (above) its multi-room system controller
Gayle Sanders (above left) with his wallmount Martin Logan; the soft look (above) from TR Sound; and (left) the limitededition McIntosh 275 valve-amp reissue
monoblock. They call it the V8. Why? Because you could mistake it for a car power plant.
With all this retro in the form of tubes, what about analogue? Benz Micro flew the flag with a full display of cartridges, sharing space with the Lukaschek PP1 phono amplifier, while Expressive Technologies displayed the SU -1 moving-coil step-up which Imistook for an overkill Yankee mains purifier. Immedia had on show the beautiful, finished versions of the RPM-2turntable and aprototype arm. Isaw afull display of Thorens units, Oracles, the massive Forsell and more. And there were lots of specialist LPs seen here and there. But I couldn't clear my mind of the terms ' horse', ' dead' and 'flogging'. Yes, the times they are a changing. But I never thought I'd live to see the day when CES stood for Cinema Enthusiasts Show. -tie-

HI-F1 NEWS & RECORD REVIEW

MARCH 1993

31

Ifyou thought that digital processors and Dolby
Surround could not be ' high end', think again . . .
by PETER 1 COMEAU

LEXICON CP-3

The CP-3 follows the trend set by Yamaha in the field of home music enhancement using digital sound processing, and is able to transform the acoustic environment surrounding the listener in avariety of ways

One day, while visiting alow-rise ranch in California, Al Bone Jnr picks up aslim remote and

hi-fi system you will almost certainly want to put the processor in atape loop, to allow connection to tape

idly presses anondescript button in a recorders etc, unless you restrict CD

playful sort of way. Suddenly, a to your LaserDisc player and audio-

projector TV rises out of the centre of tape recording to ahi-fi VCR. Alter-

the coffee table, while a Stewart natively, you can front the audio-only

projection screen descends. A sound input with apassive switching unit to

that seems to build up from the allow for extra inputs.

uttermost depths of the earth sur-

For this class of pre-amplifier we

rounds them with its demonic fury, need to be more critical than normal

bringing them trembling to their in assessing the effect of the unit on a

knees until, with aflourish of tink- music source. Traditionally, AV

ling carillon from the heavens, the components are notoriously poor in

screen is lit with ... PRESENTED comparison with specialist hi-fi

IN DOLBY SURROUND'.

designs on a performance versus

Prior to this, a slim black box, price basis, so we often have to make

almost hidden in awall of amplifiers, allowances for all the other functions

announced itself through its fluores- provided, such as video switching

cent orange display as a Lexicon and Dolby Pro-Logic decoding. The

CP-3, and the originator of the dyna- Lexicon, however, is presented as a

mic sound expansion from the Dolby device which will draw the listener

logo on LaserDisc. Lexicon will be `more deeply into amusical perform-

better known for its digital signal ance or film'.

devices used in professional sound

One button on each remote hand-

installations.

set ( two types are supplied) performs

Featured proudly on the front awonderful function: Effects Mute.

panel is the LucasFilm THX logo With this key, all signal processing in

which identifies the processor as cer- the CP-3 is cancelled, and the unit

tified for Home THX use, but this is acts as a straight input switch and

only part of the function of the volume control. The button toggles

device. The CP-3 follows the trend the 'effects off' action so that repe-

set by Yamaha in the field of home ated pressing shows the differences

music enhancement using digital between the sound with and without,

sound processing, and is able to digital processing.

transform the acoustic environment

Compared with apassive pre-amp

surrounding the listener in avariety the CP-3 has adecided pruning effect

of ways. Where Lexicon scores over on the straight audio signal, margi-

its predecessors -- and it does so in a nally reducing the brilliance and

giant leap -- is in the way the design tonal depth of arecording and bring-

experience gained in the professional ing a slight 'shut in' effect to the

field has been realised for home use. overall acoustic as portrayed by a

serero pair of speakers. Actually it is

PRE-AMPLIFIER DUTIES

surprising how this latter influence is

First and foremost, the Lexicon CP-3 ameliorated by the music surround

can act as apre-amplifier, with inputs mode; judicious use of the controls

for four audio sources, three of them can bring the scene round in the

having parallel composite video Lexicon's favour. There is little loss

inputs. This is all right for AV use, of rhythm or pace through the CP-3;

but not generous, allowing typical once again emotional involvement

sources such as LaserDisc, VCR and with the music is clouded in the

television TV and FM tuners to be straight-through mode, and there is

switched. For combination with a little doubt that there is some redue-

32

IN-FI NEWS II RECORD REVIEW

MARCH 1993

You can use the auto setting to suggest a manual setting by winding the input level right playing the source, and then watching the auto circuit optimise the level
The CP-3 offers arange of frequency breaks from 63Hz to 175Hz. As a result it is now possible to balance the timbre of male voices on the centre speaker

tion in low level detail too. Despite speakers it is worthwhile investing in

this departure from the 'straight wire the extra units and amplification for

with gain' ideal, this is still a fine the sides as well as the rears.

preamplifier and, to acertain extent,

As is typical in THX systems, a

is able to make good through its separate line-level subwoofer output

surround enhancements.

is supported with automatic cross-

over above 80Hz at 24dB per octave.

CONFIGURATION

Similarly, an option in the speaker

There are two aspects to configuring configuration menu will activate a

the CP-3 to your own system. The high pass filter to feed frequencies

first is anecessity: informing the unit above 80 Hz only to the front speaker

about your speaker set-up and per- amplifiers. This may not suit some

sonal preferences. The second you satellite/subwoofer combinations but

can play about with as much as you is a necessary requirement for the

like. Configuration is a job for the THX spec. As Iused an REL Sta-

installer but, like most features on dium subwoofer with its own active

this processor, should hold no crossover and amplifier, this excess

qualms for the user, as the detailed filtering disturbed the integration

instruction book and on-screen throughout the bass range. Lexicon's

menus guide you through the func- instruction is to run the front left and

tions. Having named each input -- right speakers full range and split off

and the name stays on the display the subwoofer output from them,

while you are listening, so you might which REL also prefers. Unfortu-

as well remind yourself what you are nately, this lessens the advantages of

connected to -- input levels can be reduced bass level being fed to the

optimised. Each input has an inde- smaller speakers unless this is man-

pendent manual and automatic level aged by the subwoofer itself.

setting, the latter acting as a peak

Sub-bass boost can be applied to

signal detector. You can use the auto the front speakers, though why any-

method to suggest amanual setting one should want to do this Ihave no

by winding the input level right up, idea -- surely Lexicon does n't expect

playing the source, and then watch- their unit to be used with a loud-

ing the auto circuit optimise the speaker system deficient in low bass?

level. This little feature is one of the Low frequencies can easily be

ways of making' sure the digital cir- diverted from the centre channel,

cuits work with minimum distortion with amore sophisticated choice than

and noise. The unit has the capability the usual Dolby Pro-Logic Normal/

of a110dB dynamic range with odd- Wide options. Bass Split separates

order distortion components occur- bass from the centre channel and

ring at around the -- 90dB level, so pushes it into the L/R or subwoofer

this input calibration method is a channels. Instead of the fixed,

good way to maintain performance. usually 100Hz, frequency split used

Also provided is aslow gain-riding in standard decoders, the CP-3 offers

S/N optimiser which adjusts signal a range of frequency breaks from

levels within each of the processor 63Hz to 175Hz. As aresult it is now

modes. Sometimes this produces a possible to balance the timbre of male

slight clicking noise in the rear chan- voices on the centre speaker; too high

nels when it is operated during long asplit gives athin rendition while a

quiet passages in music or films. The much lower frequency provokes too

answer is to turn it off and, as this is much chestiness.

optional for each input, I would

deselect it for LaserDisc or CD PROCESSING

where it proved annoying.

Being an all-digital circuit, Lexicon

The CP-3 really needs eight loud- takes aunique step in sound proces-

speakers and channels of amplifica- sing with the CP-3; all incoming

tion to show off all its talents. These signals are delayed by 20ms before

comprise left, centre and right front output. To put your mind at rest,

channels and associated subwoof- Lexicon points out that film sound

er(s), two side and two rear speakers. reaches the front row of a cinema

The side speakers are almost manda- audience at about this time. Actually

tory for THX, whilst the rear are 20ms is too short to notice, and if you

used in ambience recovery and gen- hadn't read this in the theory book

eration modes. If you have THX- you would never know. But this

certified side speakers with their for- all- pass delay is not a result of the

ward and rear- facing lobed output, processing; it is there for areason.

however, it is possible to dispense

Dolby Pro- Logic processors

with the rears. There is an option for improve their performance over the

a mono rear speaker, but bear in simple matrix Dolby Surround

mind that the unit carries out decor- decoding by 'steering' asound image

relation for the Dolby Surround to the requisite channel for output.

effects channel, so a pair of rear By sensing relative signal strengths in

speakers will provide better results. adjacent channels, logic steering uses

If you are using standard, non-THX feedback and level adjustment to

emphasise the dominant signal and reduce crosstalk between channels. In most processors this would be an instantaneous operation, though almost impossible to action on a multitude of high-magnitude audio images across all four channels, sometimes carried out in the digital domain. By delaying the signal, Lexicon allows its digital processor plenty of time for evaluation, and adjustment to crosstalk suppression, before the sound is output. Clearer dialogue and a better spread of
ambient material is the claimed result, especially where there is alot going on in the effects channel.
By far the most outstanding part of the CP-3's performance is its digital reverberation, as used in the music modes. All the processors Ihave so
far tried have adegree of artificiality about their efforts to enhance the acoustics of a stereo recording,
mainly because the added reverb sounds too gritty. With the Lexicon, however, design experience in studio installations shows in the quality of the reverb. You can have fun with the CP-3 by playing asolo voice or unaccompanied chorus and winding up the RT in the Large Room Reverb mode to 5.2 seconds. Then just pause the CD and listen to the reverb tails dying away. This is about as close as you can get to aspring reverb unit sound without the honkiness of the latter. To turn your listening room into a cathedral, increase the PreDelay to 80ms and Effect Level to --6dB, and reduce Treble Rolloff to 1.7kHz with Speech Detect off. With asimple choral CD it is remarkably like Kings' College, Cambridge.
It is important not to be put off by the factory pre-set parameters in each mode. For instance play The Köln Concert with the standard settings in 'Music Surround', and the spread of Keith Jarrett's piano is offputtingly
large. Reduce the Centre Level to '14', increase the Rear Delay to somewhere between 12 and 20mS, depending on listening room size, and try changing the centre delay between 1to 3mS; you'll know when it sounds right. Just afew tweaks and you have something which might just add atouch of extra acoustic involvement, bringing you closer to the music. The point is not to be afraid to experiment; parameter adjustment is not just anovelty but atool to enable you to tune the processor to your taste, and with very fine adjustment.
On the expanded handset there is a group of buttons labelled (none too clearly if you are short-sighted) for the various modes from Mono Logic
through Ambience and Music Surround to THX. Each of these fifteen modes has three banks for parameter
adjustments; a factory preset bank

34

HI-FI NEWS 8. RECORD REVIEW

filARCH 1993

DIGITAL PROCESSOR

and two user banks labelled A and B. You can alter any parameter in any bank, but only the adjustments in banks A and B are stored if you switch the unit off. The easiest way to use this facility is to set up your main preferences in bank B, as five of these custom modes can be called up by the second remote.
This is the handset you can leave lying around for anyone to use: simpler one, offering five modes labelled Night Club, Concert Hall, Music Surround, Television and Movies. Actually switching the unit on using this handset means that no one can muck around with your precious settings; all the customisation commands are disabled, leaving only balance, volume and input switching available, plus Effects Mute for straight stereo.
But is all this jiggery-pokery any use for real music? Well, it all depends on how you view a hi-fi system. If you enjoy the expanded sonic universe that Dolby Surround brings, and want to apply it to music, then the flexibility in tailoring the effects to your needs is unparalleled by simpler devices. If, however, you
have a purist approach to music reproduction, believing that the
recording is sacrosanct, then it is unlikely you will want the CP-3 in
circuit. But note that some of the modes act as ambience extractors, not generators, retrieving buried
ambience and reverberation from the recording itself. This can yield a quite natural acoustic from simpler classical recordings, whilst releasing a wealth of material from pop

records. Try 'Welcome to the Pleasure Dome' by FGTH; you will certainly hear another 25% increase in the effects that Trevor Hom mixed in, probably using a Lexicon too.
Crying 'out, out damned spot' over digital devices is a common, and partially blind, statement by fanatical audiophiles over interference with the purity of the signal path. Ihave to say that the Lexicon does not sound digital in that there is no extra brightness, hash or even background noise apparently added to the signal. Even if you wish to switch the unit out of your pre-amp's tape monitor loop for stereo listening, the television mode is highly useful for both mono and stereo programme material, though the main interest must be in the THX implementation.
USING THX You can plunge straight into the THX mode without adjustments if, like me, you are too impatient to find out what the Lexicon can do. The first thing you notice is that the surround speakers disappear acoustically. For the first few days you will toggle the effects mute switch on and off just to make sure those four extra channels are working at all. Mind you, when they are turned off, the whole sound-field collapses in an alarming manner as if the acoustics of your listening room have been sucked into the front speakers.
The only time the side speakers appear to come into action is when sounds are panned from front to rear --the so called fly-by. The rest of the time they are just subtly recreating

the recorded, or concocted, acoustic; sometimes the walls of your listening room are blown away. In the night club scene in Bum the creation of the surroundings is almost tactile. Tinkling of glasses, near table conversation, shuffle of dancing shoes all accompany the band and immerse the listener in the atmosphere. Part of the reason for this outstanding performance is the low noise floor of the decoder which allows the softer sounds to stand out against aremarkably quiet background. Re-viewing Dances with Wolves proved astonishing. Off-screen sounds such as rustling grass, dogs barking, the lulling sounds of the wash of water against ariver bank all combined to intensify the emotional response.
As you continue to live with the Lexicon THX system other extraordinary things start to happen. It is so easy with Dolby Surround almost to distance the sound from the screen image, especially if you set the effects speakers at too high alevel. But the CP-3 manages to enhance your visual perspective so that sounds take on a palpable texture which relates to that perceived by the visual cortex. Not only is the advance in audible detail matched by improved visual perception, but as sounds become sharper so colours become brighter! I can only put this down to an improvement in concentration.
But these contributions are very software- dependent. Poor postproduction sound-mixing stands out too. Sounds that do not originate from the correct position as given by the visual clues are picked up immediately. One of the intriguing aspects of the fly-by panning technique is that you continue to visualise the sound source after it disappears off the edge of the screen. Several times with the Lexicon Iwas sure I had seen some detail, only to find on replay that it was asound image only.
Like music records, films are quickly graded into good and marginal on the basis of their sound as well as visual appearance. Funnily enough, the overt use of the effects channel (as in Top Gun) becomes a bore, smacking too much of the old quadraphonic approach, and one longs for the greater sense of realism engendered by well produced soundtracks such as Bugsy.
CONCLUSION The Lexicon brings a new level of enjoyment and accuracy to home theatre, enabling not just alevel of sonic resolution that advances the art of Dolby Surround, but bringing an implementation of the THX standard that heightens involvement in the worlds of fantasy and experience that good films create.

lo not be put off by the 45 effects settings that are stored in the unit; these ¡lust add to its flexibility. Thirty of these are useradjustable for 3ermanent storage, and some thought las been put into the methodology
In the night club scene in Bugsy the creation of the surroundings is almost tactile. Tinkling of glasses, near table conversation, shuffle of dancing shoes all accompany the band and immerse the listener in the atmosphere
Supplier: Celestion International, Foxhall Road, Ipswich IP3 8.7P. Tel: (0473) 723131

111-91 NEWS & RECORD REVIEW

MARCH 1993

35

Following the popular Alpha model, the Alpha
Plus aims to continue Arcam's successful CD run
by MARTIN COLLOMS
AARLPCPLAHUMAS

Certainly there have been improvements in such hi-fi aspects as greater clarity, amore tuneful bass, plus a purer, more detailed and sweeter treble --asound nearer that expected from good bitstream examples

The Arcam Alpha CD player is one of the laudable survivors of the Philips/Marantz series of
multi-bit designs. Based on technology which matured over five years
ago, the first Alpha achieved a top position in its class. More refined
than its equivalents, with an outright advantage in subjective performance, it managed to preserve the multi-bit strengths of good dynamics and rhythm with a level of clarity and subtlety which went a long way towards satisfying bitstream fans.
Rather than redesign the player after its highly successful three-year
production run, or scrap it in favour of some new fangled recipe, Arcam chose to further develop the Alpha to produce the Alpha Plus, priced at £450, including remote control. In fact taking inflation into account the
cost has not risen since it was first introduced.
Outside, little has changed, and this neatly presented unit still con-
forms to the Arcam Alpha styling convention. The disc drawer is located on the left for this full-size machine. Positive action buttons on the fascia provide the usual basic facilities, while the simple, recessed vacuum fluorescent display provides information on tracks and timings. The latter are accessed via the 'time' button on the remote control, and cover track time, overall time and time remaining. The volume buttons on the remote are not operational
with this model. Up to 20 tracks may be program-
med in any order. Extra facilities on the infra-red handset include a 10key pad for rapid numerical entry,
and repeat plus index location where the disc is so programmed.

TECHNOLOGY The Alpha Plus is fundamentally based on Philips engineering and a Philips CDM4 transport plus `monoboard' are incorporated, stripped down to Arcam's own specification. In contrast with simpler conversions which may involve only higher quality output stages, Arcam has added
much of its own work to this model. For example, the existing power supply transformer has been moved to aless critical area ( on the right) and is allocated to the transport and digital sections.
A second transformer feeds the
new decoding and analogue board which has integral rectification and
smoothing. Adjustments to the Philips section include adamping pad on the disc clamp arm, and a rubber
damping sleeve over the quartz crystal to reduce the jitter- inducing effects of vibration. Digital filtering is
at a4-times oversampling rate, with the Philips SAA 7220B chip which includes an S/PDIF coder. Data is linked via aribbon cable to the new audio board where the dual 16-bit TDA1541A multibit converter resides. This stereo DAC benefits
from local power regulation with

'337/317 chips, decoupled over a wide band by both electrolytic and ceramic capacitors. Active prefiltering further reduces ripple levels.
Current-to- voltage conversion is by OP27 ICs, while de-emphasis is active using selected film capacitors switched by FETs. The output is delivered by the evergreen NE5534 op-amps, coupled by selected Black Gate capacitors, and the signal is muted non-invasively by a shunt relay. A DC offset is maintained to bias the output stage and capacitors.
Arcam has taken care to reduce the RF content in both ground and signal lines to meet EEC recommendations for this class of equipment. The all-metal alloy case also helps here. A good layout is evident and the player should be easy to service; in fact, Arcam backs this player with atwoyear guarantee.
Existing owners wishing to upgrade to Alpha 'Plus' status may do so at a cost of £ 100. For this review we had an old unit for comparison, to aid us in our assessment.
SOUND QUALITY A pair of Epos ES11 speakers (still favourities here) was partnered by

36

Hall NEWS aRECORD REVIEW

MARCI11993

CD PLAYER

Musical Fidelity Al and Rote! RA8290BX4 amplifiers. As well as the old Alpha, comparison players included the Marantz CD52SE plus an older (but unfortunately obsolete) Marantz CD6OSE.
First impressions were of asound that incorporated many of the better aspects of agood bitstream design. Stereo images had improved depth with superior low-level ambience; these were both rated as very good. Tonal quality was smoother and warmer-sounding while the treble was significantly improved, with less grain and amore accurate perspective. The bass region had also been cleaned up, with clearer tune playing and an impression of more bass extension.
Along with the obvious improvements, it soon became apparent that some other important factors had altered for the worse. The bass sounded softer and less authoritative while the mid was less dynamic, showing that mildly compressed effect, common with a low-bit system, and one which gives afeeling of blandness to the reproduction. Finally, the new version sounded 'slower', with a significant loss in rhythmic ability. Its replay was simply less involving -- just ' average' here.
Returning to the original Alpha heightened this difference. On these grounds, the original was certainly preferred. The very qualities which distinguished this moderately-priced CD player from the common herd were largely absent from the new model. No doubt the end result is now more acceptable on a wider range of systems, but in my opinion the loss of involvement and excitement in the player's performance matters and, as aresult, my score for the new Alpha Plus is just 14 -- 2or 2.5 marks lower than for the original.
LAB RESULTS The test results were typical of the classic TDA1541 chipset. Channel balance was fine at 0.04dB mid- band with lkHz separation at 100dB, falling to avery satisfacatory 88dB by 20kHz. No interchannel phase difference was present and the frequency response met the usual tight limits, incorporating a small rolloff by 20kHz: -- 0.33dB on average, [ Fig 1]. Output was 1.66dB above the 2V reference, measuring 2.42V. A low source impedance of 22ohms was noted. Very good S/N ratios approaching 110dB were measured, while the radio frequency signal content was quite low, mainly 5mV or so of 20MHz. There was no clipping in the white noise signal.
At full level, distortion was par for the course, -- 85dB at lkHz, but a

little worse than average at 20kHz; the in- band noise measured at --74dB. This was also reflected in the high- frequency intermodulation results, -- 82dB of difference tone distortion at full level, and an improving -- 86dB at the 10dB lower modulation level. At -- 70dB, with encode dither, the usual mild distortion was present for this DAC, -- 40dB each of 3rd and 5th harmonic, but little else, these in practice -- 110dB relative to full level and considered pretty harmless. Exploring this test to 100kHz the spuriae were well suppressed at --110dB [Fig 2].
At lower levels, the distortion remained quite low and the -- 90dB sinewave [Fig 3] was quite presentable, accompanied by some fairly innocuous 3rd harmonic distortion of absolute level, -- 112dB relative to full level, though -- 18dB relative to the actual lkHz reproduced tone. A graph for linearity [ Fig 4] gave very good results to -- 80dB with mild deviation thereafter. The level error at -- 90dB was -- 3.8dB left and --2.3dB right. Linearity was effectively 15.7-bit with a108dB effective dynamic range.
Mechanical noise was low and very good gap error correction was achieved. The output was absolute phase correct and essentially linear phase. The review sample occasionally failed to respond properly to the reverse search button.
CONCLUSION 'IIle news is not all good for the Arcam Alpha Plus. While the performance in the lab was well up to the expected standard, the sound quality had changed significantly. Certainly there have been improvements in such hi-fi aspects as greater clarity, a more tuneful bass, plus apurer, more detailed and sweeter treble -- asound nearer than expected from good bitstream examples. I would like to think that those other strong aspects of the original Alpha -- namely the comparatively good rhythm and timing and the lifelike dynamic quality -- were not merely accidental as far as Arcam was concerned. Yet the fact remains that those aspects have suffered in the Plus redesign. Ihave the original here as proof, and the differences are not trivial.
Without that rhythm component the Alpha CD becomes just another model and there's awide choice of those. Personally Iwould not recommend the £ 100 rebuild for an old Alpha. The new model is just good enough for a recommendation with the usual warning to listen first. If meeting the European EMC regulations does this to agood player something is going to have to be done to restore the sound quality balance. 1/,-

ARCAM ALPHA PLUS

·,[41. 811. DIN ····>·14 0000

0.1.1111,

1.2.11.146.1. 0 40

2 000

Fig I. Arcam Alpha Plus, frequency response; above, left; below, right channel

Fig 2. Arcam Alpha Plus: spuriae up to 100kHz associated with ¡ kHz tone at -- 70dB

·111.
111
.11.1 13..103

4,01

ON

Fig 3. Arcam Alpha Plus: dithered IkHz sinewave at -- 90dB, with distortion spectrum above

First impressions were of a sound that incorporated many of the better aspects of agood bitstream design. Stereo images had improved depth with superior lowlevel ambience

arc» 10 OW
0000 4 0000
4000 2 CON

la·

11.,ate , aent É.10.41 01.43.·14112,1 .4 Lib.. WWI

Ags

Oda

· 000

1000

10 00

-100

-WO -00 ·,0

-421

Fig 4. Arcam Alpha Plus: linearity plot below

--60dB. Right channel -- solid trace, left channel

--dashed trace

Test results

Arum Mph Plus

Channel balance , dI31

20Hz 101AT 201114

0.05 004

02

Stereo separation , 1R Channel phase difference

100

100

88

0'

0'

0'

"40 - OdB - 93 - 85 - 74

011) - 10dB

- 82

THD - 70dB - 37

Intennod 19kHz/20kHz. OdB - 82

Intennod 19kHz120kHz. - 10d8 - 86

Frequency response left idB) - 001

- 024

Frequency response nght (dB) - 002 - 039

109

SA4, CCIR/ARM, IKHz ref

107

De-emphasis i..-ur nd1311/13

lkHz 5194 161`11z

Output imel,,0081

002 ,000 25.-0 17002.0 224V

Output impedance

2ohm

Track accesstime ' 15

35secs

Error correction capability gap 4mm

Mechanical noise

low

Spuriae opto 100100 itlfli - 105

Error at JOPEilettinghl (dB) - 3.8-2 3

Dimension whd)

430x 310.85mm

Typical price hnc VAT) £450

Suppler: Arcam, A&R
Cambridge Ltd, Pembroke Avenue,
Denny Industrial Centre,
Waterbeach, Cambridge CBS
9PB (0223) 440964

Hi -FI NEWS & RECORD REVIEW

MARCH 1993

37

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HI -FI NEWS & RECORD REVIEW

MARCH 1993

Marantz's budget CD52 MkII SE CD player offers
performance far beyond its price tag
by KEN KESSLER

'LAYERS

This baby is firmly of the school which screams ' It's what's inside that counts'. Asturdier case or any restyling would have taken this out of the budgetaudiophile category
Supplier: Marantz Hi-F1 (UK) Lid, Kingsbridge House, Padbury Oaks, 575-583 Bath Road, Longford, Middlesex UB7 OEH. Tel, (0753) 680868; Fax (0753) 680428

p ointing out the confusion in the
ow-end CD market-place, Paul Miller showed how chaos reigns when too many manufacturers chase those budget bucks. His review of the Marantz CD52 MkII in the January issue described Marantz's latest entry at the £200 price point, noting the risk of rushing to market and issuing arun with naff parts; which, Paul added, Marantz did manage to catch. Thank goodness my exasperated colleague didn't know that Marantz had another giant killer hot on the MkII's tail, and costing amere £100 more. As PM stated, the CD52 MkII he reviewed offers most of the CD52 (MkI) SE tweaks in a standard, non-SE model. How would he greet the (hasty) arrival of an SE version of the CD52 MkII? Your extra £ 100 pays for some gold script on the front panel and afew primary internal changes. Note that some of the original (Mid) CD52 SE part changes do not feature in the standard, non- SE CD52 MkII because of their incompatibility with automatic component insertion machines; they are, however, ingredients of the CD52 MkII SE recipe: · The basic transformer has been replaced with an improved version featuring oxygen-free copper for the primary and secondary windings; the core uses silicon plates (mu-metal), to raise the magnetic saturation level considerably. · Two Cerafine power supply capacitors serve as the direct voltage feeds to the output op amps; the latter were changed from NE5532Ns to NJM2114Ds for the original '52 SE and then used in the standard ' 52 MkII. These offer improved capacitor matching after the rectifier and before the regulator, DC decoupling

MCD5A2RSAE NMkTIZi

caps providing aclean supply to the analogue circuits. Sonic gains are better bass extension and tightness. · The four Siltnic coupling capRcitors are inserted back-to-back, said to add agreater degree of resolution for aclean and detailed sound. PM noted that the Silmics have since been fitted to the normal '52 MklIs in place of the Elna devices.
Aside from the gold label, externally this is the same unit as the normal ' 52 MkII, one which betrays its price tag because of its flimsy case; it could say Airfix or Revell and you wouldn't bat an eyelid. But this baby is firmly of the school which screams 'It's what's inside that counts'. A sturdier case or any restyling would have taken this out of the budgetaudiophile category and shifted it up into the mid-market, where Marantz already has machines on offer. Flimsiness aside, it is remarkably well-equipped, with a full-function remote, atell-all LCD panel, reasonable mechanical operation and subdued styling. Even if it didn't perform above the norm, it could still hold its own on the dealer's shelves. But let me clue you in on how special it is by offering two quotes.
The first comes from ahi-fi manufacturer who prefers to remain nameless. After IA/B'd the Marantz for him against agood £7000's worth of

high-end digitalia, he said, 'Iprefer the vocals on the Marantz'.
And that cost less than the coax I was using to connect the high-end transport to the DAC.
The other quote comes from Marantz's Ken Ishiwata, who -- all will agree -- is the kind of person who never wastes words. When he says something, you listen. He said, and I quote him verbatim, 'At last, here's a product which I'm truly proud of.' This is from a guy involved with some of the best CD players of the past six years, alongside the Marantz Music Link amplifiers, which I reckon will be looked upon as classics in a few years' time.
Anyway, Islid the ' 52 MkII SE into asystem which costs not unadjacent to £40,000. Iexpected to laugh. Or smile, at the very least. Instead, I sat down dumbstruck. Idon't know what astandard CD52 MkII sounds like; Paul's review didn't exactly inspire me to kick down the door of the local Marantz dealer, or to send a bike messenger to Middlesex. If it is as good -but -not- great as Paul described, then the few mods needed to create what Iheard are akin to what Carroll Shelby did to the humble AC Ace.
He turned it into ahairy monster called the Cobra.
The CD52 MkII SE is just as

een NEWS & RECORD REVIEW

MARCH 1993

39

Theta's Pro Basic, an excellent example of a top-price digital decoder proving that multibit design can still hold its own

by MARTIN COLLOMS

A

Last year I assessed the Theta Data transport and DS Pro Prime decoder [HFNIRR Feb '92]. The Prime performed very well,
proving to be a skilfully designed exposition of bitstream technology combined with Theta's proprietary digital signal processing expertise.
The DS Pro Prime has amore costly brother with a potentially superior performance but confusingly called
the Basic. Now in 'Generation II' form, the Basic was originally derived from Theta's top-line model but lacks the latter's exotic Teflon printed circuit boards as well as
SWEETER

THETA

The Basic excelled in establishing a magnificently proportioned and expansive soundstage. It was hard to criticise any aspect of the stereo images it produced. Focus was excellent, complemented by very fine depth, the latter well served by generous quantities of low-level detail and ambience

certain other details. While the Prime is low-bit, it looks
as if multibit will remain the choice for top-end models for the next year or two at least. Advocates of low-bit technology have accused multibit of a variety of technical sins, but the design has been steadily advancing to apoint , where many of these criticisms -- low-level linearity, resolution or distortion -- are only relevant to older (and by now obsolete) applications. For example, multibit is often accused of being flawed by the need for ahigh-order analogue brickwall filter, yet nearly all such non-oversampled designs passed into history five years ago.
What matters most is sound qual-
ity and, while there is much common ground, each decoder type undoubtedly has its own characteris-
tics. Regardless of absolute merit, these differences do matter in the context of system matching and they
may lead to apreference for one type or another.
With the pace of change in digital replay it is dangerous to generalise. Multibit is reputed to be harsher and
brighter than low-bit and yet good models now exist which contradict this statement absolutely. Low- bit often has softer bass definition, but examples using this technique, such as the Meridian 606 and Theta
Prime, have particularly firm, solidsounding bass. Multibit is reputed to
have poor linearity but the majority

of recent examples have very good linearity. It is the quality of the application of a given technique which matters more than the technology itself.
The DS Pro Basic is a slim-line digital decoder with awired digital input via gold-plated phono sockets. AT&T or other optical inputs may be fitted on request. A lever switch allows for absolute phase inversion, accomplished in the digital domain. Audio output is at ahigher level than usual from asource impedance low enough to drive any pre-amp or passive controller. A balanced output version of the Basic is also available. Another option will use the unit as a decoder with line inputs and volume control facility. For this review, the matching Theta Data digital transport was used.
TECHNICAL REPORT Built in astrong, steel case offering good shielding, the Pro Basic uses single board construction with an integral power supply. DC switching selects between the three digital input options via phono terminals, but Toslink and AT&T input options are also available (the latter at extra cost). Optional phase inversion is by 'twos complement' inversion. The supply begins with awide-band line input filter leading to a fuse with contacts exposed at mains potential. Two C core power transformers are fitted, one for analogue and the other

for digital, and the design physically separates the primary and secondary windings to give improved electrical isolation. A high power TO3 regulator feeds the extra demand in the
DSP section. In the original model the S/PDIF
input was captured by a Yamaha 3623 chip backed by aVCO to reduce
jitter, but Theta now uses adecoder from Crystal, the CX8412 with even lower jitter as of right. With propriet-
ary interchangeable Theta digital software, the interpolation, filtering and oversampling are accomplished using a pair of DSP 'engines', the established Motorola XSP5600. High perforance can-type regulators feed the DACs and analogue stages. The
DACs are apair of selected, matched Burr-Brown PCM61P[k] with OP12 I/V conversion. In this new Mk 2 version aPCM67P[k] has been substituted with AD829 for IN which includes selected Vishay feedback resistors. The PCM 67 is an unusual
design, a hybrid chip combining multibit for the top 10 loudest bits and acompact, Delta Sigma or lowbit part handling the eight lowest bits. In theory, the dynamics of a multibit converter will be complemented by the low level resolution
and linearity of alow-bit type. With only an 8-bit dynamic range for the pwm section, simple first-order noise shaping is sufficient, while an offset is introduced to displace the zero
crossing transition into the upper-bit

40

111-F1 NEWS & RECORD REVIElY

MARCH 1983

range where it does least harm. Given the potential quality sought for this Theta design, this unit provides something of atest bed for the hybrid DAC. The outputs are corrected for DC offset. De-emphasis appears to be in the digital domain, and minimal passive filtering leads via ashort path to the zero loop feedback unity gain output buffer, aheatsinked BUF03, passively corrected for DC offset. The whole signal path is thus DC coupled. All this reflects good, contemporary practice in decoder design and augurs well for the sound quality. A pre-amp version will also be available with volume, balance etc.
SOUND QUALITY The Basic was assessed using my Wilson WATT 3/Puppy 2loudspeakers, Audio Research CL120, Krell KSA 150B and Meridian 605 power amps, with pre-amplifiers being the Audio Synthesis switched passive controller and the Audio Research LS2. CD transports comprised the Theta Data and Data II, Accuphase DP-70V and Meridian 602, with cables by Siltech.
Reference decoders included the Meridian 606, the Micromega Duo, the Theta DS Pro Prime, Audio Synthesis ` UA' and `DAC7', plus the Accuphase DP-70V.
Contrary to comment in Stereophile, [Robert Harley on the Theta Prime], given an A/B situation and working with the Data transport, I found no difficulty in distinguishing between the Prime and the Basic. The latter presented a substantial uplift in sound quality, commensurate with the price differential involved. Good as the Theta Prime was, the Basic was unquestionably better, and the result, in combination with the Data, was so close to the state-of-the-art in many respects that in alternative systems one might well prefer it to the notional top- rated competition.
The Basic excelled in establishing a magnificently proportioned and expansive soundstage. It was hard to criticise any aspect of the stereo images it produced. Focus was excellent, complemented by very rule depth, the latter well served by generous quantities of low-level detail and ambience. Stage width was also up with the best.
Where the Prime could sound a touch larger than life, and rather close, the Basic units gave a more correctly distant presentation with superior perspective. The fine bass performance of the Prime was seen as merely astarting point for the more dramatic and articulate slam of the Basic, which possessed that characteristic US 'high end' authority.
The Basic's clarity, neutrality and

purity rivalled the best bitstream models, especially in the treble and midrange.
Very good detail and instrumental differentiation ' was evident throughout the midrange, placing the Theta in the top category of CD replay in this respect.
There were no sonic problems relating to digital replay and the results were consistently musical, enhanced by its good dynamic and transient rendition. The competition was left sounding rather bland and unexciting in comparison.
In the context of digital replay, the pace and rhythm aspects of the Basic Iwere rated 'good plus'. Very few could better this standard but unfortunately, the MkIl's rhythm was inferior -- significantly so when rechecked against the Accuphase DP-70V. After exhaustive comparisons, ascore of 33 was arrived at, this in conjunction with the Data II; and amark or two should be deducted if a lesser digital source is used. If the new model's timing and dynamics had been better, a reference level approaching 37 could have been achieved, and this should be borne in mind in your system.
As atransport, the Data II excelled in matters of purity and clarity. It added no hardness to the sound and the treble was delicate and transparent. The bass showed astrong, firm character, at its best when the mechanical grounding point was used. Transports also show variations in rhythm and timing, and in this respect the Data is perceptibly 'slower' than a Meridian 200 or Accuphase 70, though neither matches the subtlety of the Theta laser disc- based design.
LAB REPORT Channel balance was very good throughout the frequency range, while the channel separation results were a rule 108/105dB for left and right at lkHz, though not as good as the earlier model which gave 130dB mid-band. No interchannel phase difference was present, while the audio output was essentially linear phase, absolute phase correct. Phase inversion may be accomplished via a front panel switch. Frequency response was excellent, essentially free from ripple and showing no premature rolloff.
Distortion at full level was poorer than expected although at nearly 0.01% it can hardly be considered a cause for concern as it was of innocuous low harmonic order. At this point it was noticed that the distortion results differed for the two channels and that some low-level fault was present on the left channel. A second sample had to be obtained

THETA DS PRO BASIC 4111. Mt
Theta Pro Basic 2: spume uptO -100kHz associated with kHz tone at -- 70dB

Fig 2. Theta Pi ksic 2: intermodulation spuriae from 19 s1201in tones at OdB

:nu
ea. ...

48>

1
· OP le ··· be«

3. Theta Pro Basic 2: dithered 1kHz sinewave at -- 90dB, with distortion spectrum above

Fig 4. Theta Pro Basic 2: linearity plo below
--60dB. Centre trace is 2nd (correct) sample;
hand-drawn traces are 1st sample errors

list results ?betide Pre Bade

Channel balance ( dB) Sbreo separation (dB) Channel phase difference
Id131THDOdB DID - 1008 141) - 70d8 Iwtermod 10kHÉ20kHz. Od8 Interned 19kHz,20kHz, Odb Frequency response left (OBI Frequency response nght (d13) S.41,20Hz-20kHz. unwtd CCIR/ARN, 1Khlz ref Output level, (008) Output impedance

21161c Ildlc

0.1.2 0.12

115(106 108/105

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-81/90 82/90

74/82

23/40

94/103

84/89

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482x 370 x60

Typical price hnc VAT)

£2,299

Supplier
Absolute Sounds, 58 Durham Road,
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111-F1 NEWS & RECORD REVIEW

MBRCH 1993

41

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HI-FI NEWS áRECORD REVIEW

MARCH 1993

DIA CONVERTER

[the auditioning refers to this second sample] and then the results were good for both channels. The highfrequency intermodulation results were very good [Fig 2]. The virtual absence of high-frequency tones associated with these high-frequency fundamentals indicated high-class digital filtering, reflected in the The-
ta's price. The distortion improved relative to
full level at -- 10dB and at lower modulation, to normal programme levels. By -- 70dB the usual rise in distortion was present -- 30 to --40dB. With the -- 70dB dithered tone analysed to 100kHz [Fig 1], the band-limited spectrum can be seen to have an excellent low noise floor, settling at -- 110dB over this analyser window. Overall, the spurious out-
puts were typically 107dB down, and signals in the radio frequency band to 100MHz were mainly simple noise, less than 7mV.
De-emphasis was very accurate; and while the Basic Idelivered ahigh 6.63V output at peak bits, 10.4dB above the nominal 2V, the Mk2 gave amore sensible 2.08V just 0.34dB up on the standard. Equally surprising was the very low output impedance of 2ohm. Thus any input, any cable,

any passive controller and any power amplifer could be driven by the Basic. The review model came with unbalanced and balanced outputs. Specific linearity was good, with the measured error at -- 90dB held to a +2dB left and -- 2dB right. Charted for low-level linearity, using Audio Precision's special digital generator function, the output was accurate right down to -- 110 dB.
Though marred by some residual noise, the CCIR/ARM [ 1kHz] signalto-noise ratio measured 100dB. The Basic II retrieved avery satisfactory --90dB sinewave and the accompanying spectral analysis [Fig 3] indicates negligible distortion at anoise floor of -- 118dB relative to full modulation. It has a fine 108dB dynamic range together with an effective resolution of 15.7-bits, close to the theoretical ideal of 16.
CONCLUSION Ifound the Theta Pro Basic MkII to be afine decoder which, in combination with the Data 2 transport, had no problem whatsoever in demonstrating the requisite margin of superiority over the Theta Prime -- good as this more moderately priced unit was.

The high score obtained placed the Basic II close to state-of-the-art, indeed within · the boundaries of experimental error and, even more importantly, system matching, the
Data/Basic combination approaches the current reference, the Accuphase DP-70V. There was not much to
choose between them, just afew per cent either way.
Like the Accuphase, the Basic is a well-ordered design with good filtering, and there are no spurious highfrequency signals to complicate system matching. There is no doubt that the field of digital replay is moving forward very fast indeed, and so last year's reference can fall back to the merely 'good' or ' very good' within
the space of a comparatively short period of time.
Discussion aside, the Basic is a very worthy digital decoder, of excellent build and transparent sound. Compared with its competition, the price is more realistic than most, and Ican reconunend aproduct of this calibre notwithstanding the reservation on its rhythmic performance. Ironically, the Mk Iwas better in this respect. Like the Prime, the Basic gives of its best in conjunction with the Data transport. 4-

Good as the Prime was, the Basic was unquestionably better, and the result, in combination with the Data, was so close to the state-ofthe-art in many respects that in alternative systems one might well prefer it to the notional top- rated competition

CD PLAYERS

.11 dangerous. Why? Because it offers performance so far beyond its price tag that it must be aguaranteed sale to any audiophile who doesn't mind its flimsy build quality. Or, more accurately, to any audiophile who doesn't care what label is on the fascia. But before you cancel your order for a Wadia, look at what it
cannot do. For starters, there's amild haze, a
slight lack of transparency which
keeps you from mistaking it for a Krell or aTheta. Because it features digital output, Iwas able to assess the CD 52 MkII SE's transport's contribution away from the DAC and
output sections; it was not the primary cause of the haze, even though it was easily distinguishable from the Krell MD-20 transport as being less transparent.
Next up, the frequency extremes are not as clearly defined as through state-of-the-an players. The bass is not as rich nor as solid, but we're talking extremely low frequencies;
considering that this is likely to be used in systems with smaller-than-
Diva speakers, I doubt it will be detected by most candidates for '52 MkII SE ownership. The treble,

though, seemed slightly less authoritative than the Krell/Vimak or Krell/ Krell pairings, regardless of speaker type used.
Er, that's it. So insignificant are these weaknesses that identifying them borders on the sadistic. Instead, look at the Marantz's virtues. The rnidband is positively luscious: rich and fluid and warm, like atube amp or an LS3/5A. The soundstage is full and convincing, with aslight degree of recession at the centre which suggests deeper front-to-back dimensions: aboon if your system is lacking in this area. And because it is not in your face, the
sound lacks aggression, usually the curse of budget gear pretending to be what it is not.
Given the slight failings at the frequency extremes, it is apleasure to note that everything from the lower/ mid bass up through the middle reaches of the treble is consistent, smooth and coherent. It calls to mind the ingredients of classic, affordable, 'small' components: magical minimonitors like the LS3/5A, Dynaco
35W/channel tube amps, AR turntables, basic Denon m-ccartridges, entry-level Selmheisers, the Audio

Alchemy DAC and the like. And so
satisfying is its performance, the minor zits obscured by apsychologically applied dab of Clearasil, that you can get away with it when using it out of context. In other words, I've had it in my reference system for a week and haven't suffered withdrawal symptoms.
Which leads me to an announcement: The CD52 MkII SE just may be the biggest bargain in digital hardware available as of early 1993. While it is not a challenge to the high-end aristocrats -- especially if
customers want/need more than mere sound quality -- it is good enough to serve as the source for any audiophile who's shallow of pocket, without ever reminding the listener (via the ears) that he or she has purchased something so inexpensive. Add it to an AMC integrated tube amp, whack on apair of Mission 760is, Celestion Ones or Tannoy 603s and you have a system for under £900 (or athou if you add some decent cables and stands) which will never let you down in any room under 4x 5m square. And anyone who sniffs at the sound is afool who likes hi-fi rather than
music. Amen. +

HI-FI NEWS 8, RECORD REVIEW

MARCH 1993

43

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AMPLIFIERS

NAD's 302 amplifier-- all set to step into the giant killer's shoes?

by ALVIN GOLD

Under the skin, the 302 is an updated 3020i, but the changes are extensive

One well-known measure of maturity is when policemen seem younger than yourself. Another, perhaps more reliable measure, is being able to remember when the NAD 3020 was introduced (you're still in the kindergarten if you need to be told what the NAD 3020 is). Those who were around at the time will remember the tide of interest in this inexpensive and uncontrived amplifier whose design was predicated on sound first, gadgets second and build quality last.
Gradually, the 3020 came to acquire the reputation of a giant killer and NAD's walkover success with it may have partially blinded NAD's engineers to other product areas. The 3020 remained the backbone of the range, and ultimately the only real star. Of course, there have been anumber of iterations on the 3020 theme, but few of the higher
cost derivatives convinced -- not because they were objectively deficient, but because the peculiar alchemy that made the 3020 special was the wrong mix of virtues and vices when translated to higher price
points, and when teamed with less compromised or high-end ancillaries.
Although the 3020 has continued to be a successful, even desirable, product, it is no longer pre-eminent. Hence the 302, whose name is clearly designed to establish the succession whilst drawing aline under the original model.
The 302 responds to changing times in various ways. Since the 3020
was designed, there has been a general increase in the requirement for amplifier inputs: for example to accommodate compact disc (yes, the 3020 goes back that far), hi-fi VCR sound, and imminently, digital home recorders. Accordingly, the 302 has six input circuits, including two tape

NEW BABY
THE NAD 302

circuits, one of which allows independent third-head monitoring offtape. Tone controls are retained, but atone bypass facility has been added.
Look around the back, however, and you will see all the old NAD trademarks, including a 'soft clipping' switch to apply compression at high levels to reduce the danger of output stage clipping, which should be regarded as aparty-only switch to be avoided in normal use. The output stage can also be switched from 4to 8ohms, giving amix of current and voltage drive to suit the loudspeakers, though the 4ohm setting is normally preferable, sonically.
The most useful feature here, however, is the ability to separate the pre-amp from the power amps, which could be used, say, with an outboard Dolby Pro Logic processor, say, though the feed comes after the volume control. It will otherwise be of benefit when upgrading the pre- or power amp. Tip: replace the metal pre- to power amp links with short screened connectors to improve sound quality. The casework is new, but very much in the NAD idiom. It's aneat and attractive design built to aquality commensurate with its
£159 price-point.
SOUND QUALITY The NAD 302 amplifier was tested mainly with the output stage switched to its 4ohm setting, with the soft clipping circuit deactivated. For

once, the effect of bypassing the tone controls was palpably beneficial. One
key comparison that Iwas able to make very late in the day was with the latest Mk II version of the Denon PMA-250, an amplifier which is as important to Denon as the 302 is to NAD, and which costs just £ 10 less.
Of the two, the NAD 302 has somewhat less reach and poise when
extended. The Denon yielded sustainable average listening levels of the order of 90dBA with 88dB/W speakers in amedium size room, which is a couple of decibels clear of the NAD when used with the soft clipping circuit deactivated. Soft clipping
allowed the NAD to close the gap, but at the cost of clear, though episodic, signs of gain-riding and compression.
More relevant to most users, however, was the nature of the differences at lower SPLs. An early indication of the way the two would shape up was with asong called 'Whatever Happened To The Blues' from Phil Upchurch. This track was originally chosen as awarm-up, but the drum sound drew attention to key differences between the two amplifiers. The drum kit is particularly well miked in this recording, and via the NAD it reproduced with greater impact, freedom and spaciousness, especially from the bass drum. This
finding was subsequently repeated with many types of music. Similarly,
on Mary Chapin Carpenter's ' IAm A

NAD

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TIN101 V0110

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HI- F1 NEWS & RECORD REVIEW

MARCH 1993

45

MBMIIIMIIIMMIIMVIIIIMMUMMIMMIIIIIIMUM

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46

HI-FI NEWS & RECORD REVIEW

MARCH 1993

AMPLIFIERS

Town', asimple acoustic recording, the NAD demonstrated a muddled vocal sound and a loss of air and spaciousness. It was probably predictable that switching to aPioneer A-400, afine benchmark for low and middle-price amps, would result in a larger scale yet more sharply focused and clearer style of sound reproduction. The difference in price and engineering is, after all, substantial.
That similar findings would apply to the PMA250, however, was more surprising. In both comparisons, the NAD sounded attractive, but restrained dynamically and sometimes a little muddy in texture. These differences impeded access to the lowest levels of detail, such as much of the finger noise of the acoustic guitar accompaniment and the lower level ambient cues, which led to asharp reduction in depth perception.
The Denon doesn't have things all its own way. It has a nice, crisp quality that makes it instantly appealing, but the qualities of the NAD are a little more subtle, and tend to insinuate themselves, as if by osmosis through the pores of the skin. The overt clarity of the Denon paid dividends with some vocal material and more generally with densely scored material, but the NAD had a fine, organic quality that made for some beautifully expressive chamber and small scale (especially early) orchestral music. The phono input, tested with a Roksan Corus Blue cartridge equipped Systemdek IIX turntable, was mildly coloured, but detailed, refined and, on the whole, up to the standard of the line inputs.
LAB REPORT Under the skin, the 302 is an updated 3020i, but the changes are extensive. Power output has been increased from 20 to 25W/channel, with matching improvements in HF dynamic output, up to 50W from 40W. Current yield and the ability to drive low impedance loads cleanly are also better according to NAD, courtesy of a change to new Sanken bipolar output devices with higher current and voltage ratings than their 3055/2955 predecessors. Heatsinking has also been uprated. A number of individually small revisions have been made to the power amplifier to improve behaviour into complex, reactive loads; but although it is hard to upset the 302's poise seriously, some residual sensitivity to loading remains in the form of larger than expected changes in sound quality with different loudspeakers and cables. The same cables performed more evenly with other amplifiers.
Measured at the 4ohm and 8ohm settings of the rear panel switch, the former consistently gave much

higher output volts and watts at some cost to output current. Into a4ohm load, for example, the NAD delivered 38W with the 4ohm setting, and only 25W at the 8ohm setting. The equivalent single channel, 8ohm figures are 60W and 45W respectively. Peak available current was reduced by a manageable 20% (approx) at the 4ohm setting.
The pre-amplifier section has a lower value and therefore quieter
volume control pot than before, and the tone control circuits are fitted
with feedback loop. Other changes also contribute to improved edge-ofthe-envelope distortion, especially at high levels and high frequencies,
which is confirmed by the excellent measured figures for THD and intermodulation, even on the re-engineered phono input, and by the spectrum analysis, which are essentially clear of harmonically related trash. Noise is also more than adequately suppressed under all conditions of use. None of the inputs will overload in normal use, but they all show high levels of input capacitance and care must be taken to keep input signal leads short if in-band treble roll-off is to be averted. Channel balance deteriorates significantly at low settings, though I've seen worse. Again, DC offset wasn't exactly vanishingly small, but it resulted in no more than an innocuous mild thump when the amplifier was connected to the load.
Remaining circuit changes are concerned with a 'revised' power transformer with better regulation, higher capacity reservoir caps (now 6800e/ 50V from 4704F/35V), and improved local regulation of the preamp and at the input of the power amp to improve noise rejection. The output stage wiring has been made more direct to give what is described as a much lower output impedance and better loudspeaker damping. The final value remains not especially low, and varies with frequency. The mid -frequency damping factor of 40 for an 8ohm load is satisfactory.
CONCLUSION The 302 sounds more articulate and together than its predecessor; it also has more inputs and a cleaned-up fascia. I would judge that, with certain reservations (not least when reproducing female voice), the 302 is easy on the ear and noticeably lacking in the grit and grain that can afflict budget amplifiers. At the same time, it seems to have failed to pull ahead of the competition, an observation that its opposite number from Denon brought home all too clearly. The NAD 302 is agood buy then, but on current form it is less than an essential one, and certainly not one to get the adrenalin flowing. IA-

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Fig2. NAD 302: frequency response, aux1C I input

Roo.. -51 ·04. vows. ram,

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1.110

Look around the back, however, and you will see all the old NAD trademarks, including a 'soft clipping' switch to apply compression at high levels to reduce the danger of output stage clipping

ill,' Ii

1 inn

Fig 3. NAD 302: supply modulation test,
37.5Hz at 213 rated power into 4ohms

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Fig4. NAD 302: intertnodulation, 19kHz1 20ItHz120kHz tones at.full level, aux input, at rated power

Test results

NAD 302

Power «put One channel, 800m load ( OBW)

2011: Ildt/ 201`11: 14.9/16.9 14.9/16 9 14.8/16 9

Both channel. 4ohms. pulsed IclE1W)

12.8114.1 12.8/14.1 12.8114.4

One channel. 2ohm pulsed

13.5/15.6dBW

Instantaneous peak current

+10/12A- 10/12A

Total Hanna& Diotoitloa at rated power. auWCD input (19/100110 1.1)

--81d8 --81d8 -67dB at UM disc (m-m) - 80d8

Intermodu lation distortion (19/10kHz 1.1)

at 0413W disc (aw() - 92013

Noise

Disc ( m- m) VpIHFCCIRwtd

Aux/CD i/p 1H FCCIR wtd

Residual, unwtd (vol at min)

DC output offset (tapeo/p)

L=10mV

DC offset 9/re-amp)

L=OmV

-75dB -83dB -85d8 12-· 10mV R=OmV

Input Overload
Disc (m-m) Vp ( 01F)
Aux/CD up (111F)

35.4dB 35.0dB 35.448 >28dB > 28dB >28(43

Steno Separation Disc Up ( m-m)
Aux/CD Vp

60dB 60dB 60dB 66ohm 66ohm 58onm

Output impedance ( damping) -4ohm up setting

0.20ohm 02000m 02000m

Channel balance. m-m, lkHz

Volusalialsocettocklag

Aw/CD Input Data Phono m-mItp for lwo/p

loositivity loading
0.56mV 47kdviV300PR

Aux/CD Aeioig)mdfmllwwot

36mV 22ohnV450pF

Power amp Output pre-amp (tape)

--210mV 18kohm1850pF
+16Vmax 2500ohm

Disc equalization error 30Hz-151dtz +0.0844 -0.20d8

Diaseltà011 WWI

4204110 x315inin

Typical price Inc VAT

£159

Supplier: NAD Marketing Ltd, NAD Building, 401 -- 405 Nether Street, London N3 ¡ QG. Tel: 081-3494034

HI-FI NEWS & RECORD REVIEW

MARCI11993

47

America's leading tube specialist launches asecond solid-state power amplifier
by MARTIN COLLOMS

UDI RESEARCH
D400

larger companion for its first solid-state power amp, the D240, Audio Research's D400 is a stereo chassis offering (as the name suggests) 200W/ch ( 8ohms). As Audio Research puts it, the D400 offers freedom from maintenance and tremendous reserves of power: it weighs amassive 33.2kg ( 731bs) overall. A single pair of speaker terminals is fitted, these custom-made goldplated binding posts also with 4nun sockets. Audio input connection is unbalanced via phono sockets, or balanced by means of channel pairs of phono sockets and by the more usual three-pin XLR alternative. When operating in unbalanced mode the unused phase is taken to ground via ashorting link (supplied): due to the high input impedance, full performance will not be obtained otherwise. A three-year non-transferable warranty is given. Having chosen solid-state technology for the D400, the designers were clearly determined to produce a relatively cool-running, high power, high current, load-tolerant model. Excluding the drivers, the directcoupled complementary output stage uses 16 large Sanken multiple emitter output transistors, with aboveaverage bandwidth and linearity.

They are connected as emitter followers and are biased by asophisticated tracking circuit which is based on FET control. Altogether, 20 FETs are used per channel. If these have a sound, it has achance of dominating the end result.
Negative feedback is held to the very low value of 9.3dB and avery good reactive load stability is assured. Audio Research is proud to claim amassive 600joule power reservoir (summing both channels), while two E and Ipower transformers are fitted, the smaller to provide good isolation for the driver and input sections of the amplifier. Heavily soldered connections are used throughout; Audio Research eschews the use of crimp or press-fit connections. The amplifier idles at around 110W/channel, of which around 80W is estimated to be enriched Class A/B biasing of the output stage.
SOUND QUALITY Listening was carried out over an extended period, with a variety of ancillaries. Control units included the Audio Research LS2, Krell KSP7B and Conrad Johnson PF1. In the main, the loudspeakers were WATT 3/Puppy 2. We also tried the Quad 63 and the Acoustic Energy AEl. Cables

were Siltech and custom silver types. First observations indicated that
the D400 had considerable headroom in terms of both a generous maximum loudness and aclear tolerance to a variety of loads. Its almost valve-like character was consistently expressed with the several speakers we tried. Don't get me wrong --
neither the D240 nor the D400 can directly replicate or replace the liquidity and delicacy heard from the finest vacuum-tube amplifiers, yet some of that ease, tonal accuracy and low fatigue factor was present in these solid state designs. Moreover, their sound with a wider range of speakers may be relied upon.
There can be no doubt that the D400 has some 'character', which means that there may be more dissenting opinions than usual as to its absolute quality. On the other hand in some systems it may fit so well that it becomes the preferred choice regardless of absolute ratings.
While it handled rock and jazz well, it was evident that the replay of classical programme was its forte.
Here it showed excellent dynamics from the low midrange to the uppermost treble. Those impressively realistic peak levels were achieved with very good purity and a noted absence of compressive hardening, strain or edge. String tone was excellent. Brass instruments appeared authentic while big orchestras sounded big, their sense of scale conveyed well. At the limit, it was this proper soundstage dimensioning at realistic levels which helped us to distinguish the D400 from the D240.
If the upper treble range was not quite so grainless and transparent as an Audio Research Classic 120, the D400 midrange was quite something nonetheless. It set very high standards for articulation and definition. There was a feeling of tight, crisp control, of pinpoint focus and exposition, and an almost spotlit effect for nearfield soloists -- an intriguing subjective effect. Midrange sounds had
presence, yet this was achieved without apparent tonal emphasis or imbalance thanks to a virtual freedom from 'solid state' hardness.
Stereo images were presented with very good width and overall focus, while some mild limit to trans-
parency and image depth was noted. However, the crisp definition for soloists still lent a good feeling of
perspective to the soundstage. Good levels of recording ambience were established, though I would swear that an equivalent Audio Research valve model would have still more retrieval of ambience.
Ihave left the low frequencies until last: here personal opinion becomes a more influential factor. By 'super

48

HI- F1 NEWS & RECORD REVIEW

MARCH 1993

AMPLIFfERS

amp' standards the D400 bass was to 90dB mid-band is not uncommon,

more colourful than some, and may with rarely less than 70dB at high

even be preferred in certain circum- frequencies, one wonders whether

stances. There was no doubt con- the more moderate separation figures

cerning the fine depth, overall power for the D400 are intentional.

or quality of 'foundation', but compared with the midrange perform-

Good signal-to-noise ratios were delivered, though with some of the

ance the definition was notably sof- most sensitive loudspeakers (such as ter. A hint of a ' boxy' or `wooden' the Tannoy Westminster Royales)

coloration was present. The bass was some mild background hiss might

slower and softer, altered by a just be noticeable. Channel balance

'springy' effect. None of these char- was excellent, while unwanted DC

acteristics were in any way severe, offset was held to negligible levels at

but the standards set these days are the output.

very high.

An easy to drive 150k-ohm input

Likewise, the very good dynamic impedance was measured (300k-ohm

quality and good timing shown over balanced differential) and 2.12V

most of the frequency range was not sufficed for full power. This was too

fully echoed in the bass, and this insensitive for direct connection of a'

lapse was easier to hear on rock.

2V output CD player.

Taking into account all these fac-

Tested for supply intermodulation

tors, and applying my usual listen- [Fig 2] at 2/3rated level, stressed by a

ing-test marking system, a most 4olun load, the spectrogram showed

respectable score of 18.5 was harmonics related to the fundamental

obtained. This places the D400 in the at 37.5Hz, but negligible 50Hz mains

top category of audiophile amplifiers supply- related components were

even though it is not top of the tree.
Put in context, the LS2 line controller points to an even higher standard and yet gives the D400 ample op-

seen: this was a good result. Interestingly, the frequency
response was not perfectly flat, measuring - 0.4dB below 100Hz,

portunity to perform at its best.

+0.4dB over the treble range [Fig 3]

and falling to - 0.5dB by 61kHz and

LAB REPORT
Specifications for power output of 200W 8ohms (23dBW) and 400W,

-3dB at ahigh 130kHz. No significant band limiting was present. At low frequencies it was very well

4oluns, 20Hz to 20kHz, were met on extended, to less than 0.01Hz for

test, with only a negligible 0.1dB -3dB, 0.02Hz for - 0.5dB. ( A

shortfall into 4oluns, both channels second sample measured similarly, at

driven, at 20kHz! Overall the power results indicated excellent load toler-

+0.38dB over the treble.) It is to be expected that with

ance and a very wide power band- critical listening this mild tonal uplift

width. Peak current of ± 53A represents an ample reserve, sufficient

would be audible, and it may partially explain the characterisation of

indeed for bursts equivalent to
1.4kW rms into lohm. Output impedance was quite con-

higher definition and precision in the upper midrange. It is rare to find even amild response tilt in an audio

stant at atenth of an ohm over the power amplifier.

audio range giving adamping factor

of 80 into 8ohms. In this `low-feedback' amplifier, no

CONCLUSION This is alikeable amplifier. Powerful

attempt has been made to conjure up in the US 'super amp' tradition, this

artificial and meaninglessly low dis- solid-state unit can amplify wide-

tortion figures. At full level, the distortion was - 50dB (0.3%) at low
and mid frequencies reaching - 44dB

range music signals to levels where a valve/tube design would be left gasp-
ing with the more difficult loud-

(0.63%) by 20kHz. But the distortion products were of low harmonic

speaker loadings. The D400 sound is eminently relaxed and musical, free

order, pretty harmless subjectively, and they quickly reduce to negligible levels at lower powers.
At full level, the high frequency intermodulation spectrum was quite

from solid-state edge or hardness, and yet is able to carry midrange detail and dynamics at astate of the art level. It is highly load-tolerant and inherently unflappable, a 'fit and

rich [Fig 1] with first and higher forget' unit for a high end audio

order difference products evident. system. It legitimately belongs to that

The lkHz difference of a 19kHz/ select group of references offering its

20kHz input was seen at - 52dB, not own unique blend of qualities. At

a serious level. By OdBW ( 1W, this level the validity of a recom-

8olun), the distortion was fine at -82dB, 0.008% and quite harmless.

mendation to agiven purchaser will depend as much on the applicability

Strangely, this amplifier did not of the matching system as the opinion

deliver good channel separation of the reviewer. In context it is

results, measuring 56dB mid-band realistically priced for its combina-

and just 46dB up at 20kHz. Since 80 tion of power and performance.+

AUDIO RESEARCH D400

OU: 113.01.

tr.: RS 000 118

Fig l. Audio Research D400: high-frequency intermodulation, 19kHz/20kHz tones at OdB

0:ZU

41,004

II t, lI Il
3111 I. VS ble

it 4
1,001 04

Fig 2. Audio Research D400: power supply intennodulation test, 37.5Hs at We level into 4ohm load

First observations indicated that the D400 had considerable headroom in terms of both a generous maximum loudness and a clear tolerance to avariety of loads

111050.41 0400 111111.1.· RE31.890 ·1410. WOO · MIMI I .0

an11111111111111113111111111M1111111a

1 00410 11111111111111111111a111111111.111111

0 0000 I 0000
I 000 000 000

aammmnRlla1aaaua11nt111i1wnmi11u11m1maaBU1lumu11mal11niu11muli11nl11omlu11alalR maam1u1iilaoE i1nul1imni1mMi1mopii1inaaEm·Uaiullulmuolluou1ii1ulmimm1iii1irIauIl

100

000.

Fig 3. Audio Research D400. frequency

response to 200kHz, IdBldiv

Test results

Audio Research D400

Ftated power 8ohms 4ohms

200W 23d6W° 400W 234BW·

Measured power (at 240VAC 50Hz) 2011:

lkilz 201d1z

Continuous 8ohms 1ch (d8W) Continuous 4ohms. both (d13W)

23.8 23.1

23.8 23.1,

23.6 22.9

Burst 10m58ohms ( dBW)

23.9

40 6105 18BW)

23.6

2olms ,d6W1 Output impedance ,ohms)

23.3

0.1

0.1

0.11

Harmonic distortion
ARtatceldeswo8weorhmBosn ins
Channel separation

-50d13 - 50dEl
-8040 - 80d8 56dB 5648

-44dB -79d8 4646

lietermodutatIon distortion 19000/20kHz 11,

rated - 520B. odE1W - 8208

Peak current sia lonm. 22µF
2m sec pulse Stipial-to-aMse dull gain) 22Hz-22kliz
wtd Channel balance
Input impedance

+53A: - 53A
mL-8011o1Ws r-e flulol lwevel -77oe.o2oe- 100d8 isok-ffirn

Input sensitivity

1.39mVIHECCIBW

2.12V for programme clip

DC offset,

2m)//20mV

Frequency response

-0.5(13. 0.02Hz to 611thz: -3dB, < 0.01Hz to 130khz

Dimensions wncl , Typical price LInc VAT)

430 230x 532mm £5298

Ivaiere WON = 283V. or 1Wi8ohms

Suppler: Absolute Sounds Ltd, 58 Durham Road, London SW20 ODE Tel: 081-947 5047

NEWS & RECORD REVIEW

1AARCH 1993

49

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BATH

Musical Fidelity offers revamped pre- and poweramp designs in chrome . . .

by STEVE HARRIS

In these digital days, the term 'pre-amplifier' usually means nothing more than aset of line input and outputs with a volume control in between, but The Preamp 8 gives you movingmagnet and moving- coil phono capability as well
Supplier: Musical Fidelity Ltd, 16 Olympic Trading Estate, Fulton Road, Wembley HA 9 OBR. Tel: 081900 2866

II nthe world according to Musical Fidelity, hi-fi listeners can be divided into 'A' and ' B' categories. But this is not some sinister selection theory: it just implies that some will prefer the sound of MF's 'A' series amplifiers while others will go for the more recent ' B' models.
The foundation of the ' A' series (and perhaps of the company's success) was the Al, in which acircuit
designed by Tim de Paravicini was housed in an unusual casing with a ribbed top providing a heatsink. When running, this top surface became almost too hot to touch, which lent credibility to the early
claims that the Al operated in pure Class A right up to its rated output of 25W. In fact, the A1circuit provides only a few watts of pure Class A power and so could best be described
as 'enriched Class A/B'. Although the 'Class A' marketing
angle must have helped establish the product, the Al survived on its own merits, overcoming early reliability problems. There was no doubt about the appeal of its sound quality, which
had an immediacy and gutsy realism lacking in most of its mid- 1980s competition. Then, in 1989, the first `B Series' model, the B1 integrated amplifier, was first unveiled to the
press. The B1 (at least in its early form)
along with subsequent MF solid-state
models, offered an overt sense of high power, along with plenty of what KK calls testicular fortitude in the bass, virtues not very detectable in the Al. The 'B' listener would be attracted by these attributes, not missing the midrange and treble sweetness which were meat and drink to 'A' listeners. In other words (if this
isn't beginning to sound too fanciful) the ' B' Series would please those who wanted amuscle amp on abudget, while the 'Al sound' continued to please those who would have used valves but for the expense and inconvenience. The Al went on selling.
Meanwhile, the circuit and the casework of the A1were both used in various derivative models. The most obvious step was to offer a more powerful version, the A100: but more power meant more heat, and even Musical Fidelity's asbestosfingered founder Antony Michaelson
had to admit that the A100 got rather

MIFJISDIECLAILTY

PREAMP 8/MA65

too hot. More successful was the MASO, amono power amp containing an AIboard and summing its two 25W output stages to produce 50W.
Last year, Michaelson decided that it was time to provide a new pre-/ power combination for the 'A' listeners. It was arelatively simple matter to beef up the MASO to 65W ( 8ohms) to produce the MA65, apair of which costs £875. And, in its own variant of
the Al case, The Preamp 8 (£299) is an attractive visual match. It is a tribute to the original industrial
design, as well as to the reviving power of chrome plating, that this
casework still looks fresh and modern. I cannot help feeling that to some eyes, the chrome front and black top may say cucina rather than chic, but at least the MA65 does not get quite hot enough to cook on.
However, it comes with awarning card which reads: 'Attention. This
amplifier runs at high temperatures. Under no circumstances place anything over the unit. Keep out of reach of children. Position in well
ventilated area.' Another red-printed notice informs . the purchaser that Musical Fidelity products 'are not designed or intended for "discolevel" applications such as parties or extended use at very high sound pressure levels. Such use constitutes abuse of the units and renders the

warranty null and void. Damage caused by abuse will not be repaired under the terms of the warranty.' You have been warned.
In these digital days, the term 'pre-amplifier' usually means nothing more than a set of line input and outputs with a volume control in between, but The Preamp 8 gives you moving-magnet and moving-coil
phono capability as well. In the usual sensible Musical Fidelity manner, the disc input sensitivity is switched by a discreet push-button on the back. Apart from the illuminated power-on button, the only front panel controls are the volume knob, a rotary source selector, and another button for tape monitor. There is no
balance control or mono switch.
LISTENING Idon't know why this is called The Preamp 8, but in any case, rather
than comparing it to The Preamp 3, I set it against the old Musical Fidelity MVT. Listening to CD through The Preamp 8on rock and jazz revealed that it had much of the same basic character as the MVT, the perceptible failings being a somewhat soft bass (less so than with the MVT, though) and aslight lack of overall transparency. The Preamp 8gave a feeling of crisper detail in the treble. It seemed that, by the same token, > 94

MI-F1 NEWS aRECORD KIDDY

MARCH 1993

51

Transparent in more ways than one, the CLSIIz is the
latest version of aclassic American electrostatic
by ALVIN GOLD
MLAORGTAINN

UM

When it was launched in 1984, the CLS established MartinLogan as a force to reckon with on both sides of the Atlantic. A full-range transformer-coupled elec-
trostatic speaker with some built-in active bass equalization, the CLS was unique in two respects. First, the diaphragm was built from several mechanically independent sections,
angled to give approximately 30° of lateral dispersion. This helped counteract the usual criticism of panel speakers, that they have a very sharply defined listening sweet spot, making them, in effect, like giant headphones, suitable for only one person at a time.
The other unique feature, and the one that really set the range apart from its peers, concerned the structure of the transducer itself. Like all electrostatic diaphragms, the CLS was a direct radiator, that is, the driven part of the panel is also the bit that produces the sound. Unlike other designs, however, the diaphragm in the CLS and in all other Martin- Logan designs includ- · ing the new CLSIIz reviewed here, is used ' naked'. The stator part of the system, the front and rear mesh · panels, are polymer coated for insulation and cosmetic purposes, and an
unusually high-resistivity coating on the diaphragm means that charge migration across the diaphragm is extremely low, with no need for separate layers of sound-absorbing plastic sheets or dust cloths.
Visually, there is nothing to distinguish the CLSIIz from previous CLS models, but this in itself is no
bad thing for a loudspeaker that remains among the most striking ever conceived. Although it lacks the sheer elegance and liveable-ness of
Martin-Logan's · narrower hybrid models, the CLSIIz has an unrivalled simplicity of line. It takes up an
inconveniently large proportion of the field of view from the listening hot seat, but the transparent meshcovered diaphragm means it does little to impede the view if it stands in front of a window.
The CLSIIz is derived from the CLSII/a, and includes what the manufacturer describes as a ' strengthened transformer interface', and a version of the diaphragm/stator assembly capable of larger excursions. The most important practical difference is that the minimum impedance of the system is increased from
0.6ohm to around 1.5oluns ( nominal impedance is 4 ohms). It is still a punishing load by normal standards, but the 'z' version does at least take a couple of steps back from the brink. As Martin- Logan points out, even amps that can deliver full power into sub-ohm loads are audibly happier

HI-FI NEWS & RECORD FtEVIEW

MARCH 19A3

LOUDSPEAKERS

into higher impedance loads, and this is especially true of valve amps, which are commonly selected for use with the CLS, if only because they have a suitably exotic image.
Power handling has increased to a nominal 200W and sensitivity is increased to 84dB/W, a change for the better which goes some way to reducing the cost of ownership. The (still) relatively narrow dispersion of the speaker gives the sound astrong 'throw', increasing SPLs and presence at longer listening distances, although as noted, Martin-Logan's usual laterally curved diaphragm reduces ' beaming'. Low-frequency
extension is also improved to a claimed 40Hz (- 3dB). A switchable low-pass filter is also included to render the sound alittle softer if it is found too analytical but, in the test system at least, its softening effect was not felt beneficial.
Any discussion of the qualities of a
loudspeaker must be based on aclear understanding of the nature of the beast. With box loudspeakers, the essential character, pros and cons alike, tend to be almost intuitively understood, in much the same way that a discussion about TV picture
quality doesn't need to spend much time pointing out that the picture is two-dimensional, or that it is drawn up from rows of multicoloured dots repeated every 1/125th of asecond, fundamental as these things are. Similarly, with box loudspeakers, we are all accustomed to certain types of interactions with rooms which are attributable to their approximately cardioid dispersion patterns. We are used to their resonant bass character.
We are also familiar with certain more subtle phenomena, such as the compression that is caused by heat build-up in bass driver motor systems, and by the rather indirect nature of the drive unit system, which means that the drive-unit coil and the diaphragms are only rigidly
coupled together at relatively low frequencies. Back with our television analogy, we tend to be tolerant of the inherent faults we have grown up with, but someone coming to television fresh would surely be much less forgiving of what he would probably
perceive as gross and deep-rooted departures from reality. Translating this thought back to the realm of
loudspeakers, the peculiarities of boxes have tended to become accepted just as the problems of panels have come to be overstated.
SOUND QUALITY This helps explain the widely varying reactions Ihave had from listeners to the CLSIIz, which have often been polarised, according to whether or not the listener has experience of,

and was broadly sympathetic to, the and even very subtle sounds are

sound of panels, though the split has reproduced with an air of precision

been about 90% in favour. Superimposed on this was another altogether more rational spread of opinion, this time based on the success of the specific combination of equipment in use at the time. This is aroundabout way of highlighting the first important feature of the CLSIIz. This is a speaker which can be used with less than the most exotic amplification. Indeed, some of the combinations that worked best were among the
least costly, whilst some notably expensive amplifiers failed to gel with

and clarity denied through most other transducers. CLSIIz bass is not to be compared with bass from most box speakers. It may be alittle less deep and loud than agood box bass, but it has a complexity and depth that leaves ordinary bass sounding monochromatic and unconvincing.
At the same time Ifeel that largescale dynamic swings continue to defeat the CLSIIz. Less so than with earlier CLS models, true, but
although the bass is reasonable in normal circumstances, when pushed

This is a speaker which can be used with less than the most exotic amplification. Indeed some of the combinations that worked best were among the least costly

the CLSIIz at all. From what Icould hard it fails to respond in kind, and at

judge, the problems were aesthetic genuinely high levels with wideband

rather than electrical in nature.

material the sound tends to become

Amplifiers that worked well with thin and anaemic and, terminally, a

the CLSIIz are exemplified by the little `shouty'. The midband and

butch super-amps from Krell and treble may still respond cleanly at

other US makers, whilst my own this point, but if the music in ques-

Michaelson Audio Chronos valve tion is female vocal or choral, or in

monoblocks sounded uncharacteristi- any case if it has a high upper

Maker's specifications Illareitqam

midband content, the speakers can clip, producing atearing type distor-

Frequency response

40-18.000 Hz 1- 3dB

He frequency softening switch -3dB hom lkHz to 10kHz

Impedance : -- , orr,nal. 15ohmmm at 20kHz

Power handling

200111.60V peak'chann&

Sensitivity

8448/W

Dimensions ^,.:

1461411.360mm

Typilirce inc VAT ii.1111

12111

tion at only moderately high volume levels. As you might expect, this effect was minimised with the amplifiers that exerted the firmest control, which is one argument in favour of

cally sloppy at times, and were some of the better US monster amps.

judged less than atotal success. Most They were often able to squeeze an

will no doubt be delighted to hear extra couple of dB from the speaker,

that another less-than-happy pairing though this demonstrably had

involved the use of the latest tidied- nothing to do with any lack of power

up version of the Audio Note in other combinations.

Ongaku ( single-ended triode output,

26W/channel, £43,000 approx), CONCLUSION

though its predecessor wove spells Enough of the ifs and buts. Although

with the Quest, which more nearly you would be ill-advised to buy suits this extraordinary amplifier's CLSIIzs for disco-level rap or very

operating envelope.

loud parties, for almost any other

Another amplifier that did not purpose they are hard to surpass. As

cramp the CLSIIz's style was the with their predecessors you still need

ubiquitous Pioneer A-400. This inte- to sit on the bisector to achieve

grated amp was pressed into service optimum sound quality and stereo,

in desperation for the purposes of a but the losses off axis are less than

listening test at the suggestion of with most panels, and they can be

James Michael Hughes. It was used used successfully for listening in

as a power amp with the volume company. The nature of their stereo

control on full, driven by the output imagery is also rather better control-

of aKrell KSL. Although I've heard led than on many panels, though

alot better, not least from the match- much depends on the placement of

ing Krell KSA power amp, it per- the speakers since, with inappropri-

formed with excellent definition, sur- ate distances to the rear walls, the

prising control and real agility, and at sound can de- focus and become

volume levels that were often quite washy.

close to the speakers' limits with

When the CLSIIz is well set up, it

much bigger amps. The moral? Do is possible to produce extraordinary

not be put off the CLSIIz because of results. Play asmall jazz combo, or a

reputedly expensive tastes in match- string quartet and the CLSIIz some-

ing amplification.

times achieves the near impossible: a

When the CLSIIz was on form, sound that hangs in the air, that

which was usually the case, it was sounds palpably real from outside the

pure magic. One of the special joys of listening room, and that stays that

agood panel is the way it can respond with absolute fidelity to the tiniest change in dynamics or phrasing. Instrumental textures were also illuminated as with few other speakers. Detail extraction was of ahigh order,

way after entering the room. For all its limitations, Ican recall no box speaker that under the right circumstances can even approach the CLSIIz's physical presence, spaciousness and delicacy. +

Supplier: Absolute Sounds,
58 Durham Road, London SW20 ODE. Tel: 0819475047

HI- Fl NEWS 8, RECORD REVIEW

MARCI11993

53

Suppliers: Philips Consumer Electronics, City House, 420-430 London Road, Croydon CR9 3QR. Tel: 081689 4444 Sony (UK) Ltd, Sony House, South Street, Staines, Middlesex TW18 4PF. Tel: (0784) 467000

PHILIPS AZ6819 CD PLAYER 'SYSTEM'

This stylish and eye-catching port- play, scan, mute and program. The

able CD is certainly remarkable in terms of the facilities it offers as
standard. Perhaps the most interesting is the cordless transmission of the

LCD display is both legible and of a decent size, showing tracks, atrack calendar and track times, plus the total time, which is given when the

signal to the headphones. This is achieved by aradio transmission link working in stereo and as aresult it

disc is first loaded. This player uses BitStream tech-
nology with one DAC/ch and prom-

includes a pair of rechargeable battery- powered headphones which can receive the transmissions from the

ises good low-level resolution, one aspect which was verified on test.

SONY D303 DISCMAN CD player at considerable distance. SOUND QUALITY The other major feature is the The cordless headphones had a

remote control. This is not associated bright 'open' sound (abit too bright) Sony makes a range of Discman

with the headphones and is aconventional infra- red linked type using the

for my taste but not unpleasantly so. Quite good bass was achieved.

pocket CD players, with a wide variety in size, price and facilities. As

same operating protocol as other

However, these headphones were such, different models are targeted at

Philips mains-operated CD players. Used with the remote the player is installed on its base and is linked up to the plug-type power supply.

quite heavy with a fairly tight ear pressure from the foam pads. Furthermore, the headphone band has no padding and rests with considerable

different customers. Recently Iwas checking the range for what Iwould call a 'hi-fi' model; according to Sony, the D-303 is just such apro-

The base provides a convenient vertical strut for storing the headphones when not in use, and it also carries the interconnecting wires running between the power cable and the

pressure on the top of the head. The sound quality was not as good at low levels, with afuzzy effect and some noise, possibly an artefact of the radio transmission link.

duct. It resembles the better looking designs from the competition and is superbly finished in ametallic charcoal enamel. Not the smallest or the thinnest CD player around, it is

base, the base and the headphones and the CD player itself.

Certainly, when a good pair of nonetheless compact and will slip Walkman-compatible headphones or easily into alarger pocket. For exam-

The player comes with arechargeable battery pack giving 2-2 1 /2 hours

earphones was substituted, a very good sound resulted, rather better

ple, it is fractionally thinner and . deeper than the classic model of this

of use and is charged when the player is installed on its power base. In addition to the cordless headphones (offering 44 1 /2 hours from a full charge) there are two more audio outputs. One is fixed level for feeding the line inputs of an audio system while the other delivers its signal to a normal headphone socket whose volume is controlled in steps using push-buttons on the top panel.

than with the cordless type. They showed the CD player to have a powerful and clean sound, offering a good tonal balance and very good detail over bass, mid and treble ranges. Stereo focus was very good and this fact, plus its good recovery of ambience, all helped to place it
close to the top group of batterypowered CD players.
Iwas not so keen on the settings

genre, the Technics SL-XP6.
Like the Technics model, the D303 offers the great convenience of dual power operation, either aNiCd rechargeable unit supplied or acouple of AA alkaline cells. The D-303 rechargeable is one of the larger block types and the player accommodates both options by means of an ingenious hinged section in the battery compartment. A play time of 2

This CD player incorporates a for music types. For various reasons I to 3 hours is possible from the digital signal processor which can found them to modify the sound too rechargeable, with 3.5 to 4 hours

provide tailored characteristics, pro- much to be credible. They sounded from the alkaline cells. It weighs

cessed for various frequency too much like sound effects and 450g with batteries and comes com-

responses and for enhanced ambi- added an unwanted cast to a wide plete with asoft case that includes a

ence. These latter effects are anything but subtle and have coarse, fixed settings. Standard controls on the remote include repeat, shuffle

range of recordings, regardless of origin. The push-button volume control worked well enough on the headphone socket, covering the

wrist-strap. The supplied 'cans' are the earphone type, augmented by a very light folding headband. Using alternatives is complicated by the

range in 16 steps of 2-3dB, though a cord-mounted remote control unit, a little coarse for critical adjustment. feature which provides quite arange

COMM For arecommended price of around £300, the AZ6819 is amodern stylish CD player system which offers a remarkable package of features. This gives it a unique combination of

of facilities, eg track skip and search, stop, play/pause and volume.
The clever thing about the cable remote for the XP6 was its ability to feed any chosen headphone or earphone but, on the other hand, it has fewer facilities. A product which is

flexibility and application. It is fully feature-led remains amajor aspect of

portable and with its rechargeable battery-pack low on running costs. It can drive headphones or earphones of choice well, but also has its own

the market and the D-303 may be extended in anumber of ways. This takes it well beyond the specialised province of apocket CD player. For

rechargeable cordless headphones, example, if you want to fit other

good enough for less critical use if not headphones they plug in directly. If,

particularly comfortable. Once on its

elegant base it becomes a mains-

powered home unit, illuminated, and

with an infra-red remote [supplied]

as well as an output for an audio

system.

Martin Collons

after all, you want to use them with a cord remote, this is available as an accessory which also plugs in separately. In addition, an infra-red remote handset may be added, but it is only functional when the D-303 is

54

HI-FI NEWS & RECORD REVIEW

MARCH 1993

potpourri

operating with its supplied AC power-pack/charger. When this is operational, the audio line output socket is boosted from abase level of half avolt to adecent CD level of 1.5 volts suitable for a hi-fi system. Futhermore the unit has a digital audio output to drive other equipment. The link is optical, again only operational when the unit is on the AC power pack. Thus the D-303 is
equally at home as aportable or in the living room, and a car pack further extends the user options.
The unit comes encased in metal with agood fit of parts. The conversion technology is ' l- bit' promising good low-level resolution. Control facilities include ' resume' which will restart adisc at the point where the deck was previously turned off. The bass boost facility was effective and has three positions -- normal, mid and maximum. Tracks may be programmed. Repeat modes include all, single and A to B phrase repeat. In addition, index points can be located, which is rare with a Walkman.

SOUND QUALITY The supplied ear- phones were comfortable and gave avery clear, open sound, if alittle on the bright side. I found the bass boost switch to be effective at its 'mid' position and this helped balance the sound. Unexpectedly deep, clean bass was possible, apleasure on both classical and rock material. The player could also drive larger headphones of the more sensitive `CD' or ' Digital' type and the sound was consistently impressive for low frequency reach and power. This sets anew standard for battery- powered products. Other aspects were also very strong, such as the articulate, detailed midrange and the clear, natural treble.
With wide dynamic range classical programme some CD Walkmans can sound veiled even to the point of audible quantization distortion on low level sections. Not so the D-303. Here the recovery of detail and ambience was consistently good. Timing was fairly good for aportable though it was not quite as taut or as rhythmic as the old XP-6: The extra resolution of the D-303 happily made up the
balance, however.

CONCLUSION

The D-303 is rather expensive but

can be justified in terms of the

versatile power supplies, high sound

quality, useful headphone remote

control and its auxiliary facilities.

The build quality and finish were

to the usual very high standard and

this CD Walkman may be recom-

mended for those prepared to pay a

bit more in order to obtain asuperior

quality item.

Martin Colloms

DENON PMA250lIl
Denon's amps have a good reputation, being reliable, well built and, on the whole, stylish. Their facility options were good, not over the top, not purely minimalist, and their power ratings were sufficient to drive most likely speaker loads with ease.
The latest in the line is areincarnation -- the PMA250III. Now in its
third version, it offers all the usual options: tape, tuner, phono, CD and aux. A speaker-switching headphone socket is also fitted. Round the back, connections were RCA phonos for sources ( nickel or steel, including phono) and ,lirun banana sockets
(which will also take bare wire) for speakers. Mains enters via acaptive two-core lead which completes the
ensemble. Tone controls were fitted -- but
avoidable using the 'Source Direct'
button. Connecting the amp to suitable ancillaries was adoddle, then it was left switched on overnight playing a CD ' till the listening began early the next morning.
Certainly, the initial ( straight after powering up) impressions were of a brittle, hard- sounding and nasal amplifier, but by the morning, its true character was really beginning to show through. Using CDs to start with, the '250 showed agreat clarity and unfussedness. The bass was atad light, though deep, losing a little weight to higher-end amps, but was
nevertheless tuneful and articulate. Using Christopher Herrick's Organ Fireworks the pedal ranks of the great Westminster Abbey organ could be distinguished in all but their true weight. `Shop 'Till You Bop' on The Fabulous Baker Boys album left you in no doubt as to the dexterity of Brian Bromberg on bass, the amp faithfully reproducing every nuance and slide through the fast, tight bass
riff. There was an openness about the reproduction, too, which left the impression that this was a more
upmarket amp than it is. CD presentation was relaxed, tac-
tile, three-dimensional ( for the price) and involving -- a trait lacking in many of the '250's competitors. It was neither forward nor laid back, but balanced, making a creditable illusion of the recording acoustic, and it didn't get flustered when the going got tough.
Phono reproduction was not so endearing though. With difficult pas-

sages -- Saint-Saens's Symphony 3
(The Organ) -- the amp sounded veiled and atrifle muddled compared with the CD input, and the openness and clarity which earned such praise
on CD had been replaced with ahazy representation of a soundstage.
However, with high-energy and high-level LPs this cleared up considerably, leaving only low-level information seeming a bit hazy. Perhaps the clouding effect is simply aresult of low sensitivity to low-level signals as, apart from this anomaly, the phono stage performed very well. Winding up Steely Dan or Dire Straits, or even Prince (Diamonds and Pearls) and Michael Jackson on Dangerous, gave a good, lucid and
tight presentation. The bass was a little slow and woolly compared with the CD input, and the treble was a
little dulled at the top end, but the mid-band was clear, clean and open --
until the level drops . . . Tape inputs fared well, displaying
none of the apparent quirks of the phono stage, except when making recordings from LP, when they became identifiable as such. Overall there seemed to be little treble roll-
off, and bass was surprisingly tight for atape input. Aux and tuner both gave a more than respectable and musical performance, the two being difficult to differentiate.
Overall, the amp was dynamic,
open, unfatiguing and musical. While the phono stage might be described as abit flat, with the right material it performs well. CD fares a lot better, being able to retrieve low-level detail and capturing the recording acoustic well. Dynamics and bass were both good, ultimately being beaten by really complex mate-
rial, but for most situations this amp coped well.
When the volume was cranked up the sound didn't harden until quite
late on, and even into difficult loads -- either my favourite Quad ELSs or low-impedance power-hungry types. The amplifier had awide tolerance even when driven hard to high listening levels.
Ultimately, avery creditable amp which will perform well. Sounding neutral overall, it will combine with most sensibly chosen ancillaries, and should find ahome in agood many respectable budget systems with audiophile pretensions.
Chris Beeching

Supplier Hayden Laboratories, Hayden House, Chiltern Hill, Chalfont St Peter, Bucks SL9 9UG. Tel: (0783) 888447

HI- F1 NEWS d RECORD REVIEW

MARCH 1993

55

potpourri

Supplier Sennheiser UK, 12 Davies Way, Knaves Beech Business Centre, Loudwater, High Wycombe, Bucks HP10 9Q Y Tel: (0628) 85081 I

IT'S IN THE CAN
Headphone listening is an increasingly necessary pastime for many for whom adedicated listening room or enough peace and quiet are sadly missing from their lives.
Sennheiser has three new models on the market at different price levels which may be of interest to those who have need of such devices. Model one is the HD4401I -- a green-banded plasticky pair with (to me) uncomfortable flat earpieces which pressed my sacred lobes to the side of my head with disquieting ease. That apart, they offered agood clear, deep and forward sound, but with little spatial differentiation. While their weight was light, their burden was heavy, and although the aural experience was enjoyable, the physical one was a bit lacking.
Model two is the HD480 Classic H
sidelines

-- amuch more relaxed and, as the suffix suggests, classic performer. The sound quality was alot warmer, and even though the earpiece was nominally just as flat on the surface (if you'll pardon the pun) they conformed to the shape of my cranium and its protuberances much better. They even felt warm. There was also a much wider and more spacious soundstage, with asurprising amount of depth considering there are no room reflections to assist. Bass went deeper than on the 440s, and the top end was much smoother. Dynamics were exceptionally good, yet quiet passages didn't suffer any loss of detail. Bass riffs and sax solos were reproduced with a clarity and ease which was quite beguiling.
Completing the trio is Sennheiser's HD 560 Ovation II -- a can in a different class. Although also classified as 'open' the earpieces enclose the ears much more than the other two models here. The vice-like grip on the head is absent, but readily apparent in the music reproduction. Bass is deep, full and weighty -- an achievement many other cans would give their gold jack plugs for. The treble is smooth, easy on the ear and detailed. External sound was almost completely excluded -- with no detri-

ment to listening pleasure, comfort

or sound quality. Dynamics were

handled with consummate effortless-

ness and even complex full orchestral

(or jazz/funk) sequences left the aural

experience intact. The heaviest of the

three, they feel the lightest, due

mainly to the additional support

band inside the main frame of the

headphones, which spreads the

weight about a greater part of the

head.

Overall, Icould live quite happily

with the 480s, and for ever with the

560s, but the 440s, although bright,

dynamic and open, are too tiring for

extended listening. None of the three

exhibited that nasal or boxy quality

on vocals, and all offered a good

insight into recordings, at times put-

ting conventional speakers to shame.

My listening is mainly acoustic mate-

rial, which is why I preferred

the 480s and 560s. Others who are

more into electronic listening found

the 440s more involving and exciting,

but all criticised the tight head fitting

and preferred the fit of the 560s for

prolonged listening. None of the

pairs had any gross sonic flaws, and

at their respective price levels --

bearing in mind my reservations over

programme material -- all deserve

serious audition.

Chris Beeching

Is it time we took afresh look at binaural recording?

Last month's piece touched upon headphone listening in connection with the left/right amplitude differentials characterising stereo signals intended for reproduction via loudspeakers. But as headphone usage becomes ever more common Iwonder whether we ought to take afresh look at binaural recording, using dummy-head microphone systems and intended specifically for this alternative listening mode. Back in the 1970s there was a wave of interest in the topic, and Irecall an article by my namesake, James Crabbe, describing experiments in which dummy-head and velocitycrossed-pair recordings of various ensembles were judged via headphones and loudspeakers. At that time there was also the occasional binaural LP, offering dramatically realistic street scenes, uncanny voices over the shoulder etc, plus music where the natural placing of the listener within an acoustic setting could be extremely impressive even with very modest forces.
This was all brought back to me recently when a couple of German `kunstkopf CDs turned up in the post. One features aWarsaw baroque group playing pieces by 17th-century Polish composers (Midas CD 5088), and the other, Japanese accordionist

Mie Miki playing arrangements of sonatas by Domenico Scarlatti (Freies Kunsthaus LC 8139). The consummate artistry of Miss Miki's interpretations completely bowled me over, perhaps biasing my judgement on purely sonic points, while I must digress here for a nod in the direction of my old friend George Goodall, whose letter on Bach transcriptions (Dec pl 1) makes me wonder how he might react to Scarlatti on the accordion. It's much livelier than the boring old harpsichord!
But to return to the binaural point, for those like myself who are untroubled by the 'sound through the head' aspect of headphone listening, and who externalise the direct image as a matter of course (a process made easier by binaural recordings), both of these productions sound very natural. Yet neither seems especially striking when heard via loudspeak-
ers, probably because each depends on arelatively subtle recorded ambience which is easily masked by the
listening acoustic. There are certainly problems in
producing recordings designed to serve both listening modes, a feat perhaps best managed by employing apair of directional mics to satisfy
the amplitude aspect, but spaced and baffled to provide the necessary inter-

aural time difference for headphones. But whatever the technical solution, I hear that things may now be on the move outside Germany -- where `binaurality' traditionally attracts more professional attention than elsewhere. It seems that Naxos/Marco Polo are pondering binaural options for aUK recording session, possibly involving aMahler or Havergal Brian symphony to exploit the medium's potential for large-scale realism. I'm told that if this is successful it could lead to the launch of an audiophile label aimed at headphone devotees.
In the meantime there are already about 60 binaural recordings on CD, spanning pipe organs, choirs, brass groups, jazz, chamber ensembles, breaking waves, thunderstorms, and the dawn chorus. But they are not for the most part accessible in the UK. Ironically for we Europeans, the one person offering an international catalogue supported by apostal service is based in California. John Sunier, who runs a syndicated radio programme for audio buffs and a sales division called The Binaural Source. His catalogue can be obtained by sending or crediting $ 1.00 (adollar, not simply its sterling equivalent) to The Binaural Source, Box 1727, Ross, CA 94957, USA.
John Crabbe

HI- F1 NEWS & RECORD REVIEW

MARCH 1993

INTERVIEW ,,aim

'The enclosure isolates the back of the transducers from the front. That's all it does.'

A meeting with the charismatic Dr Bose proved to be more tantalizing than
informative
by ALVIN GOLD
MDERETBOSE...

It was an invitation not to be refused: to visit Bose in Framingham, near Boston, with anumber
of others from the UK specialist press. We would get to meet the legendary Dr Amar Bose, founder and mentor. Iwould get to ask him about direct/reflecting loudspeakers. Gee, Iwould be able to ask him how he was, personally; this was enough.
Published figures put Bose at or near the top of the charts for loudspeaker sales in most of the major territories of Europe as well as japan, Australia, Canada and the USA. The only thorn in the flesh appears to be
Mr Major's merrie kingdom, in part perhaps because of a lingering
scepticism over Bose direct/reflecting loudspeaker technology.
Knowing that Bose doesn't nor-
mally waste time dealing with the hi-fi community, it was clear the invitation had two agendas. We

would learn of the Bose way of doing
things, and they would seek Rime insight into what makes the UK market for loudspeakers and related products tick.
What I (we) hadn't bargained for was Bose's culture of confidentiality, which borders on the obsessive. Not only would Bose not discuss proprietary technologies, it would not even describe what lines of research it was following. To make matters worse, company policy means it rarely publishes research findings. This was
particularly tantalising because of the heavy stress Bose lays on R&D, which it claims represents agreater proportion of its activity than any other comparable company. We were shown the labs, but some doors remained firmly closed, and all we
ended up seeing was some very standard measuring equipment, the only significant departure being an electron microscope which is used to investigate the properties of loudspeaker cone materials close up. Even its work on psychoacoustics, by which Bose lays great store, and which is surely not proprietary in the
sense that atransducer design might be, was not up for discussion.
In the end, everything appeared to hang on that personal interview with Dr Bose, which had been arranged
even before my departure for the States. This followed a brief open meeting for the group where Dr Bose was preceded by a clearly excited group of handlers ('we're so sorry He is alittle behind schedule; He will be here momentarily') and even an official note-taker, which made proceedings seem more like acourt hearing than a one-on-one chinwag. The good doctor, who still lectures regularly at MIT just down the road, displayed aconsummate set of communications skills, including the directness of a politician and the
forthrightness of a member of

royalty. He had the knack of sidestepping difficult questions without even seeming to try, yet he could have charmed the hide off an
elephant. The best, however, was saved for last: the private interview, which was scheduled for just 15 minutes -- not long enough to break through Dr Bose's defences.
Still, Imanaged to get some tantalising if incomplete replies, for example on the subject of home cinema, an area of increasing activity for Bose. His comment on THX must be seen against the background that the direct/reflecting principle is at odds with the technical requirements of the system (loudspeaker directivity is closely specified by THX), though this doesn't necessarily negate Dr Bose's view. At the same time, I
detected a certain reticence about acknowledging the work of others. In
all the Bose literature Iacquired on their home cinema systems, for
example, I couldn't find a single instance of the word Dolby, as in Dolby Surround or Dolby Pro Logic.
What Iasked was this. Does Bose see THX as a means of setting standards in AV? ' I hope not, because THX standards are not very meaningful. It is apeculiarly seat-ofthe pants, non-scientific set of stan-
dards even for the motion picture industry. I haven't seen a single sound piece of technical literature on the subject.'
Ialso asked about apoint that had arisen earlier, to the effect that the
rigidity of loudspeaker enclosures has virtually no effect on sound quality. Would Dr Bose elaborate?
'The enclosure isolates the back of the transducers from the front. That's all it does.'
That contradicts my and other
reviewers' experience, not only of enclosures, but also how they are supported, coupled to the floor (using spikes, etc) and so on. Can you
point to work you have done to demonstrate the opposite?
'Oh yes. These structural matters
are absolutely not important. You can make any measurements in the world to show that this is so.'
And so on. All in all the trip was alot of fun, whose high spot was driving around Boston in a magnificent, turbinesmooth Honda coupé which had been
fitted with a truly excellent Bosedesigned OEM speaker system. The car system made the best music we were to hear during the visit, and the clear, autumnal conditions, which are surely more beautiful in New England than anywhere else in the world, made for some blissful driving moments. Would that the trip had
been as enlightening as it was entertaining. le-

HI -FI NEWS & RECORD REVIENS

MARCH 1993

57

BIT BIT
Continuing our step-by-step guide to the basics of digital audio, this article explains
how CD digital data is converted
by DAVE BERRIMAN

n January's 'Bit By Bit', we saw how an original (analogue) audio signal from amicrophone is converted to digital form and recorded for storage on compact disc. This article explains the operation of the CD player, which has to read the information from the disc and convert it back to analogue form for replay through the amplifier and loudspeakers. For the purposes of this article, we shall ignore the optical system, which uses alaser to read the data encoded on the surface of the disc, and look at the way this data is processed once it has been recovered from the disc and is again in electrical form.
ERROR DETECTION AND CORRECTION When checked, some data will be shown to be wanting. Perhaps a1has been added, or lost from a word. This is corrected using the very powerful error correction techniques of CIRC, Reed Solomon and crossinterleaving. If too much information is missing or wrongly corrected, it may have to be replaced by a best 'guess' of what was probably there in the first place. This is known as error concealment (see Figs 12a and 12b

from January). For larger losses of information, which are not estimable, the system mutes for the duration of the errors to prevent disconcertingly loud clicks and bangs.
THE DIGITAL TO ANALOGUE CONVERTER 1he DAC is presented with one 16-bit number after another in a regular stream (with CD, 44,100 times a second). Within this short time the DAC must convert each 16-bit number into its corresponding analogue voltage, and hold it until the next voltage is presented, repeating the process over and over for each successive number. The immediate output of the DAC is therefore a wave comprising staircase-like steps, similar to the quantized samples in the ADC immediately prior to digital conversion.
At high frequencies there are fewer samples per cycle. At around the highest recordable frequency (say 20kHz) there will be only marginally more than two samples per cycle, creating large steps in the waveform.
These steps were not, of course, present in the original, but they comprise only high frequencies: odd harmonics at 3, 5, 7, 9etc, times the fundamental. These unwanted

HI-FI NEWS & RECORD REVIEW

MARCH 1993

DIGITAL AU W 0

is E

products are therefore quite simply removed by the anti-image filter. The lowest distortion product of 20kHz is 60kHz, which is easily removed by this filter (immediately after the DAC). The result (after filtering by the anti-aliasing filter) is a smooth waveform, just like the original but with some phase shift see Fig 1).
OVERSAMPLING °vet ·.ampling is atechnique used in some digital-to-analogue converters, which effectively increases the sampling frequency by some factor, typically four times, thus giving (say) four times the number of 'samples' and awaveform which looks much less like a series of steps. Additionally, the frequency spectrum of the error signal due to quantization and sampling (see Fig 5, in 'Bit by Bit', January) is pushed higher in frequency, further away from the audio band, which gives better resolution. Oversampling allows a much gentler analogue anti-image filter to be used for removing the unwanted ultra-sonic digital data (which is rubbish as far as the audio signal is concerned). Without oversampling, this filter must be very sharp-acting to attenuate digital garbage at frequencies only just above the top end of the audio band.
HOW OVERSAMPLING WORKS IN DIA CONVERTERS "Ile original sampling frequency in the studio recorder may have been 48kHz and this would be reduced by digital techniques to 44.1kHz, for example, for recording on to the CD (see Fig 2a). Clearly, once set at 44.1kHz, there is no information in the digital signal in between the words representing the samples. Oversampling, however, is cunning.
Taking four-times oversampling as an example, acircuit inside the DAC generates words at 44.1 x 4, or 176.4kHz, to create awaveform from

the DAC with smaller steps (see Fig 2b). Only the words occurring at 44.1kHz are from genuine samples. The others in between are computed by acomplex circuit which interpolates between the samples (assuming asmooth curve running between the analogue voltages which they represent) to decide what might originally have been there.
Interpolation is not as crude as it seems, because the anti-aliasing filter prior to the ADC has already removed any sharp deviations (le ultrasonic frequencies) from the waveform.
The interesting thing about oversampling is that the results of the computations which generate the extra words are digital numbers much longer than 16 bits. These are rounded up and down to the nearest LSB to create 16-bit words in the same way as in an ADC. However, there are now four samples for every one previously, so that when these are averaged out by the filter after the DAC, changes in voltage smaller than the LSB can emerge. Though one could argue that these small voltages are pure invention, oversampiing does greatly smooth the waveform by reducing its step-like nature both in level and in time. Another trick is to use an 18- bit or 20-bit DAC and to round off to the appropriately smaller LSB, which in theory gives more even voltage levels and smaller steps.
In addition to the reduced noise and increased resolution due to oversampling, the use of a gentle analogue filter and digital filtering to remove images allows amuch better phase response to be achieved than would be possible with the sharp 'brick-wall' analogue filter which would otherwise be required.
OVERSAMPLING ADOS Oversampling can also be applied to the analogue-to-digital converter. In

HI-FI NEWS & RECORD Form

MARCH 1993

59

Fig I: Sampling and sine waves. Sampling at high frequencies would appear w miss much of the waveform. The result of sampling a20kHz waveform at 44 . IkHz (Fig Ja) is asquare wave (Fig b). However, the odd harmonics of this 20kHz square wave are removed by the antiimage filter at the output of the digital-toanalogue converter. The DAC output, perhaps surprisingly, is apure sine wave (Fig lc). The
input to the ADC would of course have been a
pure sine wave also, because the anti-aliasing filter would have removed any harmonics from the original signal. Therefore, within the specified 20kHz bandwidth, the digital system does re-construct all the frequencies present in the original signal, even though it only samples at discrete time intervals.
Oversampling allows amuch gentler analogue antiimage filter to be used for removing the unwanted ultra- sonic digital data
Is = 44 lkHz
Four times oversompling
Is . 176 4kHz Fig 2: Oversampling. Normal sampling at 44 . kHz creates astaircase-like waveform (Fig 2a). However, oversampling (Fig 2b) results in smaller steps which are easier to filter out, resulting in less unwanted noise in the audio band, improved resolution and better phase response (see text).

Fig 3: Current-dividing DAC. Here st a

digital-to-analogue converter using dividing

current sources (as used by Philips), which is

much more accurate than using asimple resistive

ladder network. These are interlinked so that the

currents descend in the correct ratios: ir, 1 (the

Most Significant Bit), 1,2, 14, 1,8and so on

dotai to the 1-SB. This diagram shows a14-bit

converter, but the principle is extendable using

more bus by adding more current sources. One

advantage of this type is that the current sources

are active devices in which changes a. ·.urrent

balance out to compensate for varicuie due to

temperature, etc. This allows much more stable

opesatian down w the tiny currents involved in

the Least Significant Bits. Accurate switching

time is, however, still vital, particularly for the

nu

more significant bits.

Ineui
·

I g

1,, d

In g

21 -- f2mA)

ràdrrenl dowder

I(( mil)
107

I I

Il
in I

1,2 g

Curren1 &vide.

1/571

Intui Id I
Intl& I

B 21)774 Meg
e·-·

o
Output

6f, 'ch of ·=hange of polarity.

Slope & convector

Distorted output waveform

Fig 4: 1 'zero crossing'. This is what happens when there isa glitch at the change of polarity as, /or apositive-going signal, the Most Significant Bit switches on and all the other bits stawh off .et :era analogue volts and vice versa for anegauve-going signal). Much attention has been applied to eliminating this from multi-bit digital-to-analogue converters, but the problem has spurred development of the one-bit, and
DAC ,.
60

Input voltage -- Input waveform

Whatever processing circuitry appears in the DAC, the heart of it is that part which converts the succession of words from digital to analogue. There are various types, but the easiest to understand is the ladder DAC.
Non- linearity here can be very similar to crossover distortion in class B amplifiers

this case, the images or multiples of the wanted frequency are pushed up into amuch higher frequency band (due either to sampling more rapidly, or the addition of extra interpolated words to the genuine sampled ones). Again, this makes the analogue antialiasing filter's job rather easier, so that a sharp brick-wall type is not essential. A gentler analogue filter with abetter phase response can be used. (Its work is supplemented by a sharper-acting digital filter which prevents aliasing when the sampling rate is reduced to the correct frequency.) As with oversampling digital- to-analogue converters, oversampling analogue-to-digital converters push much of the unwanted noise due to quantization and sampling ( see Fig 5, January) to above the audio band, thus reducing the error and effectively increasing resolution, while introducing less phase shift.
DIGITAL-TO-ANALOGUE CONVERSION Whatever processing circuitry appears in the DAC, the heart of it is that part which converts the succession of words from digital to analogue. There are various types, but the easiest to understand is the ladder DAC. In this type of converter, resistors decreasing in value according to powers of two from the least to the most significant bit are employed to provide scaled currents. Electronic switches connect up the appropriate resistors, so that the appropriate currents add in one resistor to give the total analogue voltage at any instant. Resistor networks are prone to inaccuracies and thermal drift, so various other designs have been evolved to deal with these problems. One such type is based on current dividing networks and is shown in Fig 3.
LOW-Bff DAS These DACs work on quite adifferent principle to the ladder or dualslope multi- bit converters. They both aim to overcome the linearity problems which can affect multi- bit DACs. Ideally, a DAC should be perfectly even throughout the whole dynamic range from the maximum negative value, through zero, to the maximum positive value. However, this is not always the case, particularly when the waveform passes through zero when the MSB changes.
Non-linearity here can be very similar to crossover distortion in class B amplifiers ( Fig 4). A DAC should be monotonic: in other words, the output of the DAC should increase when the digital number increases. If the voltages representing some of the bits are not correct or if they appear at slightly the wrong time, the wave-

HI -FI NEWS & RECORD REVIEW

MARCH 1993

DIGITAL AUDIO

form can show a downward glitch instead of an upward slope as the digital numbers increase. If that happens, the DAC is said to be not monotonic ( Fig 5).
Careful design of the converter can help to avoid the non- linearity which can occur with multi- bit DACs and ensure monotonic behaviour. However, to sidestep such problems, the so-called low-bit systems using Pulse Width Modulation, Pulse Length Modulation, Pulse Edge Modulation, or Pulse Density Modulation have been developed. Available low- bit converters include MASH from Technics (PWM), Pulse D/A from Sony (PLM) and DD converter from JVC (PEM). These use rather less than 16 bits -- between one and four for D-to-A conversion.
Of these, the Philips BitStream converter is arguably the frontrunner in terms of popularity, so we'll take it as an example. BitStream works using Pulse Density Modulation using a single bit. Instead of relying on adding up 16 highly accurate currents or voltages, requiring to be turned on or off at exactly the

same time, by a stream of parallel words, BitStream converts the 16-bit words into ahigh-speed serial stream of single bits.
The average value of the pulses equates to the required analogue voltage. Filtering averages out the pulses much the same as with a conventional DAC. The output of the filter is asmooth, re-constituted analogue waveform. In order for these systems to work, however, the pulse rate must be very much higher than the highest audio frequency, so the digital circuits operate very fast indeed (typically just over 11MHz) rather like very rapid oversampling. This makes it easier ( in theory) to filter than with aconventional DAC (see Fig 6).
THE WHOLE SYSTEM These diverse elements are brought together in the conversion of analogue to digital for storage and playback into analogue. Figs 7 and 8 show these building blocks brought together for digital compact disc.
This ' Back to Basics' look at digital audio has been necessarily brief and,

of course, is by no means comprehensive: for those wishing to learn alot more about digital Ican recommend The Principles of Digital Audio by Ken Pohlman ( SAMS, USA). It
explores the subject in far greater depth, though it ideally requires an engineering background for a full understanding. More useful for the non-engineer is Introducing Digital Audio by Ian R Sinclair (PC Publishing). This does not go as deep but may be more accessible.+

Photographs illustrating this article show various CD circuit boards. On page 58 are two boards from Audio Synthesis; on page 59 astandard Philips Monoboard'; and finally (above) one used by Covent Garden Records as part of its `aftennarket' plover upgrade

Analogue output --*.

Ideal (monotonic. ) _ _ _ Not monotone

Low pass filter

r»ntral and esplay signals

Sync

(trot

Mcdulata

--aescord

000 obi oio chi too lot no in
Fig 5: Monotonicity. Ideally amulti-bit DAC should be monotonic, so that its analogue output rises with the digital numbers. If one of the bits is inaccurate or is switched at the wrong time, the output may drop instead and the DAC will not be monotonic (another spur to low-bit DACs).

Gsond.`'l'ot con4vv-,,ee°rrter WuUpieo

Muth>.
I

Fig 7: The CD record chain. Left and right hand signals are filtered w prevent ahasing, then the sample-and-hold circuits sample the left and right waveforms. The ADC converts these w digital after quantizing. The resulting digits are converted from parallel to series form, left and

right channels are time multiplexed sequentially into the data stream and error correction information added. Control and display information is inserted. Finally, the data is eight-to-fourteen modulated and synchronising signals are added for recording on to the disc.

1

Isecaras] ·

Fig 6: Bituream. Here sthe output of aBitStream DAC showing how the stream ofpulses at 11.2896MHz is switched so as w average out w equal the original analogue waveform. Advantages are that no series of accurate currents, switched at precise instants, are required -- just one voltage switched on or off (or + to -- ). The narrow pulses are easily filtered out w leave the wanted analogue signal.

HI-FI NEWS & RECORD REVIEW

MARCH 1993

Control
SeOecloon, anneal

atspty '1,acirs)

Fig 8: The replay chain. For replay from CD, the weak signal is retrieved, cleaned up and synchronised to astable internal crystal oscillator, or 'clock', the complex digital signals are demultiplexed and error corrected for feeding

w whatever type of digital-w-analogue converter is employed. In addition, information is retrieved for display, etc and to control the tracking of the laser over the spiral ofpits in the disc.

61

Hungarian audiophiles
flocked to their country's
first ever hi-fi show
by KEN KESSLER
BUDAPEST Goulash. Gypsy music. That's all I knew . about Hungary. Oh, and that Budapest is actually two cities, Buda and Pest, divided by the Danube. But it's aterrific city, like Paris without the French, and nobody had to twist my arm when I was offered a ride to the country's first-ever hi-fi show. The show was organised by Istvan Csontos, the distributor for Audio Note, Goldring, Voyd, Moth, Sound Organisation and other brands, and he's quite a, uh, character. Art lover, music fanatic, cynic, record collector (he found me some Beatles bootlegs for around £ 3per), journalist, raconteur -- ain't no way the show was gonna flop. Even at a hard-earned £2.50 per head ( roughly the cost of a very good meal or abrace of cinema tickets), the show attracted over 4000 visitors for its fifty-or-so rooms. And Isoon learned why. With equipment being so far beyond the reach of all but the few, Hungarian audiophiles find other ways of satisfying their cravings. -

Naturally, the country is DIYoriented, things having improved
considerably now that they can buy Russian military valves instead of the civilian junk they used to suffer. Just about everyone has built part or all of his system, including turntables. But they're not unaware of foreign exotica, and this show provided an opportunity for them to listen to the gear they only read about in maga-
zines like Hi-Fi Forum. And so they arrived, stayed all day, came back the next. And the next.
The lack of foresight in the world of hi-fi is legendary, so only afew
foreigners showed up at the birth of what will eventually be avery exciting market. Linn, Audio Note, van den Hul and Focal were among those who actually sent representatives, while HFNIRR, Audiophile, Hi-Fi Choice and Cone (of Austria) were the only magazines to cover the show. But the distributors did a fine job, with Mission, JBL, Revox, B&O, Yamaha, Audio Research, NAD, Nakamichi, TEAC and over 100 other brands showing their wares. But Iwanted to go · native, or find
scoops, and Iwasn't disappointed. Alisca Orange is a Hungarian
brand which featured a complete system, including floor-standing speakers and massive solid-state amplification. My Hungarian ain't too good, so I couldn't make out
what they were doing, but it was one of the best facsimiles I've heard with the kind of sound the Japanese derive from horn systems. Sources included aRock turntable and aNagra open reel tape deck. Merlin showed a funky triode OTL amplifier (yes, triode output-transformerless), 30W monoblocks using Russian military tubes on a wooden chassis. Audio
Note provided the world with its first glimpse of the new-look Ongaku, now fitted with achassis suitable for external display rather than cabinet
mounting. Zsolt is a Hungarian speaker maker with atwo-way, floorstanding design reminiscent of certain Monitor Audio models. Iwon't tell you the price, but what Ithought looked like £500's worth of enclosure and driver costs around what we'd pay for a bookshelf speaker of the. budget persuasion.
Lots of goodies were strewn around for anachrophiles to covet, including a display of arms and cartridges. Neatest application of antiques? Merlin did ademonstration
through Audio Innovations gear with a 60-year-old Dual turntable playing jazz 78s. The sound? No kidding: astonishing.
Jean-Pierre Farkas turned up, not with mind-boggling tweaks but with Hungary's first home-grown D/A
converter in the Heybrook room.

Above, Hungary's own Alisca Orange speaker system; left, Merlin's triode OTL amplifier
And Ialways numbered Heybrook among the conservatives ... The place was crawling with Gryffusors to sort out the ( good, sensibly sized) rooms in the Hotel Platanusban.
We sold out of HFNIRR and met loads of its readers, including that stalwart audiophile Deszo Horvath. I had a hands-on session with the Revox Evolution system and fell in love with the LCD touch-panel controls. Every room had long queues, especially Linn, who turned up with all its latest goodies.
The show was software-heavy, with lots of stands selling hard-tofind CDs, US imports, used vinyl and the like. Jazz has astrong following, and Iheard more demos conducted with vintage jazz than music from any other genres. One Hungarian company showed up with some astonishingly good classical CDs, the Quint label which is now adivision of EMI. Try to get hold of its CD Amadinda Live (QUI 903081), alush vibes-and-percussion recording containing amix of African music and jazz standards, and convincing audience sounds. (Write to Kiadja Quint Kft, 1055 Budapest, Nephadseregutca 12, Hungary.)
The Budapest show was a refreshing change, aweekend spent among audiophiles at least three generations away from being jaded. Yet the show was loaded with AN surround set-ups -- now regarded as the last resort for rejuvenating this hobby of ours. Go figure. Here's hoping the Hungarians finally get some convertible currency. le-
Above, the incredible Dual turntable and head amp; left, KK with the legendary van den Hul

62

HI-FI NEWS & RECORD REVIEW

MARCH 1993

SHOW REPORT

Small but perfectly formed, like so many things Italian: the Top Show in Milan, covering but two floors and consisting mainly of distributors rather than individual brands, is a high-ender's paradise.
The Italian hi-fi industry, though still to establish itself abroad, is bigger than you'd imagine, and the country's appetite for high-end imports is huge. Doyen of the Italian speaker makers, Sonus Faber launched what might be the company's best seller yet, the exquisite Minima Amator. Calling it a baby Extrema may be pushing it abit, but this latest tiny two-way is a no-compromise mini, clothed in the trade mark curvey walnut. Heard on dedicated stands, it shocked the public by delivering real bass, a vast soundstage and dynamics not expected from a box the size of an LS3/5A. The price should be under £ 1300 per pair in the UK.
The most amusing and charming new product comes from acompany called Quiet, which produces arange of hang-on- the-wall speakers, one in particular showing incredible
Above, Fidelta' Del Suono's amazing transmission line; top right, Transrotor's 'oil rig'; far right, Sonus Faber's Minima Amotor
imagination. It's a subwoofer-plussatellites in the shape of a large triangle only 15mm thick. Not enough separation? Remove the two outer points and mount them away from the main section. Each contains amid/treble unit. The price is circa £500.
The show was crawling with 'audiophile' software, but new to me are the CDs from Foné, best known in Italy for producing the sensational CDs sold by Audio Review magazine. Mainly obscure classical works, the Foné titles sound so natural and sweet you wonder why Linn made such astink about digital; according to the notes, the company uses Linn hardware. The label can be reached on 010-39-586/884069 or at Via Gol-

doni 50/52, Livorno, Italy. Which reminds me: Linn showed a
bunch of new products at Top Audio, including the Karik singlebox CD player (£ 1497 and upgradable with the addition of aNumerik converter at £998), the Kairn-Pro line- level pre-amp (£989), the Keilidh loudspeaker (£492), a polymer granite base, the K1811 cartridge (£ 169) with revised cantilever suspension and more. Oh, and the Italy-only Linn T- Shirt is the coolest I've ever seen.
Despite some High Drama with wiring problems the night before the show, the Krell/Apogee system produced some of the finest sound I've heard for a long time.
Harmonix showed the new, larger equipment foot, appropriately called the Elephant's Foot, looking like a wooden coffee mug. Musical Design has a gorgeous tube pre-amp, the SP- 1, with a neat window in the fascia so you can see the tubes.
The Italian magazine, Fidelta' Del Sumo, showed a transmission line design featured in the magazine and part of a collaboration with L'Accademia Del Cimento, dubbed Project Heil. A huge device, it uses forward facing and downward-firing drivers in an enclosure which looks like a gigantic telephone handset.
Avalon's latest is its smallest model, the floor-standing Avatar. And it looks just like amini-Ascent, standing 34in tall. Drivers include an 8in Nomex/Kevlar composite woofer and a lin titanium dome tweeter; price is US $3950.
Cello, as at 1992 CES, demonstrated its new audio/visual system, while the eagle-eyed noticed anew, small speaker system. Turn to p26 for the full story, hot Las Vegas.
Naim unveiled the NAC 82 preamp, remote-controlled and selling for around athird of the NAC 52. It can be upgraded to near-NAC 52 spec through power supply options.
Italy's Audiogram, which showed a smart integrated amplifier at The Hi-Fi Show, unveiled anew power amplifier with similar, sleek styling and, possibly, asub-£ 500 price, but it's early days.
Something for anachrophiles: the revived ESS Heil Air Motion Transformer tweeter.
From SOTA, a prototype CD player, all black and shiny, and built like atank. So yet another turntable maker bites the digital bullet.
Not so Germany's Transrotor. This company showed three or four of the wildest turntables I've ever seen, including a chest-high floorstander which looked like a North Sea oil rig minus the North Sea. Chrome? Enough to embarrass a ' 53 Cadillac: sliding pillars, facilities for

Full of high- end treats, Top Audio lived up to its name
by KEN KESSLER

MILAN

extra arms, afinish beyond that of surgical equipment.
Keep your eyes peeled for anew Italian tube range from Graaf: exquisite Oil amplifiers in 100 and 200W form, with ' magic eyes' for level display, gloss-black chassis and transformers the size of aMini's wheel.
MB Quart had a weird design called the Aera, with aball-shaped tweeter enclosure mounted in aPerspex slab, producing afloating effect. If Icould speak Italian, I'd tell you whether or not the ` Magnetostriction' tweeter is a pulsating sphere.
Audio Note showed atube DAC which doesn't cost £98,000.
Monrio had an interesting integrated amplifier, the MC200, delivering 2x75W into 8ohms,with three line inputs, phono and tape as well as record-out facility at around £800, and the Cento 120W/ch Mosfet power amp, circa £1300.
Overall, a terrific show. 14-

Another elegant Italian speaker for the UK? Distributor John Watson ofMPI
with apicture of the Acoustical

HI-FI NEWS & RECORD FtEVIEW

MARCH 1993

record reviews

o>iità
SMOITRICOVICII JAZZ MUSIC
Plano COncarto 50,1 · Tea for Two Royal Concertgebouw Orchestra

classical
JS BACH Brandenburg Concertos 69 Brandenburg Consort 69 Hanover Band Cellos Suites 70 Bylsow Organ works 70 Preston BEETHOVEN Missa Solemnis 70 Soloists! VPO etc. Levine Violin Sonata 5 71 Vengerov/Golen BOND 7-part Concertos 71 Parley of Instruments BRAHMS Piano works 71 Pogorelich 71 Kempff BRUCKNER Symphony 5 72 BPO Barenboim COR/lAGO Hissa de la mapa mundi etc 72 His MajestiisClerkesi Newbury Consort DEBUSSY Le Martyre de Saint Sébastien 69 sobosts LS'( ?» Ch/Tusan Thomas LIGAR Symphony 1etc
72 LSO/Tate 72 BaltunorelZinman
HANDEL Opera Arias Stutzmann Hunt Acis áGalatea lair. Mozart) 73 soloistslEnglish ConcertiP mooch HAYDN Symphonies 64, 9, 12, 13, 16, 40,72 74 AAMIHogwood IGLAUSS 4Symphonies 74 Concerto Koln LOBO Requiem 74 Tullis S,holars MENDELSSOHN Violin Sonata in F 71 VengerovMarkovich

The NFN/RR Ratings Sound quality and performance are separately graded as a summary of each review. In Rock/Pop/jazz the numerical rating also reflects musical content. ( A few releases are reviewed from master-tape copies, as stated.) An additional ' star' denotes outstanding quality.

Sound quality :

Performance

Fine modern recording

A

1 Very Good

Good, some minor resavation g

2 Good

Only moderately convincing

C

3 Moderate

Poor sound

D

4 Poor

Historical source, eg 78rpm

H

H Historical

INFORMATION Review headings show catalogue number and CD total playing
time, followed by aprice coding (see 'Save on CD').
Reissues are shown as ® with the first UK publication date
=monophonic recording.

64

MOZART

Violin Sonata K137d

71 VengeroviGolan

Symphonies 38 & 40

75 LCP/Norrington

Die Entführung aus dem Serail

75 soloists, Eng Baroque,(lardmer

PROKOFIEV
Symphony 5/It 16jE

76 St Petersburg/ Temirkanor

SHOSTAKOVIOI

Tahiti Trot, Jazz Suites, Plano

Concerto 1

76 Concertgebouw/Chaillv

SCHUBERT

Hyperion Edition (Vol.151

76 /',,, 1Ijfl\ 457)

STENHANIMAR

Piano Concerto 1etc.

76

Imo S ij iirvt

TCHAIKOVSKY

Symphonies 4, 5, 6

77 `,

burg, Ternirkanov

Nutcracker ballet

77 la '0 Temirkanov

77 /./>( ) 1ansons

VERDI

La Traviata

78 so/outs/LSO/Rizzi

78 soloists'Afet Op/ Levim

VIVALDI

Concerti da camera

78 II Giardina Annonico

Oboe Concertos

79 BoyclCOE

WAGNER

Lohengrin

79 soloists/Bayreuth Orch/Schneicier

reflections

JS BACH

Organ Works

80 Rogg Brandenburg Concertos

80 Concentus musicus BARTOK

Bluebeard's Castle 81 soloists/LSO/Doran
BEETHOVEN Symphony 7 81 LSO Moot, sx

BERG Wozzeck -- excerpts

81 /', IarczykiL.SO/Dorati

BERUOZ

Overtures etc

81 l'ans Cons/Munch L'Enfance du Christ, Les Nuits

d'Eté 81 soloists/Boston SUM uneh, Price

Chicago SO' Reiner BRAHMS

Choral Works

81 Senn.CiuBl'O/Abbado DVORAK

Symphony 7 81 LSO ,Monteux

STIIIRRon7 9 83 Detroit St.Sl'oral
KHACHATURIAN

Gayenah -- excerpts 83 LSO Doran

IJSZT

Années de Pèlerinage 83 Berman

PAGANINI

Violin Concertos

83 .1,, ord. I

1)uunt

SCHUBERT Winterreise

83 SHOSTAKOVICH

Symphony 5

83 .ilinneapolis/Scrotvaczewskt

SIBELIUS

Symphony 2 83 Detroit SO/Paray

TCHAIKOVSKY Nutcracker 83 L.St).1'revin

DAS ALTE WERK 80 CPE Bach, Marais, Rameau, etc
rock/pop/jazz
ALL ABOUT EVE 92 Winter Words -- Hits And Rarities
KEVIN AYERS 92 Bananamour 92 Sweet Deceiver
JOHN CAMPBELL 87 Nowlin' Mercy
CARNIVAL ART 88 Welcome To Vas Llegas
THE CULLUM» 92 The Man From UNCLE
THE CHAMPS 92 Tequila
MANUS AND 11001E 87 Duophonic
MR CRYSTALS 92 The Best Of
WM EARLS 92 Remember Them. . The Very
Best Of The Earls LOUPE MUFF 88 Animals With Human Intelligence THE EVEREST BROTHIRS 92 The Mercury Years '84-'88 FISH 88 `, angs From The Mirror FUNKADELIC 92 .111,1, Far Your Mother SUM GAILLARD/BABS GONZALES 92 Shuckin' And Jim' JUDY GARLAND 92 Always Chasing Rainbows GENESIS 88 The Way We Walk ( Vol.2) BILL HALEY AND THE COMETS
92 The Very Bet 01 JOOLS HOLLAND
88 The A-Z Geographer's Guide To The Piano THE METRES
92 Fine, lirio', bine NILS LOEGREN
92 Code Of The Rood DARLENE LOVE/LANI GROVES
89 Banging It Home MAGNA CARTA
89 Heartland MELANIE
92 Gather Me JONI MITCHELL
92 Wild Things Run Fast
MICHAEL Nasavnl
89 Tropical Campfires PAICE ASHTON LORD
93 BBC Radio lLive in Concert GERRY RAFFERTY
91 On A Wing Am/A Prayer TERRY REID
93 Rogue Waves CH/UWE RICH
91 Pictures And Paintings MIKE PENDER'S SEARCHERS
91 Mike Pender's Searchers THE SEARCHERS
93 The EP Collection Val 2 SOUNDTRACKS VARIOUS ARTISTS
91 Handers Messiah -- A Soulful Celebration VARIOUS
93 Beware Of The Texas Blues Vol 2 93 IAnd Only -- 25 Years of Radio l 93 Rock'n'Roll Party Smashes 93 2000 Volts Of Stax 93 Your Starter For Ten
GINO WASHINGTON & THE RAM JAM BAND 93 Two Original Live Shows TRIO 93 Essential Yello THE ZOMBIES 93 The EP Collection

IDEI NEWS aRECORD REVIEW

MARCH 1993

music news

contents

music news
65 Yuri Temirkanov talks to David Nice
record of the month
69 Debussy's Le Martyre de Saint Sébastien
classical
69 Brandenburg Concerti compared, plus Nutcracker, Elgar I, and La Traviata; contrasts in Brahms & Vivaldi
reflections
80 Bach's organ works; more Mercury classics and Das Alte Werk
rock/pop/jazz
87 Three views on Charles & Eddie; Robert Lucas does the biz; one for Rafferty fans; Soundtracks
reissues
92 Reviews by Ken Kessler
finale
106 The late Dizzy Gillespie --an appreciation by Steve Harris

YURI ·tsaziàà TEMIRKANOV
by DAVID NICE

·
'Once I'm conducting, I'm not thinking any more. So all those other doubts don't exist. But in a way, Ihate this profession'

Whether you love his style or hate it, the fact remains that Yuri Temirkanov is an extraordinary man. Listening to his new Tchaikovsky symphonies recording on RCA [see reviews], first with disbelief, then with agrowing admiration for the deeper feeling
behind the idiosyncratic approach, was enough to make me turn back to our conversation, held at the time when he was just leaving the Kirov Opera to take up the post of principal conductor at the (then) Leningrad Philharmonic.
On the platform he can seem a showman, manipulating clownish grimaces and gestures with ahint of uncertainty. Face to face, he speaks quietly, seldom looking you in the eye, always a cigarette in nervous hands (or so it was at the time). Having asserted, with no false modesty, that his new post was as much an honour for the orchestra as for himself, he qualifies the remark.
'If Iwere daunted by the prospect than Iwouldn't have taken it on. Really deep down I'm not a very self-assured man, so it was unusual for me to be so certain. There isn't a more serious critic of myself than myself.'
Does aspecial confidence take over in performance? ' Yes. Because once I'm conducting, I'm not thinking any more. So all those other doubts don't exist. But in a way, I hate this profession, because there hasn't been asingle time before arehearsal, let alone aperformance, when I'm not nervous -- even with an orchestra I've conducted for many years. I'm nervous about whether I'll be able to achieve what Iwant, whether Ican

make the musicians my allies.' It must have been especially dif-
ficult to face that discerning bunch of musicians, the Royal Philharmonic Orchestra, in the days before Ternirkanov was appointed their Principal Guest Conductor -- in January he became Principal Conductor. ' Yes, there was aresistance to overcome. I very nearly walked out of the first rehearsal.' But he stayed, they liked him and 'out of the hundred orchestras I've worked with it's the friendliest and the one I'm most delighted to meet again. The conductor's hardest task is to win the musicians over to your side so they will do what you ask of them with pleasure, even if they don't agree. However strange it sounds, Ican always tell whether the RPO players do what they do with pleasure.'
He certainly asks for the controversial in performance, and it never seems to be the same twice. 'I listen to recordings of my own live performances, and often Ilike what I hear. But even if Iwanted to repeat what Iliked about them, Icouldn't
do it. It reminds me of what Brahms said. A player came up to him after a second performance and said, "Maes-
tro, you conducted much faster today than you did yesterday". And. Brahms replied, "but today my pulse is quicker".' Temirkanov notes the tension between 'what the composer wanted to say, and how we understand that meaning personally'.
But how far does he think he can go? Given his love of extremes, the answer is, at best, evasive. 'The closer Iget to what the composer
wants, the better performer Iwill be. Inevitably there is my accent in

HI-F1 NEWS & RECORD REVIEW

MARCH 1993

65

What a " GLASS" act

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NI-F1 NEWS & RECORD REVIEW

MARCH 1993

music news

Yuri Temirkanov's new RCA recordings of Tchaikovsky's Nutcracker ballet and Symphonies 4, Sand 6, and Prokofiev's Fifth are reviewed in this issue.

communicating the work. Like a good detective Ihave to follow the composer's traces. The more Iguess, the more Iget right, which is good. There is nothing more vulgar than
using the composer to give your own interpretation.' It sounds curiously like an epitaph for his own wildest performances.
A Russian's love of images colours his attitude towards the concert. 'Precise professional work' in rehear-
sal is the laying of foundations, and 'the concert is the house you build'.

'I listen to
recordings of my own live performances, and often Ilike what Ihear. But even if I wanted to
repeat what I liked about them, I couldn't do it.'

He apologises for sounding naive

when he expresses his belief that in

concert, 'conductor and performers

are serving art, it's like a church service. The audience should come

away feeling much better, as if they'd

listened to a very good sermon'.

His repertoire with his London

and St Petersburg orchestras remains

conservative -- Tchaikovsky, Elgar,

Berlioz. He wants to look at Schnittke and Gubaidulina, but his

attitude to modern music is simple. 'Time itself selects the works which

should continue to live, so Idon't

have aspecial desire to go digging.' The Russian bias remains strong -- 'of

course, because Ican feel it best.' He

knew and talked with Shostakovich, though the composer never talked

about his own works. And Prokofiev

settled in the Caucasus during the Second World War, living for a

month or two with Temirkanov's

family, though he himself was only a child. He states bluntly that Pro-

kofiev is his favourite composer, and

adds that we only hear him conduct-

ing the best known Prokofiev sym-

phonies because ' Ilike to make alot

of noise with the Second and Sixth

symphonies, and Iwas very badly criticised in Vienna, they said it was too noisy'.
Curiously, he has nothing to say
about Yevgeny Mravinsky, his predecessor at the Leningrad Philharmonic: when asked about great examples, only Karajan features, followed by another anecdote. ' It's like Heifetz, when asked who was the
number one violinist in the world: "I'm number two but Ican't tell you who's number one".' He was elected at the Philharmonic by secret ballot among the players, which rankles --
but not nearly as much as subsequent misreporting [in Classical Music] which claimed that he was appointed because of his communist party connections. ' Iwas never amember of the communist party, and Icertainly wasn't appointed by higher powers.'
To take up his post, he left the musical management of the Kirov (now Maryinsky) Theatre to Valery Gergiev. During his years there he took over some of the producing -- his
solid Queen of Spades remains in the

repertoire -- and became acquainted with most of the great Russian operas. He is appalled that Tchaikovsky's Yolanta and Prokofiev's Betrothal in a Monastery -- 'the wittiest opera in the world' -- still
aren't staple repertoire in the west, but he has no interest in championing them in Europe or the USA. 'The time for preparation is too short and
in the end the compromise is too great, much bigger than the compromise you have to make as the guest conductor of a symphony orchestra.'
In the meantime, he's happy to revisit familiar works in his recordings. 'Ifeel it's right because now I'm more experienced. The French say
that stupid people don't become cleverer with age, it's just that their
stupidity is more profound. Ihope that's not the case. Whether there's anything new in these Tchaikovsky symphonies, Petrushka and Sympho-
nie Fantastique, only autopsy will show.' 14-

NI -FI NEWS & RECORD REVIEW

RIARCII 1993

PROKOFIEV
SYMPHONY NO. 5 · LT. RUE SUITE
SI. Pelenbm Philarmomc
411RI TEITIIRHANOV
Tchaikovsky · , Yuri
Temirkanov
67

99 Tracks! Test Disc II

t took nearly four years, but we're finally able to top the awesome Hi-Fi News & Record Review Test Disc with anew CD containing agreater variety of
musical programme, revised test tracks and not one but two ' real sounu showstoppers. The HFN/RR Test Disc Vol. II contains 99 tracks running to 75 minutes -- which for many users may be the first
opportunity to see their player's display reading above 20!
Designed to act as a tool for system
assessment, to offer an education in recording techniques and to provide some enjoyable music, Test Disc 11 opens with a `walkaround' channel identification
track unlike any other. Recorded using Ambisonic surround techniques, it allows
the listener to identify several source positions across the stereo stage, through 360 degrees. After a channel phase test there's a specially-commissioned synth-
esizer-based rock track which shows how amulti-track recording is assembled, layer
by layer, in the studio. Magpies that we are, we couldn't resist
including a track already famous on the
show circuit. `Klook's Blues' by French jazz musician Eddy Louisa offers that rare
combination of worthwhile music -- in this case soulful, synth-based blues -- and astonishing sound, including bass content

and dynamics guaranteed to tax your system. For more natural sounds, we've

jected to the sound of Fenny Poppers -- six cast-iron cannon caught in action.

turned to the excellent Nimbus catalogue.

The remainder of Test Disc II consists

Test Disc II contains four of the company's Ambisonic-UHJ encoded tracks, including amajestic recording of Sousa's

of anumber of test signals of use to both the amateur and the professional. Categories include balance and phasing, swept

'Stars & Stripes Forever' ( sure to be ahit frequencies, precision-calibrated level

with our American readers). More education follows, with aseries of

tones and many others. Whichever way you look at it -- as ahi-fi

tracks from Denon in Japan illustrating show-stopper or atoolkit in ajewel case --

differences in recording techniques, while Test Disc II will cause as much of astir as

ri:ORDER Tony Faulkner provides material allowing its predecessor.

the listener to compare transis-

FORM: Please send me

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tor and valve mik- TEST DISC II at £12.25 each. Ienclose remittance of

ing techniques. And then there are
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tracks for Test Disc II. First is the sound of the most famous clock in the world, Big Ben's chimes at 12 o'clock, courtesy of the BBC. With ears still ringing,
you are then sub-

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WARNING: some of the high-level test tones on this disc

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There's some excellent casting here, starting with Leslie Caron
Leslie Caron records the narration for Michael Tilson Thomas's Le Martyre

classical

RECORD OF THE MONTH
DEBUSSY: Le Martyre de Saint Sébastien Leslie Caron (nar)ISylvia McNair (sop)/Ann Murray, Nathalie Stutzmann (mez-sops)ILSO & Chi Tilson Thomas

". DEBUSSY Itj ,1LE MARTYRE OE SAINT SHASTIEN
SYUIA.MC/Mit ,NN,: RRAY
1,f57177-MANN ARON wen"
SnIPHONY ,&ORCiftS114..
MICHAEL TILSON THOMAS

Sony Classical CD48240 66m 25s) ·

Michael Tilson Thomas introduces Le Martyre as like the fragments of an ancient gospel. Some sections of the story are realized in complete deta

others are barely touched on, others not there at all'.

Le Martyre de Saint Sébastien

Inghelbrecht ( 1960) is listed on

was a theatrical event conceived on an extravagant scale by the

CD: his wife's linking narrative is that most frequently used (her

exiled Italian dramatic writer Gabriele D'Annunzio. It was
commissioned by the dancer Ida

synopsis of the five scenes, or
'Mansions', appears in the booklet) but a different formula has

Rubinstein and, along with Fokine and Bakst, Debussy was asked to colloborate -- he wasn't

been adopted for this recording. There's some excellent casting
here, starting with Leslie Caron

first choice as composer, and he was placed under great pressure to

herself aformer dancer -- who, on R4's Kaleidoscope admitted sur-

complete the score (solo voices, prise that Tilson Thomas had

chorus and orchestra). For it, he asked her 'not to declaim' (pre-

enlisted the help of André Caplet vious recordings have been mar-

-- to what extent is unknown. A red by that style of narration). She

five-hour premiere took place in is placed in the foreground, and

1911 (the Archbishop of Paris her urgent pacing contrasts with

forbade Catholics to attend) and the slower sections of music rather

Le Martyre has been variously revived thereafter.

as do the perspectives, say, between the Archers' first chorus

Monteux and Cantelli chose to record only orchestral fragments;

(from the back of All Saints' Tooting) and Caron's voice. The

Munch, Ansermet ànd Ormandy twins, Murray/Stutzmann, and

opted for a fuller realization, Chorus seraphicus [ track 3]

either with or without narrator. A concert performance under DE

further open up spatial dimensions. The music of the Second

Mansion is often like jeux, but

the Prelude fanfares to the next, the confrontation scene with

Caesar, few would recognize as by Debussy -- nor the chorus `Lo!

Adoniastes!', which seems to anti-

cipate the Walton of Belshazzar.

The fmal setting is Paradise; here asequence of choruses is broken

into by the ecstatic soul of Sebas-

tien (McNair).

The resonance blurs most of the

choral text, yet exposes a

curiously un-French sound from

the men of the LSO Chorus.

Sylvia McNair again might be

faulted for French diction, but

she makes some ravishing sounds,

especially as Vox coelestis in the

first stanza 'Qui pleure mon

enfant . . .' [track 6]. Tilson Tho-

mas, whose Debussian sym-

pathies may be traced back on

records to his work at Boston for

DG, allows Le Martyre to unfold and envelop us in its mysterious

and exotic textures without forc-

ing. Certainly, after this it would

be discontenting to hear the

orchestral fragments alone.

[A:1/1*] Christopher Breunig

JS BACH: Brandenburg Concertos 1-6
nburg Consort/Goodman
Hyperion CDA 66711/2 (2CDs, 92m 3.5s) ·

Brandenburg Concertos 1, 3, & 4, 0 2, 5, & 6 Hanover Band/Halstead

EMI CD-EMX 2200 8CD-EMX 22001
43m 46,s 48m 57,s, ·

Britain leads the way in authentic players. These two admirable Bran-

denburg sets recorded between July

1991 and January 1992 show minimal personnel cross-over: Cherry Forbes

is third oboe in both First Concertos,

and Rachael Brown is flautist in both

Fifths, but all other principals are different: we are offered agalaxy of

talent divided between the two cycles. Other facts may help you

decide before we settle down to

opinion: the ` Eminence' is mid-price and on two separate discs, and Hype-

rion's is an inseparable set. Halstead

himself plays harpsichord continuo

throughout; Alastair Ross plays harp-

sichord for Goodman, switching occasionally to amodest-toned organ;

Nigel North adds theorbo continuo

in 1and 6. Both companies provide

excellent sound, but some balance problems emerge.

In Concerto 1both groups over-

emphasize the Minuet's downbeats, Goodman making an idiosyncracy of

it, but he helpfully separates horns

left/right. While Halstead maintains lively rhythms, Goodman lets his

relax in

aslight fault also found

elsewhere in the set, and Goodman's ensemble is not always as neat as

Halstead's. Whereas Halstead tends

to hold the impetus right to the last

beat of some (not all) fast move-
ments, Goodman rounds them off rather anachronistically (again, not

always!). Ifind trumpet balance in 2

more satisfactory under Halstead: with Goodman the instrument is

placed far right and well back.

Trumpeter Stephen Keavy plays

finely for Goodman; Mark Bennett for Halstead is adegree or so finer

still -- a true virtuoso performance.

There is little to choose between the versions of 3: amore prominent

harpsichord and afull sonata move-

ment as central link with Goodman; a

touch more joie-de-vivre with Hal-

stead and a wonderfully gruff moment around 4m in (i) as basses

unravel Bachian knots. In 4, Goodmen agrees with Harnoncourt that

the role of flauti d'echo is to echo phrases in the Andante. They do,

effectively, but they keep their dis-

tance in

to the detriment of

balance. Halstead's violinist adopts ugly slow-to-fast trills in (i) and there

HI-FI NEWS & RECORD REVIEW

MARCH 1993

69

Bylsma is a poetic, stylish
and undemonstrative artist, able to conjure lovely sounds from his two historic instruments

is a surprisingly heavy final chord.
Harpsichord in 5rushes in Halstead' recording but plays excitingly, while

JS BACH:
Organ Works Simon Preston (org)

Ross is more prosaic but steadier for Goodman. His recording is more spacious here than Eminence's, but there are tiny rhythmic hesitations in (i) that defeat true impetus, afault not evident in the light and airy (iii). In 6, Goodman is aclear winner, (i)
fast and more urgent than Halstead's, with theorbo contributing sparing but decisive pings where needed. The enthusiastic finale fascinates with its left/right chattering phrases, where Halstead is clear, precise but
strait-laced. My overall preference is for Hal-
stead, but those who feel an understandable loyalty to the Hyperion label will not be unrewarded. Goodman [A:1], Halstead [A:11.
Robert Dearling

De 435 381-2

(71m 1.5s) ·

For his recital on the Sauer organ at St Peter's, Waltrop ( near Dort-
mund), Simon Preston has chosen an expertly shaped programme of famil-
iar and much-recorded masterworks: the Toccata, Adagio& Fugue in Cand
Fantasia & Fugue in G-minor open proceedings with stunning virtuosity
offset by delicacy and wit; the six Schübler Chorales that follow are airy and spacious but lack something in emotional commitment; and the recital closes with the F-major Toccata & Fugue and the Passacaglia &
Fugue in C-minor, both put across with blazing conviction and the high-
est level of technical accomplishment.
The splendid instrument, installed

JS BACH: Six Suites for Cello Anner Bylsma ( ye!)
Sony Classical CD 48047 (2CDs, 127m 19s) ·

in 1984, is recorded withgreatpresence and clarity despite the potential
hazards of aresonant acoustic. One small criticism is the shortness of the gaps between works. There is the
usual excellent DG documentation.

There are around twenty versions available of the six Bach suites for solo cello, including ahighly praised
one by Anner Bylsma himself,

Above all there is the happy selection

from Bach's oeuvre, quite brilliantly

played. [A*:1*/1]

Peter Branscombe

recorded on abaroque cello and first

BEETHOVEN: Missa Solemnis Chetyl Studer (sop)/Jessye Norman (sop)/Placido Domingo ( ten)/Kurt Moll (bass)/Leipzig& Swedish Rad
Ch, Eric Ericson Cham Ch/VP01 Levine

DG 435 770-2

(2CDs, 83m 10s) ·

One can hardly take exception to
such casting ( precedents include Walter Legge'.s Schwarzkopf/ Ludwig/Gedda/Zaccaria lineup for Karajan's 1958 recording) but there
is something repugnant about DG's marketing this 1991 Salzburg Festival performance as `the most luxurious Missa Solemnis of our time'. Harnoncourt's COE alternative -- he conducted it the following year at Salzburg -- is imminent, and will doubtless satisfy a taste for something more astringent. Levine's set, incidentally, bears adedication to the memory of the VP0 leader Gerhart
Hetzel, killed last summer in a mountaineering accident. It proves a
sugary-sweet memorial, for which James Levine must surely take
responsibility. (Try to hear Hetzel in the Bohm recording. Also, DG should quickly reissue the 1977 VPO/
Böhm EM Heldenleben.) A very mixed impression is created

issue by RCA on LPs made some

thirteen years ago. The new version from Sony Classical is interesting not

least because of the use for the first

five suites of the big Servais Stradi-

vari of 1701, and for the sixth of a

five-string violoncello piccolo from Tirol of about the same year. Bylsma

is apoetic, stylish and undemonstra-
tive artist, able to conjure lovely sounds from both these instruments.

These are rapt but not over-intense

readings -- not lacking afeeling for

broad gestures and drama, yet properly intimate. Unfortunately, the

recordings, made at the American

Academy of Arts and Letters, New

York, on the last three days of

January 1992, are too close and too resonant for my taste. The mic rophones pick up quite a few

extraneous noises -- sniffs and the

occasional hiss -- as well as the rasp of

bow on string at very close range. In

one or two movements -- the concluding Gigue of the First Suite, the

Courante of the Fifth -- atempo that

would pose no problems in adrier

acoustic muffles detail. This is a

shame, given the integrity and lucid -

ity of Bylsma's playing, and the

beauty as well as historic interest of

the two cellos. It should be pointed

out that Sony seem to have short-

changed themselves, CD2 playing for

12 minutes longer than the time

printed on box and leaflet.

[B/C:11

Peter Branscombe

James Levine conducts ' the most luxurious Missa Solemnis of our time' -- aSalzburg Festival recording

by this performance. After the drumtaps, the opening phrasing of the
Kyrie is done in aselfconscious way that draws attention to the conductor. Domingo's entries twice catch an unflattering vibrato ( his best work is in the solo sections of the Credo); Studer appears to sing `Ahr-yie'; Jessye Norman restores one's confidence. In the Gloria, Levine gives us a galumphingly accented

NI-FI NEWS &RECORD REVIEW

MARCH 1993

70

classical

`Quoniam' which sounds very cont-
rived. It would be hard, though, to resist the rather wonderful ' In gloria Dei Patris'; and where this performance really takes wing is in the whooping jubilation of the 'Amens' that close the movement.
A strong feature of Karajan's three recordings, ' Et vitam venturi'
(Credo) is here rather flimsy, its middle section [track 3.7] raced through and superficial. In the Sanctus, the true voice of Beethoven
registers only intermittently in such vague swirling reverberations as
those of the big choral 'Plein sunt' (the Festspielhaus acoustic reminds me of the Bayreuth Ninth, under Furtwângler); the sheer beauty of orchestral sound at the Praeludium arouses great expectations of a Benedictus which virtually submerges itself in plushness -- apart from the honourable singing of Jessye Norman.
In the Agnus Dei, Beethoven gives the bass singer a special role: here Kurt Moll is very fine indeed, yet all four soloists, in combination with some memorable orchestral playing,
provide in the introduction the most memorable seven minutes of the
whole performance. Had everything been imbued with this seriousness and directness, what an event it would have been! ( On the whole though, this deserves to count as the Jessye Norman Missa Solemnis.)
The recording is diffuse, eg opening of Gloria, or Credo [ 3.2/3.3]; the chorus sounds over-large yet pro-
duces little real weight. Not on her best form, Cheryl Studer seems favoured by the quartet microphones. Although you only get
35m on CD2, all sections are helpfully indexed; but why conceive the violin entry at the Benedictus as an actual track point?
[B:2] some 1*, 3. Christopher Breunig

sonata discovered, edited and

recorded by Yehudi Menuhin in the

early 1950s, and even nowadays a

comparative rarity. It is played with

poise and fire, though balance is less

good in this work (recorded in May

1991, with some jangly piano chords)

than in the Beethoven and Mozart

(made in the same Teldec Berlin studio thirteen months later). Itamar

Golan, a new name to me and the

third of these fine young Israeli

artists, sees eye to eye with Vengerov

in matters of tempo and phrasing,

showing considerable Romantic

panache and flexibility in the ' Spring'

Sonata. The Mozart Andantino is

taken very slowly, with neither

repeat observed, and with no embel-

lishments at the fermatas, though with a pleasing sense of wit. Some

stylistic uncertainties, then, but very

assured, powerful and poetic musicmaking.

[8:1]

Peter Branscombe

BOND: Six Concertos in Seven Parts
Parley of Ieivruments1Goodman

more stylish playing or more sym-

pathetic recording than they receive

here. Crispian Steele-Perkins fits well

into the intimate style of 1, Sally

Jackson's soft-toned Baroque bassoon coos fetchingly in 6 (with some

key rattle in iii), and the small string

orchestra's lower line is strengthened

in all but 5by bassoon. In fact, there

are deft changes of timbre in each

work. The 'B- roads' of music are often more rewarding than the trunk

routes; like a drive in unfamiliar countryside, this perfect disc offers

frequent unexpected delights.

[A* :1*]

Robert Dearling

DRAMAS:
Intermezzi Op.117 D Rhapsodies Op.79 EJ Intermezzo Op.1182 Capriccio Op.76:1 /vo Pogorelich (pno)

DG 437 460-2

(53m 05s) ·

Fantasies Op.116 H Intermezzi Op.117 Klavierstücke Op.118 Klavierstücke Op.119
Wilhelm Kempff (pno)

Hyperion CDA 66467

(51m 25s) ·

Volume 8 of Hyperion's ' English Orpheus' series offers Capel Bond's Concertos of 1766, five of which, I
believe, are first recordings. Bond (1730-90) worked in the Midlands, dying in Coventry, and these are his only instrumental works. They comprise an opening trumpet concerto, five string concerti grossi and aclosing bassoon concerto, only the last break-
ing substantially free of the allpervasive Handel influence of the time. It is difficult to conceive of

DG 437 249-2
(71m 21s) recorded 1963 ·
'Composer and interpreter are here linked by ties of nationality and religious belief, and they seem to come together ... across the gulf of two generations'. That sentence has been cut from the `Galleria' reprinted text written for the 1964 LP containing Kempffs late Brahms, generously recoupled here with Op.116. Ideally we need all of this great master's Brahms -- Decca, too, nota bene!

BRAHMS · POCORELICH

--2Kllaivslteenn/tIüacnk,eoopp..111718

Rhapsociéen op 79Capnccio op. 76 No. I

I

Wilhelm Kempff and ¡vo Pogorelich --very different ways of approaching late Brahms

BEETHOVEN:
Violin Sonata 5in F, 'Spring'/ MENDELSSOHN: Violin Sonata in F/ MOZART: Violin Sonata in B K317d Maxim Vengerov ( vin)IItamar Golan (pno)/Alexander Markovich (pno)

Teldec 9031-76349-2

(64m 55s) ·

Maxim Vengerov is the remarkable young musician who won the Carl
Flesch competition in 1990, when he was 16, and he has already made several recordings that are praised as much for their maturity as their virtuosity. Here, partnered in the
Mendelssohn by Alexander Markovich (winner of the Rachmaninov competition in 1983), and by Itamar Golan in the Beethoven and Mozart,
he earns fresh laurels. The Mendelssohn is an agreeable three-movement

HI.FI HEWS & RECORD REVIEW

MARCH 1993

71

Brahms photographed at Gmunden in the late 1890s
The beauty of Kempff's playing lies in its apparent simplicity. The touch is light, the song- like form clear

BRUCKNER:

Clerkes are all Chicago-based, so

Symphony 5 ( Nowak Edition) BPOIBarenboim

Teldec 9031-73271-2

(72m 02s) ·

perhaps they do not seek the same 'authentic' idiom as do the groups which our European ears take as standard.

-- -- What of the first Brahms venture
of amuch younger keyboard master?

Teldec's commitment to Bruckner continues - though so also, alas, does their liking for illustrations in very questionable taste. Barenboim's 1979
version of the Fifth with the Chicago Orchestra ( DG) is currently out of
the catalogue - an interesting though ultimately untreasurable reading. His new recording, made with one of the

Cornago's Mass is followed by a bright collection of courtly secular
songs which the Newberry Consort have got just right: elegant and graceful, but filled with vitality. The acoustic suits these well, but does not give the more sombre sonority of the
mass nearly enough space. The Credo chant, for instance, is seriously con-

Eccentric timings arouse instant suspicions. The Op.118 excerpt [wrongly titled on DG' cover] is ahnost twice as long as Kempffs;

grandest and most experienced Bruckner orchestras, reveals changes of emphasis rather than fundamental differences. The first movement is

stricted; and sensitively sung, imitative passages such as the 'Gloria tua' in the Sanctus would have benefited
enormously from more freedom to

Op.117:3 is 21 /2 m longer - even now taken marginally faster overall, resonate.

Glenn Gould did not stretch to 8m. The comparison is not quite fair,
since Kempff achieved depth of expression without slowness, cg Opp.118:6, 119:1. But contrast Pogorelich with Lupu, Kovacevich,
Katchen and Kempff 0p.118:2 8m 49s/5m 55s/4m 59s/6m 04s/4m 32s Op.79:2 8m 015/5m 41s1 Sm 26s/5m 58s/7m 06s Op.76:1 6m 05s/ - /2m 33s/3m 25s/2m 56s
It is more than a question of slowness. The first page of the

more in line with most other inter-
preters; the slow movement and scherzo too are now taken more quickly. However, it is the relationship between tempos, structural blocks, that matters more, and here I felt again that Barenboim allows himself counterproductive speedings-up and holdings-back. The effect is almost Mahlerian within the scherzo and trio - fascinating detail, but too fussy for my liking. The playing is
rich, full-toned and deeply expressive, though in faster tempos some

To me, this recording is an oppor-

tunity lost: afascinating programme

performed with great technical pro-

ficiency and sense of phrase, but not

sufficiently thought out in terms of

vocal tone to bring out the right

colours. Early music can be surpri-

singly demanding!

[B:112]

Helena Stoward

ELGAR: Symphony 1 Pomp and Circumstance Marches 1 & 2 Baltunort . imiteian

Op.118 Intermezzo brings various unmarked accents; before the Tempo

detail gets lost in the resonance of the Berlin Schauspielhaus. The produc-

Telarc CD-80310

(61m 40s) ·

1the piu lento crotchets are actually faster than in the middle section, whilst the return brings bizarre

tion team have secured a fine recorded quality, with ample reserves
of power, though the pp pizz open-

Symphony 1 Cockaigne Overture /SO 'Tat,

'echo' effects by desynchronizing ings to movements may tempt one to hands. The whole piece is just ahigher volume setting than proves

mauled about. Pogorelich adopts a grand manner for the Capriccio, dramatically persuasive with darkly rippling semiquavers, but the melodic

comfortable in the mighty outbursts; and once or twice there is akind of expectant rustle (preferable to the old bane of pre-echo, of course) before a

lines are lugubrious. Katchen is no silence is shattered by an if entry.

less dramatic, just as capable of [B:2]

Peter Branscombe

voicing strands - why does DG's

Pierre Jasmin find this aspect of CORNAGO:

Pogorelich's Brahms so remarkable? Missa de la mapa mundi Secular

-yet he is true to the 'poco agitato'. music of 15th-century Spain

With markings 'con moto' or 'mod- His Majestie's ClerkeslHillier

erato' discounted, pauses held Newberry Consort

between phrases, laboured emphases
and a constantly varying pulse, the Op.117 Intermezzi similarly strain
the listener's patience. Ultimately, Pogorelich is merely obscure - subtle

Hannonia Mundi HMU 909083 66m 04s) ·
Although this is awell-shaped performance, with clean diction and all

technical control, luminous pianis- of the sense of ensemble which such

simi are about all there is to admire. open-weave music requires, to my

The beauty of Kempffs playing lies in its apparent simplicity - some-

ears it does not go nearly far enough along the path of authenticity to do

times the music slips by, as it were, real justice to the interesting and

elusively, yet emotionally everything well-balanced programme. The bare

is fulfilled for the listener. The touch fifths and open octaves often moving

is light, the song-like form clear; a in parallel, which are one of the

certain domesticity sounds echt- strongest characteristics of 15-

Bralunsian. And the sound has come century music, lack the almost rough

up well. You happily listen beginning intensity which the musical language

to end. Stark in recording clarity, requests, and which underpins per-

Pogoretich's Brahms proves glum, formances by groups such as the New

boring in its wilfulness.

London Consort, Les Arts Floris-

Pogorelich [A:41, Kempff [B:1*].

sants and the Tallis Scholars. To be

Christopher Breunig fair, Paul Hillier and His Majestie's

EMI CDC 754 4142

(71m 39s) ·

David Zinman's latest Elgar, so eagerly requested in these pages, isn't quite the performance that his Baltimore Enigma seemed to foreshadow, but it came as abreath of summer
wind after the laboured glories of
Tate and the LSO. If you agree, as I do, with Diana McVeagh's verdict that ' the most moving moments are
sometimes the shy withdrawals . . . to an inward, private, tender world', then the Telarc disc may win your lasting affection. It is indeed in those Windflower' moments - the whispered idyll for strings which frames the first movement development, the echo- by- the- river effect of solo strings and woodwind (so hard to float) - that the loving intimacy of the Baltimore players comes into its own. The Adagio isn't quite ineffable - the clarinet's nostalgic reflections need a
feeling for improvisation missing here - but at least there's afreshness, asense of tender discovery, on every
page. Tate shoots the fragile coda of the movement in the foot well in advance - right from the moment he
virtually halves the speed of the scherzo ( Elgar's winding-down in the note values should be quite enough) and proceeds at the slowest tempo
possible. Again, there are tender

HI-FI NEWS & RECORD REVIEW

MARCH 1993

72

classical

details, but the listener remains
aware of the time taken. That certainly wasn't the case with Slatkin and the LPO [ RCA], all air in comparison with Tate's self-conscious element of earth.
For the big moments, Tate's LSO unquestionably has the right power.
Horns and trombones project the chromatic cascades at full force; but when, and for which conductor, do they not? There's a lack of discri-
mination in the sheer relentless volume, a blowsiness to which the slightly under-focused recording contributes; and Tate seems to run out of sheer physical energy in the finale's development (admittedly, it needs a helping hand). At times like these, I'd rather hear what Zimnan and the Baltimore players are able to uncover, with less weight at their disposal, though Tate's last few minutes do suddenly take on aripe and ready-to-go thrill. Otherwise, his is an interpretation which, outside its more perverse touches, one would be happy to hear in the concert-hall. But for posterity, alongside Boult and the LPO on the same EMI 'British Composers' label (and Barbirolli due for
reissue, too)? Surely not. Zinman has only the first two
Pomp and Circumstances Marches when, with no repeat taken in the Second, all five could have been
accommodated; Tate offers more in the shape of the Cockaigne Overture, but -- again -- so laboured in its lyrical moments (and so overwhelmed by organ at the end) that it turns out to be no bonus at all. Telarc [A(*):1(*)/2], EMI [A/B:2/3].
David Nice

Tate's is an interpretation which one would be happy to hear in the concerthall. But for posterity?
Master Menuhin at Abbey Road with Elgar -- their classic HMV recording of the Violin Concerto has just been remastered. Right: Jeffrey Tate

MANDE L: Opera Arias

having created the title role of Agrippina at Venice in 1709, she went on to

Nathalie Stutzmann ( contralto)/ Hanover Band/Goodman

feature in London throughout the 1720s in Radamisto, Muzio Scevoia,

RCA 09026 61205 2

(68m 42s) ·

Ithoroughly enjoyed this recital, a highly effective vehicle for displaying
Nathalie Stutzmann's firm, ringing contralto and her considerable pow-

Ottone, Flavio, and as Sesto in Giulio
Cesare -- and concluded as Tauris in Arianna in 1733. By all accounts she was alady of spirit, clearly musically
versatile and of considerable dramatic powers.

ers of characterization. The programme also scores points for an imaginative choice of items, mixing

Might she have been more exciting to listen to than Lorraine Hunt? Coming to this disc immediately after

the familiar and unfamiliar in equal measure and covering awide range of moods and dramatic forms.
The most impressive track is probably the Mad Scene from Orlando, 'Ah Stigie larve', done with a fine sense of its bewildering turns of mood; but it is run close by 'Qui

Nathalie Stutzmann's Handel recital [reviewed below], Iwas struck by its comparative blandness and lowered emotional temperature. Only one
item is common to both programmes: Radamisto's 'Ombra cara'. Andrew Porter's notes for Harmonia Mundi quote Winton Dean: 'unquestionably

l'augel' from Aci, Galatea iPoi:fern°, 'Se dolce m'era gia' from Floridante, and a superb 'Ombra cara' from Radamisto. Stutzmann's voice is a
remarkable instrument, equally

one of the greatest arias composed by Handel or anyone else in the 18th-
century'. But it is Stutzmann who
makes you feel the truth of that judgement. Hunt is merely pleasant

powerful throughout the full, wide listening.

range of her register, and she blends

Her voice is beautiful, though a

it most magically with her orchestral little deficient in colour, and her

counterparts: one would swear the phrasing seems instrumental rather opening syllable of ' Ombra cara' was than vocal in conception. She is

emerging on a cor anglais. The capable of finely- judged ornamentaHanover Band accompany with tion and some invigorating bravura,

spirit, though the sound they make is but there are few occasions when she

sometimes on the tubby side.

seems to use her voice to create a

[A:1*/2]

Calum MacDonald character rather than a musical

effect. From this point of view the

best parts of the disc are Sesto's arias

from Giulio Cesare. All five of them

are given: Hunt has sung the charac-

ter on stage in Peter Sellars's

acclaimed production, and Ithink it

shows. Another impressive track is

the last, the second of Tauris's arias

from Arianna, with its elaborately-

scored orchestral accompaniment.

These are well worth hearing; the

rest, pretty average.

[B:2/3]

Calum MacDonald

HANDEL: Arias for Durastaidi Lorraine Hunt (mez-sop)/ Philharmonia Baroque Orchl McGegan
Hannoola Mundl HMU 907056 (74m 20s) ·
This disc continues Harmonia Mundi's exploration of the Handel aria repertoire through pieces he wrote for particular singers (Cuzzoni, Montagnana and Senesino have already been covered). Of all his principal artists, Margherita Durastanti had the longest association with him:

HANDEL Acis und Galatea (arr. Mozart) BonneylMacDougallISchiiferl Tomlinson/English Concert & Choir/ Pinnock
Archly 435 792-2 (2CDs, 103m 36s) ·
This makes the third version of the Handel-Mozart Acis I've come across in a year: as far as I'm aware, Mozart's tolerably interesting adaptation now outnumbers the available recordings of Handel's original, which is afaintly silly situation. Like Christopher Hogwood on OiseauLyre [HFNIRR October], Trevor Pinnock offers no fill-up on his two discs, though his generally slower tempi fill them rather more effectively. Christoph Sparing on Opus Ill [April '92] offers agenerous, apt and interesting coupling in the only available recording of Mozart's

HI- F1 NEWS 8, RECORD REVIEW

MARCI11993

73

Sadly, James Webster has
'got at' Hogwood and convinced him that Haydn's
symphonies don't need, and never used, harpsichord

arrangement of the Ode for St Ceci-
lia's Day. In Acis itself Ifound honours fairly

sound. The illusion of asmall orchestra in amedium-sized and responsive hall is well conveyed; every note

KRAUS: 4Symphonies Concerto In

even between those two versions, played is heard in its true perspec-

though the approaches of Spering tive, so good is the balance. These are

and Hogwood are almost diametri- some of Haydn's most entertaining

cally opposed. Pinnock stands some- early symphonies. The Morningwhere between, more robust than Noon-Evening triptych 6-8 is the best

Hogwood, bettering Spering in known, 12 is sheer gaiety, 16 and 40

beauty of sound -- but in fact no are energetic examples of early-

version yet gives us the ideal Mozart Classical exploration, the latter, like

Acis, were such athing worth con- 13, with a fugal finale. No.9 is an

templating. The new Archiv record- overture-like work, 72 divertimento-

ing seems to me the best in terms of like, with fireworks for four horns,

ambience and recorded balance, and and played here with pyrotechnical fields what is perhaps marginally the expertise. There are four horns also

strongest lineup of soloists. Opus Ill in 13, giving added harmonic weight.

may still boast the best Polyphemus

What these performances lack is

(Peter Lika), but Barbara Bonney character and period flavour. Some of

outdoes Lynne Dawson on the Haydn's effects are so ahead of their

Oiseau -Lyre set for sheer vocal lus- time -- the bassoon/double-bass duet

tre; Jamie MacDougall is atouching in 6, the organ-chord horn parts in

Acis, and Markus Schafer ( Spering's 13, the dancing fantasy of 40 (ii) --

Acis on Opus 111) seems more at that a period reference point is

home here as Damon. Yet Pinnock's slower tempi are not

needed to bring home their originality. This would be achieved if harp-

merely more expansive than his riv- sichord continuo were used: as com-

als' -- they betoken a certain mon-sense, historical correctness and

solemnity and ponderousness which most textbooks advise. The bassoon

ultimately undermines the appeal of grunt and double- bass mutter of the

his interpretation. In the cumulative trio of 6 is given balancing harp-

lament of the final numbers there's sichord sparkle in Goodman's version

an emotional intensity more on Hyperion CDA 66523. Sadly,

appropriate to oratorio than this mel- James Webster has 'got at' Hogwood

lifluously affecting pastoral tragedy. and convinced him that Haydn's

It is Hogwood who captures the symphonies don't need, and never

music's spirit most faithfully here; used, harpsichord. Webster spends

but elsewhere Ifind his approach not many words in the booklet on trying

merely light in touch but curiously to justify this stance against all that

bodiless. All round (and for value for these very performances tell us is

money) I'd still be inclined to go for missing, then neatly contradicts him-

Spering.

self on page 11 by admitting that

[A*:2]

Calum MacDonald Haydn was the harpsichord continuo

player! Hogwood is his own man

HAYDN: Symphonies (Vol.3)

enough to use keyboard continuo in Mozart's and Beethoven's sympho-

AAM/Hogwood

nies, often with only his own instinct

to guide him. A pity he has already

Oseau-Lyre 433 661-2 (3CDs, 118m 38s)

·

recorded many of the Haydn works in which it is most needed. Fortu-

Capriccio 10 396

(72m 08s) ·

Ishould apologise to Kraus admirers who followed my recommendation and bought Halstead's recording of
three symphonies, an overture and a march [HFNIRR, July 1992] -- but how was Ito know that the present wonderful disc was imminent? It
contains two of the symphonies Halstead recorded, the famous one in C-minor, VB142, and that in Cmajor, VB139, in authentic instrument performances even more exciting than his. In addition, VB143 in D
and VB144 in E-flat figure on Capriccio, making it even better value: 72 minutes as against 55.
When Kraus reshaped aC-sharpminor symphony ( VB140), he added bassoon and two more horns ( making
four), replaced flutes with oboes, dispensed with continuo, dropped the Minuet and transposed it to C-minor. The result was VB142. Concerto Köln retains continuo harpsichord -- always wise in works of the 1780s -- to give this gripping performance even more authenticity and bite. The other three symphonies are all
penetrated by the Sturm and Drang spirit to which the C- minor is dedicated. VB144 in E- flat has alternative slow movements: that recorded here is the C-minor in 68rather than the 13-flat in 24, agood choice in that it continues the earnestness of (i) and allows us amost sensitive oboe solo. In the first movement adeceptively cheerful start turns increasingly dark and disturbed, at one point leaving second violins spinning confusedly like asub-atomic particle after some cataclysmic reaction. The C-major, VB139 and the D-major, VB143 are equally commanding, quite different from, but as finely-wrought as any-

The AAM is playing better than ever. Beautifully incisive string articulation, needle-sharp accuracy, with
spirit, taut rhythmic drive and supple phrasing, all captured in faithful

nately, Goodman's series is committed to employing harpsichord, and
Derek Solomons's series, which Sony assure me will appear on CD, also
uses it. Other points: Hogwood omits tim-

thing by Haydn or Mozart. The tension of the music is ideally
matched by the performances, and the recording is well-spread, with good bass weight. A second volume is
promised: if it is only nearly as good

pani in 13 -- expected but regretted. as the first it will deserve equal

In 40

bar 5etc, there is aquaver

appoggiature to a crotchet. Quantz,

grading. [A* :1*]

Robert Dearling

CPE Bach and L Mozart all stress

that the gracenote and the main note should be of equal length: Hogwood clips both to half length -- unexpected

LOBO: Requiem Tanis Scholars 'Phillips

and gawky. Although there can be no honest
recommendation for this set, it has to be said that Hogwood's 'complete' cycle (which apparently is to exclude
69) promises to be superbly played and superbly recorded -- but is it Haydn? [A*:1/2] for performance, [4] for

Gimell ClIGIM 028

(65m 45s) ·

What can Isay? The Tallis Scholars and Peter Phillips seem to go from strength to strength both in the breathtaking maturity of their performances and in the fascinating musical treasures which they unearth from obscurity.

text.

Robert Dearling

Duarte Lôbo, not to be confused

74

HI-FI NEWS & RECORD REVIEW

MICH 1993

with the slightly better-known Spa- offset by an impressively cumulative

niard, Alonso Lobo, flourished in sweep. David Murray's recording is

Portugal in the late 17th-century. as responsive to dynamic gradations

Like many composers from that area, as it is rounded, natural and fresh.

he continued writing in the tradi- Two familiar masterpieces sparkle tional, Palestrinian a cappella and glow as if new-minted.

(unaccompanied) style until well into [A:11

Peter Branscombe

the late Renaissance and long after

the new stile concertato (literally `con- MOZART:

certed' or playing off instrumental and vocal groups against each other) had taken hold in the progressive

Die Entführung aus dem Serail OrgonasovalSteden101sen1Peperl HauptmannlMinettilMonteverdi Chi

musical world of Venice. The six- EBSIGardiner

voice Requiem recorded here is firmly anchored in the prima practica

Archly 435 857-2 (2CDs, 132m 37s) ·

but there are passages, such as the John Eliot Gardiner's first recording Kyrie, which approach the vertically of one of Mozart's comic operas turns

based, harmonic structures of Baro- out to be avery serious and austere

que writing. Needless to say, the affair. Its fundament is abold, forthScholars' dynamic shaping of these right realization of the orchestral

surprising, rich blocks of sound is score, rich in detail and incisive in

quite wonderful.
It is the range and versatility of their interpretation which lets mas-

rhythm. The 'Turkish' instruments have a field day, and the timpani thunder threateningly. There is

terpieces like this really come alive. lovely, poised wind playing in the

For instance, in the Communio they serenade-like passages, and the col-

pass in the space of only a few oration from horns and bassoons is a phrases from the fervent 'et lux further attractive feature.

perpetua', where the carefully tem-

The quality Imost miss is vocal

pered, tensile strength of their tone is
apparent, to a delicate, cascading interplay of parts on the word ' pia' at

relish. True, there is pause after expressive pause at the ad libitum
markings in `Martern', and there is

'quia pia es'. They receive superb cultured phrasing in plenty from

acoustic support from the isolated Stanford Olsen, the Belmonte. Tech-

Norfolk church where they now nically, Luba Orgonasova's Kon-

make all their recordings, and so I stanze is very fine, but the impression can only suggest that you sample the she creates is more one of musical

sheer splendour of this recording for instrumentality than psychological

yourself. [A* :1*]

insight. If the words seem to mean Helena Stoward little to her, that is still more true of

Cyndia Sieden's Blonde, who can

MOZART: Symphonies 38 in D, ' Prague' E] 40

insert alittle laugh into her second aria yet seems on this evidence to lack

in g (2nd version) Lond Classical' Norringion

asense of fun. Gardiner though must bear some of the blame for the

EMI CDC 754 3362

unsmiling rigidity of several num(69m 39s) · bers. Uwe Peper is areliable Pedrillo,

Here is avery exciting and impress- and Hans-Peter Minetti, like Wolf-

ive account of two marvellous sym- gang Hinze in Christopher Hog-

phonies that are rather seldom paired wood's year-old version, is aPasha to

in this way. Roger Norrington and be reckoned with. Cornelius Haupt-

the London Classical Players give us mann is a likeable Osmin, once or

very full value for our money, with twice even formidable, but he lacks

every repeat observed (including the essential weight towards the bot-

those in the da capo of the menuetto tom of the range. The two CDs could

of the G-minor). The stature of the easily have coped with a somewhat

works is enhanced, their proportions more extended version of the dia-

interestingly re-evaluated, through logue. ( Klaas alas is one casualty of

this punctuilious generosity. Those the cuts.)

who have sometimes found Norring-

The recording is clear, well

ton's tempos uncomfortably fast in balanced, with afeeling for space and

Mozart will find nothing to worry distance; the slap, and footsteps, help

them here -- if the Andante of 40 suggest the action. More's the pity

initially seems quick, it makes perfect sense in context. There is some superb playing in both works, with

that the ladies' descent by ladder smacks more of the firemen's pole than of long-skirted decency: alon-

lithe, clearly articulated strings ger silence here would have streng-

balanced quite beautifully by the thened the drama. This is an interest-

winds, and with the timpani coming ing Entführung, but to my ears, and

through tellingly. The first move- heart, it lacks the warmth as well as

ment of the ' Prague' here plays for the all-round vocal qualities of Hog-

over eighteen minutes -- not asecond wood's version from Oiseau-lyre.

too long, with such attention to detail [A:2]

Peter Branscombe

New periodinstrument Mozart recordings from John Eliot Gardiner& Roger Norrington
Norrington and the London Classical Players give us very full value, with every repeat observed

11141 NEWS SRECORD REVIEW

MARCH 1993

classical
Et:
. : 75

PROKOFIEV:
Symphony 5 Lieutenant Bile Suite St Petersburg PO/Temirkanov

RCA RD 60984 (63m 44s) ·

Unlike several colleagues, Iwelcome Temirkanov's idiosyncrasies at the start of this Prokofiev Fifth: hanging
on the cellos' and later the bass clarinet's sly E- natural, he undermines calm beginnings and creates expectations of darker things to come. Unfortunately, those darker things don't materialize as the first movement gathers steam. There are, of course, more distinctive touches -- the stinging Russian vibrato of cantabile trumpet at exposition's end, the blasting trombones and heart-attack percussion in the ferocious coda -- but rather fast speeds in the development (arrived at by a messy animando) allied to an often brittle-sounding
ensemble don't really hold us in awe. The scherzo could be more savage still -- try Tilson-Thomas on Sony, with LSO playing that is consistently breath-taking -- and there are only a few chill blasts at the funereal heart
of the slow movement; however, it is arelief to hear Temirkanov respecting the introspective nature of the great, leaping melody, after Ozawa's high dynamic levels throughout
[DG]. The fail-safe finale is graced by afine, reedy clarinet solo but, again,
togetherness doesn't hold at the last, enigmatic moment.
There are two or three similar
instances of dangerous ensemble in the Kijé Suite, but otherwise this is a mesmerising performance, carrying

This portrait of Sergei Prokofiev, by PP Konchalovsky, is at Moscow's Tretyakov Gallery

the seeds of its own bizarre deconstruction from the wedding-song counterpoint onwards. Temirkanov
settles on his own tempi, and they all work; there's an outstanding, if
unconventionally phrased cornet solo, and fantastical, ghostly mutter-
ings from the St Petersburg strings in the last three numbers.
The sound is faithful to the slightly dry but otherwise admirable Philharmonic Hall acoustics, though with
slightly less presence than on the more recent Tchaikovsky symphonies set -- a better overall guide, incidentally, to the state of St Petersburg art under Temirkanov. Symphony [A: 1/2], Lt Kijé [1].
David Nice

SHOSTAKOVICH: Jazz Suites 1 & 2 Tahiti Trot " --1 Piano Concerto 1 Ronald Brautigam (pno )1Peter Masseurs (tpt)IConcertgebouwl Chailly

Decca 433 702-2

(58m 3) ·

Tahiti Trot, Shostakovich's glittering orchestration of 'Tea for Two', was completed in 40 minutes in response to achallenge from Nikolai Malko; it became an instant popular success, and later the composer put it into The
Golden Age as an entr'acte. Rozhdestvensky introduced it to London audiences -- he recorded the First Jazz Suite too, as filler to the Fourth on his Olympia symphony cycle. In 1934 Shostakovich had been asked to
compose something -- Suite 1 -- which would 'elevate' café music in status. Four years later his larger-scaled Suite 2 was completed for the new State Orchestra for Jazz. His Concerto is from this same period, fitting
Chailly's programme well with its elements of parody, quotation and cinematic allusion. [ Its inclusion
shows the classical record industry's
hyperactivity: Decca released Jablonski/Ashkenazy only amonth ago. That said, I'd still like to see the Ogdon/ASM reissued!]
The music is more `Mack the Knife' or Cabaret than jazz, but
Concertgebouw polish makes the First Suite trilogy irresistible -- where Rozhdestevenky's Ensemble plays
with a cruder determination. (The Polka reminds one of the Children's Hour music for `Toytown'.) The Second Suite shows Shostakovich writing glossily finished light music, sometimes with comic rib-nudging -- tracks such as Dance 1, with its manic Bolero theme, make perfect
quiz material for music snobs. The
sustenance is slight, but the presentation could hardly be bettered: hugely enjoyable.
Chailly and Brautigam tear into the first movement of the Concerto in a

tigerish manner, yet the nocturnal

Lento brings great sensitivity and

refinement, nowhere more than in

the ravishing pianissimo just before a

superbly executed trumpet solo. It is

apity that the pianoforte is so close

and wide, with 'Phase 4' bass regis-

ters. Is it engineering, instrument or

pianist responsible for anarrow range

of colour here? Brautigam sounds

happier in toccata-like virtuosity than

in expressive lyricism. But, if he is

too 'plain-speaking', Chailly and his

orchestra are richly eloquent.

[A/(B):11

Christopher Breunig

SCHUBERT: Hyperion Edition -- Vol 15 Margaret Price ( sop)/Graham Johnson (pno)

Hyperion OH 33015

(72m 92s) ·

The latest volume in this magisterial

series brings one of our most exciting

singers in aprogramme of expertly

selected and winningly presented

night songs. Favourites like `Der

Wanderer an den Mond' and ` Die junge Nonne' are set in acontext that

contains almost totally neglected

songs, and as so often with previous

volumes, Graham Johnson's

advocacy makes their neglect incom-

prehensible. Seven of these seventeen

lieder are not otherwise available;

they include a deceptively simple

`Der Mondabend', arapturous `Der

Morgenkuss', and in ` Kolinas Klage'

an Ossianic narrative of rich variety --

and testing technical challenges.

Quiet different again is the once-

popular 'Ins stille Land', delicate,

full of suppressed yearning -- and

demanding (here receiving) the kind

of deft modification of the vocal line

that strophic settings are subject to.

The expected high standard of the

recording and the detailed booklet of

notes and German-English song-texts

is triumphantly maintained. And the

partnership of soprano and pianist

gives pleasure after pleasure -- super-

bly alert, perceptive piano playing in

total harmony with a singer whose

generosity of response, shapely

phrasing and sensitive response to,

and projection of, the words are the

equal of anything yet heard in this

wonderful undertaking.

[A:11

Peter Branscombe

STENHAMMAR:
Piano Concerto 1D 2Sentimental Romances L.1 F101912 & Blanzeflor Love Derwinger (pno)IUlf Wallin (v1n)IPeter Mattei (bar)1Malmii SOI Prvi

Ms CD-550

(67m 55s) ·

The rediscovery of Stenhammar's First Piano Concerto, his Op.1, long thought lost, was described in my
review of the Chandos recording [Oct

76

HI-FI NEWS 8 RECORD REVIEW

MARCH 1993

classical

TCHAIKOVSKY: The Nutcracker (complete ballet) LPO/jansons

TCHAIKOVSICY: Symphonies 4,5 & 6 St Peters burgh PO/Temirkanov

'921. This version, conducted by Neeme Jârvi's son, and played with
great expressiveness by Derwinger, a young Swede (b.1966) of tremendous
talent and potential, is quite the equal of the WidlundRozhdestvensky performance. In

Peter Tchaikovsky --this historic photograph is from Berlin's Archiz,fur Kunst und Gesckichte

some respects, notably in its

unforced espousal of Stenhammar's ardent romanticism ( strongest in the lovely third movement) it has the

edge, though the Chandos team have

the advantage in their fleet-footed

Scherzo. The concerto is of Brahmsian
length, and Chandos were able to add

only the brief sketch of Stenhammar's Third Symphony. BIS are more generous. The Sentimental Romances, mature Stenhammar (1910, enjoy a reputation well

deserved among those not averse to rich, full-blown emotion. They are

most attractively played by Wallin, whose broad bosomy tone suits them admirably. Florez and Blame]lor, another example of the composer's

early manner, taxes Mattei's voice at

the climaxes, but he compensates with aperformance full of commit-

ment. Altogether a most enjoyable

record, technically well up to BIS's

highest standard.

[A:1]

Kenneth Dom nt ett

EMI CDS 754 6002 (2CDs, 86m 49s) ·
(with Eugene Omen -- Waltz & Polonaise) RPO/Temirkanov
RCA RD 60465 (2CDs, 103m 42s) ·

RCA 09026 61377 2 (2CDs, 144m 57$) ·
The one undeniable advantage of CD over vinyl is 'armchair control': noone nowadays wants to get up in the middle of a50-minute work to fiddle

What acoincidence: two St Peters- around changing discs. Yet, having burg Philharmonic conductors in the despatched equipment and a first-

same score, doing their best away rank production team [Mallinson/ from home ground, and putting for- Faulkner] to work in St Peterburgh's

ward their very different approaches Philharmonic Hall last April, what as distinctively as possible. Jansons do RCA then do? They adopt a

immediately reveals his preoccupation with good, clean ensemble at a
high dynamic level in the fortissimo rounding-off of the Miniature Overture, and sets briskly about his busi-

penny-pinching two- disc format which ( just as with the Karajan,
Klemperer, Ashkenazy, Haitink and Mravinsky reissues) involves split-
ting the Fifth. Such an arrangement

ness, not very much helped by (or is insulting to artists and purchasers,

perhaps caring enough to be helped by) LPO woodwind. Temirkanov could hardly be more characterful by
way of contrast: not avery polished ensemble at curtain rise, but marvel-

adisgrace for RCA. Surely, here was a potential challenger to one of the greatest of all recorded Tchaikovsky
triologies -- same orchestra, new name and conductor?

lously lugubrious violas, lower brass

That out of the way, all that really

and clarinets as the nutcracker- needs to be said is that the four key

bearing Doctor Drosselmeyer words to describe Temirkanov's

appears on the scene. Later in the act, as the magic spell begins to work, it's swings and roundabouts: the RPO respond keenly to Temirka-

interpretations all lie in the opening sentences of David Nice's interview
this month. Very different from his predecessor's, these are idiosyncratic

nov's magic in the transformation versions, endlessly fascinating, which scene and there's a terrific battle one will either hate or love (perhaps

between the toy soldiers and the mice both).

(it could well be 1812 here), but the

Mravinsky's autocratic manners

next climax (the journey through the imposed an austere resilience upon

snow) begins to sound overblown, music where Temirkanov shows us a

while Jansons comes to life at this point and moves the Waltz of the Snowflakes crisply along without a
hint of false sentiment. In the characteristic dances and the
aristocratic set-pieces of Act Two, Temirkanov wins hands down. It's

raw vulnerability: eg, in his slowpaced Andantino from the Fourth Symphony where pathos seeps from the page, notably in sighing wind phrases. The symmetries are shaped in a world-weary way; landscapes prettified by other observers are here

curious that he should have cared to
do so much damage to the shape of the act in concert performance -- in

forlornly grey. Listen to Temirkanov's way with woodwind decoration
-- that's the mark of the true

both of his Barbican performances, the sequence jumped from flutes to flowers, from sugar-plum fairy back to an inflated Pas de deux by way of grand finale -- since he makes such a

Tchaikovsky conductor (you hear it in Markevich's LSO cycle too). There's afluttery nervousness to the
pizzicato scherzo, the twang of strings beautifully caught in Faulk-

splendid distinction between the ner's recording. In the middle secWaltz of the Flowers and abroader, tion, Temirkanov gives us rustic

more sweeping Valse Finale; after dancing, charmingly pointed, in that, our heroine is returned to real place of Mravinsky's stiffer, heavier

life with suitable speed. And the Pas de deux, stripped of concert-hall vul-

troupe (more akin to regimented dance steps in ballet). One must not,

garity until the very last bar, has both
muscle and room to breathe. The Onegin dance-sequences make
a short but brilliantly-fit filler on RCA; Jansons has nothing, which is

however, deny the marvellous sense of fantasy in string pizzicati under Mravinsky -- plainer by far on RCA. In fact, Temirkanov's composer will
sound weaker, more feminine where-

surely bad news for EMI -- neither ver you compare him with Mra-

does Previa but, as reissued on CfP,
he's both the cheapest and the best
[see 'Reflections]. Engineering on both recordings is irreproachable.

vinsky's. The horn solo in 5(ü) wafts in over
a drowsy haze ( low strings again register tellingly); this whole passage,

EMI [KB: 1/2], RCA [A:1(*)]. David Nice

up to the oboe entry, is like an awakening. With some unusual

ise NEWS &RECORD REVIEW

MARCH 1993

77

tempo relationships, Temirkanov's portrayal almost by the bar, going on VIVALDI:

account is very thrilling, and the flickering ebb of the Andante cantabile is done with exquisite tender-

to an Act 3of some dramatic depth. It's afrustrating reading, suggesting at best anotable Violetta and at worst

Concerti da camera -- Concerto in C,
RV87 Ci in g, RV103 H in C, RV88 in F, RV100 7 in D, RV95 ' La

ness, yet is prefaced by aclenchedfist gesture with the full weight of St

amerely accurate and somewhat brittle one.

Pastorella' Sonata in d, RV63 La Folia' ( Vol.21

Petersburgh brass, a reminder that
Temirkanov likes, at times, to be noisy! [Ididn't expect to experience
that old sensation of stomach-flutters when listening to Tchaikovsky. But, oh, that side- break!]
The Pathétique registers subtle hues of colour in its opening pages;

Neil Shicoffs brash and charmless Alfredo never rises to the musical and
dramatic potential of his role -- again apity since his voice is well suited to it. If only he could develop some variety. Zancanaro gives the richest
portrayal of the three, perceptibly warming to Violetta's goodness in

Concerto in F, RV97 D in D, RV94 ing,RV106 D inD,RV931 in D, RV91 D Sonatina in a, RV86 ( Vol.3) Concerto in F, RV99 D in a, RV108 in g, RV105 D in D, RV92 in g,
FtV107 ID Sonata in c, RVS3 (Vo1.4) Il Giardino Armonico

where Tchaikovsky summons his their scene together -- the heart of the Teldec 9031-73268-2, 9031-73269-2,

forces there's much subtle, delicate, opera -- and showing a considered 9031-74727-2

soft playing, but the famous string approach throughout.

(52m 33s/53m 13s/51m 37s) ·

theme is heard in alaudanum trancelike state -- very Berliozian, this! The dreaminess pervades the big descrescedo, abruptly broken into here, with
the scurrying allegro development

Rizzi gives us every note in the score, and brings an energy to his
conducting that would be more welcome if it were less relentless: he clearly wants both party-scenes to go

The first volume from this youthful Milan group (playing period or copy instruments) comprised the Op.10 Recorder Concertos. Warning about pitch manipulation, Robert Dearling

more fragmented than usual. Temir- with abang, but his choral forces ( the

kanov's waltz is more extravert than I solid Ambrosians), and even his prin-

expected; his march-scherzo deliber- cipals, sound uncomfortable in

ate, not rushing: grand, almost pom- places. Generally distinguished play-

pous, fired with brass punctuations ing from the LSO, with a lovely

always carefully thought out in terms string sheen.

of balance. The final swirls, bass-

On the DG recording (made at the

drum thwacks full force, remind one Manhattan Center in June 1991) the

momentarily of Nutcracker: this Met orchestra, which could probably

slightly exaggerated coda makes the manage Traviata in its collective

slide down into the last movement sleep, has the edge over the London-

even more precipitate. Perhaps the ers from the fragility of the opening

Sixth, although interesting, is not string chords on, while the Met

quite as inspirational as the two chorus registers (unsurprisingly) as

companion works -- Ifind the finale a the genuine theatrical article. James

shade calculated, notwithstanding
(.) some very lovely orchestral playing. But these discs certainly focus the

Levine's conducting is more natural
in pace than Rizzi's yet has just as much dramatic impetus, and he pro-

very responsible Temirkanov, not vides perfect support for his singers.

the showman.

Cheryl Studer (Violetta) may not

[A: 1*/11

Christopher Breunig have Gruberova's technical bravura

was nonetheless enthusiastic in his
review last March, whilst I (and JMH) thought it possibly the most exciting Baroque disc of the year. Vols. 2-4 offer `chamber concerti without orchestra': mixed concertos for three or more soloists with varied bass continuo (RV92 excepted: this
has no continuo). RV97 is for six soloists -- viola d'amore/2 oboes/2 corni da caccia/bassoon -- whilst only RV93 ( lute/2 violins) is without
winds. RV53 is an oboe sonata, performed here with bassoon, theorbo and harpsichord continuo; Op.1:12 [RV6.3] for two violins, an Adagio with 19 variations based on
the then popular theme La Follia, is also played with varied continuo instruments. Contrary to the old
complaint, Vivaldi didn't write and

VERDI: La Traviata
GruberovalShicoffIZancanarol Ambrosian SingersILSO1Rizzi

(her coloratura is occasionally too feathery) but her utter conviction and acute perception would allow her to hold her head up at any gathering of Great Violettas. Amidst the feverish

rewrite the same piece -- as the booklet essays indicate, he was at pains to vary form and textures,
silencing this or that instrument for a slow movement (RV105), letting

Cheryl Studer makes the part her own in a reading shot through with
moments of intimacy

Teldec 9031-76348-2 (2CDs, 130m 18s) ·
Studer/Pavarotti/Pons/Met Op Orch & ChlLevine
DG 435 797-2 (2CDs, 122m I2s) ·
Recorded at Abbey Road in February 1992, the Teldec set suffers from 'telescope' sound, whereby everything seems to be taking place along way away. There's not enough warmth, though the disparate elements have been nicely separated.
The elements themselves are mixed. An experienced and -- from a purely vocal point of view -- accomplished Violetta, Gruberova triumphs over all the coloratura difficulties of Act 1without establishing herself as a character. This she undertakes in the searching scene with Germont (Giorgio Zancanaro) in Act 2, adding personality to her

gaiety of Act 1she makes the part her own in areading shot through with moments of intimacy. Pavarotti's Alfredo may no longer sound the impetuous youth (the bloom at the top of his voice duller than of yore), but he makes agenerally good showing in aperformance notable for its clarity of diction -- even though he doesn't always appear to be thinking about the words he's articulating. Juan Pons (Germont), once past a blustery entrance, delivers a fine all-singing, all-acting performance, charting Germont's development with rare delicacy. An underrated artist.
In general, then, DG's is the more involving Traviata of the two, though none of the voices is flattered by the sound, with its healthy bass, rather
edgy middle and lack of brilliance at the top.
Teldec [B/C:1/2/3], DG [B:1*/2]. George Hall

other voices accompany or double, eg: RV108/Largo where violins in thirds engage in dialogue with recorder.
These Lugano RTSI coproduction studio recordings date
from Dec '90-June '92; sound quality is consistent with Vol.1 (and, redesigned, Vol.! artwork is now simi-
larly matched to its successors). These recordings, fine though they are, are not easy to reproduce correctly: level setting is critical to avoid
discomfort at sustained treble winds. At the same time, Il Giardino employ extremes of dynamics (much as did Concentus musicus in their pioneering Baroque LPs), with ppp echo effects then strong instrumental attacks which could coarsen on less capable systems.
What makes these discs appealing is the balance of various elements: there's an obvious determination to
play well together and to communi-

78

11141 NEWS & RECORD REVIEW

« MN 1993

classical

cate, a concern for authentic prac-

tices and sound (consistent with Tel-

dec's Das Aile Werk imprint), yet a

good deal of fun and exuberance is

generated. [A:1/11

Christopher Breunig

VIVALDI: Concerto for oboe and violin in B,
RV548 L] Oboe Concertos -- in C, RV450 LI in a, RV463 in D, RV453 III in a, RV46l Li in C, RV447 Douglas Boyd (ob)1,11aricke Blankestijn (v1n)ICOE

closeness, of genuine identification

with the spirit of Vivaldi's music. But

alively manner, the clean intonation

of the COE strings and Douglas

Boyd's musicianly expertise are

nonetheless enjoyable. The acoustic,

I think, somewhat distances the

listener and the string textures can

clog very slightly -- more hall depth

would have been nice. The affable

double concerto is most attractively

performed.

[A:1]

Christopher Breunig

DC 435 873-2

(59m 29s) ·

Recorded fifteen months ago in the
chamber-music hall of the Philharmonic, Berlin, these concertos date
from the early 1720s to 1730s (when Vivaldi rescored RV450/463 from
bassoon to oboe, leaving the string accompaniments unchanged). The oboe parts are formed on the lines of
the violin concertos (whereas, for example, Albinoni's were more consciously modelled on vocal style); in the final Allegro from RV453, the soloist sometimes counters the giga rhythm with his own four-in-three motif -- deftly handled by Boyd.
After listening to the Alte Werk discs, the comfortable plush of mod-
ern strings and the forward placing of the oboe (in Il Giardino Armonico's recordings all the players are balanced as one integral unit) came as quite ajolt. As sometimes happens,
the busy tinkling of harpsichord continuo sounds, paradoxically, more
'old fashioned' than ' authentic'.
What Imiss here is IGD's sense of

ANTONIO VIVALDI
CONCERTI DA CAMERA · VOL. 2 IL GIARDINO ARMONICO

f;,.e.teep...

rent:toff', flat

VIOLIN e VIVALDI ·0131;E CONCERTOS
'NC(RTO FOR 000F. Douglas Boyd Marleke Offertk,stfin tIle Chamber °raw... Of Europo

WAGNER: LOHENGRIN StudertSchnautlFrey1Wlaschihal Schulte/Schenk/Bayreuth Festival Ch & OrchlSchneider

Philips 434 602-2 (4CDs, 212m 25m) ·

Unlike other releases in the Philips

Bayreuther Festspiele edition, this new

Lohengrin was recorded outside the

festival, in June 1990, and is not a

live performance. There is a small,

standard cut in the final scene (autho-

rised, in fact, by Wagner himself).

The recorded quality tends towards

the glassy but opaque, though the

voices come over well even if without

much sense of space or perspective.

The set's least attractive feature is

the fiat- footed reading of Peter

Schneider, one of the more indiffe-

rent Wagner conductors Bayreuth

has heard over recent years. Lohen-

grin is not a score that plays itself,

and too much of this performance is

earthbound and ponderous, with no

visionary quality. The chivalric for-

malities of Act 1become just atouch

tiresome.

In the title-role, Paul Frey has an

appropriately ethereal, other-worldly

(one might uncharitably say hollow)

quality, but lacks knightly brightness

and ring; his ' In fernem Land' is

nevertheless notable for its poetry.

Cheryl Studer's Elsa is from most

points of view asovereign perform-

ance, cleanly articulated and with a

characteristically searching approach

to interpretation, though she could

arguably do with a shade more

weight here and there. Gabriele

Schnaut's Ortrud, on the other hand,

has an almost terrifying vocal vast-

ness and a rather unruly wobble.

This is large-scale singing, never less

than urgent and even occasionally

alarming, but in the context of this

wild and crazy woman far from

inappropriate. She is well matched

with Ekkehard Wlaschiha's Telra-

mund: he wastes not a syllable in

elucidating the character's weak but

evil nature in baleful, edgy tone,

while successfully avoiding crudity.

Eike Wilm Schulte is the excellent

Herald, Manfred Schenk a rather

mild mannered King Henry. The

opera contains some of Wagner's

finest string writing, which the

Bayreuth orchestra revels in, and the

vital choral contribution is

unfailingly impressive.

[B/C: 1*/3]

George Hall

Cheryl Studer's Elsa is a sovereign performance, cleanly
articulated and with a characteristically
searching approach to interpretation

HI-FI NEWS & RECORD REVIEW

MARCH 1993

JSBACH: Organ Works

CD 1: Preludes & Fugues;

Fugues CD 2: Toccatas &

Fugues CD 3: Partitas;

Pastorale; Canzone; Allabreve

CD 4 & 5: Orgelbüchlein D CD

6: Fantasias & Fugues;

Fughettas III CD 7 & 8: Leipzig

Chorales; Amstadt/Weimar

Chorales D CD 9: Trio Sonatas

L] CD 10 & 11: Chorale Preludes

in Clavier-Übung

Schübler

Chorales; Canonic Variations D

CD 12: Later Preludes & Fugues

Lionel Rogg ( org)

Hannonia Mundi HMX 290772-83

(12CDs, 753m 41s)8 1970 ·

In the mid- 1960s, then aged about 30, Lionel Rogg recorded Bach's complete oeuvre for
organ on the Metzler instrument

of the Grossmünster, Zurich, in ments and some isolated fanta- exotic timbres sparingly invoked

his native Switzerland [ for sias and preludes; conversely a by Rogg -- his approach is con-

Oryx]. In 1970 he recorded the few spurious pieces (such as the sistently sober, measured, with

works again on the splendid much recorded Fugue in G, only occasional evidence of the

organ by Johann Andreas Silber- BWV577 and one or two chor- virtuosity he undoubtedly com-

mann in Arlesheim Cathedral, ales) are included. The layout of mands. He is content to let

and this set has now been reis- the (flimsy) box is reasonably Bach's music speak for itself --

sued in digital transcriptions satisfactory, and the booklet has which in these circumstances it

(with minimal information pro- a useful index to discs and does, most eloquently, if lacking

vided in the otherwise com- tracks. The performances and the excitement and variety that

mendable booklet, which con- the recorded quality are both other leading exponents have no

tains lengthy notes by Rogg variable -- in the former case, difficulty in finding in it. Ifelt

himself in French and English, from the brilliant and assured to that his imagination was more

as well as the specification of the rather tentative, even dull readily challenged by some of

instrument, and a note on its tracks, and in the latter from the less familiar music, such as

history and the restoration spacious, well focused full glory the early preludes and fugues,

undertaken around 1960 by the to some distinctly edgy, over- than by late, great masterpieces.

firm of Metzler).

loaded climaxes, noted particu- In the latter, his care for line,

No claim of completeness is larly on CD 12 at the end of melody and clear registration is

made: spot checks suggest that a works that close with a loud more evident than his own sense

few authentic works are absent, flourish. The organ itself is a of excitement and commitment.

including the concerto arrange- beautiful instrument, its more The trio sonatas, with their

TELDEC DAS ALTE WERK
4%
JOHANN SEBASTIAN BACH BRANDENBURG
CONCERTOS
The German Telefunken firm began its Das Alte Werk series in the late 1950s as competition for DG's Archiv label. While it did not adopt the same militarily severe approach to repertoire planning as its rival, Das Alte Werk trod a similar path of presenting well-known works and rarities in authentic performances. Much effort was spent in booking specialist performers -- many of them now famous, such as Nikolaus Harnoncourt, Frans Brüggen, and members of the Kuijken family --who in turn employed historically correct instruments. Today, authentic performance itself has developed: even the mild vibrato of Alice Harnoncourt and Eva Braun ( Eva Braun?) in Concentus musicus sounds ' wrong', but it is nonetheless a pleasure to welcome back some familiar old performances in smart new packages.
Music at the Court of Mannheim [4509-91002-2, 53m 45s A] sadly does not offer the sizzling symphonies of Jan Stamic, Filtz or Beck that the record industry so studiously

ignores. Instead, Concentus engage the attention for more

musicus plays tuneful chamber than one suite at asitting. The

works by Richter, Holzbauer, recorders produce a mournful

JC Bach (our dear old John cooing which will appeal to spe-

Christian at Mannheim? This cialists but may put off the less

Quartet may have been played committed listener. The sound,

there butit was played elsewhere however, is faithful and neatly

as well. Why not call the disc balanced.

[A:1/2]

'Music at the Stoke Poges Tea

Carl Philipp Emanuel Bach's

Rooms'?) and, yes, Jan Stamic. 'Prussian' and 'Wurttemberg'

His Orchestral Trio Op.1:2 at Sonatas ( H24-29 and H30-35

least shows some flair, even respectively) are played by Bob

though it is played as aquartet; van Asperen on aharpsichord --

but this 1963 recording, rather an instrument Iprefer in this

constricted in sound, is alittle music to clavichord or forte-

dull and the booklet never men- piano, for its seems to reflect

tions the music once. [C:2] better the composer's vivid

Much better are Rameau's invention. The twelve sonatas

imaginative Pièces de clavecin en take three discs [9031-77623-2,

concert I-V from 1971 [9031- 175m 56s m], the third being

77618-2, 52m 27s m] with Gus- completed by arare oddity: the

tav Leonhardt leading Frans Concerto for unaccompanied

Brüggen, flute, Sigiswald Kui- harpsichord, H190, asubstantial

jken, violin, and Wieland work in which the composer

Kujiken, gamba. The perform- seems consciously to avoid the

ances match the music's fantasy, influence of his father's Italian

the combination producing Concerto.

some piquant sounds, and the

In fact, this least predictable

recording has survived two of composers is well represented

decades with hardly awrinkle. by Asperen's fiery playing since

Excellent booklet notes. [B:1]. he understands his lightning

Much the same may be said of mood changes. All these works

9031-77617-2 [2CDs, 134m are in three movements but

24s H] on which Quadro Hot- there is never afeeling that Bach

teterre plays six suites by Marin is merely filling and refilling the

Marais, recorded in the sum- same old moulds. They consti-

mers of 1975 and 1977.

tute a kind of compendium of

Marais is known primarily for effects and moods available to

his deeply-felt gamba music but the imaginative player, and

here two recorders (Kees Boeke Asperen exploits every oppor-

and Walter Van Hauwe) are tunity. The recordings from

accompanied by cello and harp- 1977 and 1978 are as fresh as one

sichord in varied music ranging could wish. These astonishing

from sad sarabandes to jolly works are rarely recorded, so

gigues.

should be snapped up forthwith,

Each suite comprises many for it is doubtful whether they

short movements, but Ifind the will ever be done better.

variety offered is not enough to [A:11

Robert Dearling

JS BACH: 6Brandenburg Concertos Concentus musicus/Harnoncourt Teldec 9031-77611-2
(2CDs, 105m 19s)(1) 1964 ·
These are the earlier Concentus Brandenburgs, not the 1981-82 digital recordings, made with a substantially different group of players -- harpsichord, recorder, horns, trumpet, bassoon and some strings. Timings are significantly longer here in 1(iv), 2(i)(ili), 4(i), 5(i)(ii), the two string works showing the most consistency; in the later set, the linking cadenza 3(i)-(iii) is much sparer in texture. Both these features are indicative of the more ascetic, sometimes more extreme, later approach. Yet the warmer manner here will probably be wider in appeal. This set has various delights: a clean, lively finale to 3, and one relaxed and springy for 4; gloriously bucolic textures with the corni da caccia in 1(i)(iii); aless fussy treatment of 4(i). Some drawbacks too: aplodding Adagio to 6 (this was to develop into something more delicate and plastic, avoiding the ' soulful'); asuspicious change of acoustic -- empty hall -- for Georg Fischer's 5(i) cadenza, beautifully played though it is; relatively cautious speeds in 2, doubtless constrained by the clamo (more accurate in the later set, where the tempi flow more naturally). In sum, a worthy reissue, in remarkably good sound for its date -- though the digital alternatives are superior. [B:2] more or less, sound/perf.
Christopher Breunig

80

111-11 NEWS á RECORD REVIEW

MAR011993

re lections

inbuilt swift alternation between sense of adramatic relationship BERLIOZ: Overtures --

tempos and moods, struck me as (not surprisingly, Varady and Benvenuto Cellini Le Corsaire

more impressively handled than, Fischer-Dieskau on DG score

Romeo & Juliet excerpts --

for instance, many of the chorale here). Even Szekely tends to Romeo Alone & Fete, Queen Mab

preludes from Book 3 of the become monotonous. Dorati Scherzo, Love Scene The

Clavier-Übung which, if never had worked hard to provide the Trojans -- Royal Hunt & Storm

perfunctory, lack the fervour right idiom, but his is a lean, Paris Conservatoire'Munch

that might be thought appropri- workmanlike achievement Decca 433 405-2

(6/m 39s)@

ate for the Catechism Preludes. where Solti carries greater recordings from 1946, '48, '49 ·

To sum up, this large-scale authority and, with the LPO,

project is certainly not the last realised greater flexibility, rich- Transferred from 78rpm origin-

word in terms of digital sound, ness and incident. But that said, als and available for awhile on

but though touches of conges- and given that F-D is evidently two ` LXT' LPs in the early

tion and edgy tone do occur, not aHungarian bass, the DG is 1950s, these six pieces offer --

they are not frequent and hardly inhibit one's admiration for clear

ultimately the one that moves the the listener most.

rather variable sound quality,
rough at some climaxes, with 9.

and atmospheric recording of [C:3][11 Christopher Breunig hum and other noises coming j

Silbermann's instrument. The playing is very reliable, clean BEETHOVEN: Symphony 7/

and going inexplicably. The Cel-
fini (Walthamstow 1946) is dim- e

and impressive, though it does DVORAK: Symphony 7

mer and more distantly set than

lack flamboyance and tension. LSPIMonteux [A/B:1/2] Peter Branscombe Decca 433 403-2

d the other items, the latter -e.
(74m I8s) recorded a little later in Paris,

recordings from 1961, 1959 · where Charles Munch promoted anyone wanting asuperb Nuits

BARTOK: Bluebeard's Castle/
BERG: Wozzeck -- excerpts* Szekely (bass)ISzonyi,
*Pilarczyk (SOPS)/ISO/Dorati Philips 434 325-2
(72m 57s) 1961-62 ·

Though he was associated with
French/Russian schools, Pierre Monteux's greater love was the
Austro-German music of the 19th- century. His Dvorak
Seventh was first issued on RCA

Berlioz's music with enthusiasm before moving on to Boston. Much of his intensity and fire
comes across here despite the sonic limitations, although I
suppose this CD is unlikely to be of more than historical interest

d'Été, with aChildhood simply for the highlights, would be well served. The Chicago recording has alovely open, spacious feel, and is marred only by amomentary touch of tape print-through not eliminated during

The three Wozzeck scenes cer- (the original LP sounded tech-
tainly left indelible sonic images: nically superb though CD the closing of the window as the exposes some deterioration at soldiers march by; the child's the end). This was a famous
'hop hop' after Marie's stabbing. recording, yet faulted by some They were last to be found on a for the freedom of tempi, not to
comparatively poor 'Golden mention that trumpet doubling Imports' LP transfer; the Bartok added at (iv) 425 [track 4, 8m opera had long been unavailable. 14s]. Idon't think it's anywhere

to most gramophiles. In the above blurb I've sub-
tracted aminute from the total time as given, since the Royal Hunt & Storm is followed by over 60s of clocked silence. Also, the last two R&J pieces are reversed on the inset/
booklet.

remastering.

Childhood [B/C:1/3], Nuits d'Été

[A/B:11.

John Crabbe

BRAHMS: Alto Rhapsody Schizksalslied Nânie Gesang der Parzen LipovieklErnst Senff Ch/B erlin PO/Abbado

With the noble-voiced Hunga- near Mackerras's for authentic [H:1] rian bass who had studied the Czech feel: Monteux brings a

John Crabbe DG 435 791-2 (56m 52s) C) 1990-92 ·

role with the composer, Dorati and the LSO gave a concert performance preceding these Watford Mercury sessions, where a special effect was devised for the 'sighs' of the castle walls. (Doran also conducted the first US performance of Bluebeard, at Dallas in the late- 1940s.) The absence of libretto is serious, especially when 10 booklet pages are given over
to promotional material. Hunga-

somewhat generalised weight BERLIOZ: L'Enfance du Christ

and romantic flexibility to the L Les Nuits d'Été

work. Nevertheless the marvel- Valletti ( ten)IKopleff (con)/

lous warmth and exuberance can Souzay (bar)ITozzi (bass)/New

now be savoured once more.

England Cons Ch/Boston

Significantly, his Beethoven SOIMunch1Price (sop)/Chicago

Seventh first appeared on aVic- SO 'Reiner

trola mid-priced (,3) LP, in 1982 RCA 09026 61234-2 (2CDs, 125m)

on Decca's bargain SPA stereo

recordings from 1956, '63 ·

label. Monteux's geniality didn't quite fit the prevailing tastes either for Klemperer or for the demonic Toscanini. 'Brilliance

More rummaging from RCA's archives give us two pioneer stereo recordings. The Child-

This useful reissue of the choral fill-ups to Abbado's cycle of the Brahms symphonies handily groups together the short choral works with orchestra, which
almost define agenre of philosophical meditation that is all their own. In a sense they're more piercing confessions of
individual belief (mainly sceptical, pagan and pessimistic) than anything in the Deutsches

rian/English texts are included with both the Solti `Enterprise' and Sawallisch ' 20th Century

is all' declared one review. Thomas Heinitz wrote more shrewdly of Monteux's 'straight

hood from Munch/Boston ( 1956) is something of a curate's egg whose CD rationale has to be

Requiem. They are among his most personal works, and vital
to any understanding of him.

Classics' mid-priced alterna- from the shoulder' manner, but primarily historical, despite They are also superbly com-

tives. Mercury's tradeoff is 20 1/ 2 m of extra music by Berg, memorably done. Alas, Bluebeard is very badly dated.

regretted (apart from specific musical shortcomings such as the abrasive Allegretto climax and dragged trios) technical

much fine singing; but, despite critical disagreement elsewhere, the Nuits d'Été magnificently justifies itself as one of the

posed and darkly eloquent -- the less-familiar Nânie and Gesang der Parzen almost more powerfully so than the two other,

Unlike Solti's, which benefits insecurities, which robbed the work's great performances. better-known items. Taken enormously from the 1979 fast tempi for (iXiv) of true Leontyne Price's moving and together, they constitute, albeit

Kingsway sound, and which is exhilaration. Iagree; however, I masterly rendition, alertly fortuitously, an impressive cycle

properly ' staged' (complete with do find the bracing Poco soste- accompanied by Fritz Reiner of meditation upon and mourn-

spoken prologue), the Mercury is static, and in the case of the soprano part surely offers little more than a sight-reading.

nuto introduction genuinely stimulating, if unconventional. Incidentally, Monteux was then just 86 -- and he'd asked the

not long before his death, obliges me to recommend this package (two CDs neatly if somewhat inextricably encapsu-

ing for the human condition. All four come across well in
these deeply felt and resonantly recorded performances. Abbado

Szonyi's hard, at times shrill LSO for a 25-year contract as lated in asingle-size jewel box) builds the refulgent choral tex-

singing, with strained phrasing, chief conductor!

just for the sake of the 31m tures of Niinie, the most

only spasmodically conveys any [B/C:2] Christopher Breunig song-cycle. But that's life, and polyphonic of the four, with

HI-FI NEWS & RECORD REVIEW

MARCI11993

81

World Class

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82

HI-Fl NEWS &RECORD REVIEW

MARCH 1993

reflections

great skill; Gesang der Parren

(the least so) strides along with a

tragic inevitability that foresha-

dows the Fourth Symphony.

The slow sections of the Schick-

salslied manifest an instrumental

refinement and maturity far sur-

passing Abbado's earlier,

impressive account for Decca

with the New Philharmonia in

1969, though the contrasting,

harried fast music now makes a

rather less visceral impact. The

Alto Rhapsody is exquisitely

shaped, and has in Marjana

Lipov§ek a superbly authorita-

tive soloist, recalling Janet

Baker in her classic EMI record-

ing for Boult.

All in all ahighly recommend-

able disc for any prospective

purchaser in search of these

works in modern sound.

[A:1/2]

Calum MacDonald

DVORAK: Symphony 9 'New

Worldl'/SIBEUUS: Symphony 2

Detroit SOIParay

Philips 434 317-2

(74m)

recorded 1960, 1959 ·

Paul Paray, still conducting in his last, 93rd year, built up the Detroit Orchestra to ahigh standard during atenure 1952-63, as these Mercury reissues testify. They were recorded at different auditoria: on LP, both stereo productions were felt to be analytical but hard in their upper registers, and the Dvorak stereo coarse at climaxes. Such comments, which I am afraid stopped me from investigating this conductor and orchestra,
largely reflected current stereo pickup limitations -- for the Dvorak proves a quite magnificent taping for its time. The earlier Sibelius is poorer, messy
in texture with the tapes grubby; even so the dynamic range is impressive. Evidently I was depriving myself: Paray's Sibelius 2 is a musical revelation, largely because he rejects the
brooding pacings of other conductors. Listen, for example, to how the clear rhythms of plucked strings in (ii) at quite a
fastish tempo alter perception of

the music. Similarly, the Vivacissimo is properly observed for (iii), and it becomes grippingly exciting.
The Dvorak is less remarkable: speeds are fast yet the performance is finely nuanced; the wide-open sound picture certainly shows that Mercury's technical reputation was well founded. [B:11C:1*]
Christopher Breunig
LISZT: Années de pèlerinage Ro7nart (pno)
DG 437 206-2 (3CDs, I76m 06s) ® 1977 ·
Even by today's standards promoted extravagantly, Lazar Berman appeared in the West bright as a comet in the mid1970s. Or, as Saga were quick to remind us (they'd recorded him in Liszt and Beethoven sonatas years before) reappeared. Karajan immediately wanted to rerecord Tchaikovsky's First with him, and LPs appeared on CBS, EMI/Melodiya, DG and Murray Hill. In this country, admiration was short-lived -- I remember the remark of someone from EMI at one concert, 'Ithought at first it was the piano, then I realised it was him!'. Berman's bear-like heaviness showed his playing did not, after all, miraculously fuse all that was admired in Richter's playing and Gilds's. Nevertheless, Liszt's complete Années -- conveniently set out here with one Book per CD, Venezia eNapoli coupled with 'Italic' -- were regarded as typifying his best work. Indeed, he's more withdrawn and subtle than expected -- although, in individual pieces, artists such as Hough and Arrau plumb greater expressive depths. A powerful Dante Sonata crowns ' Italic'. Beautifully recorded at the Munich Herkulessaal, these performances complement Bolet's full-price Decca cycle (on a Bechstein), and must be recommended to Lisztians who missed the 3LP box. [A:1/1*] Christopher Breunig

KIRACHATURIAN: Gayaneh -- excerpts/SHOSTAKOVICH: Symphony 5 LSOIDoratilMinneapolis SOI Scrowaczewski Philips 434 323-2
(63m 51s) ® 1962-3 ·
The music of Shostakovich has burgeoned on CD. When this Mercury Fifth was released there were already four listed, but, of the symphonies then written, only two others were represented on LP. That short list, however, included two Fifths of `classic' status: the NYP/Bemstein, and Rowicki's fine, earlier, Warsaw recording. Scrowaczewski keeps a tight grip on the work, but the playing is utilitarian and stressful, and the recording discolours badly under strain. In spite of the very dry Northrop Auditorium acoustic it has more openness than Dorati's eight movements from Gayaneh, where a combination of immediacy and over- brightness -- Watford Town Hall was the venue -- makes listening tiring in such a crowded score. (And, to be fussy, one replay setting doesn't suit both productions here. But then, the juxtaposion of LSO opulence with such prosaic struggles at Minneapolis further makes this an unwise coupling.) One way and another, it's hard to take pleasure in these performances. [B/C:1][C:2/3]
Christopher Br( unig
PAGANINI: Violin Concertos Salvatore Accardo (v1n)ILPOI Dutoit DG 437 210-2
(3CDs, 221m 08s) 8 1974-75 ·
One of these days we shall no doubt hear the six Paganini concertos with an authenticinstruments band -- that would be something! -- although it is unlikely that asoloist could be found to surpass Accardo. Incidentally, one hopes the couplings and the supplementary LP material [Sonata Napoleone, IPalpiti, Maestosa Sonata sentimentale etc] will reappear on CD. These recordings received some criticism for the prominence of front-desk strings and for the spotlighting of the soloist. Ithink we can discount the first suggestion, whilst to hear solo playing of such finesse slightly exaggerated does no harm. What does warrant mention is the very distinctive

enveloping bloom of the Barking Town Hall acoustic: a feature which underlines Paganini's now- very- delicate- nowexplosive dynamic ploys. With spirited, singing accompaniments, this set shows Dutoit in very favourable light, too. [B:11 Christopher Breunig

SCHUBERT: Winteneise Tear (ten)/Ledger (pno) ASV CD QS 6085
(69m Ils) ® 1982 ·

I find this latest Winterreise

(which was actually made a

dozen years ago) doesn't come

up to my memories of the ori-

ginal LP. Robert Tear starts

with the advantage over other

singers whose versions I have

recently been listening to, that

transpositions are unnecessary

(though Schubert himself trans-

posed). Tear conveys the

wanderer's grief and torment,

but is over-inclined to do so

through constricted tone and

idiosyncratic projection of the

text (he doesn't sound at home

in the German -- and a major

drawback of this ADD reissue is

that one has to write away to

ASV to request the word-book).

Philip Ledger accompanies sen-

sitively but without special

insight, and the recording is

rather close and reverberant,

which does nothing to soften the

singer's asperities.

[B:2]

Peter Branscombe

TCHAIKOVSKY: Nutcracker Ambrostan Singers'LSOIPrevin 17AI CFPD 4706
(2CDs, 86m 04s) (I) 1972 ·

When Previn took over the

Royal Philharmonic, he re-

recorded The Nutcracker for

EMI. Produced at Kingsway

Hall by Christophers Bishop/

Parker, his earlier set neverthe-

less remained the more pleasur-

able. With the admitted inten-

tion of just sampling here and

there, Isoon found the urgent

narrative flow and the commit-

ted LSO playing taking me right

through both discs. At first I

thought the remastering -- drier

and alittle brighter than before

--less attractive than CfP's very

good, mellow LP transfers. But,

after fiddling with different level

settings, Ifelt that the original

tape quality is probably more

accurately reflected here. We

should have had afiller, whereas

the CDs simply correspond to

the Acts I/11 2LP break.

[B:1]

Christopher Breunig

11141 NEWS RECORD REIRDV

MARCH 1993

83

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Putting the performance back into your music
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rock/pop/jazz

SOUL THE WAY IT IS?

CHARLES & EDDIE
DUOPHONIC

Stateside/Capitol CDP7803172 (58m 00s) ·

Note the label, agiveaway as

to where Charles Pettigrew

.and Eddie Chacon's soul-

fuelled time machine even-

tually landed, somewhere in

the late 1960s or early 1970s.

'NYC', kitted out with hints

of 'What It's Worth' and Otis

Redding's 'Fa-Fa-Fa- Fa- Fa-

Fa ( Sad Song)', documents

the duo's first encounter.

From then on, the twosome,

to use the apt vernacular,

moved right up, higher and

higher, until today, in the

wake of 'Would I Lie To

You?', one of 1992's better

chart-topping singles, they've

fashioned the sort of album

soft- soul snoozers dream

about, where sinnerman Mar-

vin meets the Reverend Al

Green at the entrance to

heaven, where the pearly

gate's pillars are formed from

Stax and Philly records piled

high. In short, this is the sort

of release you play to yourself

several times, because you

don't believe how good it is

the first time around, then

continue to reprise to any

self-confessed music- lover

within earshot. Soul the way

it was and, thanks to Charles

& Eddie, still is.

[A:*/11

Fred Dellar

Unfortunately, this isn't a cross between Chas & Dave and Flo & Eddie which might, at least, have been fun. Instead, it's state-of-the-art blue'n'brown-eyed soul, containing aNumber One smash hit and enough sex appeal to render the duo as prime pinup fodder for viewers of TOTP. What it offers in sheer professionalism and slick beauty is undermined by the kind of `derivativeness' which makes sampling almost forgiveable. OK, so you have to be over 38 to remember the songs being pillaged but these guys are no better than other musical thieves. The guitar motif from Buffalo Springfield's ' For What It's Worth' (about as distinctive a little lick as the Sixties ever produced) is lifted wholesale,

while The Association and

one or two other acts ought to

be talking to their solicitors.

George Harrison was sued for

less. But, much as Iwant to

slam this because of the pilfer-

ing, Ihave to admit it's an

excellent fifth-rate facsimile of

Hall and Oates, which prob-

ably makes it 2000 times bet-

ter than anything else in the

charts at present.

[A:1/2]

Ken Kessler

It's hard to be cruel to an

album as impeccably con-

ceived and beautifully per-

formed as this, no matter how

derivative the material may

be. Certainly the critics (apart

from our own dear KK) have

gone for it hook, line and

sinker. Q gave it four stars,

praising not only the duo's

vocal pyrotechnics but the

classy, understated produc-

tion job by Josh Deutsch. The

Observer noted many points of

'homage' to 1970s' soul (addi-

tional to those rips from Six-

ties rock mentioned by KK),

but concluded they carried it

off rather well. The Indepen-

dent was impressed by their

'range of styles and emotions',

and The Times compared their

harmonies favourably with

the Everly Brothers, but con-

cluded that 'for all its charm

and craft, it is aslight affair

compared to the work of true

soul greats' like Otis Redding.

History may well file Charles

& Eddie under 'pleasant, pro-

ficient and irrelevant', but for

the moment, just forget his-

tory and enjoy.

[A*:1]

Johnny Black

III- F1 NEWS & RECORD REVIEW

MARCH 1993

John Campbell -- one to seek out
This is the sort of release you play te yourself several times, because you don't believe how good it is the first time around
Charles& Eddie, the dynamic duo

JOHN CAMPBELL
NOWLIN' MERCY

WEA 7559 61440-2 (53m 27s) ·

Jeff Healey, the last interesting-

new-white-bluesman-to-watch,

has so far failed to live up to his

early promise, so what's apoor

white boy to do? The answer is

to check out John Campbell

who, two albums down the line,

is proving himself to be aunique

voice and asupremely commit-

ted performer. Anyone who

remains unmoved by the brood-

ing intensity of Campbell's re-

interpretation of Tom Waits's

'Down In The Hole' needs soul

replacement therapy as amatter

of urgency. As aslide player, he

demonstrates astonishing vir-

tuosity in both acoustic and elec-

tric modes, and he's just as

convincing when he rocks out as

when he mooches around in the

blackest pits of blues hell. His

band keeps things simple, tight

and effective, leaving room for

Campbell to establish his

identity with memorable songs

and gutsy playing. Buy this

now, then seek out his 1992

debut, One Believer.

[A:1]

Johnny Black

87

a.

CARNIVAL ART

well-considered arrangements,

WELCOME TO VAS LLEGAS

concealed harmonies and intri-

Beggar's Banquet

guing guitar textures. ' Blue

BIIQ CD 132

(45m 06s) ·

Food' finds them combining slow blues riffs with Nuggets-

Weirdo grunge meets Tom Petty era psychedelia to devastating

in heavy metal mood? Could be. effect, while 'Gold Plated Crazy'

Carnival Art (above) hails from has roots reaching back to gar-

Les Angeles, although this (dare age bands like The Standells or

we say it?) concept album deals Amboy Dukes. ' Bullet Surprise'

with life in a thinly disguised almost swings, 'Crepitus' is rich

Las Vegas. The first cut, with in Cheap Trick moves and the

casino noise mixed into buzzsaw whole album is suffused with the

guitar mayhem sets amood of twisted realities of the tacky

whimsy that recurs throughout denizens of the imaginary Vas

the album and, by the fifth Llegas. Second albums are often track, initial impressions of a a band's biggest hurdle, but

severely limited musical pers- Carnival Art is jumpin'.

pective are being banished by [B:1]

Johnny Black

EnuffZNue anear sub-cult?

ENUFF Z NUFF

GENESIS

ANIMALS WITH HUMAN

THE WAY WE WALK VOL 2

INTELLIGENCE

Virgin GENCD 5

(71m 03s) ·

Arista 07822 18587-2 (58m 56s) ·

Recorded, like Vol 1, during their 1992 We Can't Dance tour,

American journalists find it this is essentially a concert

impossible to describe this Chicago hard-rock quartet without resorting to comparisons, ripoffs and influences, and I'm no different. Donnie Vie's vocal style has been accurately tagged 'heavy-metal Elvis Costello' and,

souvenir. Vol 1, being hit-single oriented, was subtitled The Shorts, whereas this goes by the alter-ego of The Longs, indicating the presence of just six of the band's more, um, conceptual pieces, ranging in length from

although The Beatles seem an obvious reference point, it would be more accurate to observe that they really rip-off

the merely interminable ' Drum Duet' (actually 6.06) to the
apparently eternal 'Old Medley', which takes nineteen and ahalf

those mid- 1970s American minutes before collapsing in a

bands who originally ripped-off heap. That's longer than Jimmy

The Beatles, like Cheap Trick, Cagney ever managed. While Raspberries and Dwight Twil- listening, Ifound myself switch-

ley, although there's a higher ing from periods of lethargic

percentage of Aerosmith and sundry glam-rockers in Enuff than there ever was in any of

insomnia to stark moments of lucid terror, when Iwould check my room to see if Beelzebub, or

those cult outfits. So that puts possibly even Bill and Ted, had them in the saine bag as Jellyfish materialised behind me to take and, to alesser extent, Carnival me downstairs. Folks, this one is Art. Are we seeing the birth of a for pomp rock addicts only.

new sub-cult? Whatever, it's a [A:21

Johnny Black

very listenable album, except that guitarist Derek Frigo, perfectly competent in a backing role, suffers from delusions of

JOOLS HOLLAND THE A-ZGEOGRAPHER'S GUIDE TO THE PIANO

adequacy whenever given the

opportunity to solo.

[A:11

Johnny Black

After- Ego ALTOGOCD 1 (45m 49s) ·
London has long since proven

FISH SONGS FROM THE MIRROR
Polydor 517499-2 (45m 16s) ·

an inspiration to piano players. Indeed, Fats Waller fashioned a
memorable six- part ' London Suite' back in 1939. Now the

Anybody who admits the oldies on this album shaped his young years is without shame and, in
the final analysis, that's an admirable quality. When he was
barely out of his transparent egg, Derek Dick was inspired by The Moody Blues singing

ex-Squeeze man has embarked on a similar musical bus ride
around the capital, pointing out the sights by means of amiscellany of instrumentals that mainly encompass boogie, gospel and funk. The trip begins at El's 'Brick Lane' where, amid

'Question', Genesis doing ' I clips of interviews with the mar-

Know What I Like' and Pink

Floyd's ' Fearless'. If this means

he doesn't have apolitically cor-

rect grounding in Elvis,

Motown/Stax, the Brill Build-

ing, or The Byrds, it doesn't

invalidate his perspective on

pop, because he also covers The

Kinks's 'Apeman', and Bolan's

leepster' with enough wit and

verve to suggest he'd acquit

himself well if asked to sing

backing vocals for Chuck Berry.

But, even when he's dredging

the realms of prog-rock, Mr

Dick revitalises the material,

making even the cornball

metaphysics of 'Question' sound

almost relevant to something or

other. Nice one, Derek.

IA:11

Johnny Black Lbh

88

HI- F1 NEWS & RECORD REVIEW

MARCH 1993

rock/pop/jazz

ket inhabitants, Holland does the funky Tika-chicken, apt for the featured Indian take-away owner. A visit to ' Seven Dials' proves more Debussy-like in concept, while ` Newgate's Knocker' reiterates the kind of hard-headed boogie approach that made pianist/organist Milt Buckner such afavourite during his stint with Lionel Hampton.
And though, unexpectedly, there's no nod in the direction of

Brown's ' It's A Man's World'

and Fontella Bass's ' Rescue

Me'. Hot? If this were an amp

it'd be pure Class-A.

[A:11

Ken Kessler

ROBERT LUCAS BUILT FOR COMFORT
AudioQuest AQ-CD1011 (45m 44s)
Iowe Lucas an apology, having recently described The Power of

try music hoedowns, like 'Country Born-City Heart' and 'Blues Bar Cafe' are full of back-slap bonhomie. 'Perfect Lovers', a ballad bestowed with akind of 'She Moves Through The Fair' mysticism is Linda's best moment, while ' Diamond In
The Dust' which benefits from some studied piano chords and
Paul Burgess's (ex- lOCC and Jethro Tull) so-right drumming, is arough-edged love song that

Jools's beloved Greenwich, he gets close with 'Tranquil Passage', which, if my knowledge of

Seven as the only act on an audiophile label worth hearing. How could Ihave forgotten his

figures among the best things Simpson has placed on offer. Elsewhere, 'Ticket To The

London serves me well, is just

around the corner from Glenn

Tilbrook's place.

[A:1/2]

Fred Dell«

first two blues extravaganzas? His third is more of the same, only slightly raunchier and definitely twangier. It's almost like a hi-fi serial: a handful of

Moon' is too close to Suzanne Vega's 'Tom's Diner' for comfort and afew more trademark Magna harmony vocals wouldn't have come amiss. Even so, it's

DARLENE LOVE & LANI GROVES BRINGING IT HOME
Shanachie 9003 , 40m 05s) ·

originals, a smattering of classics. But Lucas has impeccable taste so, as with Nesmith below, it's hard not to sit in for another helping. Then again, how much

evident that things are on the up

and up for aband that has never

received the kudos it deserves.

[A:1/2]

Fred Dellar

Now, this is starting to look like can the blues progress without MIKE NESMITH a trend which Idon't want to turning into another genre TROPICAL CAMPFIRES

end. After the magnificent Cissy Houston/Chuck Jackson pairing a month ago, Shanachie has

entirely? Lucas does the biz with Robert Johnson and Elmore James, as well as the Willie

Pacific Arts PAAD-5000 ,Srn I9s) ·

teamed the legendary Darlene Dixon title track, purist yet Nesmith, yet again, leads the

Love ( Spector protégé, member modern and sounding simply charge. Adecade ago he was first of The Crystals and subject of a terrific. This guy plays some of off the mark with a feature-

recent EMI Best Of) with Lam Groves (back-up singer to Stevie Wonder, Roberta Flack, Carly Simon, Steely Dan and others).

the slipperiest slide I've heard in
recent years, and that alone is reason enough to award him the
highest accolade.

length pop video. This time he's recorded his new CD entirely in Dolby Surround, and its historical importance can hardly be

The recipe is similar to that on the Houston/Jackson set, including the donation of 50% of

[A*:11

Ken Kessler

MAGNA CARTA

overstated. As a hardcore Nes fan, Idon't mind another hour of his gentle country rock, but

the royalties to the Rhythm & Blues Foundation. The ladies
work their way through Curtis Mayfield's ' It's Alright', Bill Withers' Use Me', The Beatles' 'Let It Be' and seven other classics, sung so soulfully and

HEARTLAND
SSPH SPHCD 7813 (66m 22s) ·
The story ot Magna would take too long in the telling. Suffice to say that mainman Chris Simpson set out on his folk-rock way

I'd be the first to admit that it differs little from most of his previous work -- the same cosy, lilting friendly stuff which some find addictive. It's also the most hype-free New Country on the planet which you can buy with-

seductively that the disc should come packed with a condom. High point? You've gotta hear these two tackling James

in 1969 with an album for Mercury that established the group, apartnership with vocalist Glen
Stuart, as Britain's answer to

out feeling like a chronic, impressionable Q reader. What the Dolby adds is interest with an upper-case 'I'. Most previous

Simon and Garfunkel. Simpson releases in this format were

moved on, working with amis- soundtracks or test CDs, so this

cellany of musicians that has is a real indication of what

included Davy Johnstone (once tomorrow may hold. Y'see this

aregular Magna member), Tim is not a sound-FX-laden Pink

Renwick, Rick Wakeman, Pick Floydian studio wank but a

Withers, Danny Thompson, semi-acoustic folkish album con-

Harold McNair etc, establishing taining pure music. So shouldn't

acatalogue of around 15 albums. two channels suffice? No.

Though the band's popularity Switch out the rear speakers and

has faded in Britain, where they the ambience suffers. In sur-

once filled the Albert Hall, they round form, the music becomes

have remained in vogue in the much more involving, details are

Netherlands, hence this release easier to enjoy and the experi-

through Sound Products Hol- ence is that much more vivid. It

land. Now basically a duo, almost makes you wish Ambiso-

formed by Simpson and his nics had been handled by profes-

wife, guitarist-vocalist Linda, sionals. Here's hoping Papa Nes

Magna appears to be gaining has kick-started the future. [See

confidence from the 'back to 'Headroom', p.25 -- Ed]

Bullock acoustic' swing and their coun- [A/A:1/2]

Ken Kessler

ON SCREEN

You've got to watch these

soundtrack pages if you're a

completist. Imean -- who'd have

thought that athird-rate `yoof

comedy like California Man

(Hollywood/Sony HWDCD26

570057-2) would contain rare

cuts from the Smithereens and

Cheap Trick? Their contribu-

tions are overshadowed by the

inclusion of Vince Neil's hit

'You're Invited ( But Your

Friend Can't Come)', as are

those from Queen, Steve Vat,

Tone Loe, Edgar Winter and

others. And while you're at it,

Buf& the Vampire Slayer (Col-

umbia 472076 2) features Toad

The Wet Sprocket, Susannah

Hoffs, The Cult, diVinyls,

Matthew Sweet, Ozzy Osbourne

and more. To think you'd miss

these if Ihadn't warned you.

Among the more conventional

releases this month are Makolm

Arnold: Film Music (Chandos

CHAN9100), five of his film

scores recorded by the LSO, The

Big Battalions (Air Edell

Chrysalis AHLCD 6) from the

Channel 4mini-series, and seven

from Varese Sarabande. These

include asecond volume of John

Carpenter's Greatest Hits (VSD-

5336); the first volume of The

Young Indiana Jones Chronicles

(VSD-5381); Breaking The Rules

(VSD-5386) with aJan & Dean

cut; Hollywood Backlot (VSD-

5361) containing 20 themes from

Varese Sarabande titles; Nails

(VSD-5384), aTV score from a

film starring the great Dennis

Hopper; Storyville (VSD-5347)

which features James Spader of

Sex, Lies and Videotape fame;

and -- last but hardly least -- the

stupendous Basil Poledouris

score to Big Arnie's Conan The

Destroyer (VSD-5392).

Soundtrack of the month:

Wattstax -- The Living Word

(Ace/Stax CDSXE2 079 .) is the

double-disc recording of Soul's

answer to Woodstock. On 20

August 1972 at the Los Angeles

Memorial Coliseum, Isaac

Hayes, The Staple Singers,

Rufus and Carla Thomas, Eddie

Floyd, Albert King, the Soul

Children and the Bar- Kays,

played alive seven-hour benefit

with cameras running to help

causes including the Sickle Cell

Anemia Foundation and the

Martin Luther King Hospital.

And what you get here is alive

soul set to rival the best of the

Stax revues.

Ken Kessler

All tides full price except above

111-F1 NEWS aRECORD REVIEW

MIEN 19113

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rock/pop/jazz

Gerry Rafferty -- reflecting on his wilderness years?

the cover shot telling you

exactly where they'll be gigging.

In his attempt to wrest the

credibility away from the

McNally/Allen version which --

while also boasting only one

original -- has had the same core

for over 20 years, Pender comes

off the bitter fool. And the other

team is brave enough to issue

new material. Pender's disc

contains 11 note-for-note covers

of the Searchers' classics:

unneeded, unwanted and

unlistenable. Covers are only

worth hearing when they're

reinterpreted, right? As if the

purists and the fans can't tell

the difference.

[A/B:3]

Ken Kessler

VARIOUS ARTISTS HANDEL'S MESSIAH -- ASOULFUL CELEBRATION

Reprise 7599-26980-2 (76m 02s) ·

GERRY RAPPERTY ON AWING ANDA PRAYER

A & M 517495-2

(58m 01 s) ·

Alter adecade in the wilderness,

interest in Gerry Rafferty is

rekindled by Undercover's Top

Ten success with aversion of his

biggest hit, Baker Street'. The

timing is good, because this

album is stronger than anything

he's done in yonks and it's

certainly aworthwhile outlay for

Rafferty fans, full of the kind of

laid-back wistful love songs he

handles so well. At times, as on

the lovely, ' ICould Be Wrong',

he and the band hit their stride

perfectly, while ' Don't Speak Of

My Heart' should appeal to any-

one with fond memories of the

Jackson Five's ' I'll Be There'.

There are, however, several cuts

which don't invite further inves-

tigation. On balance though. On

a Wing and a Prayer won't do

Rafferty's rep any harm and

might deservedly put afew quid

in his current account.

[A:1]

Johnny Black

CHARLIE RICH

'You Don't Know Me' that

PICTURES AND PAINTINGS

invites favourable comparisons

Sire 7599-26730-2 (49m 58s) ·

with the Ray Charles version; and contributes an array of self-

Charlie Rich's problem is. that penned songs that such current

he's never really fitted into any mainstreamers as Harry Con-

definable ' file under' category. nick would kill to get their

At one point someone even hands on. Let's simplify things.

invented aspecial classification, Forget Charlie Rich, the country

'Countrypolitan', to cover what singer. Think in terms of,

Charlie was doing at that maybe, Dr John. And if the

moment. But Rich couldn't mention of that sort of name

stick around to provide that makes you smile, go out and

kind of fare all of his life. So he purchase Pictures and Paintings.

retreated to the sanctity of his There'll be few regrets.

home recording studio and a [A*:1.]

Fred Dellar

series of mid- 1980s sessions to

fashion afine album that, argu- MIKE PENDER 'S

ably for the very first time, gives SEARCHERS

full rein to the Grey Fox's ability MIKE FENDER'S SEARCHERS

as a singer/songwriter/pianist. Working basically with a trio that comprehends his unwilling-

Wienerworld/Ofrect Enterprises

ONN81

(25m 55s )

ness to stay put, Rich wends his Or ,Oiat happens when two

way through such standards as musicians have the right to the

'Mood Indigo' and 'Am IBlue', same band name. Pender has

instilling them with the kind of assembled a crew which looks

world-worn weariness that was exactly like your worst club

once Billie Holiday's trademark. circuit nightmare, the dinner

He turns in a performance on jackets and blow-dried hair in

Viewed purely as the basis upon

which to create acelebration of

black music history, much in the

manner of Quincy Jones's 'Back

On The Block', this version of

the 'Messiah' not only makes

sense but also provides an

invigorating line in entertain-

ment. Indeed, Quincy was

involved on this project as con-

ductor of the all-star choir (Patti

Austin, Andrae Crouch, Al Jar-

reau, Joe Sample, Johnny

Mathis, Gladys Knight, Edwin

Hawkins, Venessa Williams)

that performs 'Hallelujah?, but

it's really Mervyn Warren's

show. He fashioned most of the

Overture, which runs the gamut

from roots music (African, spir-

itual, gospel and blues), with big

band blasts, contemporary funk

and hints of jazz fusion, hip hop

and house. All these facets of

black music are reiterated

throughout the rest of the pro-

ject: The Yellowjackets turning

'Behold The Lamb Of God' into

so-so jazz of almost new age

pretensions; Dianne Reeves

edging out of reggae with 'And

The Glory Of The Lord' and

The Boys Chorus Of Harlem

providing what might be termed

the 'House' of The Lord via

'Glory To God'. But the most

impressive track is probably 'CI

Thou That Tellest Good Tidings

To Zion', a chunk of prime

acappella on which Stevie Won-

der is prodded to vocal glory by

Take 6, whose harmonies and

rhythmic abilities make you

wonder why anybody bothers to

engage musicians.

[A:1]

Fred Dellar

NI41 NEWS RECORD REVIEW

MARCH 2993

91

ALL ABOUT EVE

THE CRYSTALS

dandy history of the band up to Tina's backing group, easily on

WINTER WORDS -- HITS AND

THE BEST OF

'76, while the booklet is a apar with the girl groups which

RARITIES

Phil Spector Records/

Mercury 514 154-2 (73m 52s) · EMI PSCD 1007

(48m 40s) ·

muthaload of Parliament/ Funkadelic lore. Unquestionably, some of the most influen-

weren't thought of merely as the line-up behind the stars. Very serious funk, like an adult ver-

A worthy 19-track compilation Nineteen from one of the finest tial funk ever issued.

sion of Motown, and surprises

featuring (did you guess?) hits of all girl groups; this trio did,

[A/B/C:1/2] aplenty, including the bizarre

and rarities: 13 singles tracks, an after all, number Darlene Love

`Sally Go 'Round The Roses',

unreleased version of 'Our Sum- among its members. This is clas- SLIM GAILLARD/BABS

which rivals 'MacArthur Park'

mer', four rare B-sides and two sic Phil Spector, majestic and GONZALES

and 'Everyone's Gone To The

tracks never released before, mushy all at once -- probably SHUCKIN' AND MIN'

Moon' for the Syd-Barrett-

reminiscent in places of the original line-up of Renaissance or the music of the Steeleye/Fair-

the most authentic `teen' music ever released. And it's also noteworthy for containing the first

Charly CD CHARLY 279 (57m 32s) ·

Nonsense-Under-the-Guise-ofArt Commemorative Strait Jacket. [B:1/2]

port post-brown-rice period. single ever purchased by one Twenty of Gaillard's recordings

Gorgeous. [A:1/2] KK.

[A/B:1] for the King Label from 1945- MILS LOP0REN

55, some with fellow Bebopper FLIP

KEVIN AYERS BANANAMODE

THE EARLS REMEMBER THEM -- THE VERY

· Babs Gonzales -- and wild tracks
they are. Gaillard, who enjoyed

Castle CLACD 311

(78m I7s)

BOO BROCD142 SWEET DECEIVER

· (35m 48s)

BEST OF THE EARLS

Ace CDCHD 366

(64m 58s) ·

'Re-mem-mem-Re-mem-mem-

a high-visibility revival in the years leading up to his passing in 1991, became apatron saint of (jazz) hipsters, a sort of baro-

CODE OF THE ROAD Castle CLACD 311 (78m I7s)

BOO BOOMS (34m 53s)

member' . . . Ring abell? The meter of cool, and this material Two from 1985/6, though they Earls produced some white attests to his talents as abona show quite blatantly that the

Away from his early, totally doowop on apar with even Dion fide performer as opposed to poor acrobat was hooked up

spacey period and into asong- and the Belmonts, the smash hit being famous for being famous. with the Bore, er, the Boss. The

writing groove, Ayers produced 'Remember Then' being but one The lyrics border on the sub-Springsteenisms comprom-

these gems in 1973 and 1975. high point. Ace has gathered 25 incendiary and some are so poli- ise Lofgren's work, but under-

Bananamour remains his most tracks together, including four tically incorrect that you wanna neath there's still some chunky,

cohesive, accessible release yet; previously unissued tracks and drive up to the nearest uni- unpretentious rock. Code of the

it also features the most sym- the stereo is so good that you can versity and play 'em at 200dB Road is the more enjoyable,

pathetic backing outfit he ever position each vocalist in the outside the Student Union.[H:1] because it comes off as aspirited

fronted. Sweet Deceiver is almost room. Luscious four-part har-

'best of', and it shows Lofgren

asequel, but it veers between monies, great material. [A:1/2] JUDY GARLAND

as he's best-regarded: onstage.

the commercial and the bizarre

ALWAYS CHASING RAINBOWS

[A:2]; [A/B:1/2]

with less fluidity. Currently on THE EVERLY BROTHERS tour, Ayers remains one of the THE MERCURY YEARS '84-'88

ASV CDAM 5093 (65m 28s)

MELANIE

UK's most enjoyable, if enigmatic, eccentrics. [A:1*]; [A:112]
THE CHALLENGERS

Mercury 510 909-2 (75m 39s) ·
A fine 22-track set covering the Everlys"rediscovered' period,

Twenty-two Garland masterpieces, including ' Over the
Rainbow', numerous standards and plenty from her films.

GATHER ME
C-Fire Records C5CD59 (40m 35s) ·

THE MAN FROM UNCLE

which shows what hanging Muddy, vintage sound can't Archetypal Melanie fare, featur-

Ethel EDCD 350 (63m 35s) ·

around great British session players can do for those in semi-

obscure the brilliance. For younger fans, this should have

ing the trademark warbling, the sensitivity, the angst . . . like

Twenty-five tracks from yet retirement/obscurity. Purists been titled Remember Her This James Taylor with PMT. And

another undistinguished, sub- might recoil at any arguments Way. [H:1/2*] the disc is almost aperfect exam-

Ventures,

guitar- led suggesting this stuff stands up to

ple of the stay-in-your-dorm-

instrumental act. Twangy covers the best of the early material, BILL HALEY AND THE

room genre. Alas, it contains

of the title track, 'Cast Your but the less fastidious will revel COMETS

'Brand New Key', which histo-

Fate To The Wind', 'Walk in both the harmonies and the THE VERY BEST OF

rians will note did as much for

Don't Run', 'Rebel Rouser', `Pipline', 'Raunchy' . . . who the hell buys this? And why is it

material. The mix includes LP tracks as well as live performances from the reunion tours.

Music Club MCCD0068 (52m 09s) A

her reputation as `My Ding-ALing' did for Chuck Berry.
Sweet stuff nevertheless, and

on Edsel instead of See For And for Macca fans everywhere: Does anybody still not own well timed for today's hippie

Miles? [A/B:3] here's another to add to the Haley's hits, surely the most revival. [A/B:1/2]

discography. [A:1/2] popular of all rock- comp

THE CHAMPS

entries? If so, relax: this 20- JONI MITCHELL

TEQUILA

FUNKADELIC

track set costs less than a WILD THINGS RUN FAST

Ace CDCH 227

(50m 43s) ·

Phew -- an instrumental reissue that's a break from Ventures/

MUSIC FOR YOUR MOTHER

Chicken Madras or 60 fags. The

· Westbound/Ace CDSEW2 055 (56m 57s; 54m 43s)

sound is terrific -- MCA must have found the master tapes -- and it still swings, however

· Mobile Fidelity UDCD 570 (36m 49s) Joni's superguest-laden 1982

Shadows clones. This band was Mind-blowing double contain- corny Haley was compared to effort, so good it almost doesn't

sax-led, and the title track prob- ing 34 Clinton 45rpm epics, and his counterparts 'of colour'. need the loving-care-gold-disc

ably appears on 99% of all the probably the onry way you'll get Lame, yes. Twee, perhaps. But treatment. What's so nice about

`rock'n'roll' compilations ever 'em all without setting up atent it did start arevolution. [A:1/2/3] this is that it exploits the sense

released. Unfortunately, almost at a record fair. The material

of humour only rarely glimpsed.

every track on this set sounds runs from 1969 to 1976, prog- TILE IKEITIS

This follde-cum-jazz singer can

like a reworking of 'Tequila', rammed chronologically, and FINE, FINE, FINE

rock, and -- if this disc is new to

even the familiar covers. Strictly for Teds. And collectors, of

Ace has seen fit to include a couple of previously unissued

Kent/Ace CDKEN 063 (62m 03s) ·

you -- she actually manages a funky Elvis Presley cover.

course. [A/B:2] tracks. As such, it serves as a A juicy 24 tracks from Ike'n' Adelight. [A*/1*]

92

HI- F1 NEWS & RECORD REVIEW

MAIN:111M

re) ;ÇçtsPç

PAICE ASHTON LORD

VARIOUS

eybus, Melanie, the Kinks,

BBC RADIO 1LNE IN CONCERT

1AND ONLY -- 25 YEARS OF

Donovan, the Lovin' Spoonful,

· Windfall WINO 025 (50m 54s)

RADIO 1

Family, Marsha Hunt, the Small Faces and more on asingle CD?

· A 1977 concert recorded at the

Band of Joy 1301CD 25 (65m 49s; 65m 02s)

[A/B:1/2]

Golders Green Hippodrome by

what is essentially Deep Purple's Live-at-the-Beeb tracks from a GENO WASHINGTON & THE

rhythm section between DP roster of artists to make your RAM JAM BAND

reunions. Minus Blackmore and mouth water, and covering just TWO ORIGINAL LIVE SHOWS

Gillan, Paice and Lord added Tony Ashton ( prior to joining
Family) to form an undeniably heavy band, one marginally less plodding than the juggernaut they left, but to PAL's credit, this session sounds remarkably modern. [A/B:1/2]

about every genre experience during the past quarter century. From The Move, (early) Status Quo and The Yardbirds, through T- Rex, on to Elvis Costello, acluster of punks, loads of Indie outfits, reggae artists and technoids. [A/B:11

C-Five Records CSC!) 582 (72m 08s) ·
Two LPs on one CD, the brilliant pairing of abrace of mouthfuls: Hand Clappin' Foot Stompin' Funky-Butt . . . Live! and Hipsters, Flipsters, FingerPoppin' Daddies! from 1966-7.

TERRY REID ROGUE WAVES
BGOBGOCD 140 (32m 15s) #
Another shouldabeenahit album from Reid, who could produce the kind of short, sharp attacks which deserved AM radio air-

VARIOUS ROCK'N'ROLL PARTY SMASHES
Instant/Charly CD INS 5064 (6/m 46s)
A licensing nightmare, but Charly did it: 25 certified, original rock'n'roll classics includ-

Maybe this legendary AngloAmerican soul band didn't click because people couldn't be bothered spouting off the titles.
A shame, because everything Geno released sounded like an extension of the great live Stax Revue LPs. [B:1]

time. This release, from '78/79, ing Jerry Lee Lewis's ' Great is doubly curious because it Balls Of Fire', Carl Perkins's mixes some Reid originals with a 'Blue Suede Shoes', Chuck Ber-

YELLO ESSENTIAL YELLO

cluster of Phil Spector tunes, an Everlys cover and a gorgeous remake of the Left Banke's 'Walk Away Renee'. Weird? No odder than his debut LP, which at least developed acult following. A hearty nod to BGO for keeping the fifth. [A/B:1]
THE SEARCHERS THE EP COLLECTION VOL 2
See for Miles SEECD 359 (72m 59s)
Curious 30-tracker culled from their French EPs. Some familiar material -- ' Sugar and Spice', 'Needles and Pins' -- plus oddities including four tunes sung in

ry's `Maybelline', 'Runaway' by Del Shannon, 'Stagger Lee' by Lloyd Price and others of the same calibre. On abudget label, to boot. Even if you have all this stuff scattered throughout your collection, it's nice to possess the lot on one slim CD. Like the title says, a party-time cert.
[A/H:1/11
VARIOUS 2000 VOLTS OF STAX
Stax/Ace CDSXD 074 52m 26s) ·
Another feast of soul treasures from the Stax vaults, 18 collectors' items from Booker T & the

Mercury 512 390-2 ( 62m 23s) ·
From the most cynical, or maybe sarcastic of the synth operators, 16 tracks in a set subtitled 'The Singles Collection'. Hard to believe that the Swiss can produce hit records; then again, the deliberate approach Yello employed for topping the charts is as Swiss as it gets: Better Living Through Technology. Best thought of as Euro Devo or Zappa without a soul, Yello makes dance music for the end of the Millenium, and it is catchy. Saved only because the tongue is somewhere in the cheek. [A:1/2]

the Gallic tongue. And they don't translate very accurately, which will give the bilinguals

MGs, Rufus Thomas, Johnnie Taylor, Carla Thomas and the rest of the stable. Only two

THE ZOMBIES THE EP COLLECTION

among you something to laugh about. Interesting set, but superfluous if you own last
year's anniversary box. [A:1/2/31

tracks have appeared before -- both of them rare singles sides -- while the rest consists of alternate takes and completely unknown material. Any soul fan worth his weight in grits must

See for Miles SEECD 358 (62m .5.3
This 26-tracker contains primarily Zombies material which appeared on EPs, but is also

VARIOUS BEWARE OF THE TEXAS BLUES

buy this, especially for alternate something of a 'best of' and a versions of William Bell's ' You rarities disc. In addition to the

VOL 2

Don't Miss Your Water', Albert early smashes, it contains acou-

Blue Moon/Magnum CDBM 085 (5Im 24s) ·

King's 'Crosscut Saw', and two

Otis goodies.

LA/B:1/21

ple of tracks off Odessey (sic) and Oracle, one previously unreleased song, arare live perform-

Fifteen Texas blues obscurities, from authentic gut wrenchers to a Johnny Winter track he'd probably like to forget. Oddly
this set reveals extreme diversity rather than generic similarities, so don't expect a dozen Texas Cannonballs or aslew of Fabulous Thunderbirds soundalikes.
[B/C:1/2]

VARIOUS YOUR STARTER FOR TEN
See for Miles SEACD 5 (71m 27s) A
Stunning 20-track celebration of the label's first decade. Where else do you find Ace, Marmalade, Mike McGear, the Zombies, Climax Blues Band, Hon-

ance and some singles tracks. And -- are you ready for this? -- atrue stereo ' She's Not There'. This band has been `compilation'd' to the point of
stupidity, but See For Miles's set deserves attention. Sublime jazz-rock that you won't believe dates from the early 1960s.
[A/B:1/2]

ark" Aráen- tone
BBC Radio 1Live In Concert
he erY est f
Ill aieY
orn ets,

111411 NEWS aRECORD REMY/

MARCI11993

the '65 did not seem to reveal frontto-back depth in quite the way the MA50 does; it did not quite manage
that seamless feeling of integrity from top to bottom which makes the MASO sound so engaging; and,
finally, there seemed to have been a slight falling-off from the MA50's effortless ability to convey the rhythm of the music.

511 vocals could sound abit thinner and harder, but The Preamp 8does do a better job than its predecessors in some areas. On vinyl disc (using a Roksan Xerxes/Artemiz/Shiraz, The Preamp 8undoubtedly sounded more refined than the old MVT. By comparison, the MVT's sound was slightly darker, even alittle less airy, yet somehow had more guts and drive.

Turning to the MA65, this new power-amp again shared the basic
character of its predecessor, although there were differences to be dis-
cerned. If anything, the bass showed better definition, which could be very significant on some recordings. The mid could sound a little more forward, and there was an apparent increase in clarity and detail, if with a trace of treble graininess. However,

CONCLUSION These Musical Fidelity products
seem slightly out of the mainstream compared with the company's aggressively priced integrated
amplifiers, but they still have aniche. The Preamp 8 proves that MF can still produce ahighly competitive line pre-amp stage. The phono stage was good, but hardly an advance on previous models, nor outstanding
enough to make The Preamp 8abest buy for serious vinyl users: otherwise, it is pretty good value. The MA65 is a workmanlike power amplifier, as good if not better than
the MASO on most 'hi-fi' criteria, although (and Iregret having to say this, but Icannot put it any other way) it sometimes just did not con-
vey emotion as well. But then, there are two kinds of listener . . .

The Perfect Pitch

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THE FEDERATION
of BRITISH AUDIO
10th ANNIVERSARY
AWARDS

The first FBA Awards were held in 1983, with the awards being selected

Please tick one product in each section, and then answer the questions below

by an expert panel. Since then, the Awards Dinner has grown into agala event in aid of charity, contributing nearly £ 100,000 to avariety of

SOURCE COMPONENTS
Li Arcam Alpha Plus cd player £450.00 El Quad 66 cd player £ 544.00 D Naim Audio CDI cd player £ 1,598.00

INTEGRATED AMPLIFIERS
Li Arcam Alpha 3

£200.00

El Wharfedale 2050A
E Aura VA 100 Li Audiolab 8000A

£249.90 £249.90 £430.00

PRE AMPLIFIERS
111 Audiolab 8000C Li Naim Audio NAC 82 Cl Meridian 601

£400.00 £1,880.00 £2,750.00

POWER AMPLIFIERS
CI Audiolab 8000P Li NAD 208 CI Meridian 605

£570.00 £799.95 £925.00

TUNERS
Li] Arcam Alpha 3Tuner E Quad FM66 E Audiolab 8000T

£200.00 £490.00 £600.00

LOUDSPEAKERS - below £200

111 Celestion 1

£99.90

Li Mordaunt Short CS- 1

£99.95

0 Mission 760

£119.90

E Wharfedale Diamond 5

£129.90

E Canon S-30

£149.00

Li B&W DM600

£159.00

LOUDSPEAKERS - £201 - £600

O Epos ES11

£350.00

Li Tannoy 611

£399.99

E Ruark Templar

£479.00

E Mission 753

£599.90

LOUDSPEAKERS - above £601

Li Ruark Talisman

£699.00

Li Acoustic Energy AE1

£763.00

E B&W Matrix 805

£95.00

Li KEF 103/4

£995.00

Li Celestion 300

£999.00

0 Monitor Audio Studio 2000 £2,000.00

DIGITAL
Li Celestion DLP600 Li Arcam Black Box 5DAC CI Audiolab 8000DAC

£349.00 £450.00 £700.00

Which hi-fi or music magazine have you found most informative on hi-fi?

Which journalist has written the most thought provoking article on hi-fi?

Which is the most memorable hi-fi advertisement of 1992?

Name Address

Post Code
Which of the above products ( up to the value of £1,000) would you like to win?

Only one entry per person will be accepted.

Return this page to the Federation of British Audio,

Landseer House, 19 Charing Cross Road, London

WC2 OES by the 26th March 1993.

HEN

different charities during the last 10 years.
These awards provide an opportunity for you to vote, and to give recognition to theexcellence ofhi-fi products nianufactured in the UK.
£W I N 100 0
WORTH OF HI-FI EQUIPMENT
This is your chance to win your choice ofhi-fi from this list up to avalue of £ 1000 and also an invitation for 2to the Awards Dinner on the 20th Ap ril 1993.

ACCESSORIES CLUB

A round-up of essential accessories no audiophile should be without . . .

Use this form to order accessories
Nagaoka LP inner sleeves: pack of 50, £7.25 C; pack of 100, £ 13.50 C; pack of 500, £62.50 D PVC heavy-duty LP outer sleeves: pack of 50, £ 15.00 C; pack of 1(1), £27.00 0; pack of 500, £ 120.00 C 12in poly bags for LPs: pack of 50, £5.00 C; pack of 100, £9.00 D;

TGHRTEEIAMATELSL
Far be it for me to accuse anyone of short memories. Rather, we're indulging in apursuit which revels in ' newness'. We discard accessories and tweaks the way Royals discard spouses. And I'm as bad as anybody - worse, when you consider that I'm driven to find a new toy each month to keep everyone enthused and busy. But it's high time Ireminded you of what lurks inside the KK toolbox, the Accessory Club items without which I
cannot face the thought of setting up asystem and which keep me from ram-raiding the local Tandy at 3am. The Chesky Sampler CD: Ijust cannot live without that LEDR height test, which tells me (1) how well a product resolves three-dimensional information, ( 2) how well I've set up apair of
speakers and ( 3) how everyone who insists that there is no such thing as image height is deaf, stupid and should have his/her ears reamed out with a Black & Decker. The Toggle Cable Stripper: We live in the only country this side of Uranus where electrical goods still come without mains plugs. And when you take delivery of some tasty Yank high-end goodie, complete with a US mains plug fixed to cable thick enough to double for de Sade's fave prop, you wanna get that plug off and a new one fitted toot sweet. This pocket-sized gem is the best cable
stripper I've used for wire up to 8.5nun in diameter. Love it to pieces. ( Hack off the old plug with an axe or whatever other blade
you have to hand.) Black Tak: No, Ihaven't A/B'd it with the bluey-grey stuff, but I don't care. Ijust prefer black to bluey-grey. Cheap and cheerful and

pack of 500, £40.00 D HFNIRR 001 Fluxdumper: black- ash box £22.95 1:1 HFNIRR 004 Blackhead: m-cstep-up transformer; £60.95 I: HFNIRR 005 Spikes: timber C steel C, inc fixing kit, set of 8, £ 10.25 0 HFNIRR 006 Flutterbuster: 33.3/45rpm. 220/240V only, OK for most
synchronous t/t ( specify type); black- ash case £81.95 [11 HFNIRR 007 Carrydisc: 14 CDs in a40mm travel pack! £ 12.25 HFNIRR 009 Headcase: headphone amplifier. 40mW Class A unit
allows use of headphones; black- ash case; 220/240V- only £81.95 O HFNIRR 010 News Stand: 19in/430mm housing, 36in high, complete
with 5shelves ( 3adjustable) black finish £ 142.95 D HFNIRR 011 Mushcrusher: 220/240V mains filter. 5A rating £25.95 D HFNIRR 012 Software Storage System: satin black timber ( Medite), stackable, supplied in kit form. LP unit ( 120 capacity) £55.(1) CD/cassette unit ( 40/25) £35.00 D singles unit ( 2(X)) £40.00.
HFNIRR 013 Wallnut: wall mounting two- level turntable support
complete with two shelves; finish, black £50.95 C HFNIRR 014 Stylus Cleaner: ultrasonic cleaner; £ 19.95 C HFNIRR 015 Test CD 11:99 tracks, 75mins. £ 12.25 HFNIRR 016 Software Storage: 4- high CD storage unit £ 70.(X) Cobra Indoor FM antenna: indoor aerial, built-in amplifier £49.95 ID Audioquest vacuum tube dampers: set of 4 £ 12.25 D Audioquest damping sheet: sorbothane, 6in xbin self-adhesive £ 12.25 0
Good Sound: Laura Dearborn's paperback £ 11.25 0 HFNIRR self-build loudspeakers: details available for DCI & Bassett Audiophile records: Cantate Domino £7.95 D Jazz at the Pawnshop (2LP) £ 15.95 III Casino Royale CD £ 10.95 C; JBoyk Stereo Miking
CD £ 12.25 D Pictures At An Exhibition (Boyk) £ 13.95 LP C £ 13.95 CD C Good vibes at the Pawnshop Jazz Club £8.95 LP C Jazz at The Pawnshop II £8.95 LP Uf13.95CD C Reissues James Taylor 2LP 12 CD C; Hopkins 2LP 11 CD C; Lomax
2LP C CD D; Preston 2LP D CD D. 2LP £8.45, CD £ 10.95 Alphason Tonearm Lifter: Yes, it really does! £ 14.25 CD Feet: Audioquest Sorbothane. Pack of 4 £25.95
Decca record cleaning brush: £9.95 D CD Jewel Cases (packs of 10): standard, Sin complete £6.50 D; Sin, outer £5.00 C; shmline Sin £6.50 0; Double Jewel Case, complete (each) £ 1.75 C. Sin clear protective sleeve ( pack of 5) 75p D. Calotherm: CD cleaner cloth £2.25 U Hi-Tech Lenscloth £ 1.60 ID Kontak two-bottle cleaning kit: £19.95 U Tweek £ 16.95 Audio Anthology, Vols 1,2,3 ( each) £ 17.25 D; Loudspeaker Design
Cookbook, £ 16.25 D; Killer Car Stereo, £ 16.25 ID Finyl: Starter pack, 100 discs, £ 15.25 ID; Finyl, 200 discs £25.95 C Isopod: ceramic feet. Set of 3D £25.95 Insert Audio banana plugs (per pair) £3.95 The Audio Glossary: JGordon Holt's paperback £9.95 D High Performance Loudspeakers Vol 4: Martin Colloms £28.50 C TDK Digital Noise Absorber £8.95 D Moth record cleaning machine, kit £ 180 ID complete £333 Duo Tech Cable Enhancer, £175 C HFNIRR Spring Cleaning Kit £48.20 C Audioquest Works of Art £7.95 U Chesky Best of . . . £ 11.95 C Apple ' Phase 2' (state titles) - LPs £8.95 C CDs £ 10.95 0
First Base £49.95 0 ART Graphite Dampers: Set of 3, £49.95 C set of 4 £59.95 Harmonix RSII Foils: 8per pack £ 17.95

still the best all-round damper and speaker sticker on the market. Good, too, if you've run out of Post- It notes, but watch the

NAME (caps please)

wallpaper! Kontak: No question - the finest plug'n'socket cleaner on earth.

ADDRESS

I've yet to use it without hearing some sonic improvement, even on new gear fresh out of the box. Wouldn't dream of reviewing a

product before it has been treated with a Kontak bath.

Other items in my toolbox which you don't have to buy from the
Club include asuper-sharp, all-purpose locking-blade pocket knife (Kershaw and Gerber make nice ones), adecent selection of Philips and flathead screwdrivers, imperial and metric Allen keys, Tylenol

Ienclose POIChequel MO* /wish to pay by AccessIVisalDinerslAmex* My card number is
111111111111111

All prices include post & packing Expiry date

or Nurofen, Willy De Ville's ' Assassin of Love' on CD, acheapo

SPL meter, needle- nose pliers, an adjustable spanner, extra mains plugs, Q-Tips, sticky tape, surgical spirit, plastic cable ties (not that
daft thing we gave away last year), spare RCA and banana plugs, a
Mag Light mini-torch and a jeweller's loupe.
Why the latter? Nothing to do with hi-fi. Ikeep one with me at all times in case somebody happens by who shows me anice watch.
Ken Kessler

Signature

Please send orders to HFNIRR Accessories Club, PO Box 200, Bedford, MK40 1YH

Cheques should be made payable to HFNIRR Accessories Club.

Delivery subject to availability.

Accessories Club hotline IS 0234 741152

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Photo copies of this form are acceptable. E&OE · Please delete as necessary.

11141 NEWS IMORO REVIEW

MARCH 1993

97

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STUDER - REVOX

SALES -- SERVICE -- SPARES

REVOX PR99 REVOX B77 REVOX A700 REVOX 877 REVOX 036 REVOX E36 REVOX 6710 REVOX 8795 STUDER C37 REVOX A77 REVOX Al? REVOX C270 STUDER 867 REVOX C221 REVOX 8126 REVOX C115 REVOX B286 REVOX C279 STUDER A68 STUDER A721 STUDER 0780 STUDER A764 STUDER A740 STUDER A727 STUDER A730 STUDER A807 REVOX REVOX AGORA REVOX CUBE REVOX H REVOX SSERIES STUDER A80 REVOX B291S REVOX H2 REVOX 13261 REVOX 8242

MkIll HIGH SPEED, NEW Mk1IHIGH-SPEED, NEW THREE SPEED, VGC. Mk11 HS USED. MkIll TWO-TRACK. VGC MklICASSETTE DECK TURNTABLE STEREO VALVE 71/2 ,15IPS MkIV HIGH SPEED MkIll TWO TRACK, TWO TRACK HIGH SPEED MkIIVU 301 PS PRO CD PLAYER CD PLAYER PRO CASSETTE DECK PRE CE1VER, NEW, BL. SIX INTO TWO DECK STEREO POWER AMP PRO CASSETTE DECK RDAT RECORDER FM TUNER CD- RRECORDER CD PLAYER PRO CD PLAYER STEREO VU THREE SPEED EVOLUTION SYSTEM Mk1IBLACK EX OEM WITH PICCOLO SPEAKERS ONE CASSETTE DECK FULL RANGE AVAILABLE TWO TRACK 71/2,151PS TURNTABLE CD PLAYER, BLACK FM TUNER VGC POWER AMP, BL

£2,828.00 £1,952.00
£850.00 £900.00 £800.00 £600.00 £600.00 £360.00 £800.00 £650.00 £600.00 £2,898.00 £1,800.00 £1,138.00 £450.00 £1,121.00 £1,000.00 £2,338.00 £893.00 £2,303,00 £3,424.00 £1,625,00 £4,174.00 £1,750.00 £2,538.00 £5,634.00 £2,850.00 £1,200.00 £400.00 £800.00
P.O.A. £2,500.00 £1,000.00.
£650.00 £750.00 £1,200.00

PART EXCHANGE AND EXPORT WELCOME CD RSERVICE AVAILABLE

TEL: 0246 - 275479 -- FAX: 0246 550421

NEWS LRECORD REVIEW

MARCH 1993

Active Audio

ARCAM, AUDIO INNOVAllONS, CELESTION, CYRUS, DENON, KEF-REFERENCE, MERIDIAN, MARANTZ, MICROMEGA, NAKAMICHLFIONEER,DUAD RAYMOND LUMLEY, REVOLVER, ROKSAN, ROGERS, ROTEL, RUAFIK, TANNOY, YAMAHA ETC,
FULL DEMONSTRATION AND HOME TRIÁL FACILITIES ACCOUNT AND CREDIT CARDS.

Active Audio
12 Osmaston Road, The Spot, Derby. Tel: (0332)380385/385185

THE ULTIMATE IN SOUND ADVICE

LEAST MIDLANDS
gMOVSOE4O.\1P_,,`0z0eP1s,SNOszl , WOO SOUPD,NPe, Ot*1,
soted adei%ce teDS\Ot,l, t\I\OZOF\N
Otere Street, t.or.tertborottgrr t.E.1 1 ·teo ier. `0309` 218254 fate V3504% 23401 b

ceeP\M\CO , e0Y,,Selt·IteSe,
'i I\tee,Ciese(,0e,ee,s3cge0o0Ys.,, CPI 0?C elee,lts

i

ten

i n Il

WHEN ONLY THE BEST IS GOOD ENOUGH

Hear the best from LINN, ARCAM, NAIM*, EPOS`, AUDIOLAB, CREEK, QUAD, MISSION,
CYRUS, ROYD, HEYBROOK, MORDAUNT
SHORT, DENON, NAD, ROTEL, etc ...

"because hearing is believing"

6HOTEL STREET LEICESTER LEI 5AW
0533 623754

32 GOLD STREET NORTHAMPTON NNI IRS
0604 37811

*Northampton branch only

E

E

CLONFY e a al1111/114111111

55 Main Street, Blackrock Dublin. Tel: 0001-2888477
0001-2889449 Linn, Rega, Creek, Nairn, Castle, Nakamichi, Arcam, Croft, Rogers, Audio Research, Magnaplanar, Classé.
Closed all day Mon/Thur & Frl open till 9pm
Major credit cards welcome
99

SPECIALIST GUIDE

HERTFORDSHIRE

LANCASHIRE

.sounds outstanding
AKAI · ALPHASON · ARCAM. · BANC & OlUFSEN B & W · BOSE · CELESTION · DUAL · HARMAN KARDON MARANTZ · MORDAIJNT·SHORT · NAD · NAKAMICHI· PIONEER · QUAD' · RLIARK · SONY · YAMAHA
·Eppong and Saffron Walden only 148 HIGH STREET · EPPING · ESSEX · TEL: (0W2) 574242 26 KING STREET SAWRON WALDEN. ESSEX. TEL, (0799) 523728 70501/TH STREET · BISHOP'S STORTFORD · HMIS · TEL: (0279) 656401
GREATER LONDON

1;1 1'1 .54'1 .71111;
27 112ChERL E 111SFIY SURMA On 2ROM' UHL Si MI CMS

11E.E _ _ _
TEL G27fi 5Erei, 111 148E 61)123

Front End Problems?
then contact "The Cartridge Man"
It doesn't have to cost an arm and a leg to get the best -- listen to my Koetsu-and-Decca-eater.
Also agents for Croft, Sugden, Thorens, Pentachord Speakers
& Nottingham Analogue, plus Cartridge retipping service
081-688 6565

HAMPSHIRE

The Audio

Liss, Hr Petersfield, HANTS.

Gallery

Tel: ( 0730) 895194
10-5 tins-Sat.

Audio .Alchemy. Audio Innovations Series IMM, Wadia
6, Alchemist Amps. Acoustic Energy OED. Castle. Deltee. Denon. Forte. AMC Amps & RMC Speakers. Impulse Speakers. MANA TABLES Micromega.
Monitor Audio. Mordaunt-Shon, Moth. NAD. Nakamichi. Proue. Pink Triangle. Pioneer. Rovd. S.M.E. & T.D.L.. Tube Technology. Rogers. Téac. VRDSUI Valve Specialists. Yamaha .DSPI0110. JPW.

Cables and Interconnects. Home Demonstrations. Single Speaker. Demo Room. 2yr guarantee on some products.

Mai/ Order Aliii/abie

HEREFORDSHIRE

ENGLISH
audio IN HEREFORD
Albarry, Arcam, Audio Innovations, ( Medium Creek, Cyrus, Heller, Hemel, Dual, Ileybruuk, JPW,
Micromega, Mission, Minh, Musical Fidelity . N D. Nakamichi, Pink Triangle, Rogers, Hotel, Roark, Sias,
Systemdek, Fannoy,
Free installations; ' redit Facilities; Service Dept.
Mon- Sat 10-6
95, Whiteeross Road, Ilereford ( 1M32) 355081
IOD

E

N

* Ortofon * Kef * Groove Tubes *

IMARPAULL

MARPAUL HI-FI

Any Audio Equipment available. Give us aring for advice or aquote.
We specialise in Valve Amp Equipment, Spares & Repairs.
'NOW AVAILABLE' THE NEW SOUND RESEARCH
VALVE AMP RANGE.
Access/Barclay/Amex.
MAIL ORDER SERVICE AVAILABLE
NEW TELEPHONE NUMBER
0474 833773

volum

e

TEL: 081 304 4622
Arcam · Audio Technica · Canon · Creek · Epos
Exposure · JPW · Marantz · Micromega · Moth Musical Fidelity · Nakamichi · Neat · Ortofo n
Pink Triangle · Rotel · Royd · Ruark · Sony · Sy stem dek
-- SECONDHAND RECORDS BOUGHT AND SOLD -- 41 UPPER WICKHAM LANE, WELLING, KENT

K I NGS TON

Stockists of: EPOS · HEYIIROOK
M ICROM EGA · NAIM MIDI()
NEAT · REGA · ROKSAN
ROTEI, · ROYD · YAMAHA

9Iligh Street, 1lampton Wick. Kingston upon Thames, Surrey KTI 4DA Tel: 081-943 3530
Infidelity indecently goodIii-fi

Open 'rues
Sal 10.30001
7.110pm.

* Pink Triangle * SME * Arcam * * e3!utpai ownv * pJo;peu 4.

MONITOR SOUND

I TECHNICS' SONYMIPIONEER II PANASONIC KENWOOD II DUAL

·CASTLEU QUAD UB&WU MARANTZ

'SPEND> UTHORENS UARCNsI MI ROTE LMI WHARFEDALE

ZDENON · YAMAHA U TANNOY UPHILIPS CD CELESTION II ROGERSU MORDAUNT SHORT

 OUNDATION UMONITOR AUDIOHAND MANY MORE BIG DISCOUNTS · TWO YEAR GUARANTEE ON HI-FI EXCELLENT COMPARATOR DEMONSTRATIONS
PRIVATE LISTENING ROOM · FREE HOME INSTALLATION
CHORLEY (0257) 271935

54 Chapel Street, Chorley

LONDON

Analog Audio
(Hi-Fi Specialists) 849 High Road, London N12
Tel: 081 445 3267
LEADING STOCKISTS OF ROTH:, YAMAHA AND MARANTZ
Stockist of full range of speakers and electronics for all major manufacturers.
Please phone for details.

studio

79/81 Fairfax Road, Swiss Cottage, London NW6 4DY Tel: 071-624 8855 Mon- Fri 10- 7--Sat 10-6
82 The High Street Harpenden Hurts AL25P 0582 764246
Mon-Sat 9-5.30 (Closed Wed)

DOUG BRADY HI-FI
18 MONMOUTH STREET, COVENT GARDEN, LONDON WC2H 9HB
Tel:071-379 4010. Fax 071-497 9205
CLOSED SUNDAY & MONDAY
LINN · NAIM · QUAD · CAMBRIDGE · ARCAM · MERIDIAN · NAKAMICHI · REVOX ·KRELL · AUDIO RESEARCH · ORACLE · SONY · DENON ·D&M · ROKSAN · DELTEC
Also at Warrington and Liverpool (see Cheshire)

1114111EWS &RECORD REVILIV

IMICI11993

_à

SPECIALIST GUIDE

LONDON
UDIOY ENUE
AUDIO CONSULTANTS AND RETAILERS 24 CHURCH ROAD, CRYSTAL PALACE, LONDON SE19 2ET - TEL: 081-771 7787
Stockists of: Audio Tech, Creek, Denon, Dual, Epos, Mana Acoustics, Marantz, Monitor Audio,
Naim Audio, Nakamichi, Professional Monitor Company, Revolver, Yamaha etc. Extensive range of vinyl available.
2 single speaker demonstration rooms. Interest- Free and Various Credit Facilities Available.
All equipment delivered and installed. Comprehensive turntable rebuilds etc.
2- year warranty. Open 10-5.30pm - Closed all day Wednesday.
Fridays open til 7pm
NORFOLK

Near Norwich Norfolk. Tel:
(0508) 70829
Basically Sound of Norfolk
Arcam, Linn Products, Nakamichi, Naim , Rega, Denon, Creek, Epos, Acoustic Energy.

NORTH WALES

ACTON GATE AUDIO THE HI-FI CENTRE IN WREXHAM

Aiwa, Arcam, Albany. Audio Iechnica. BEM, Bose.

Cambridge, Canon. Celestion, Cyrus, Haller. Ion. Marantz,

Mission. Michell, NAD. Nakarnichi. ° Rotor. Proton. Quad.

Radford. Rega. Rogers. Rolel, Sat-Ism, Spendor. Tannoy,

in Target. Thorens. Wharfedale. Yamaha

Access

= Barclaycard

Demonstration Rooms Available Mail Order aSpeciality
4RUABON ROAD, WREXHAM

TEL: 0978 364500

SOUTH COAST

SONY
HP-Fl
NI:WS

69 Lorxfon Road
E0I2n7g3hb6a0n9431

4Albert Parade Green Street Eastbourne 0323 31336

Excellent Listening Facilities LATE NIGHT - WEDNESDAY · 8PM

2.9 Lond x, Road Portsmouth 0705 663604
EtSrdl, CLOSED MONDAYS

NEWS & RECORD REVIEW

MARCH 1993

SOUTH WEST & WALES

WEST SUSSEX

audio e cellence

WHERE THE MUSIC MATTERS

Gloucester
58 Bristol Road Gloucester GL1 SSS
104521 308046

Swansea
9High Street Swansea SA1 1LE
107921 474608

Bristol
65 Park Street Bristol BS1 5PB
(02721 261975

Cardiff
134 6Crwys Road Cardiff CF2 41\10 102221 228565

Tuesday- Saturday. 9.00am-5.30pm

STAFFORDSHIRE

Active Audio
ARCAM, AUDIO INNOVATIONS, CELESTION, CYRUS, DE NON, KEF REFERENCE, MERIDIAN, MARAHTZ, NAKAMICHI, PIONEER, REVOLVER, RAYMOND LUMLEY, ROKSAN. ROGERS, ROTEL, RUARK, TAN NOY, YAMAHA ETC.
RILL DEMONSTRATION AND HOME TRIAL FACILITIES ACCOUNTAND CREDITCARDS.

Active Audio
29 Market Street, Tamworth, Staffs Tel: (08271 53355

Active Audio
95 Stafford Street, Hanley, Stoke-On-Trent, Tel: (07821 214994
Car Parking

SUR R E Y

URREY HIFI
SPECIALIST HI-FI OUTLET DEMONSTRATION ROOM - PARKING ·QUAD · AJDIOLÁB · RE. ACOUSTICS · TUBE TECHNOLOGY · ·Ms TANNOY.KEF0DENON0NAKAMICHI · 1HORENS · ·TARGET · MAGNUM · ROTEL · /WANT? · MICNELL ·
·SENNHBSER · FURUKAWA ·
REFERENCE IMPORTS DEALER
Just 2minutes off Junc. 6 M25, (A25)
GODSTONE 0883 744755
45 High St, Godstone, Surrey RH9 8LS
SUSS E
-fhe pow&yekteffi-
BRIGHTON'S LEADING HI-FI SHOP
· Comfortable listening room · Knowledgeable and approachable staff
66 Upper North Street, Brighton. Telephone 0273 775978
Roksan, Micromega, Musical Fidelity, Exposure, Audiolab, Onix, Epos, Hotel,
Marantz, Yamaha, Ruark, Thiel, Accuphase and other fine equipment.

1-1C4IGV1rI1CIrFuIEuSmTIuEnIrP y

Retailers of quality audio equipment

7 St. Pancras, Chichester, West Sussex P019 IS)

Telephone 0243 776402

Closed Mondays

WEST MIDLANDS

MUSIC MATTERS rf
THE AUDIO SPECIALISTS
AR ARUM AUDIMAB AUDIOGUEST BEYER CANON CFIESTION CYRUS DENON DUAL EXPOSURE HARMON KARDON. INFINITY KEF LUXJAAN MARANTZ MERIDIAN MICHELL MISSION MONITOR AUDIO MORDAUNT-SHORT MUSICAL FIDELITY NAKAMICHI ONIX PINK TRIANGLE PROAC REVOX REVOLVER ROGERS ROKSAN ROTEL RUARK SANSUI SENNHEISER SYSTEMDEX TECHNICS WHARFEDALE YAMAHA
Open Tues, Weds, Thurs 10.30-6.00, Friday 10.30-8.00, Saturday 10.00-5.00
351 HAGLEY ROAD, EDGBASTON, BIRMINGHAM B17 8DL
021-429 2811
156/7, LOWER HIGH STREET, STOURBRIDGE; 0384-444184
* Credit facilities *
(written details on request)

THE mosT !Atli sn E
INDEPENDENT Ill- El Mt DIO

fil he internal atmosphere and eas access makes it so much more exciting choosing your hi · fi from the finest audio pniducts available.

EST 1981

Just off the High Street, Blow% id,

Walsall. West Midlands.

(Ample free parking

1011

i()N lib

Tel: (0922) 493499-473499
Jay call tu ir phasic Richard or Dorian liar adenmetration.

11.111110 · I( Ot 111( LM Mil · 111' 111 · 11111010P 111/0 11.111111 · 111110 Q1 1.1t· ( 11011). MI1.111111 · F.P0s.1P11·14.110FIU.St I.* 11111\1/. 11FRIII1S · 1110t0111111·111`40 \ . 11113. MI*1111191.111.
S1k1111(H1·01111110%. Q1111·111101\ · 1111211·1111111111k · 1111.· nK IF( H1011111·%1\ 1),%Hlu..t %mints-rm.
11ainnalli·li trading a, Sound %radon%

Advent, Albarry, AKG, Alphason, AMC, AR, Arcam, Audio. quest, Audio Technica, Beyer, Bose, Castle, Chord, Oenon, Dual, Goldring, Meridian, Michell, Monitor Audio, Nagaoka, Nakamichi, Ortofon, QED, Quad, Revox, Sennheiser, Spendor, Target, TDK, TDL, Thorens, Wharfedale, K. Monks Record Cleaning Service.
Five Ways Hi- Fidelity Ltd., ( Est. 1972) 12 Islington Row
Edgbaston, Birmingham B15 1LD 021-455 0667. ( Closed Mondays)
101

SPECIALIST GUIDE

WEST MIDLANDS

YORKSHIRE

YORKSHIRE

BIRMINGHAM
ROYO MORDALINT SHORT, ARCAM LINN. MONITOR AUDIO. EPOS NAIM MISSION. REGA. DUAL, RO TEL. CYRUS CREEK NAKAMICHI. DENON. MARANTZ,
REVOX QUAD 94 BRISTOL ST., BIRMINGHAM
6 9 2 1 3 5 9 , TUE -SAT 10am- 6pm

scarborough hi.fi
HARROGATE; 15 Commercial Street. 0423 504274 SCARBOROUGH: 14 Northway. 0723 374547 sales - service - dem rooms AIWA - ALBARRY - BOSE - B&W - CYRUS
-DENON - MARANTZ - MICHEL - MUSICAL FIDELITY - MICROMEGA - MISSION -NAD -NAKAMICHI- PIONEER - QUAD- ROGERS -ROTEL - RUARK - STAX- TANNOY - TDL- etc
2year guarantee plus unbeatable prices
Audio Projects
45 Headingley Lane, Leeds LS6 1DP. Tel. 0532 304565. Open Tues.-Fri. 9.30-6.00. Sat 2.30 - 5.30. HiFi SPECIALISTS.

Audio Reflections The Northern Alternative

DISCOVER ACCURACY IN HIGH FIDELITY
On permanent demonstration exclusively in Yorkshire and the North East of Engtand-ATC SCM10. SCM20. SCMSOA and SCM100A, ATC. AV Internattonal. Castle. Chester Winchester, Concordant, Chord SPM Power Amplifiers, Equinox, Harbeth Acoustics, JPW, Kelvin Labs, Marantz. Michell Gyrodec, Michell ISO'. the new Michell Argo Preamp Micro, Music Link. Ortolon premier range. Jeff Rowland. Rotel. SME. Sumo. Slate Audio. Sony, Sugden, Target. Townsend Demonstrations by arrangement in LEEDS, or in your own home without obligation For further details contact JOHN BLEAKLEY. Phone/Fax Leeds (0532)
528850 (evening calls welcome!
Part Exchange and Second Hand Equipment available

·, MICHI ft JEFF

AN- D· /4440ilik4 ·-·

o

116 %COUSTIC UMG

A A SUGDEN çe·-· · H°RD".)

TO ADVERTISE IN THIS SECTION CONTACT
081-686 2599 EXT. 447

GIL A SiSIFd'E ÀD
Advertisements for this section must be pre-paid. The rate is 65p per word ( private), minimum £ 17.00 incl. of VAT. Box Nos. £3.00 extra. Trade rates 75p per word, minimum £21.00 incl. VAT. Copy and remittance for advertisements in May issue must reach these offices by 10th March 1993 addressed to: The Advertisement Manager, Hi-Fi News & Record Review, Link House, Dingwall Avenue, Croydon, Surrey, CR9 2TA. Please include name and address. Cheques made payable to Link House Magazines Ltd. NOTE: Advertisement copy must be clearly printed in block capitals or typewritten, illegible copy will be returned.
Classified Lineage Advertisements cannot be accepted over the telephone
Replies to Box numbers should be addressed to the Advertisement Managet, Hi-Fi News & Record Review, Link House, Dingwall Avenue, Croydon CR9 2TA, and the Box No. quoted on the outside of the envelope.

FOR SALE- Private

FOR SALE- Private

SNF:I.I. Al ILOUDSPEAKERS. mahogany boxed with instructions. Two years limited use in dedicated room. As new condition rare opportunity £2950. Audio Innovations Nova' ( Audionote 10) stepup transformer. £7110. Tel: ON321 349314. 1( .)
YAMAHA HXI0000 MOSFET phono stage amplifier one of only six in the UK limited edition. Brand new ultimate moving coil head amp 30kg weight ultimate boxed cost new £ 2200 bargain at £850 o.n.o. Call 081-451-6340. ( C)
VPI TNT MKII TURNTABLE. Graham Arm. Sumiko DTI Cartridge, as new, owner emigrating. bargain £2950. Tel: 1181-954-6137. ( D)
AUDIOPLAN MUSICABLE new and less than half price. I.25m x-wire tone-arm cable £50. LS6 loudspeaker cable 61/2 m pair £ 15(1. Matched pair visation ribbon tweeter units. new £45. Tel: ( 1)723) 366056. ( C)
QUAD Il MONO VALVE AMPLIFIER. preamp and tuner. Mint condition in performance and appearance. £190 o.n.o. Tel: Manchester ( 061) 707 6019. ( C)
NAKAMICHI 10007,XL ultimate cassette deck - last of great cassette decks. Boxed cost new d£25110. Ultimate 3head design bargain at £890 o.n.o. l'el: 081-451-6340. 1( .)
R()KSAN XERXES FITTED SME V complete with Roksan table. Under WO hours use and essentially as new, bargain at £ 1250 o.n.o. Supex 21991 11.0. Cartridge. perfect and under 100 hours use, £300 ( list £72)1. Linn Linkk Phono-Stage £ 115. Tel. ( 0723) 366056. I(')
102

JADIS JA 500 MONOBLOCKS. Rare opportunity to purchase the greatest of Jadis amps for only £9500 (Absolute Sounds List £ 19980) 15 months old, excellent condition, under guarantee. Tel: ( 0865) 59904 ( Eve). (C)
SPENDOR SI005 PLUS STANDS RRP £ 1750 sell for £850. Excellent condition. Rock Reference Record Player. Skyline Subtable, Dynavector 17 Dll ( one year's use) £ 1500. Audion Ref valve pre-amp £495. Tel: (0323) 485015 offers considered. Sussex. ( C)
KEE 105/3 REFERENCE LOUDSPEAKERS. Rosewood finish, superb condition, 5year warranty, boxed with manual. Kef Kube 200 ( boxed) both products 10 months old; combined price £ 1400, no offers. Tel: (0896) 4666 ( C)
ROKSAN XERXES/ARTEMIZ/SHIRAZ, latest spec, rosewood finish, £950. Bryston I2B pre-amp/4B poweramp, £ 1350. Roksan Darius, rosewood finish, £750. Includes Roksan crossovers/cables/interconnects/ tables/stands, etc. All mint condition/boxed/ instructions. Whole package cost new over £7000, will accept £2850. ( 0)89) 67760 ( evenings) ( C)
SONY ES630 BITSTREAM 100W amplifier. Rave reviews, £ 195. Marantz 75 CD Player with remote £75. Acoustic research AR 10X 200W amplifier £ 195. All excellent. Aiwa almost new R707 top auto-reverse deck (owner gone DAT) £95. Quad 405 ( modified) amplifier £55. Thorens 160 with Linn arm, Ortofon MCIO, case tatty £50. Tel: Wakefield () 924) 381667. ( C)

FOR SALE- Private

DALI SKYLINE 2000 MINT. Drive with anything, £950. Souther Triquartz arm, mint, brass base, silver wired, very fast and open, £500. Upgrading again! Tel: 081-773 1914. ( C)
KRELL BALANCED REFERENCE PREAMP (List £11,500) £5,800 and matching pair KRS200 amplifiers, new, unused, boxed ( list £25,00)) £ 15,500. Micro Seiki CDM2 mint ( list £3,250) £ 1,500. Tel: 1(1945) 588533 or 589117. ( C)
KRELL MDI TRANSPORT PERFECT £2000 o.n.o. ATC SCML20 black perfect £750 o.n.o. Leo evingings 081-866 6107. ( C)
AUDIO RESEARCH CLASSIC ISO mono valve power amplifiers, balanced input version, mint condition with guarantee £5500. Jeff Rowland Consonance preamplifier full remote balanced output £2800, Lurne SL5 arm £675. Tel: 081-771 7106. ( C)

AUDIO RESEARCH 0400 solid state power amplifier, 200w per channel excellent condition. Boxed with
manual cost £5300 accept £3850. Tel: 081-461 0744 ( C)

LINN AXIS WITH AKITO ARM and K9 cartridge, little used since purchase December 1989. ( Owner gone CD). £250 o.n.o. Tel: York (( 904) 708117. ( C)

LINN ISOBARIK SPEAKERS, rosewood case, perfect condition £850 o.n.o. Linn Sondek LP12 Turntable, Clements cartridge, Linn look LVII arm, hardly used. £900 o.n.o. Another with Denon cartridge and Linn Basik plus arm: £600 o.n.o. Tel: 071-222-2891. ( C)

HI-Fl NEWS 8, RECORD REMY

111M011993

CLASSIFIED

FOR SALE- Private
STAX QUATTRO II C.D. PLAYER £ 1750 not £3000! V.D.H. D30(1 MI(11 70 pair £30. Sheffield ' Missing Linc' Vol. 2offers? Tel: (0233) 632620 or 0679 62319 (C)
ABSOLUTELY THE BEST PASSIVE PRE-AMP Vishay bulk foil attenuators, solid silver teflon wire WBT phonos or lento camacs, rosewood case, heats ARCLS2 any demonstration £750. Also rosewood, granite case. WE3011B monobloks " Kassai" valve hcadamp, silver interconnects, "silencer" C.D. mains lead, " De-Squeak" modification, offers. Tel: (0642) 559543. ( C)
KRELL MD- I TRANSPORT AND S.B.P. 64X D.A.C., latest specification - fully updated, £ 16,0(10 new - £6,500 for quick sale. Also, Koetsu Urushi - still boxed after re-tip - £975. Ortofon MC3000 MK2 - mint - £450. Tel/Fax (0227) 770195. (C)
QUAD ELS 63s. As new boxed £ 1500. Audio-pro sub-woofer as new boxed £400. Pair 1r Tannoy Monitor Gold Units £ 150. A.R. Turntable £ 150. Tel: 081-994-8840. ( D)
AUDIO SYNTHESIS PAS-02 by Ben Duncan. 138 Stepped Attenuator version, as new, mint. Hardly used. One year old. £240. Tel: ( 0602) 240797 eves. ( C)
ACOUSTIC ENERGY AEI speakers including stands. Latest model. Mint. £600. Audioplan Musicablc super AF 1m. £70. Audioquest ruby !/2m. £25. Furukawa FST14 2x5m. £40. Tel: 081-871 2345. ( C)
MUSICAL FIDELITY P173 pre and P180 power amplifiers, boxed as new £960 o.n.o. Tel: ( 0287) 633036 after 6pm. (C)
LINN LP12, GRACE ARM, Supcx 91X1 Super Cartridge, Naim NAC 42S Pre-amp, two x Naim NAP110 amps, two Linn Sara Active Speakers, Dual CT1250 Tuner; Technics SL- P500 CD player; QED CD switching unit; Techinics RS- M45 Cassette Deck; Hitachi D5500 Cassette Deck with remote control; QED 3-way tape switching unit; All in mint condition, infrequent use, excellent sound. Cables supplied with complete system include QED 6-way plug & socket and interference suppressor; Most instruction books available. Offers? Tel: Goodman ( 0723) 870816 ( North Yorkshire). ( C)
AUDIO INNOVATIONS SERIES 300, Class A integrated valve amp, export model, boxed, mint, £350. Tel: (0283) 215554 (evenings) selling duc to upgrade. (C)
FOR SALE - Trade
TES.SERAC AUDIO TAHA HEAD AMP, TAP-A PRE AMP, TAMP 60 monoblocks now on demonstration. For the best of British high end call Walton Scott Ltd. for details Mon-Sat on 081-744-1N67. ( C)

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Z.1113H 3A01

r) 'slap oiprle uel!edwe.-.)

PRINTED UPSIDEDOWN AT ADVERTISERS REQUEST

HI- F1 NEWS 8, RECORD REVIEW

MARCH 1993

FOR SALE- Trade

aniu HIGH END AUDIO BOUGHT/SOLD EXCHANGED

GOLDNUND 114 TURNTABLE

£2,495

ademo

REA COSMOS SAIE V

[3.750

s//hand

SOTA STAR SAPIIIRE S ( MINER TICHNOIOGY 7ARM

£2.495

esidemo

ORACLE DELPHI 11K4 EURNIABLE SAE YAAR

CI 995

stand

MICROS(A) AIR RARING VACUUM PUTTER TRIPLUIU 2

ARM

£3,500

Shand

FORSELL AIR REFERENCE TORREARE GARM

£3,995

etleno

WELL TEMPERED TINWARE GARM

C1.095

eardemo

WHEATON TRIPLASSE Me ARIA

£1.150

olden°

KOETSU 110111 ANNIVERSARY CARTRIDGE CAL TEMPEST 2CO PLAYER LUIMAN 101DV VALVE CD PLAYER

îio" £1.350

stand stand st and

PROCEED PCD CO PLAYER BAUJICED OUTPUT

£995

e/demo

TASCAN CD TOI BAWLED (TER CONRAD 101113011 SONOGRAM CD PLAYER

££1542550

redemo a/demo

SORT 557ESD CO PLAYER

£395

stand

MERIDIAN MERIDIAN

2010%1CDDELPTAURSEIRGMA

CO

PURER

UTEST

£995 £1300

a demo eNdemo

MERIDIAN 2068 SAC ICD PLAYER

C750

skdemo

MERIDIAN 6112 EAMISPORT 60E RC 70A

£2250

e/demo

MERIDIAN 603 PREAMP DAD

eidene

MERIDIAN 200 TRANSPORT 201 SAC 7

[992590

e/dema

MERIDIAN TOO 11UNS RAT 262 CONVERTER LATEST £ 1.200

a demo

MERIDIAN 602 TRANSPIRE 606 CONVERTER [ 1.795

st/demo

MARA LEVINSON No2S NISH LAIN BALANCED

0.495

erkdemo

MARK LEVINSON No28 PROP PROMO BALANCED £ 2300

stand

MARK LEVINSON MU/TA PRIAM , P15174 SUPPLY

L385

stand

MARK LEVINSON Mo 11 POWER 1.11P BALANCED £ 1.895

edema

NITG PAT PREAMP PHONO BALANCEO OUTPUT £2495

ademo

CLASSE ARIO 006 PREAMP BALA/ICED £2250

edema

AUDIO RESEARCH LOT PRIMP

C995

stand

AUDIO RESEARCH SPI MK2 PREAMP £895

stand

AUDIO RESEARCH SPA NU PREUIP SILVER £ 1.095

stand

AUDIO RESEARCH 0240 IIK2 BALANCEO POWEFLUIP MONO

BRIOGEABU OR BIUIP. PAIR AVAILABLE [ 1.995

shand

AUDIO RESEARCH SPIS REVISION A, !HACK £ 3,495

oudemo

[RELU MR 3 PRIMP BARKED OUTPUT £ 1.795

s/hand

ROWLAND CORSONANCE PREAMP BALANCED OPPILT [ 1500

a/dene

CONRAD JOHNSON PAR PRIOR [950

es/demo

CONRAD 101111SON PREMIER 1 ' RUMP

01 495

stand

CORRAS JOHNSON PREMIER 6PREAMP [450

stand

MELDS III TUBE PREAMP

E750

eddemo

MALOS 72211 BALANCED PREAMP BLACK £ 1.595

stand

QUICKSILVER TORE PAW

[ 1.250

es/demo

AUDIONOTE DYNAMICS M7 SISTER PREUIP £2495

stand

IIEVERIDGE RM1 RM7 TUNE PREIMP BLACK £ 1.350

stand

DEFINITIVE AUDIO 0(37 ERE PREAMP

0995

1, hand

BuNIESTER 808 MKS FRUMP. CHROME. BALANCED

03,995

a/demo

MERIDIAN GOIDSP PREAMP £ I,995

a/dema

MOTIF 11C8 PREAMP

£995

stand

MBA PAS PREAMP NOVENA COIL RANI PLUS SUPPLY PLUS

PAIR OF MODIFIED MN MONO POWER AMPS £995

shand

NAIUMICHI SITE TUNER £.395

stand

TOSCO 112 CASSETTE DECK (TEAR)

£295

new

MANKM 250 PREAMP 750 POWER AMP

£495

s/hand

AUDIO INNOVATIONS 1000 SERIES PREAMP MK2 PLUS PAIR

2ND AUDIO TRIODE MONO POWER MIPS [I495

stand

AUDIO INNOVATIONS 1ST AUDIO MOMOBLOCKS

C8§5

stand

MARK LEVINSON MU REFERENCE MONOBLOCKS £3,995

stand

RUM LEVINSON ell POWER AMP

£4,500

stand

MARK LEVINSON NO 79 POWER AMP BALANCED

£I.895

es/dema

KRELL MA 100 MK1 POWER AMP

01.500

stand

£3 995

stand

ARIL PUI 5PREAMP

0795

s/hand

HARMON ANTRIM CITATION 21 TUNER REMOTE

025

s/hand

AR 400M MONO POWER AMPS

£5.500

stand

OCTAVE RESEARCH SRI POWER AMP

CI.795

stand

CARY 100N 111001 TIRE MOHO POWER AMPS

£2.995

a demo

NIA 7008 MONO TUNE POWER AMPS

£2.995

agent

ESIRESHOLD 51000 LTD EDITI0N MONO POWER AMPS

£2.995

Shand

NESTROYIC RAI BALUICE MBE MONO POWER AMPS

£2,995

Shand

AUDIO RESEARCN MIDO MORO POWER UPS. BUCK ARNO TOO AIN TUNE MONO POWER UIPS

£n2i,t99s5

thand seand

MERIDIAN 605 NONOPOWER AMPS BALANCED

£I.495

aide=

ALBARRY PASSIVE PREAMP PLUS MI 008 MONO POWER

AMPS

£895

stand

INIES11011 SA1 CUSS AMONO PIMA NIPS

£4995

Vhand

CARY 7A3 TRIODE VALVE POWER AMPS

c695

stand

CLASSE AUDIO ORB POWER APP

£1.450

eiderno

QUICKSILVER SILVER MONOS NII VALVES

01 750

edema

MERIDIAN 06001 ACME SPEAKERS, WALNUT

01 995

et demo

MERIDIAN 06000 OIG UAL ACTIVE SPUILERS STUNNING

LOOKS & SOUND TO MATCH

[ 5E50

ardemo

BAENTUB & SPONGES SIMILAR WATTS tPUPPIES. WADER £2,995 &demo

SUMO ARIAS PANEL SPEAKERS, OU

£1,495

stand

APOGEE STAGE SPEARERS LITINTACITE £ 1.895

stand

APOGEE NUETTA SIGNATURE PLUS OLE CROSSOVER £.995

stand

APO6EE SCINTILLA 1OHM, AIMIRACITE [ E795

Shand

EQUATION 1SPEAKERS PIANO ! LAC*

0995

e/demo

INI TRANSMISSION UNE MONITORS

£495

stand

PROAC PROSTAPCS ELECTROSTATICS RARE £ 1.995

stand

PRUE STUDIO TOWERS BLACK ASH SALVERS £ 1,650

sihand

STU ILS F11 ELICTIOSTAEIC SPENURS OAK

use

stand

NEAT PETITE OM PERMANENT DEMO £ 00

a'demo

.WALSOT

C2.750

stand

DIAMOND ACOUSTIC REFERENCE 1SPEARERS. BLACK £2,995

Shand

DYNAUDIO FACETTE SPEAKERS CHERRYWOOD

01.09E

eiderno

6RANITE SURDS SUPERB

L6.500

stand

MARTIN LOW SEQUEL 1SPENCERS [ 1.895

stand

DYNAUDIO CONSEQUENCE FLAGSHIP MODEL FINISHED IN

CHERRY WOOD DYNAMIC DRAMA £3.250

es/demo

ORACLE ALEEUIDRIA SIN IV ARM

C1,195

s/hand

BASIS DEBUT GOLD STD 6UNAM I5ARM LIR13141 £4.995

stand

GRYPION LIMITED FOITION ,REARIP BAUJICED OUTPUT 4£ 995

s/band

GRYPHON LINESTA6E PREAMP WAKED OUTPUT [ 1,695

stand

CARY CAD 5500S PREAMP INC MONO STAGE PROCESSOR £ 995

es/deno

PtIoAuRmTiRiIiAnNiGsLEi

PIPO MAS VISHAY MODIFIED PREIJ1P SAI OTL TUSE MONO POWER AMPS

£ 1,995 £3,495

stand stand

COUNTERPOINT 11,20 HYBRID POWER AMP BUCK £ 1.395

stand

MUSICAL FIDELITY A370 MU POWER AMP £ 1,595

e/derto

MUSICAL main POISON POWER AMP

C795

Rand

APOGEE STAGE PLUS STANDS AKITIRACITE [ 1.795

stand

RIM 101 SERIES 2MATRIX SPEAKERS BUCK ASH £ 1.795

s/hand

GENESIS 8300 SPEAKERS tSTANDS PIANO BLACK

£1.395

e/demo

GALE 401 SPEUERS 1r STUDS

stand

SONUS FABER ELECTRA SPEAKERS SION ENDO 0STUDS,92550

stand

ACOUSTIC ENERGY AE3 SPEAKERS BLACK AAE STANDS £995

stand

MONITOR AUDIO S11310 10 SPEAKERS ASTANDS

ROSEWOOD

£795

stand

CARASSE COLONNE 115 SPEAKERS WALNUT £2495

ovdemo

CANASSE BISOOINE SPEAXERS WALNUT £425

ademo

PRIMASE BOB PREAMP FULL REMOTE BALANCED 0111PUT £2,495

stand

List [5.997 £5300 £4.000 £3.900
08003 £6.800 01,995 C2,000 03250 0900
0600 £1,850 £2.200 01.000 01.000 01600
0995 0995 £3.100 01.750 01.455 £1.390 0.160 £5.495 £300 £2.200 £2,700 £6,800 03,695 01,797 02.290 £350
0.300 0.000 0200 £2.500 £1,995 £3995
8900 £1250 03.500 01.750 C8.000 0.995 £.000 C8.000 £2.250 £2.495
02200 0750 £450
01.000
£4.500 01.500 015.000 £8250 £2.700 £3.4170 £6.699 01600
0650 011,000 £4.500 C.4.800 £6.600 010.000 £6.600 £8.0120
0376E CL850
01.500 011.100 01,100 0.695 £2.250 £2,995
£7,312
02.995 03.31:10 £9.777 £5000 01.700
C3.000 £3 200
1925 £.995 04.500 £2,699 020.000 £2.998
£10.995 £2320 010.450 L13.250 £2.600 £2.250 f,4,500 £11,000 02.700 02,600 £1.500 0.345 £3,500 01.895 £1.000 £2.095 02,000
£1.500
L3ts7e8s0
L4.750

OODLES OF HIGH END CARTRIDGES AVAILABLE - RING FOR DETAILS

WE ARE APPOINTED DEALERS FOR CABASSE SPEAKERS FROM FRANCE WHO HAVE BEEN MAKING SPEAKERS FOR 40 YEARS AND OFFER ALIFETIME WARRANTY
PRICES FROM £600 TO C20,000 WE CARRY AFAIR SELECTION IN STOCK

WHY MORE ITEMS IN STOCK, EFFICIENT SERVICING DEPARTMENT WE ARE LOCATED IN WELWYN, HERTS.

ALL ITEMS GUARANTEED. ALL MAJOR CREDIT CARDS ACCEPTED

RING FOR DETAILS AND DEMONSTRATION
0438 714038
10.00am - 7.00pm MON - SAT 10.008m - 1.00pm SUN

FOR SALE- Trade

CIRCUITS you meld hlte sane suuesloons as to witch treads to base your prated arnahheo around ye

ynall be happy lo doode pu wen some please send us aself addressed teed Ifor Al ym enclosures) dos £300 nijk stamps or internalanal response CelerMS We lare Many cIrculs 1009 211. 845 283/61316 and Elie lust dote lo Moo Nde UR LIE Und IBlair C los, 8.nel.
Centre. tonlholl Road. Howe, Sus., BAS 6HA. 0273 220511731498 lied

PAPER Ill Oa SAtANA tAPKITOM

these handmade paper Oil venal repeaters de 501,51M1 teem to any al lte Dlasle Me ,on haw come across, of you have nee. expenenced the diderem agoad papered upset», ma, In avet tamped tou really should lry They are easy to put in on replacement of most do , . capacdon. eSpecally In Ad Leak. Radford and Quad Modo amplobas

0.015 mF/100/t DC 0022mt/1017n/ DC 0IMF /101» DC O12m7e0O7 DC I1mF/400v CC

02 85 00015ml/630y DC £270 022.1/100v OC

[370 0082m1/630v DC [315 0390010004 OC

CA 30 0.22,or ,6304 DC

05 35 12r0/100(h OC

£195 033mt '6307 CC

07 05 0221F/1600/e DC

012 00 0IMF/630k DC

07 60 022.1/2000/e OC

Other values evadable by specol order

06 50 [ 10 30
011 II CO O's 011 OC

AUDIO MOTE SILVER FOIL CAPACITORS

0.02mN5004 [210 00 171mF/500, [645 00

0.05mF/5004 £315 00 015mF/500or

C918 0

Other values evadable he specol order

AUDIO NOTE ACID 1. CLORIOE FREE SILVER SOLDER 50 grammes £21 SO

OUTPUT TRANSFORMERS We can supdy almost any requoremeol for impedance ao pomar by specol add mle tor quote We otfer adesde settee where we roll desogn almost any output. lone or Met transtonneo le, a
standard lea at 2£0000. ortseyse cogs oonlO be Geed on an ondoeduai Oasts Carman stock dens Include 15 well too E1.84/00U1676V6PP914)6ohm [(34 00 15 so for CL81/6Y6PS0 286-4/Bohm C81 00

15 wall too EL84/ECL86/6V6PP 96-4/

25 wall toe 30011/2A3K 2115-1/BoM C9I 00

8ohrt

£42 00 25watt la 2A3PSE Ill2)elohm [97 00

25 Han Tor 2A373008PP SK-1/8ohm £57 00 25 watt tor ELM/6550PS( 18-5-158ohm £ 97119 25 wall for 0034/606PP Me/ohm £51 00 30 rall tot 211/8ASSE 1011/44Iohro £ 111 00

SO wall too 108876550/PP 68-47Bolom (.69 00 50 arallfoo 111781SSEldielohni £ I21

50 wall too 11.34/61.6PPP 38.4/Bohm £69 00 50 wail for 300BPSI 11125-178ohm

C116 00

SO wall for 845PP 118/1/8dom £ 119 00

PPePush-Pull. PPP- Parallel Push.Pull. - Smeesnest. PSI- Parallel Soegleended Al

entedadeS are Calculeied Es, Class Anodalsl toroth best gam transfer and nommurn drsonon NI our Mad transtomes have afrequency response we' ,beyond audible range. typocalh 2014 to Met - I.Sdil, 1E - core wod nogn grade dew steel lamonalms and ether be/lends red Ilene
leads or flame, and snide, lags

SLACK SATE Electron Transfer, Nigh Performance. Electrolytic Carmen«.
These eledroldes mill death Improve any ample., or loudspeakers oten used ay substotode tor ant olher type of ens-Ines

200m1/16v Standard sope 2200mf /63v K-Senes 1700mf 16v Standard hoe 47,0 . 17mt/sppy sy ty,q 100v 100m1/500y % type 220 + 220rd /350V Sit tYPe 220mF/16v ftype 220mF/16r IX Me 22M/350y VA Me

£2 30 CI6 90 011 10 CSB 56 [73 20 L67 85 Clo 25 LI 95 £8 90

ImP5Ov NSena Mold

[3 90

1710V /SO, NSenes Moor

04 45

lOne//DOOR sera bode

05 20

17mf / 50v tt Senn emote , 100mF '50vN Senes Molar

[10 75 [14 65

lOmfo50v Boole, 22m1/Sp Bowe, 17m1/S0v Bode

[9 75 [1730 C25 95

Many other values evadable by specol ceder

Peed encode about values and ones

AUDIO NOTE AUDIO COMPONENT PARTS PRICE LIST We have decoded Sc offer arange al She ultra high speller components used In most d She Rude Me emeralds to the <Inerrant"doe-purser valve amphher enthusiast These components include specolly made calve bases sakerteI 111 the fool coaltioet cadeolon. Bled. Get , èN Cerahne electrolytes anderee over odder output ! undo/mien and rah/es on addoteon lo dos we can supply venous dyer cables and owes tor Internal wring It shoue be noted lhat all pock, ate
ekchnove al Value Added tax and postage/treed

CERAMIC VALVEDASES All our valve bases are OR the toothed paddy made from shade and aunt metal parts d alled when mien then game tension around the valve pon for avery long time Indeed They are recommended as upgrades Is. existed as eell al use on annhher constudoon doom alike

47YpPem UX4 gold plated chasms

CZ 25 8pm gold plated chess's

di 50

4pm Jumbo solver plated chasms

L157 50 9prn sold,Plated PCB

C3 70

5pm If15 gold plated chests

09 50 9pm goid plated PCB [ 580

Ipm dye, plated PCB

C6 15 9pon thief plated chests

bi 10

1eon solver plated chassis

06 75 9pon gold plated chess's £650

8put srlyer plated chassis [ 565 Toecap nth connector

C9 50

If Re aboe bases art tos mime. ye ca. supph ne Mown "rrodustnal (nade commie wee eases

8pm chess's clop mount

El 15 9pm chases bracket mils shoed [ IB5

8pm chasms bracket

tI15

Audio Note Co
Unit 1, Block C, Hove Business Centre, Fonthill Road, Hove, BN3 6HA. Sussex,
UK. 0273 220511, Fax 0273 731498

LP's & CD's

MOBILE FIDELITY ORIGINAL MASTERS ON LP:

1153 John Lennon, Imagine 1109 Beatles, Let It Be

£35
£35

1148 Jeff Airplane, Crown of . .

£25

2160 Elton John, Yellow Brick . .
1185 Sting, Dream of the . . 1507 Maazel, Feste Romance UHOR

£25 £25
£40

1093 R. Nicholas & 5 Pennies

£25

1036 Little River Band 1187 Jethro Tull, Thick as a Brick
1186 Blind Faith

£20
£30 £30

1171 J. Mathis, Heavenly

£20

1528 Maazel, Sym. Fantasique

£20

ATHENA, 100% Analogue!: 10001 Rachmaninoff, Symphonic Dances

£25

10002 Debussy & Ravel, Piano Works

£25

10003 Prokofiew, Alex. Nevska

£25

10004 Stravinski, Petrushka

£25

CHESKY; RR, SHEFFIELD, WILSON,

ea. £ 14

MOBILE FIDELITY Gold CD's RR, Chesky, Sheffield, etc. CD's

£22 £13

In

K.A.L. UK LTD 45 The Old High Street,

Folkestone, Kent. CT20 1FiN

TEL. ( 0303) 245005

PRECISION TEST CASSETTES

Each Harrison Test Cassette is individually digitally mastered in real time.

Dolby Level

£5.00

Speed Accuracy

£ 7.50

Azimuth

£ 7.50

Dolby LeveVAzimuth £ 10 00

Dolby Level/kimuth/Speed £ 15.00

Dolby Level/Azimuth/Frequency Response £ 15.00

Multi- Purpose

£20.00

Postage: U.K FREE. Europe £1. Elsewhere £7.

ORDERS/ENQUIRIES TO: IAN HARRISON, 7, MILL HILL REPTON, DERBY, DE6 KO, TEL: 0283 702875

103

CLASSIF I ED

FOR SALE- Trade

CHOICE HI-FI

SECOND HAND NEVER SECOND RATE Take the uncertainty out of buying secondhand hi-fi and save both time and money. Whether up-grading or starting a system you can listen in relaxed surroundings to awide and varied range of continually changing stock.

This month's CHOICE:

MARTIN LOGAN CLS I ( mahogany, mint)

£1400

PROAC CBS · STANDS ( Rosewood, mint)

£1400

ENSEMBLE PA1

£ 1000

CELEST1ON 5000 · STANDS

£600

KEF 107 MICK KUBE ( Rosewood, new) .

£2000

MUSICAL FIDELITY P270 ( mint, ai new)

t1050

MUSICAL FIDELITY MVT 172P PRE AMP ( mint)

£ 550

ALBARRY PP1 (mint, ea new)

f250

ALBARRY 4013 monos ( mint, es new)

£600

ALBARRY AP2 PRE- AMP ( trim, me) mint

£700

AUDIO INNOVATIONS 2n0 AUDIO 2A3 ( mint)

£ 000

KRELL KSL · KST 100 ( new, warranty)

£3900

AUDIO RESEARCH SP6 (all valve, clasalc)

£900

MERIDIAN 602/606 · 209 DAC 7 (mint)

£2000

MERIDIAN 200/203 DAC 7, TWIN PROCESSOR ( mint)

£ 1200

MERIDIAN 20613 ( mint)

£600

MERIDIAN 203 DAC 5 (as new) PROCEED PDP DAC (as new)

£200 £700

RE VOX B226 SIGNATURE (as new)

£450

VPI TNT MKII, EM- TECH ARM, WISA PUMP ( mint) £4500

PIERRE LURNE JI · SL5 ( piano black, mint)

£2400

THE VOYD, SPLIT PHASE, 3MOTOR ( o-dans)

£ 1100

KOETSU RED SIGNATURE ( SEALED BOX)

£ 1100

KOETSU RED (age)

£450

KOETSU ROSEWOOD GOLD (age)

£350

KOETSU BLACK ( vge)

£300

KOETSU URUSHI (excellent cond)

£ 1100

DYNAVECTOR DV505 TONE AR (classic, mint) £400

· Please contact us IC: details ot other equipment ( all rna(or inonde available). · Equipment bought or part exchanged 0 credit cards accepted

WE ARE OPEN 7DAYS AWEEK. 9am-9pm

VALVES
FROM WEST EUROPE
please note our minimum export order £200 GBP/$350 USO. Minimum UK order (100 GBP · Limited stocks of UK manufactured Mollard, GEC - I2AT7, 12AX7, I2AU7 plus Tungsram EL84, I2AU7 etc. We probably have the largest stocks of West European types in the world! 11 Low cost. large volumes available from Russia/East European factories. eg ECC83. EL84. 6550, EF86. S ine million valves/tubes in stock including cathode ray tubes, tube sockets etc · DG7-32 C.R.T. ((or Marantz tuner) $ 36 USO each. 200 in stock. Discount for quantity.
Billington Export Ltd
UNIT 1E, GILLMANS INDUSTRIAL ESTATE, MATIS LANE,
BILLINGSHURST, WEST SUSSEX RH14 BEY, ENGLAND
PERSONAL CALLERS STRICTLY BY APPOINTMENT ONLY
Fax: 0403 783519 Telex 932492--TRAG
Tel: 0403 784961

If you like the hl -fl equipment you have but
want a better performance, don't change It -
UPGRADE IT!
You can build better than you can buy and we offer kits, parts and instructions for everything from simple component upgrades to complete rebuilds, plus kits to build high end equipment from scratch..

New upgrading service
If you are daunted at the prospect of taking the lid off your prize possession, send it to us and we can upgrade it for you. We will advise on cost and feasibility before starting work and upgrade to the level of performance you require and can afford. We have asecure, low-cost door to door collection and delivery service covering the UK and Europe plus acollection/delivery point in Manchester.
Upgrades to: Audio Research, Celestion, KEF, Krell, Linn, Meridian, Nairn, Nytech, Quad, Leak, Radford ... in fact, EVERYTHING!

SEND NOW FOR FULL DETAILS AND A COPY OF OUR NEW
1992 COMPONENTS CATALOGUE.

Russ Pndreuis

Russ Andrews Limited Edge Bank House, Skelsmergh, Kendal, Westmorland, LA8 9AS. Telephone: 0539 83247.

104

FOR SALE- Trade

DIVA

.1 11 ti I 0

j I J1:// I 1

\\ club. Road 7 I

Iondon SW II IXJ

4

5 2 8 6

CLEARANCE

AUDIO RESEARCH LS1 LINE PREAMPLIFIER AUDIO RESEARCH CL30 POWER AMP

AUDIO RESEARCH CLOS POWER AMP AUDIO RESEARCH M300 MK2 MONO POWER (pr)

ATC

SCM 20 SPEAKERS STANDS

APOGEE AUDIOPLAN

STAGE SPEAKERS KONTRA-PUNKT SPEAKERS

CADENCE

PRE/POWER ( MA2 MONO X2)

CROFT

SERIES 3OIL POWER AMP

DPA (DELTEC)

PDM ISERIES 2DAC

DALI

SKYLINE 2000 SPEAKERS

KRELL KRELL

KSL LINE PRE-AMP KSA 150 POWER AMP

KRELL KRELL

KSA 250 POWER AMP K32X DAC

LINN

LP12 « ARMS

MERIDIAN

203 ( DAC 7) DAC

MERIDIAN MAGNEPLANAR

602/603 TRANSPORT:OAC MG 1.4 SPEAKER

MAGNEPLANAR MC 3SPEAKERS

SD ACOUSTICS OBS SPEAKERS

SPICA

ANGELUS SPEAKERS

XD=Ex-clem; SH=Second Hand. Full list on request.

XD

£1,499

XD

£1,999

XD

£2,750

XD

£8,999

SH

£799

XD

£1,750

XD

£539

XD £1,995

XD XD XD XD XD XD

£1,200 £299 £999 1,999
£3,995 £5,499

XD £1,650

XD Various

NEW £360

XD £2,500 XD £799

SH £1,350

XD £499

XD £699

K J West One 26 New Cavendish Street, London WIM 7L H Telephone 071.486 8262/8263 Fax No 071.487 3452 Open Monday- Saturday 10am.6pm, Thurs. until 7pm

The

SP EAMER Company

The Number one company for D.I.Y. loudspeaker constructors
Just pick up the phone or drop us a line for our comprehensive loudspeaker catalogue. The catalogue contains Drive units, components,damping materials, and alarge range of accessories, in fact everything you need to build an excellent pair of speakers.

e
VISA

Unit 9Waterside Mill Waterside Macclesfield Cheshire SK 11 7HG
Tel: 0625-500507 Fax: 0625-500508

Superior Sound Audio
Bespoke audio engineers
UDION
300B Monoblocks "Super Linear" TRIODE AMPLIFIERS
"probably the best amplifiers in the world!"
All your valve requirements. Amplifiers built/rebuilt to order
399 to 35,000 pounds Trade enquiries welcome
25 Montefiore Road Hove, Sussex
Tel/Fax 0273 202637

FOR SALE- Trade

DIVA is open Monday to Su( ur,la)

Evening demonstration times by arrangement.

plus home demonstrations and installations.

A selection of the brands handled are

Audio Innovations · Audio Note · Audiostatic

Aura Conrad Johnson · Cord · Impulse

Lectron · Micromega · Michell · Ortofon

Pierre Lurne · Primarc · Project · SD Acoustics

Shearne Audio · Trac · Tesserac Audio

Triangle · Tube Technology

YBA

SERVICES
REVOX SERVICE Ex Bauch supervisor set up to offer the same high standard of service Bauch offered. Seventeen years Bauch and Rcvox experience. Fast turn round. All work guaranteed. Tel: 081-953 7327.
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HI- F1 NEWS · RECORD REVIEW

MARCH 1993

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INTERNATIONAL INTERNATIONAL

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NAKAMICHI DRAGON ( GOLD) or ZXL 1000 must be perfect. Tel: (0235) 833181 evenings. ( C)
VINTAGE HI-FI & CINEMA SOUND EQUIPMENT WANTED. Garrard, Gaumont, Leak, Lowther. Ortofon, Pyc, Quad, Radford, SME12" Tannoy. Vitavox, Westrex, etc. Any condition. Collection arranged. Tel/Fax (0942) 57525. ( X)

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HI-FI NEWS & RECORD REVIEW

MARCH 1993

AUDIOPHILE GRADE PARTS

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FOR THE CLASSIFIED ORDER FORM PLEASE SEE PAGE 98

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finale

One of the founders of modern jan, the late Dizzy Gillespie is still underrepresented on CD
Playing it straight: Gillespie in the early 1950s, before his trumpet got its trademark bend

degrees. Gillespie decided he could

hear it better that way while he was

playing, and it became his

trademark.

The United Nation Orchestra,

with such luminaries as Paquito

D'Rivera, Slide Hampton, James

Moody, Arturo Sandoval, Airto

Moreira and Flora Purim was really

Dizzy Gillespie's last big band. And,

although he is credited with the

co-invention of the modern form of

small-group jazz, Gillespie was also

one of the supreme big band expo-

nents of all time. On his best big-

band records, Gillespie's solo trum-

pet took on a concerto-like rela-

tionship with the orchestra, far

beyond the usual roles of soloist and

accompaniment.

With Teddy Hill's band, the 19-

year old Gillespie made his first

records (in May 1937) and travelled

to Europe, but his earliest notable

recorded solo is to be heard on Lionel

Hampton's ' Hot Mallets' (September

1939). By then he had joined Cab

Calloway's band, and he appeared on

about 50 of Calloway's records: but,

in his own view, only Pickin' the

Cabbage' ( 1940), which he wrote,

ear the end of aset at the Royal arranged and soloed on, hinted at

Festival Hall with his United what was to come.

Nation Orchestra in 1989 came

Early in 1945 he cut his first

an announcement that was typical, records as leader of asmall group,

half-serious, half mock-professorial: and made his first recordings with

'And now we would like to give you a Charlie Parker, `Groovin' High' and

version of atune that has been very 'All The Things You Are'. An unsuc-

closely associated with me over cessful attempt to launch abig band

many, many decades.., mainly was followed by atrip to the West

because Iwrote it. It has withstood the vicissitudes of the contingent world, and moved in an odyssey into

Coast with a sextet including the increasingly unreliable Parker. The February 1946 recordings for the

the realm of the metaphysical. And Dial label marked the end of their may we offer at this time "A Night In regular working relationship,

Tunisia".'

although later recordings document

Gillespie wasn't exaggerating some astonishing reunions at various

about the decades: he wrote a 'A concert dates.

Night In Tunisia' in 1942. And,

Later that year, Gillespie launched

when he died on 6January, 1993, it his second big band and this time,

was forty years to the day since with Sonny Stitt, John Lewis, Ray

someone fell over his trumpet at a Brown, Milt Jackson and Kenny party, leaving it bent upwards at 45 Clarke in the ranks, he was success-

ful. A current CD, Groovin' High

(Savoy V-0152) includes some June

1946 big-band numbers as well as the

1945 Guild small- group sides.

Listening to this chronologically-

programmed CD you can hear the

dramatic uplift in the music as Gilles-

pie discards the chugging guitar/bass/

drums beat of the swing era, setting

the soloists free to fly; you can hear

the fantastic unison playing of Gilles-

pie and Parker; and you can hear the

equally amazing section playing of

the big band, working at truly unbe-

lievable tempos. Another CD issue,

Shaw 'Nuff (Musicraft MVSCD-

53CD), offers more titles including

the archetypal Dizzy-bop novelty,

Sarah Vaughan singing 'He Beeped

When He Shoulda Bopped'. Some of

the 1947-1948 band's Victor recordings are to be found on a 1990 CD The Bebop Revolution (RCA Bluebird, ND82177), while broadcast recordings have also been reissued by independent labels.
The band, which lasted until 1950 provided the vehicle for a first exploration of Afro-Cuban polyrhytluns, when Gillespie introduced the conga player Chano Pozo in 1947. 'Manteca', 'Tin Tin Deo' and ' Cubana Be, Cubana Bop' remained in the repertoire. In 1951, he founded his own record label, Dee
Gee and began making unashamedly commercial small -group records, with vocals by Joe Carroll and others.
In 1953 he folded the label and sold the masters to Savoy. Once to be found on a single RCA/Ariola CD Dee Gee Days (ZD70517), the 20-odd tracks featuring Gillespie are now reissued on Schooldays (Savoy SV0157) and The Champ (SV-0170).
In 1954 Gillespie signed with Norman Granz's Verve Records and persuaded Granz to finance some new big band recordings. When the State
Department sponsored Dizzy for a 'Jazz Ambassadors' overseas tour early in 1956, he assembled anew big
band which he kept together until the end of 1957, and with which he produced some of the best big band records ever made. A good selection
of these titles is on Disc Iof the three-CD box Dizzy Diamonds: The Best of the Verve Years ( 513875).
This Verve box features acouple of Parker tracks from 1950 (Parker was under contract to Granz from 1948 until his death in 1955) as well as recordings Gillespie made with Sonny Rollins, Sonny Stitt, Stan Getz and others.
In later years he continued to tour, usually with aquintet or quartet and made countless special appearances with all-star groups. In the early 1980s he worked with musicians ranging from Herbie Hancock to Mongo Santamaria. By then, Gillespie had been showered with awards and honours and (in June 1978) had even sung 'Salt Peanuts' with President Carter at the White House.
Paying an obituary tribute to `Bebop's fiery genius' for the Independent on Sunday, Richard Williams put Gillespie 'among the dozen most significant figures in the history of jazz'. There can be no doubt about that: or about the fact that, over the years, Gillespie remained true to his own genius and to the revolution he started, consistent even when age prevented him from playing as much trumpet as his audiences would have liked. The United Nation RFH concert (issued on CD as Enja 6044) may not be his most significant work, but it is ahappy memento. Steve Harris

106

HI-F1 NEWS & RECORD REVIEW

MARCH 1993

Perfect accuracy, lasting quality and convenience epitomise our approach. Meridian Audio has built a reputation for making the world's finest sounding CD Players. The difference is that all our products like the D6000 Digital Loudspeaker above, combine to form a complete integrated audio system which is beautifully made and easy to use in one room or around the house. Choose a Meridian Audio system for the music in your life.
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1551
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