b 'S y

~I SEPTEMBER, 1955

.)0<-

ENGINEERING MUSIC SOUND REPRODUCTION

' f

FEEDBACK

Claims for electrostatic speakers have over-

shadowed technical information. Here's how
they work and how to use them- page 22.

WHAT'S ALL THIS ABOUT DAMPING?

HOW DO WE HEAR?
SOUND-Chapter 1 of a new senes by E. M. Vil1 cbur
THE NEW MINSHALL ORGAN

[Link]
[Link]
 NOGRAPH SYST

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at tiw pKice _ wOhit wp~
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HOoI1ZON 100 HQmON .s HOtIl:()t,IlO
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-

-PHONOGRAPH SY

Which speaker'?
Which amplifier'?
What tuner'?
Are they styled. and will
they work -compatibly'?
No \gnger need the real hi~fi.
enthusiast pe plagued by
dozens Qf such q\1-estions.
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high~quality, high~[Link]
components assures yoU
perfectly balanced hi~fi.
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trial~and~error ... You know ADIO SYSTEMS
the full cost in advance-
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and yoU knoW that National' s
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solidly behind each ele'J}'tent of
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NAT'IONAL COMPANY, INC. DEPT. &

tiona'
61 SHERMAN ST., MALDEN 48, MASS.

[Link]
[Link]
 SEPTEMBER, 1955 VOL. 39, No. 9
Successor to RADIO, Est. 1917.

discriminating

<' [Link] MUSIC SOUNO REPRODUCTION

C. G. McProud, Ed~tor and Publisher

Henry A. Schober, Business Manager
Harrie K. Richardson, Associate Editor
Lewis C. Stone, Associate Editor,
Emery Justus, Canadian Editor
F'loren<'e Rowland, Production Manager
[Link] E. Newman, Circulation Director

.
. ~ . .. '. . . ' ..... -
. \ . ', ..
• • ••• • . . ' . ' I .. .

Sanford L. Calm, Advertising Director

, MEMBER ' Special Representatives-
fl. Thorpe Covington and Dick Knott,
7530 Sheridan Road, Chicago 30, Ill.
•
•
·.m'····.·
I
I
I
0
• Mid West Representative-
'.
C'fI"~'"
,0 Sanford R. Cowan, 67 West 44th St ..
New York 36, N. Y.
West Coast Representatives-
fames C. Galloway and 1. W. Harbison,
BIn West 5th St., L" .. Angeles 17, Calif

CONTENTS
Audio Patents-Richmd H. Dort ... .... . ,. ' ....... ,.. . ... .... . . .. ..... 2
Letters 8
Editor's Report .......... : . ........... , ............. '. . . . . . . . . . . . . . . . . 12
What's All This About Damping?-N . H . [Link] .. .. . . ....... .. . .' ... 17
How Do We Hear?-Charles E . White ................................ 20
The Electrostatic Loudspeaker-Lloyal 1. Bobb Ulnc/l Edwin C. Gulick . ..... 22
The New Minshall Organ-In Two Parts-PalYt 1-Richard H. Dort ..... 25
[nstitute of High-Fidelity Manufacturers ..... . . . . , .,. , ........... . . ..... 29
Sound-Chapter I-Ed'!}lJIr M. Villchur ........... . . . . ..... . .. .. ... .... 30
Necessary Features For Design Patents-A lbert Woodruff Gray . ... .. .. . .. 36
New Equipment-Triad Kit Amplijiers-Cor·rection on Crestwood 304 Tape
Recorder .. .. ....... ... .. .... . . ..... .. . .. . . ......................... 38
Record Rev'ue--Edward Tatnall Canby .. .. .. .. . . . ... . .. .. . ............. 42
Audio ETC-Edward Tatnall Canby . ',. : . . .. . .... ....................... 46 ,
New Products ....... . . . ... ..... ... ... , .. ..... ,.. .... ... ..... ........ 48
About Music-Harold Lawrence .......... .. .. .... . ... .. . . .... . ... .... 54
Coming Events . ............ ... . .. .. . ... .... ....... .... ~ . . . . . . . . . . . .. 62
[ndustry Notes .. . . ..... . . .. . ..... , ..... .. ,. . ... . ................ . . .. 63
Advertising Index .. ....... ........ .............. . . ..... .. ........ .... 64

AUDIO (tltl. regl.. tered U. B. Pat. Off.) ill published monthly by Radio Magazinea. Inc, . Henry A. Schober. President;
C. O. McProud. Secretary, ExecuUv. and Editorial omcea. 204 Front St.. Mineola. N. Y. Subscription rates-U. S,
Po..... lona. Canada and Mexico. $4.00 lor one year. $1.00 lor two years. all other countrlea. $5. 00 per year. Bingle
",plea SOc. Printed In U. S. A. at Lancsater. Pa. All rights reserved. EnUr. oontenta copyright 1955 by Radio Maga-
dnea. Ine. Entered sa Second Claas Matter February 9. 1950 at the Post Omce. Lancaater. Pa, under the Act 01 March 3,
1879.

RADIO :MAGAZINES, INC., P. O. Box 629, MINEOLA, N. Y.

AUDIO • SEPTEMBER, : 1955

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 UOIO PATENTS RICHARD H. DORF *

T HE IU EA of a "wirel ess microphone" is

not new but a new patent of Robert L.
transmitter case can be brough t down tu
a round 1YJl in. wide, 1 ~ in. high (exclusive
of microphone) , and ~ in. thick. The bat-

I
Stephens (of the California firm well
known to audio people) contains a rather tery case is somewhat larger, about 1Yz in.
nice design, and incidentally one which wide, 20 in. high, and ~ in. thick. These
should be rather easy to experiment with. dimensions are deduced from what th e
These gadgets-microphone-radio transmit- inventor says. •
ter combinations designed to be concealed Fig1tre 2 gives a complete schematic dia-
about the person- can be very useful in TV g l'am of the unit with-happy day-all cir-
and motion pictures where without them a cuit va lues. Both tubes are subminiature
simplify microph one boom must folIow the performer 5672 pentodes. V, is the oscillator operating
a ll over. They have been particu1arly useful in the neighborh ood of 25 mc. I ts tank coil
cuslo-:n on Ed Murrow's "Person To P erson" show
where the living quarter s of the people
L, consi sts of 24 turns of No. 31 enamelled
wire wound on a y,I -in. fo rm with an ad-
interviewed do not have the dimensions or j ustable powdered-iron core. The olll y
FILTER shape of a barnlike TV studio and a boom capacitor aCI'oss this coil is the microphone
would have to find itself changing shape itself, wh ich is fastened rigidly to th e top
i nslallalion like a python to keep in the right position, ot the ca. e. With the values and fr equencies
given th e mean microphone capacitance
The Stephens patent, No. 2,710,345, em-
ploys a simple 2-tube FM transmitter with should be about 14 ~~f for best L-C ratio.
a capacitor microphone1. 2 connected directly With normal sound pl'essures the capaci-
across th e oscillator tank for modulation. tance changes enough to produce a devia-
T he unit is in two main pieces plus a tion of around 1.5 kc each way.
couple of wires, T he general fini shed fo rm V , is a frequen cy doubler, which gives an
The 4200 Variable Filter and 4201 i ~ shown ill Fill . 1. The transmitter fits in output of about 50 mc. Its tank coil L , is
Program Equalizer are now available the left breast "handkerchi ef" pocket of wound on the same iron-core form as L,
in compon e nt form, as illustrated, for a man's jacket and there is a pocket clip and consists of 80 tu rns of No. 24 enam-
the custom builder.
to keep it there. The microphone is perma - elled wire with the antenna tap 1 turn from
In addition to the flexibility of
installation, all the features and char·
nently mounted on top of the case and faces the B-plus end.
acteristics of the standard models are the upper air behind a deco rative handker - Note that th e B-plus is grounded to th e
retained. • chief which conceals it. The battery case case rather than the B-minus a s is custom ·
The high and low sections of e ithe r can go in th e left jacket pocket. The an- ary. There are two reasons. First, this
model may be obtained separately. tenna can go al'olllld the wearer's neck un c places th e antenna and the microphone at
Complete wiring instructions included . del' his jacket collar and the battery cable, ground potential for d.c. \ iVhile a per-
Send for Bulletin TB·4 which also acts as a gro und plane or coun- former who touched antenna (or micro-
telpoise can go from pocket to pocket phone) and case simultaneously with B-
thro ugh holes ill the jacket lining. The minus g rounded would hardly be burt by
the available 60 volts, he might conceivably
be surprised enough to speak a few unsched -
.:. E lectronics [Link], 255 W. 84th St ., uled lines. Second, the radiation efficiency
New Y01'k 24, N. y, of the transmitter is increased by this con-
'\ Normally known to electronics people nection.
as a condenser microphone.-Ed . The battery box contains two series-con-
2 Who wants to be normal? Let's keep
Model 4200 Variable Filte r nected 30-volt batteries of the type used in
(Send for B ulletin S) up with th e times-after all, we know today
that condensers a re used only in steam hearing a ids for a B-supply and a pair of
engines !-Author 10-volt batteries in parallel for the fila -

Model 4201, Program Equalizer

(Set,d for Bulletin E)

Representatives in
Principal Cities

Subsidiary 0' International Reslstan•• Co .. pany

11423 VANOWEN STREET
NORTH HOLLYWOOD 3, CALIF . .
Fig. 1

2 AUDIO .. SEPTEMBER, 1955

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[Link]
 Since 1935
the Garrard has been
sold and serviced
throughout the United Stat•• ,

It is recognized every where

for superior
performance, rugged'ness
and reliability.

"RIGHTS" and "WRONGS"

of record changer design
(Important In protecting your records).

~
RIGHT: ~4'
Garrard Precision Pusher Platform •••
the only record changing device that Insures
positive, gentle handling of records with standard
center holes.

WRONG:
"Overhead Bridges" (as an ardlnary changers)
•• • which may damage ar dislodge records
accidentally.

RIGHT:
Garrard removable and interchangeable
W
spindles ... easily Inserted, accommodate III
records, all sizes, as they were made ta be
played; pull out Instantly to facilitate removal 0'1
records from turntable.

WRONG:
Fixed Spindles (as an ardlnary changers) • • •
which require ripping records upwards over
metallic spindle proJections liter playing.

Other Garrard features include: 4 pall motor

-no rumble, no Induced hum. Ilea" drl.. sIIaft
-no wows, no waves • weighted turntallll-
flywheel action, constant speed • mutln,swildl
-silence between records • silent aatamltlc
stap-shuts off after last record; no disturbing
"plop". • easy stylus w,elght adjustment-pro-
tects long·playlng records • [Link]
MOD EL RC 80 tane arm-true tangent tracking. unIYena' ...."

S Finest Record Cho ger""~""'~Qru-

A Quality Endorsed Product of the BRITISH INDUSTRIES GROUP,
which also includes
WHARFEDALE LOUDSPEAKERS • .. designed and built under tho personal super. WRITE FOR A COPY OF Jit...
vision of G. A. Briggs •• ; world renowned authority on sound. Wharfeaale loudspeakers
offer tl1e unique construction feature of cloth suspension-a felt buffer between speaker "SOUND CRAFTSMANSHIP" ~"
frome and cone-and cost chassis. Mail coupon today for a complimentary ~,
COpy of "Sound Craftsmanship" 16 ....
LEAK TL/l0 -High fidelity AMPLIFIER complele with "Point One" REMOTE CON· pages illustrating and describing aU
TROL PRE·AMPLIFIER. Mosl economical amplifier combinalion ever buill by Leak. products of the British Industries Group.
Harmonic distortion only one tenth of one percent_ Insures flawless reproduction.
EXCLUSIVE FEATUREI Convonienttape rec!Jrder jack. (input and outpul) on front panel BRITISH INDUSTRIES CORP., Dept. A9
for instantaneous usel
' 164 Duane Street
R-J LOUDSPEAKER ENCLOSURES-"Maximum Bass-Minimum Space" Hearing New York 13, N. Y. :
is believing' R-J Speaker Enclosures have established an entirely new trend in audio Please send uSound Craftsmanship" to:
design with thrilling performance from any loudspeaker.. Bookshelf and Floor Models.
Nam~e __________________________
rHE R-J WHARF ED ALE .•• First and only complele , R-J unill Two grea' producl.-.
the R-J single shelf ENCLOSURE and a special WHARFEDALE SPEAKER hove been
brilliantly matched in this ••• the definitive combination among compact high ...
Address.s______________ J
performance speakers.
Clty,_ _ _ _ _ _--'Z...[Link]----!
'.
See and hear all the B~itish l~dustries products at the Chicago Sight
& Sound Exposition (Sept. 30, Oct. 1, 2); New York Audio Fair (Oct.
13-16); New England Hi-Fi Music Show (Oct. 21, 23); ond at leading
sound departments in your city.
[Link]
[Link]
 M'ORE
24T '31 enom. on 1;4" form, tapped 11 T from plote end
- - ----- --- --- - -- --- - - - --"1 a1hT '24enom. on V4" form
I lapped I T from grid end

POWER
35 Watts-RATED
45 Watts-PEAK

. 01 I

L _______ ~~~~~ ________________ ~ L ___________ ~J

Und~r O~ 1 oio at 10 Watts Fig. 2

Under 1.0% at 35 Watts
ments. When the battery cable is plugged enough to cause any appreciable resistance

"T
in the negative side of the 60 volts and change, and the thermistor is controlled
" the positive side of the filament supply are by a d.c. source.
paralleled. in the transmitter by .the strap Voltage from the control source is fed
across pins 3 and 4 of the plug to provide through a divider consisting of R, and rheo-
'LOWER the combined filament and plate return. The
small hearing-aid batteries will operate the
stat R .. RG is mentioned in the patent as
part of the divider but does not appear to
unit for 1 to 2 hours, while a larger set, for have any useful purpose, so it is suggested
COST instance a portable radio battery, will keep
it going 15 to 20 hours. The latter can be
that experimenters dispense with it. The
controlled voltage at the j unction of R:
used where concealment is not important. and R , is applied through a cascaded pair
$129 50 The antenna should be a quarter wave at of time-constant networks R,-C, and R.-C.
Slightly higher West of Rockies the operating frequency, which means in the to the two thermistors R. and R,. Since C.
vicinity of 55 in. at SO mc. It can be draped has a large value, the two thermistors are
around the body in whatever way is con· effectively in parallel to ground for signal.
venient. As the potentiometer arm nears ground,
It seems that a unit like this would no\ control voltage across R. and R, increases
be hard to put together and would prove as does the current through them, and their
very useful for other purposes than TV and resistances decrease, thus lowering the out-
movie work-public address, radio, and put signal level.
concealed in a pot of flowers when you The first advantage of this device is thaI
want to hear what your "friends" really noise in the rheostat R. is not transmitted
think of you. to the signal circuit because the two time
The deviation produced at the output is constants · are too long. In fact, R, can bt
on the order of plus and minus 3 kc. While a switch or series of contacts with as fe"
ordinary FM receivers do not go down to as six finite resistance steps; the time con ·
50 mc, many of the prewar ones do, and stants wi ll still cause a smooth change in
it should not be hard to make or modify signal level. Second, the control R . can be
one for the purpose. located as far away from the signal circuit,
as desired, without any effect on them. And
Quiet Volume Control a third, rather incidental advantage is thaI
Volume-control potentiometers. even the: the value of C, can be chosen so that a,
best, eventu ally become noisy because of signal level decreases, the bass does not de·
imperfect contact between moving arm and crease as much as the middles and highs,
resistance element. While this is not of th e giving a loudness control effect which h
highest importance in ordinary audio de- very important in organs.
vices, it becomes a bad problem in electronic The inventors point out that since ther·
organs because the volume control is used mistors respond instantaneously to changes
so often in the course of playing. in current, considerable audio distortion
MAIL THIS COUPON FOR Solomon Hey tow and Richard H. Peter- would take place if the audio current wen
son of Chicago have patented a volume con- large enough to control thermistor resist·
COMPLETE SPECIFICA nONS ance. They then say that this is effectivel)
trol in which this problem is eliminated
PILOT RADIO CORPORATION Dept. C)-1 and a couple of additional advantages are
afforded. The circuit is diagrammed in
37-06 36th St., Long Island City 1, N. Y.
F ig. 3. The patent number is 2,712,040.
Please send complele description of Ihe The essence of the invention is a pair
CI
new AA-90S. I am also inlerested in the
of voltage-sensitive resistors (thermistors)
R, and R used in ·a voltage-divider ar-
rangement." Signal goes from the plate of
following lilerolure , OUTPUT D.C.
........NJ.i4---I'-- CONTROL
o Pilot AM- f M tuners the tube through R" the series leg, and R ., C3 SOuRCE
the shunt leg of a voltage divider. Output
o Other Amp!lfiers
is taken from the junction of the two R5 R7
o Pilot Component-Console Systems through blocking capacitor C, ; . C. is an-
R8
other blocking capacitor, and both are
R2 R6
Nome.. ....... large so as not to affect the signal.
Address_ ...._.
R. is a thermistor whose resistance value
can be controlled by the current th rough
..... Zone.......... State .... it; the larger the current the lower the
----------------------- resistance. The audio signal is not large Fig. 3

4 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 Now. • • record th~ whole performance • • •
without a break!
YOU'LL GET EVERY NOTE of your fa- "Scotch" Brand's exclusive new oxide dispersion
vorite concert broadcast, sports event or dramatic process gives you more brilliant sound, too. By pack-
program when you put it on new "Scotch" Brand ing fine-grain oxide particles into a neat, thin pattern,
Extra Play Milgnetic Tape 190. Half as thick as con- "Scotch" Brand has been able to produce a super-
ventional tapes but made with strength to spare, new sensitive, high-potency magnetic recording surface
Extra Play tape offers 50% more recording time on a on Extra Play Magnetic Tape. Hear the difference
standard size reel. Thus, annoying interruptions for yourself. Try new "Scotch" Brand Extra Play Mag-
reel change are reduced to a minimum. netic Tape 190 on your machine today.

EXTRA-THIN. 50% thinner, more potent ELECTRON PHOTO microscope shows the
oxide coating, 30% thinner backing permit difference! At left, artist's conception of
more 190 Tape to be wound on standard- view of old-style oxide coating. At right,
size reel. Result: one roll of new tape does "SCOTCH" Brand's new dispersion process
job of I Yz reels of ordinary tape. lays oxide in neat, fine-grain pattern.

'SCQICH EiWt ~ Magnetic Tape 190

The term "SCOTCH" and the plaid design are registered trademarks for Magnetic Tape made in U.S.A. by MINNESOTA MINING AND MFG. CO.,
St. Pau16, Minn. Export Sales Office: 99 Park Avenue, New York 16. N.Y. ,
€.II;
rI'!.•• ~

AUDIO • SEPTEMBER, 1955 5

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[Link]
1----- - - ---· --------1 ubviated by using two thermistors of
matched chat·acteristics ; this writer does
not see how that would be useful. H owever,
I Use I they also state-and this is obviously true-
that th e trick is to keep the d.c. control
\ I voltage very much grea ter than the signal

1 Your I
voltage across th e themlistors-between
20 and 100 times as high. This, of course,
will do the trick.

: Military I The patent also shows how ' to make the

circuit work as a volume compressor. If
interested, you can get a copy of this as
wep as any other patent from The Commis-
: Training I sioner of Patents, Washin gton 25, D . c., for
25 cents.

1---------,------ - - - - - - -1
I . I E.E. or PHYSICS GRADUATES 1 Audio Fair-AES Event
I Th~time was never
I ",ith experie/lce ill
RADAR or ELECTRONICS
I Set For Mid-October
I more opportune than 1 or those desirillg to e/lter these areas. . . I More exhibitors wi ll participa te in th e
Since 1948 Hughes Research and De- 1955 A udio Fair than have ever before
now for becoming . velopment Laboratories have been en- I
I associated with the I
1
gaged ill an expanding program for
taken part in a public display of hi g h
design, development and manufacture I fidelity equipment. Such was the an -
I field of advanced of highly complex radar flre control nouncement of Harry N . Reizes, Fair
systems for fighter and interceptor air- I manager , on August 25, who reported
I electronics.
Because of military
1
I
craft. This requires Hughes technical
advisors in the field to serve co mpanies 1
that, with more than a month yet remain-
and military agencies employing the ing fo r exh ibitor s to engage display
I
emphasis this is I equipment. suites, the numbers of executed contracts
the most rapidly As one of these field engineers YOII 1 on hand was considerably greater than
I ",ill becoll1e [am iliar ",ith the e/ltire systems

I growing and 1 involved, including the most advanced

electronic computers. W ith this advan-
I th e total for any previous Fair.
As in years past the F a ir will occupy
promising sphere 1 tage you wiLl be ideaLly situated to 1 the fifth, sixth, seventh and eighth Hoors
I of endeavor for broaden your experience and lea rning of th e Hotel New Yorker. The Fair will
more quickly for future app lication to 1 open on Thursday, October 13, a nd will
the young 1 advanced electronics acti vity in either
I the military or the cOlllmercial field. continu e for fo ur days . Exhibit hours
electrical engineer Positions are available in the €onti- 1 are 1 P.M. to 10 P .M. w ith the excep-
1
I or physicist. nental United States for married and tion of S unday, October 16, w hen th e
I 1
single men under 35 years of age. Over-
seas assignments are open to single men
1
Fair wi ll open at 12 noon and close at
6 P.M.
I only. 1
In keeping' with the policy established
1-------- - - ----::- - - - - --1 with the first Audio Fair, th e 1955 event
w ill be open free to all interested parties,

I ~.I
professional a nd amateur alike.
Hughes-equipped 1
Sponsored each year by the Audio
Convair F·I0 2 and Engineering Society, the Fair is held in
I ~~~~~~:~~~;. Engi/l eeri/lg conj unction with the Society's annual
I Staff 1 convention. "Practicality" will be the
theme of the 1955 convention, according
I Hughes 1 to Col. Richard H. Ranger, program
chairman. Included on the technical pro-
I I gram will be panel d iscu ssions on tran-
s i ~ tors, amplifier des ign , and tape re-
I 1 cording. Their purpose will be to bring
J 1 out the correct and practical manner for
handlin g each type of equipment. The
agenda will also include theoretical and
scientific papers.
1 The Society's annual banquet is sched-
uled for the evening of October 12 m
I the New Yorker's G{-and Ball room .
I RESEARCH

AND
I
I CEVELOPMENT
LABORATORIES
I Come Visit .
I Clllver C ity, I AUDIO Magazine
I Los A llgeles COllllty,
Cali/ort/ia I
I , 1
Room 616
L ___ _ -----------~ 1955 Audio Fair
6 AUDIO • SEPTEMBER, 1955

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[Link]
 New Sonotone "3" Series
SUPER-FIDELITY
Ceramic Cartridges

-Super compliance (2.5}-drops

distortion below "negligible" point. '
- Super response-flat from 20 to
15,090 cycles, without equalization!

PARDON US IF WE CALL THEM IIREVOLUTIONARY II ...

but these new cartridges obsolete pre-amplifiers, equalizers, and pldrstyle pickups!

If you've followed the development of ce- mediate use of Sonotone " 3" Series car- NEW SONOTONE AMPLIFIER
ramic cartridges since Sonotone pioneered tridges in your present system.) We built tpis HFA-100 to realize the full
them in 1946, you know we've made enor- excellence of Super-Fidelity ceramics .
WHY EQUALIZE?
mous advances. There's nothing to match this amplifier for
Velocity type cartridges play back the vari-
Recently Sonotone has offered ceramic beauty-musically and visually. Hum, noise
ous recording curves far from flat. So you
cartridges equal, by test, to most velocity a nd distortion a re virtually unmeasurable-
need equali zation for acceptable results.
types. Now, Sonotone presents the "3" at maximum settings, distortion is only
This means looking up the curve for each
Series, which set utterly new standards of 0.15 % ! Cabinetry is
record, setting a knob before each pl ay.
fin es t performance, by all the measure- superb solid walnut
Sonotone " 3" Series cartridges end this nui -
ments engineers know how to m a ke. And or solid mahogany,
sance- beca use ceramics don't respond to
your ears will confirm their findings . with solid brushed
velocity, of needle movement , but to
But that's not all the story. The perform- amount of movement. Result, they self- brass panel. $117.50
ance of these new cartridges m a kes the NET. Similar control
equalize -':' play back all curves so close to
inherent advantages of the ceramic type unit , for use with
flat that the need for ·an equa lizer disap-
loom larger than ever. Consider: pears. Out goes more circuitry! power amplifier, $59 NET.
"Revolutionary" is a big word. But these
WHY A PRE-AMP? That still isn't all. These new cartridges
Sonotone developments are pretty big
There is only one reason for a pre-amplifier eliminate magnetic hum problems. Laugh
news, too , we feel. We hope you'll look into
- a velocity pickup puts out too feeble a at heat and humidity. Fit any arm in wide
them. If you like music, here's for you!
voltage to drive your amplifier directly. But use. Have the easiest of needle replace-
these Sonotone "3" Series cartridges deliver ments. And the cost -?
a whopping 0.5 volts-roughly 50 times as Single needle model, with diamond, only
much as most velocity types. So you can $30 LIST. Turnover model with sapphire-
eliminate the circuitry, noise, space and ex-
pense a pre-amp involves. (If you now have
diamond needles, $32.50 LIST. Less with
sapphires. So even the price is revolution-
SO NO·TO ,N E
a pre-amp, our simple adaptor permits im- ary, when you're buying the ultimate. CORPORATION, ,ELMSFORD, N. Y.

AUDIO • SEPTEMBER, 1955 7

[Link]
[Link]
 first in its power range
designed specifically for. A Reb uttal?
SIR:
LETTERS
• I have read with much interest your editorial entitled "Judgt:

au ·I
for Yourself" in the June issue and the subsequent editorial
in the July issue, and I cannot take issue with some of yOUl
statements. I quite agree that there is equipment on the market
[Link] high fid elity which does not have good performance.
I would like to comment on one slant which I seem to detect
in the ed itori~l, and that is an apparent assumption that those
who make components are specialists and build quality, wherea~
all of the manufacturers who put similar components into beau·
• tiful furniture cabinets do not build quality.
This is an assumption which I am sure you know is untrUt
and is possibly not one which you intended should be drawn from
your editorial.
While I am certain that your comments as to specialization
could not be intended to apply to Magnavox, I would like
to point out that we have specialized in the design and construe·
tion of good sound reproducing equipment for about 35 years,
and if any company is entitled to be termed a specialist in thi~
" TUNG-SOL entire field, I believe that we are.
Insofar as our designs are concerned, I believe that we can
prove to you that we have the engineering talent and ability
BEAM to design at least as good basic components as any manufacturer
in the field. Our Engineering Department is completely unham-
pered in regard to "building to a price."
POWER This seems to be a misconception in this field, and no doubt
there are companies which do build to a price. The Magnavo:x
AMPLIFIER Engineering Department designs to the highest quality and the
price is set afterwards.
We have no fear whatever of demonstrating our equipment
with comparative separative1y built high fidelity components, and
in fact, have done so many times. Actually, we do it every day
in our own laboratories since we are "honestly building to
quality," as you put it.
An assumption that all component manufacturers build a qual-
ity product is also unwarranted. An example of this lies in a
comparative demonstration which I witnessed a few moments
ago in our laboratory. As might be expected, we buy all com-
petitive equipment and give it quite sincere and honest tests
especially since we are using these tests entirely for our own
information_ I was disappointed to see the performance curves
of one of the most highly touted and expensive speaker systems
on the market. I was simply appalled by the fact that above
10,000 cps its response is almost nonexistent, and yet this is a
system which claims up to 20,000 cps smooth response. I wal'
also amazed to find various peaks in its performance, one oi
The Tung-Sol 6550 is a brand new and direct ap- which is ver y predominant at 60 cps, giving undue emphasis at
proach ro the high power design requiremems of that particular frequency. There was also almost no respons{
high fidelity audio amplifiers. For outputs up to at 40 cps.
100 wattS, two 6550's in push-pull will provide the I assure you that this was disappointing to us and also would
same power now attained 'in most existing designs like to mention that Magnavox in its own speaker systems used
by the use of four or more cubes. in our top instruments would not tolerate such response curves.
In addition ro greater audio output, use of the new I do not intend this to be a critical letter and thoroughly agree
6550 results in simplified electrical balance, reduced with you r conclusion that the purchaser should <::ertainly hear
maintenance and lower COSL The Tung-Sol 6550 is everything and see everything on the market and judge fOl
not directly imerchangeable with the 6L6, 5881 or [Link] on the basis of performance.
KT66 class of tubes. With proper circuitry, how- Magnavox has adopted a policy of not making claims of speci-
ever the 6550 will provide full pov'er output with fications in advertising because of the simple premise that we
app:oximately the same grid voltage drive as the have a very ethical policy of making only factual claims which
other tubes. sometimes can look bad in comparison with those whose claims
The 6550 is produced under laborarory conditions do not seem to be governed by quite the same code of ethics.
with exhaustive quality comrol ro assure premIUm We have no quarrel whatever with the manufacturers of separate
performance and long life. components and certainly agree that with proper selection and
Write for technical data sheets. proper know -how fine systems call sometimes be put together
in this way. -
TUNG-SOL ELECTRIC INC., Newark 4, N.J.
We do have a definite disagreement with a small group oi
Sales Offices: Adama, Chicago, Culver City, Dallas,
Denver, Detroir, Momreal (Canada), Newark, Seattle component manufacturers who have apparently adopted a policy
of misleading th e public by claiming that the only way of obtain-
ing high fidelity is to use separately purchased components. Thi>
TUNG-SOL® AUTOMOTI VE AND
ELECTRONIC PROD UCTS
is basically a fallacy as is the .statement that all the engineering
and ·design, know-how and honest efforts to build to high quality
are confined to individual component manufacturers. It is only
logical to conclude that the bes t over-all performance can only

f
be obtained by the use of quality designed and built components

~
Miniatur e Sealed Beam
0 I
H I

Signal Radio And

which are specifically designed to operate with each other at an
optimum. Any manufacturer building only one or two components
of a complete system must recognize that his product will be
used with many different makes and types of other necessary
lam ps Heodlo mps Flashers TV Tubes
components in a system, and this being the case, must design and

I ~
build a compromise rather than an optimum.
This being the case, the component manufacturers who wish
to break out of the rather small hobby market and sell to the
Aluminized Special Purpose Semiconductors general public have a choice of two alternatives. The fir st of
Picture Tubes Tubes th ese is to continue to build products which a re unmatched with

8 AUDI O • SEPT EMB ER, 1955

[Link]
[Link]
THE 310 FM TUNER
" ... seems as close to perfection
as is practical at this t •• me" •
HIGH FIDELITY
July, 1955

Fast Single-sweep Tuning

He ..e's why top audio expe ..ts aCJ .. ee
Single-sweep tuning lets you select any station in an
that the 310 FM Tune ... CJives you instant - no more tedious knob twisting. A vernier control,
pe ..fo .. mance found in no othe .. tune ... together with a combined signal strength and tuning meter,
permits critical tuning for very weak signals.
Very high sensitivity, combined with excellent rejec-
An interstation noise suppressor removes the annoying
tion of noise and interference, makes distant stations sound
FM "roar" between stations. This suppressor is adjustable
as good as the locals. HIGH FIDELITY (July, 1955) says :
from the front panel to meet different signal conditions.
" . . . sensitivity is extremely high; we haven't worked with
any tuner that was better in this respect." Other convenient features include: a tape jack for
"off-the-air" recording; a LEVEL control on the front panel;
Now you can hear stations you never knew were there. and a compact metal cabinet that enables you to use the
For the first time, you can easily separate stations that are tuner "as-is" on a shelf or table.
so dose to each other on the dial they can't even be found
with conventional tuners. Exceptional J.F. selectivity is the Once you have seen and operated the H. H. Scott 310
key to this unusual performance. FM Tuner, you' agree with HIGH FIDELITY'S comment:
" ... the 310 has everything. We can't think of any change
Radically New Wide-band Design that would make it better."
New wide-band circuits - the latest development in Ask your dealer to let you try the 310, so you can see
FM tuner design - make weak or strong stations tune alike. for YOljfself the outstanding operating characteristics and
The wide-band design gives drift-free performance that re- [Link] of this radically new tuner.
moves all need for A.F.C. There is never the danger of weak Write today for free Technical Bulletin.
signals being pulled out of tune by a strong nearby signal . TECHNICAL SPECIFICATIONS
which often happens when A.F.C. is used. And the wide- Sensitivity - 2 microvolts with 20 db of quieting.
band design , combined with the use of silver-plated chassis, Circuit Features - 3 stages of full limiting; 2·megacycle limiters and detector!
Capture Ratio of 2Y2 db - This assures noise·free reception of stations only
assures that strong local signals do not appear at more than 21/2 db stronger than interference on the same channel.
Antenna - 300·ohm input.
one point ori the dial. Audio , Output - maximum output voltage 4 volts for 75kc deviation.
Custom Installation - accessory escutcheon available for cabinet mounting.
The automatic gain control continuously and auto- Prices - East Coast: $149.50 net. West Coast: $156.98 net.
matically adjusts for best performance, no matter how much
the signal strength may vary. The A.G.C. also prevents dis-
tortion--from overleading by strong local signals.

H. H. SCOTT Inc. 385 Putnam Ave.

C:ambridge 39, Massachusetts

AUDIO • SEPTEMBER, 1955 9

[Link]
[Link]
 other elements in the system with which
HEAT H KIT they wi ll be used, which can only be a com-

W~~
promise. The second alternative is to have
their jobbers put together packages and
cabin ets which to some ex tent, at least, a re
an attempt at a matched system. This sec-
"BUILD IT YOURSELF" ond a lternative bring s these manufacturers
completely around the ci rcle to the point

amplifier where th ey are providing what amounts to

complete systems contained in a furniture
cabinet. T his is a disagreeable a lternative.
since it is in direct confl ict with their highly

kits
vocal claim that only by putting together
individua l components can you obtain h igh
fidelity, and that such systems cannot be
satisfactorily contained in one cabinet.
Since the fir st alternative definitely limits
the market to those who are interested in
~eatMa a more or less do-it-you rself hobby, and th e
WILLIAMSON TYPE second is completely inconsistent with one
(ACROSOUND of th eir principal claims, thi s constitutes th e
TRANSFORMER) horns of a rath er ser ious di lemma.
Th is dual- chass is h igh Mos t people do not care to become COI11 -
fideli ty amplifier kit pro- bi nation acoustical and electronic engineers
vides installation flexi- in order to play phonograph records, nor
bility . It featur es t he
Acrosound " ul tra-linear" is it necessar y that they do so, any more
output transformer, and than it is necessar y t o take a mechanical
has a freQuency response eng inee ring course in order to drive · an
within I db from 10 cps to 100,000 cps. Harmonic distortion
and intcrmodulation distortion are less than .5% at 5 watts, automobi le. In th e infancy of the a utomobile
and maximum power output is well over 20 watts. A truly out- business as well as the radio business, a
standing perfor mer. W-3M consisls of lTll!in amplifier and g rea t many peopl e had a lot of fun putting
~~I~~ r s uppl y: . [Link] : .W.t.'. 29 Ibs:,. E.. pr~s~ $49.75
, ~edtd a
elements together with varying deg rees of
Modcl W-3 co nsists of W-3M plus W A-P2 Preamplifier list.- success, but as the industries grew up th ese
~~I~n this page:. Sh P.g: . ~.t. [Link] ..'. ~xp~~ $69.50 practices became less and less genera l.
YOURSE LF The publi c has complete confidence in th e
reliability and integrity of leading companies
in any industry. This confidence has been
WILLIAMSON TYPE j usti fied over many years of serving the
Here is the com pl e t e (CHICAGO TRANSFORMER) public truthfull y, honestly and sincerely
HIGH FIDELITY prea mplifier. Desig ned
specifically for use with T his hi-fi amplifier is COII- with qu ality products.
PREAMPLIFIER the Williamson Type cir- s tru ctcd o n a s in g le It is only reasonable to assume that the
cuit, it provides equaliza- chass is, thereby affecting same pattern will be followed in the high
tion for LP, R1AA. AES, a reduction in cost. Uses
and early 78 records, 5 new Chicago high fidelity fidelity industry, and that the general pub-
s witch-selec ted in p uts output tra nsformer and lic will be willing to allow trained and
with individually preset provides the same high performance as Model W-3 listed above. skilled engineers to take care of the neces-
Icvcl controls, separate An unbeatable dollar value. The lowes t price ever quoted for a
bass and treble tone con~ complete Willinmson Type Amplifier circuit. sary design work to produce the perfection
MODEL W A- P2 trois, special hum control, Modcl W-4M consisls of ma ill am~lificr and powcr supply on of perfor mance which they can j udge en-
etc. Oulsta nd ing in per-
formance and most attractive in appearance. F ulfills cvcry ~i~l~e . ch.~~s: .. Shpg:. ':t:. ~8 ..bs.,. . ~xpr."~s $39.75 tirely by their own listening pleasure.
s:'~~w:.ni It:. [Link]~. ~~gh .fidelity .~r.f~~~.n~: $19.75 Model W-4 consisls of W-4M plus WA-P2 Pre-$59 50
amplifier. Shpg. Wt. 35 Ills., Express only . . . . . . •
I nsofa r «s your comments on the Magna-
vox guarantee* are concerned, I would like
to briefl y menti on that Magnavox has been
~ea~ .. in business for almost 40 years and in all
WILLIAMSON TYPE this time has always meant every word of
25 WATT AMPLIFIER every g uarantee they made and has lived up
(PEERLESS TRANSFORMER) COMBINATION to every statement and guarantee. This
'This latest and most advanced Heathkit hi-fi W- 5M and W A- P2 policy certain ly includes the challenging
amplifier has all the extras so importa nt to the guarantee made in our editorial ad "Facts
super-critical listener. Featuring KT-66 tubes, and Fiction of High Fidelity" to which you
special Peerless output transformerI and new cir- refer in your ] uly editoria l.
cuit design, it offers brilliant performance by any
standard. THE MAGNAVOX C OMPA N Y
, Bass response is ex tended more than a full R. H. G. Mathews,
' octave below other Heathkit Williamson circuits, Director High F idelity Division.
along with higher power output, rcduced inter-
modulation and harmonic distortion, better phase Fort VlTayne, Indiana.
shift characteristics and extcnded high frequcncy The Distaff Speaks
response. A new type balancing circuit makes
balancing easier, and at the same time permi ls a SIRs :
closer "dynamic" balance between tubes. I have un fo rtuna tely just gotten a hold of
Aside from these outstanding engineering features, the W-5 manifesls new physical design as well. A protective cover fits over
nil nhove-chassis components, for ming a most att ractive assembly- suitable for mounting in or out of a cabinet. All connectors are the May issue of Audio. Therefore my
brought out to the front chassis apron for convenience of connection. . . belated remarks.
~~V;~l~. c~nsi.s~ .o.f ~.ain . ampl~~~r. ~nd. p~\Y.e~.suP~IY ~~. ~i~.g~~ ch.~ssis. wi th .pro~~~iv~.~~ver: S11~g ..~Vt.' .3.11.~: $ 5
9.75 VlThi le Illy husband did do most of the in-
stalling of the components of our hi-fi sys-
~::r~V~~I~Onsis~ 0~.W~5~: plu~ .W~-~2 ~[Link]~plifier S.'lO~~l.~~ t~~~ ~age: .Sb pg .. 3~ .l~:. " . . . . • . .........
\VI.. $79.50 tem, I a m perfectly capable of operating
the "confusing kn obs and dia ls." On the
other hand, my husband (who incidentally
~~ dri ves the "shiftless" car while I stick by
a stand ard tra nsmi ssion ) is deathly afraid
,HIGH FIDELITY to handle the controls on the dishwasher
20 WATT AMPLIFIER or twirl th e many knobs on our new oven.
P erhaps A lber t P reisman would like to t ry.
This particular 20 watt Amplifier com- A nd if he managed that hurdle, I would
bincs high fi delity with economy. Single
chassis construction provides preamplifier, still challenge him 0 11 r egenerating a water
main amplifier and power supply function. MODEL A- 9B softener, getting a gar bage disposer to go
True bi-fi performance ± 1 db, 20 cps to backwards, or maybe just threadi ng a sew-
20000 cps. Preamplifier affords 4 switch.;,elected compensated inpu ts. Push-
pill 6L6 tubes used for 'surprisingly clean output signal with excellent re- ing machi ne.
sponse characteristics and adequate power reserve. Full tone control action. I'm so rry that E leanor E dwa rds, in th e
~~~r~~~t..'~~. ~~.t.f~: .r~l. ~i~~. ~~~l~t:. :,:r.f~~~~~e: .~~~g: $35.50 same issue, inclines to the belief that hi-fi
starts out as the man's idea.
- -- - E tta Linton, San Diego 5, Calif.
FOR FR EE C ATALOG AND SCHEMATIC (* Nate: N;o company names were m en-
tioned in eithel' June or J11ly editorial. En.)

10 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
Especially . • •

What can be said for the Axiette among high

quality loudspeakers generally, is one thing. But, more
significant is the fact that the Axiette has become the
ideal solution to the limited space problem .. . and who
hasn't such a problem!
Many would-be high fidelity enthusiasts have
been discouraged by the lack of . available space. While
there are smaller tijners and amplifiers, little has been
done to relieve the speaker situation. Most smaller
speakers and enclosures don't quite have 'what it takes'
for good high fidelity systems.
The little Axiette has changed this. Used in a
suitable enclosure and operating at normal living room
volume, it is doubtful whether a group of critical listeners
could consistently distinguish between the 8-inch Axiette
and a costlier, larger system. This listening quality has
never before been achieved in a loudspeaker of such
small ·proportions.
If you are being denied the enjoyment of high
fidelity because of space limitations, you have the answer
in the Goodmans Axiette ... the good little speaker
that was designed to be heard - not seen.

Complete ' Service Facilities maintained for your cOllvenience

./J
GOO A s
$2320
Slightly Higher
on West Coast

Sold by Leading Sound Dealers

For Complete Literature write to: Dept. CJ-l
ROC K BAR COR P 0 RAT ION • 2 '1 5 Ea 5 t 3 7 t h S t r e e t, New Y 0 r k 1 6, N. Y.

AUDIO • SEPTEMBER, 1955 11

[Link]
[Link]
EDITOR'S REPORT
THE AUDIO SEASON The "live" artists-who will also be heard recorded-
are E. Power Biggs, Leonid Hambro, John DeLancie

F
OR MORE REASONS THAN ONE we shall be glad for (oboe) , and members of the Philadelphia Orchestra and
the Fall season to commence this year. And for the Philadelphia Woodwind Quintet. This seems to
the first time in seven years the prime reason is provide a wide range of tone qualities for comparison
not that the audio season commences-although just as between reproduced sound and "the real thing," and
sure as the leaves start to turn, ears seem to develop a should be most enlightening. But remember-Carnegie
greater interest in music and good sound reproduction. Hall is only so big-get your tickets early, either at
This year, of course, the principal reason is that Sum- the box office or at sound departments of most of the
mer is over-this being the Summer we'll remember New York jobbers.
as long as the blizzard of '88 because of its unending
hot spell. But then we don't have to live where it is
hot, you may say. A TECHNICAL TOPIC
But this year doC's portend well for the audiofan-
there are more shows, equipment continues to be im- One of our readers-Dan Peacock, of the Bronx-
proved, records are getting better, and controls are calls attention to the practice of equalizing levels in
becoming more simplified. By -the time this is read, demonstration rooms so that switching between speakers
the WESCON show will be in the past; in -Chicago, can be done without favoring one or the other--every-
San Francisco, and Berkeley they will be readyinb their one knows that when two speakers are compared side
exhibits for this month (see COMING EVENTS, page 62). by side, the one that is louder always sounds "better."
People in New York will probably slow down their His complaint has some merit, and is well worth dis-
buying slightly until they see what is forthcoming at cussion.
the biggest show-The Audio Fair-although we could To begin with, let us be fair to both speaker and ampli-
never understand why they should wait once the urge fier. There is some advantage to efficiency, no doubt, for
is upon them since every distributor of audio equipment one unit with an efficiency of 10 per cent will put out
has his own audio show every day. These shows may be as much sound from a 10 watt amplifier as a speaker
smaller-there may not be more than one of each kind with only 5 per cent efficiency can put out from a 20-
of equipment-and they are certainly quieter, but they watt amplifier. That is pure arithmetic. But there are
serve the same purpose, and the sales personnel can de- still some speakers of low efficiency which are capable
vote more time to each listener. of really fine reproduction, and one should not judge
Then after N ew York comes Boston and after Boston a speaker on efficiency alone. After all, when one builds
comes Philadelphia. Also comes Mexico City-of which a loudspeaker mechanism he finds the first model has
more next month since we shall have a preliminary peaks and valleys in it. To make the reproduction
looksee at this one on our way back from WESCON- smooth, he must flatten it out, but he does this by cut-
on the same days as the City of Brotherly Love, so if ting off the peaks rather than by filling up the valleys.
you must go to an Audio Show on November 4, 5, or 6, And as he does so, efficiency goes down. It might almost
you will have two to pick from . Then Montreal, Los be said that the speaker with the least efficienc-y is most
Angeles, Washington, the IRE Show (in which audio likely to be the smoothest.
is outclassed in numbers, at least), and the Parts Show But it isn't fair to either amplifier or speaker to place
where next year's products will be unveiled. Then the the level-equalizing control in the voice-coil circuit,
Music Manufacturers' show and we're right in the mid- for this eliminates the damping factor of the amplifier
dle of Smmner again. There's no rest for the audio man- as an influence in the total reproduction and it is likely
[Link], if we may paraphrase a better known expres- to disturb the transient response. Thus if one likes the
S10n. sound of an amplifier-speaker combination under con-
One event we look forward to with relish is old hat ditions where a pad was used in the voice-coil circuit,
to our London friends, since they have already had two he might find an entirely different kind of reproduction
of these affairs while we haven't had any so far. We're when he got the two of them home and hooked them
speaking of the demonstration lecture and concert at up without the pad. And if the pad does degrade quality,
Carnegie Hall the Sunday preceding the Audio Fair- it puts the more efficient speaker at a disadvantage,
October 9-presented by Gilbert Briggs, in collaboration since the pad practically cancels out the effect of the
with P . J. Walker and Columbia Records. Presenting amplifier's damping factor.
recordings and live artists who made the recordings on The cure? Place the level-equalizing controls between
the same program must have taken a considerable the source and the amplifier-switching controls and
amount of intestinal fortitude the first time in London speakers simultaneously_ This is not as simple as placing
Festival Hall, even though he had been- through the a pad in the voice-coil circuit, but -it is more correct
same type of demonstration several times before, both from the engineering standpoint and it will give the
in England and Toronto. We missed all of them however, listener a true basis upon which to form his opinion of
for much as we like Mr. Briggs, we must confess that the performance. -
our desire to attend was not m;:ttched by Pan-American After all, comparing audio equipment is not like a
Airways' desire to have us attend, so we stayed away. horse race, and the method of handicapping might better
But we won't stay away from this one, and we expect be selected from some other sport-golf or bridge,
it to be well worth hearing. perhaps.

12 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 .. . and leaders today!
Ask those who know-the experienced' professionals and the
veteran hi-fi owners-and you'll get answers like these:

"Pickenng was first to introduce many high fidelity

features that have become accepted standards today,"
"Pickering has always been the pace,setter
in the race for perfection ."
"Pickering still sets the goals to which others aspire."

T here are good reasons for such praise. Every product bearing the
Pickering name is precision engineered to give optimum performance.
Each individual component is rigidly tested before it reaches the dealer
, . . subjected to the severest quality control procedures to make sure
that every <0 component comes up to the high standards expected of
Pickering equipment.

If you want the best that high fidelity can offer .. . if you are willing to
invest just a little more to get a lot more listening pleasure, now is the time
to ask your dealer for a demonstration with Pickering components. See
if you, too, don't hear the difference!

PICKERING PROFESSIONAL AUDIO COMPONENTS

••• Demonstrated ond sold by boding Rodlo Ports Distributors ever'lwhere. For the one neorest 'IOU ond tor deto/Jed Iiteroture: write Dept. A-S

AUDIO • SEPTEMBER, 1955 13

[Link]
[Link]
 NEW LITERATURE
• Tria d T ransformer Corpora tiOn, 4055
Redwood Ave., Venice, Calif., in Cata-
log TR- 55, lists and illustrates a ne'"
group of h i gh-fidelity o u tput transforme rs
with screen taps in the primary, provid -
ing extended range and increased power
for m o d ern am plifier c irc uits. Copy of the
booklet wi ll b e mailed on written request.
S -l
• Specific Products, 14515 Dickens St.,
Sherman Oaks, Calif., will mail free a
copy of a paper of unusual interest titled
"using Standard Time a nd Frequency
Broadcasts." Described in its entirety is
da ily broadcast c ycle of standar d-fre-
quency s tations WWV and WWVH, op-
erated by the Central Radio Propagation
Laboratory of the National Bureau of
Sta ndard s. In addition to outlining use of
the broadcasts as time standards, the 4-
p age pamphl et describes methods of using
them for calibration of audio test equip-
ment an d for tuning musical instruments.
Requests for copy should specify Bulle-
tin G-2. S-2
• Munston M a n ufac turing & Servi ce, Inc.,
Beech St., ISlip, N. Y., has recently pub-
li s h e d a n informative 28-page b ooklet
d esc ribing the firm's engineering and pro-
duction facilities for a wide r a nge of elec-
tro-mechanical products. Many of th e se
LOOK FOR 'THE products are shown in illustrations of
r a dio eq uipm ent, communications COlllPO-
n e nts, an d specialized types of electronic
test instruments. One section of the book-
l et deta ils services rendered to the govern-
REDHEA D TAG ment and private industry in the fields of
advanced e l ectrical an d electronic engi-
neerin g: S-3

... SIGN OF QUALITY PERFORMANCE • North E lectric -Co:mpa ny, Galion, Ohio.
in a 4-page Bulletin AF- 554, describes a nd
pictu res the firm 's new low -cost signaling
system designed specifically to fill the ex-
panding need for multi-channe l s ub-aud i <>
More and more tape recorder or d.c. signaling equipment. The system
u tilizes either frequency -shift or fre-
q u ency modulation for transmission. It
manufacturers are displaying this permits tel etype, telegraph, telemetering,
and other s u b-a udio or d.c. signalin g to be
tag. It identifies a Redhead- m ul tiplexed over open wire, tel ephone car-
rier, radi o, microwave, or any other system
capable of carrying voice frequencies. S -4
equipped unit . .. a quality unit.
• W est on E l eetric a l Instru:ment Corpora-
tion, 614 Frelingh u ysen Ave., Newark 5.
Redheads provide faithful N . J., in n e w Catalog A46A, i llu strates and
fu lly describes the extensive lin e of Wes-
reproduction over an ext ended ton laboratory ' standard instru ments and
sta nda rd cells. Also incl uded is expanded
information on frequency coverage, fre-
frequency range. This is the result of quency compensation and waveform effect
p e rta i ning to the. widely used Model 32 6
painstaking attention to design voltmeters, ammeters, and wattmeters.
Copy of Catal og A46A is available free on
det ails : a very narrow gap for high request. S-5
• Automatic Electric Sales Corporation,
frequency response, precision 1033 W . Van Buren St., Chicago 7, Ill.,
will m a i l on request a new 4-page catalog
lapping for gap uniformity, a finely describing the complete A u tomatic Elec-
tric line of control components for indu s-
laminated structure for high trial app l ication. Eq u ipment listed in-
c l udes stepping switch es, re lays and key
Redheads are available in standa rd half switches. Descriptive matter covers th e
efficiency. In addition Redheads track, and full track models. functions, specifications, and a n illustra-
tion of each relay a n d switch. When writ-
are designed for high output, are ing ask for Circular 1843. S-6

well shielded and non -microphonic. S OME OF T HE LEADING • F ine Hardwoods [Link], American
Furniture Mart, 666 L ake Shore Drive.
TAP E RECORDERS Chicago 11, Ill., serves both indu stry and
U SING R EDHEADS cons um e rs with a n informative 16-page
Whether you're selecting or booklet titled "Know Your Hardwoo ds,"
Ampro " Class ic", " Ce le br ity", " Hi- which will b e m a iled free on request.
designing a tape recorder, loo k for Fi, t w b-s peed ". Contained in the publica tion is a worth -
while disc ussion on the acoustical qua li-
Be ll & Ho well " Mi racl e 2000", " TOC
the R edhead. For complet e Ste reoton e l l • ties of hardwood when used for hi-fi
Broad ca st Equipm en t S p e cial t ies
cabinetry. To increase understanding of
" Tapok" I" Newsca ster"," Narrator".
the constructional features of bonded
informa tion write Brush Electronics (plywood) furniture i n terms of strength,
Co lumb ia Re cords " Colu m b ia Ta pe beau ty, design variety and price, t h ere is
Company, Dept. Y-9, 3405 Record e rs". incorporated in the booklet a special illus-
tra t e d section whic h dispels the idea that
Da ystrom El e ctric " Cres t w o od ".
Perkins Ave., Cleveland 14, Ohio. Ele ctronic Te aching l a boratori es "velleered" mea ns a paper- thin sheet of
" Electro-Dual " , wood merely "pasted" on the surface of a
f u rniture piece, as with imitation grains.
Pe ntron " [Link] ", S -7
o Elect r osonic Specialti es, 7230 Clinton
Road, Upper D arby 3, Pa. is offering man-
ufacture r s of b ackground- music tapes free
listings in the Fidelivox Recorded Tape
BRUSH ELECTRONI CS : n COMPANY
=.
Directo ry which will be d istrib u ted free
to consumers. Tape produ cers should write
I NDUSTRIAL, AND RESEARCH INSTRU M EHTS __ for d etails describing the procedure t o
I"EZOELECTR I C MATERIALS ACOUSTIC DEVICES' ~ Division of follow in getting their products listed:
M AGNETIC RECORDING EQUIPMENT AND CO M PO NE NTS __ .- Cltvilt Corporation consumers, in wrtting, should request on ly
that their names b e p l ace d on the direc-
"'[Link] tory m a i ling li s t. S -B

14 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 NOW! •.. from

A REVELATION in
LOUDSPEAKER DESIGN

Here are some of the

unusual features which add Unique design and highly skilled hands combine to bring
up to the kind of performance
that got raves from U. S. audio ex- . you a space-saving unit with performance never before
perts in pre-marketing testsl
• Patenred phase-equalizing globe for achieved by an 8" speaker at whatever price - a performance
smoother response and better high-fre-
quency dispersion.
• Patenred elliptical corrugation of
surpassing that of many larger and more expensive speakers.
woofer cone to eliminate standing
waves. The PanaSonic is a product of Matsushita Electric Industries,
• Super-compliant edge of woofer cone.
• Thin, coaxially corrugated spider, for Japan's leading manufacturer of electronic produas.
unusually wide excursion and outstand-
ing cone-displacemenr linearity.
Get a demonstration at 'YOftr favorite dealer's
• Aluminum voice coil, lighter ~han ·or write for address of dealer to:
copper, for extended high-frequency re-
sponse. R. I. MENDELS. INC.
41 East 42nd Street, New York 17, N. Y.

AUDIO • SEPTEMBER, 1955 15

[Link]
[Link]
 A/ter initial adjustments are made,
as in photograph, "Mr. Meticulous"
automatically performs criticalop·
erations in making junction tetrode
transistors-tiny experimental de-
vices which may find important
uses in the telephone system.

'The machine we call ~~Mr. Meticulous"

Bell Laboratories scientists, who invented the junction work, and even their practiced hands became fatigued.
transistor, have now created an automatic device which This development demonstrates again how Bell Tele-
performs the intricate operations required for the labo- phone Laboratories scientists work in every area of
ratory production of experimental model transistors. telephony to make service better.
It takes a bar of germanium little thicker than a
hair and tests its electrical characteristics. Then, in
steps of 1/ 20,000 of an inch, it automatically moves
a fine wire along the bar in search of an invisible layer
of positive germanium to which the wire must be
connected. This layer may be as thin as 1/ 10,000
of an inch! -
When the machine finds the layer, it orders a surge
of current which bonds the wire to the bar. Then it
welds the wire's other end to a binding post. After-
ward, it flips the bar over and does the same job with Transistor made by new machine is shown in sketch at left
another wire on the opposite side! above, magnified 6 times. A t right is sketch of area where wires
are bonded. The wires are 2/ 1000 inch in diameter, with ends
Once only the most skilled technicians could do this crimped to reduce thickness.

BELL TELEPHONE
LABORATORIES
IMPROVING TELEPHONE SERVICE FOR AMERICA PROVIDES CAREERS FOR CREATIVE MEN IN MECHANICAL ENGINEERING

[Link]
[Link]
 I

What's , All This About Damping?

N. H. CROWHURSr'"

An engineerin.g 4iscussion of the elements entering into the effects of va-riahle damping in an
am p:,ifie r when the loudspeaker itself cannot be complemented accurately and completely.
RECENT MONTHS, much has been sound, but it will not materially damp sider is a transformer. The particular
I
N
written about variable damping, ulti- the vibration of the string. On the other properties with which we are concerned
mate damping, and various aspects of hand application of the felt provided on are the primary inductance and the leak-
damping-principally concerning its ap- the check action of the piano to the string age inductances of the transformer,
plication to the coupling between an am- itself, will damp the vibration of the together with the secondary winding ca-
plifier and a loudspeaker. In an endeavor string almost instantly. Touching the pacitance. For simplicity we will con-
to clarify the general understanding of string with the finger while it is vibrat- sider the transformer to be of 1 : 1 ratio.
this subject, let us consider what damp- ing will also damp its vibration quite Fig~we 1 shows the equivalent circuit of
ing means in a somewhat broader sense. rapidly. a transformer, with the elements in
Let's start, for example, with damping A number of other musical instru- which we are interested shown. The
as applied to [Link] instruments, where ments could be similarly discussed. The transformer can be a resonant circuit in
electronics does not enter into the picture principal things that we can learn from sevel'al ways. The primary inductance
at all. When a piano string is struck by a consideration of these phenomena are can resonate with some capacitance in
the piano hammer, it continues to vibrate two. First, a large surface is required the primary circuit; similarly the same
for a considerable period, especially if to radiate sound into the air, because relative inductance can be resonated in
the check action is held off by holding only in this way can satisfactory acoustic the' secondary; or the combined induc-
the piano key down. This indicates that matching between the vibrating medium tance can be resonated with capacitance
the Q of the resonant system is very and the air load be achieved; a small part of which is in the primary and part
high. It's true that considerable sound vibrating element wch as a string does in the secondary. All of these resonances
energy is radiated, but in comparison 110t move the air, it rather cuts through are of the same basic type in which the
with the energy stored in the vibrating it. Second to produce satisfactory damp- inductance element being resonated is
string the radiation is small because this ing, the damping agent must, be applied the primary inductance, but it is also
energy is not radiated directly from the at a suitable point sufficiently close to possible to resonate the leakage induc-
piano string. the vibrating medium itself. Although tance between primary and secondary
In illustration of this fact, the writer the vibrating medium is coupled to some with a capacitance either in the primary
well remembers listening to a piano extent to the sounding board, damping or secondary.
which was not provided with the regular of the sounding board can only damp the Consider the particular cC).se of leakage
sounding board. This piano has been de- movement of the string to the same ex- indJictance resonating with capacitance
signed for use with electronic pickups, tent as it is coupled to it. Because ' the in the secondary circuit. Although the
so the quality of/ sound could be entirely coupling is what we would term in radio capacitance is physically connected in
under electronic control. When this very loose, the damping that can be paralkl with the transforIper secondary
piano was played withQut the amplifier effected in this manner is extremely winding its effect is very different from
switched on, its music could only be small. a similar capacitance connected in par-
heard by putting the ear close to the Before turning to the discussion of allel with the primary winding. Short
instrument. Just sitting in the same room loudspeakers and their damping, let us circuiting of the primary will result in
with the piano, one would imagine that consider briefly two other analogies that maximum Q of the tuned circuit, because
the musician was pretending to play it will prove useful in helping to visualize . any resistance in series with the primary
rather than actually depressing the keys. the various components that make up appears virtually as resistance in series
This shows that in the normal type of our ,problem. with the tuned, circuit. This is illustrated
piano the principal radiation of sound The first is a transmission line. A in Fig. 2. Thi~" kind of resonant circuit
comes from the sounding board, to which transmission line has a characteristic can be' damped with either a resistance
it is transmitted from the strings' sup- impedance. If the line is terminated by in shunt with the secondary winding,
ports. its correct matching impedance all the which provides shunt damping for the
Having realized this fact, consider transmitted energy is absorbed when it tuned circuit, or a resistance in series
how the vibration of the piano string reaches the receiving end, but if the line with the primary winding which pro-
may be damped. Application of damping is not correctly matched some of the vides series damping for the resonant
to the sounding board has very little energy is reflected and travels back along circuit.
effect. It may be possible, applying some the line. Correct ll1atching of the trans-
damping material to the sounding board, mission line can be considered as correct
to considerably reduce the radiation of damping; because it will prevent reflec-
tions from occuring.
* 150-46 18th Ave., Whitestone 57, N. k. The other analogy that we can con- LEAKAGE
INDUCTANCE

, SOURCE LEAKAGE PRIMARY

IMPEDANCE IND'UCTANCE SOURCE
IMPEDANCE
Fig. 1. Equivalent cir-
cuit of a transformer,
to show possible res-
SECONDARY
PR IMARY onances. For conve,..-
IN DUCTANCE
LOA D ience t he t ransformer
APACITANCE IMPEDANCE is assu med to have
1:1 ratio.
Fig.,,2. Rearranged equival ent circuit fo r reso-
nance between lea kage in ductance and sec-
onda ry ca pacitance.

AUDIO • SEPTEMBER, 1955 17

[Link]
[Link]
 with the air behind it which is contained plication of some impregnation which
in the loudspeaker enclosure. will have the desired effect. This will

~MASS
~his can constitute a resonant system prevent such cancellation effects due to
whIch can be analyzed by using the same transmiss ion of sound waves to and fro

DRIVING FORCE
FROM
1 COMPLI A NCE
mechanical terms for the elements of a
resonant system as would be applicable
to a vibrating piano string . The mass
of this resonant system consists of the
radially in the diaphragm itself before
they get transmitted to the air in con-
tact vvith it.
There is another fashion in which the
VOICE COIL mass of the moving diaphragm and the diaphragm can set up resonances of its
voice coil attached to it, together with own-by setting up local vibration pat-
AIR ACOUSTIC AL
the mass of the small quantity of air terns similar to Chladni figures in a
adj~c e nt to it, which can be regarded as vibrating plate. At higher frequencies
LOAD OUTPUT
havmg to move with it. The compliance the coupling of the air load to the dia-
consists of the compliance of the dia- phragm improves, and for this reason
phragm surround and also the com- it is easier for the diaphragm to vibrate
pliance of the centering spider, if one is in a complex manner than to follow the
used, together with the compliance of driving fo rce as a s ingle element. In this
Fig. 3. Simplified equivalent circuit of acous- case the diaphragm does not have to
the air inside the encl osure behind the
tical action of a loudspeaker.
diaphragm, Thi s latter will act basically move as much air, because parts of it
In thi s respect a transformer can be as a compliance rather like th e ai r inside will be h'aveling inwards while the
consider ed as somewha t similar to a a Helmholtz resonator. These a re th e other pa rts are traveling outwards ; this
quarter wavelength of transmission line r eactive elements of the resonant system. enables the air to oscillate sideways
when the transmission line to which w~ The resistance elements provide damp- across the surface of the diaphragm in-
re!erred previously is incorrectly ter- ing and prevent it f rom having a natural stead of having to drive in a nd out as
'mmated. If the termination value is too vibration of its own in a well desig ned a single large mass.
hig h, at a distance back along the line system, T hese are the viscosity of the air These break-up resona nces again de-
equivalent to a quarter wavelength of in the enclosure, the viscosity in the com- pend upon the cha racteristic mass and
the frequency being transmitted the re- pliance of the surround and centering compliance of the material of which the
flected impedance becomes t:he inverse spI der, and the radiation resista nce diaphragm is made, They can, howeve r,
of the terminating impedance, using the coupled to the diaphragm by means of be minimized by attention to the COll-
characteristic impedance as a mean. the air load which it dri ves to radiate struction of the diaphragm, by the ill-
Back along the line at consecutive energy into the room. troduction of ,circular r einforcing in-
qua rter. wavelength intervals, the imped- So fa r we have just considered an dentations into the material, and by other
ance WIll change alternately between one acoustical resonant system. Now we means, H owever, as regards Our damp-
that is high and one that is low com- come back a stage furth er, to consider a ing feature. the important thing to notice
p~ r e.d with the cha racteristic impedance.
mechanical-acoustical relationship. This is tl1is : these I'esonances occur in the dia-
SImIlarly, If the termination instead of ra th~r corresponds-but in different pw- phragm materi al itself and cannot logi-
being im:orrect in resistive value is in- portions-with relationship between the cally be damped out either by acoustical
correct by being a reactance instead of a v ibrating pi ano string and the sounding damping in the enclosure or by some
res istance, the apparent impedance boa rd. The piano string is the basic form of damping in the voice-coil cir-
measured at quarter-wavelength inter- driving force, but the sounding board cuit, because they take place between the
yals back . along the line will alternate is the element that radiates sound energy driving force provided by the voice coil
between inductive a nd capacitive react- into the air. S imila rly in a loudspeaker, and the loading force provided by the
ance. the voice coil is the basic driving force air. Nothing beyond these limits can af-
If the line is loss-free, which corres- but the diaphragm is the element that fect the behavior. of the break-ups.
ponds with high Q conditions in a me- radiates the sound into the air. So the Resonances
chanical arrangement, then this trans- coupling between the voice coil and the Vl e have now considered the behavior
fer of impedance will go on indefinitely diaphragm has to be considered as pa rt
of a loudspeaker, from the air column
at qua rter-wavelength intervals with- of a loudspeaker system.
In the preceding discussion we con- that it has to drive into the room back
out changing the relative magni'tude of to the voice coil, which so far we have
Impedance at each half-wavelength in- sidered the voice coil as if it were rigidly
considered merely as a driving force.
terval. But practical lines introduce a coupled with the diaphragm but this The basic resonance at this point con-
certain amount of electrical loss and for idea ignores the fact that the diaphragm sists of the mass of the diaphragm with
this reason each alternation a~ay from has to be constructed of some material all its appurtenances and some of the air
the characteristic impedance of the line which cannot be absolutely rigid. The which moves with it, together with the
deviates by a decreasing amount from diaphragm material itself has mass and compliance of the surround and of the
this value, ,and after a sufficiently long compliance distributed over its entire air in the enclosure, acting as a single
length of lme, the measured impedance surface area, and hence all pa rts of the
resonant a rrangement.
will become sensibly equal to the char- diaphragm do not have to vibrate in an The natural frequency of this r eson-
acteristic impedance. However in such exactly similar manner. ance is usually somewhere between 35
a line the loss becomes conside;able and This means that the diaphragm can
and 125 cps, varying according to the
a relatively small amount of the trans- behave somewhat after the fashion of a particular design of loudspeaker and the
mitted energy will reach the receiving transmIssion line, A driving force is ap- size and type of enclosure used. This is
end. plied at the voice coil end of the dia-
phragm and is transmitted outwards to- the resona nce about which designers are
The Loudspeaker ward the periphery where the surround concerned when they talk about damping
is located. It's true that at the lower applied in amplifiers. It should be noted
Having briefly discussed some of the ft-equencies the time taken for the wave that thi s is not necessarily the only re-
analogies we can a pply, now le.t 's turn to be transmitted this distance corres- sonance in a loudspeaker, but it is the
to [Link] consideration of a loudspeaker : ponds with a small fraction of a wave principal one.
Baslcany, what we are concerned with peri<?d. But at l~i gher fr equencies an ap- We now come to the point where the
in a lo~dsp ~aker is driving a column of preCIable fractlO~1 of a wavelength is transformer analogy is usefuL The voice
all', whIch communicates with the room mvolved and va nous cancellation effects coil and the loudspeaker magnet system
so as to recreate a desired sound field ,. can arise which interfere with the fre- constitute an electro-mechanical coupling
Let us first consider the acoustical quency response of the loudspeaker. unit, the purpose of which is to transfer
arrangement that achieves this, It con- ~or this reason a loudspeaker of good electrical energy from the amplifiel' into
sists of a loudspeaker diaphragm in con- deSIgn has the surround viscously energy in the voice coil.
tact with the air in front of it (which damped, either by choice of suitable con- This pa rt of a loudspeaker is essen-
communicates with the room) and also figuration for the surround, or by ap- tially similar in basic principles to an

18 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
fibers connecting to the brain (Fig. 3).
Recent Work
Fortified by this background of re-
search, Helmholtz in 185? presented for
the first time his theory on resonance
hearing. As Professor of Physiology at
0e University of Bonn, he was present-
mg lectures on the scientific foundations
of music. From these lectures, during a
period of six years, he built up the foun-
dation of his world-famous theory as
expre~sed in his work "Sensations of
Tone" ("Die Lehre von den Tonem-
APEX OF
pfindungen"). Very briefly, Helmholtz's COCH LEA
theory was as follows: he conceived a
APICA L COIL
series of progressively tuned resonators
in the ear, with the high pitched tones MID DLE CO IL
at the apex. This action was compared
to the action of piano strings with the BASAL COI L
dampers raised, singing a note into the
opened frame will cause strings to vi-
brate in accordance with the frequencies
contained within the sound emitted. In ROUN D WINDOW
his conception of the resonance theory
Helmholtz fe lt that the pillars of Corti
Fig. 2. A front view of t he bony labyrint h.
were the resonators of the hearing sys-
tem, serving as the intermediate agents
between the auditory nerve endings and lated 2 that, without a further hypothesis but in a direction contrary to the first.
the resonant fibers of the basilar mem- covering this matter, " ... in the middle Consequently, the membrane is drawn
brane. A basic concept herein contained pitch-region two frequencies heard in upward. This reversed motion of the
is that the frequency discriminability of succession should then be just discrim- membrane, like the other, begins at the
the ear is directly concerned with the inable if the interval is a quarter of an basal end of the cochlea and spreads
number of active elements (resonators) . octave. All music would be impos- toward the apex. If the backward move-
Received at first with great enthusi- sible . . ." Wever concisely describes 3 ment of the stapes has the same ampli-
a~m, Helmholtz's theory has fallen in Meyer's theory as follows: " . . . When tude and velocity as the preceding for-
favor through the years and now must the stapes moves inward and exerts a ward movement, this second movement
contend with several alternative theories positive pressure on the cochlear fluid, of the membrane extends the same dis-
for consideration. The most radical de- the response of the basilar membrane tance as the first and exactly erases the
parture in theory ·stems from considera- is at first restricted to its most basal original bulge; the membrane then is in
tion of pitch perception and discrimi- portion. This part of the membrane' is its initial position. If the reverse stape-
nation in a manner differing from that bulged downward, and the bulging con- dial moveD;lent is somewhat less in am-
of Helmholtz whose method, classified tinues until the limit of free motion is plitude, the second displacement of ilie
as the Place Theory, demands a spatial reached, and then it begins to . spread to membrane will erase the first only in
distribution of response · in' the cochlea th~ more remote portions. The bulge the basal region and the most apical
i.e., for every tone in a sound, there i~ extends in the apical direction only as part of the original bulge will remain
a particular location and of course a far as necessary to give room to the fluid undisturbed.
particular group of nerve fibers. C~n­ displaced by the stapes. "The distance of spread of a displace-
trasted to this theory is that of the Fre- "When the stapes reaches its most ment depends not only on the amplitude
quency Theory which states that the inward position and starts backward it of the stapedial movement but also, to
auditory nerve receives a signal from causes a second displacement of fluid, a degree, on its velocity .. . .... .
aU hair cells and transmits the signal "Excitation of the hair cells probably
2 Wever, Status of auditory theory. J.
in the form of electrical signals to the oeurs on the upward phase of every up-
Acous. Soc. Am.-May 19S1-23-No. 3,
brain. An early exponent of this theory p. 288. and-down cycle displacement . . .
was Rutherford who first presented his 3 Wever, Theory of Hearing. Wiley, 1949 "The loudness of the sound is deter-
ideas in 1886. His name and theory still -pp. 83--84. Permission to quote gratefully mined by the extent of the spreading
claim the attention of investigators. acknow ledged. (C ontin7~ed on page 57)

Frequency Theory
Outstanding in the Frequency Theory
grouping are the theories advanced by
Meyer (1898) and Wrightson (1876) .
It is not possible to present either theory
fu1ly becau,se of space limitations, con-
sequently only a brief synopsis follows:
In preparing the foundations for his
theory, Meyer points out that exponents
ot the "Place Theories" admit ' . . .
"that any 'tuning' by resonance or otl1er-
wise could only be very 'broad' so that
the ear for discrimination must have a
neural ability to tell which of many
cochlea points responding to the same
frequency responds with greater ampli- PECTIN ATE ZONE
tude than any other. Wever has calcu- \
BASILAR MEMBRA NE
1Meyer, The hydraulic theory of the
cochlea and comparative anatomy. Am. 1.
Psychol.-April 19S2-6S-No. 2, p. 289. Fig. 3. Cross-sectional view t hrough the Orga n of Corti at the middle coil of the coc hlea.

AUDIO • SEPTEMB ER, 1955 21

[Link]
[Link]
 The Electrostatic Loudspeaker
LLOYD J. BOBB and EDWIN C. GULICK '"

Construction and characteristics of the new capacitance-type high-fre-

quency loudspeaker developed by Philco and used in the company's receivers.
' 30 YEARS there has sufficiently to permit mass production of about 2 or 3 grams. At the higher audio
D
t:RING THE PAST
been continuing progress in the art phonograph records for home use with frequencies, it becomes increasingly dif-
of recording and reproducing coverage of essentially the whole audio ficult to move the vibrating system at
music and speech with the ultimate goal spectrum at very low distortion and sur- the desired velocities.
the ability to recreate the original per- face noise levels. Reawakening interest
formance with complete fidelity . The sat- in FM broadcasting in this, the video The Electrostatic Speaker
isfactory utilization of the whole audio era, is due in some measure to the wealth Very recently another type of high-
range in these processes depends on pro- of excellent program mater ial available freq uency loudspeaker ha5 appeared in
viding a chain of low-distortion equip- to broadcasters in the new recordings. commercial production both in this coun-
ment sta rting with .th.e recording micro- The current availability of prerecorded try and abroad. This is the electrostatic
phone and extendmg through the magnetic tape fo r home as well as broad- loudspeaker, long recognized as a unit
recording and reproducing equipment to cast use adds another source of low-dis- capable of excellent transient character-
the loudspeaker. Where a ny part of this torti on program material. istics because of the very small moving
chain introduces distortion, the use of For most listener s, the limiting factor mass and the di stributed driving force.
extended-range reproducing equipment has shifted once more to the playback However, over 25 years of investigation
often produces sounds less pleasing than equipment. The component development had failed to develop an electrostatic
can be obtained from the use of a more lagging most significantly has been the speaker as a successful production item.
limited range. But where the whole chain loudspeaker, particularly in reproduction R ecently a form ' of the electrostatic
maintains the lowest possible distortion of the upper registers of the audio range. speaker capable of mass production at
level, the utilization of the full audio The industry has had some success in a modest price was developed in the
range is mandatory for the best approxi- extending the upper frequency response laboratories of Philco Corporation. This
mati on of the original performance. of single dynamic speakers, However, speaker has been incorporated in the new
While there has been significant prog- the use of a single speaker to cover the models of Philco's "high-fidelity" phon-
ress in the development of the electronic whole audio range brings w ith it a prev- ographs.
and electroacoustical components, the alent, though little discussed, type of dis- The fa ilure of the electrostatic speaker
greater portion of this 30-year span has tortion. This is a Doppler-type modula- to emerge as a commercial item in the
been characterized by a dearth of wide- tion whose value is dependent on the past can probably be ascribed to two
range program material for home r epro- frequ enci es being reproduced. factors. Materials available for the dia-
duction. Economics rather than tech- Better results are obtained when mul- phragm or membrane and the insulation
nology has restricted the frequency tiple speakers are used, each optimized have deteriorated too ,-apidly for incor-
range of most network broadcasts. The fo r a particular portion of the range. poration in production equipment. Fur-
reverse was more or less the case for Horn-loaded tweeters are capable of ther, proponents of the electrostatic
phonograph recordings. Most home lis- good high-frequency performance, b ut speaker have endeavored to cover the
teners in the past have preferred to re- satisfactory units of thi s type are often whole audio spectrum with a single unit.
st rict the high-frequency response of somewhat exoensive. Less expensive The development of modern plastics
their playback equipment rather than substitutes in fhe form of small dynamic has overcome the first handicap . Durable
endure th e high surface noise and dis- cone tweeters have been used. The cone membrane materials, high in a rea-to-
tortion which was particularly irritating tweeter does represent some advance mass ratio, are now available. Plastics of
in the upper regi sters. . over la rger conventional dynamic loud- desirable electrical insulation character-
In very recent years recording equip- speakers as far as the relative efficiency istics are on the market. The two de-
ment and techniques have been developed in radi ation of high-frequency acoustic sirable characteristics are combined in
power is concerned, since the mass of a new polyester membrane material.
* Research D'ivision, Phi/co Corp., Phila- the moving system is somewhat lower. The second handicap has been over-
delphia 34, Pa. Nonetheless, it is still substantial, being come wi th the realization that mo re ef-
fec tive results could be secured by multi-
8000 CPS 12,000 CPS 16,000 CPS ple speaker units. Electrostatic loud-
speakers operate most effici ently with
closely spaced electrodes so that la rge
excursions of the moving elements a re
not profitable. As a result, where at-
tempts have been made to cover the
lower audio registers, substantial areas
have been used, a reas measured in square
ELECTROSTATIC TWEETER feet. Such loudspeakers a re exceedingly
directive when reproducing higher fre-
quencies. However, when the electro-
static loudspeaker is used in con j unction
with a suitabl e dynam ic loudspeaker
which covers the lower and mid-ranges,
the electrostatic speaker may be made
qu ite small. By appropriate design, ex-
cell ent polar distribution is possible.
MAGNETIC TWEETER The principles of operation of the
electr ostatic speaker have long been
Fig. 2. Polar graphs show the directivity of the electrostatic tweeter contrasted with that of a known. P rofessor Hunt' s recent book
conventional horn-loaded dynamic tweeter at three frequencies within the range of both. contain s an excellent discussion of the

22 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 the membrane is usually held under ten-
sion in such a manner as to keep it sepa-
rated from the backplate and to provide
..,
o a restoring force opposing displacement
... due to electrostatic forces.
'"
>100 The vibrating system is set ~[Link]
...'" by the electrostatic forces eXisting b~­
'"
0:
WI ~IA -~ tween the two charged electrodes 111
:>
'"'"
'" 0
:::9
j accordance with Coulomb's Law. The
charge ex isting on the electrodes arises
o
z
:>
o
J from two sources: a steady charge <;lue
to a polarizing potential' and, supen.m-
0. 1 Hy ll L

'"
o~
NEGATIVE
posed on this, a varying charge which
9
10000 ,
0000 is the signal. The steady charge. s~r,:,es
FEEDBACK

FREOUENCY IN CYCLES PER SECOND to increase the efficiency and to mll11mlZe

the generation of distortio~. T~1e aco?s-
tic output is a product functIOn 1I1volvlng Fig. 5. Electrical c irc uitry shows method of
Fig . 4. Sou nd pressure response of the twe~ter connecti ng the spea kers t o t he output stage.
with a 30-vo lt signa l an d 300-vo lt d.c. bIas. both the steady and varying potential~.
The use of distributed electrostatic
forces eliminates certain factors which
sub jecU Electrically, the electros~atic give rise to di stortion generation in lou?- lographs of the acoustic output in re-
loudspeaker is essentially a .capac ~tor, speakers driven by electromagnet~c sponse to short bu~sts of signal disclose
perhaps not a very good cal?acltor, ~In~e forces. Cone breakup in a dynamIc that the electrostatic speaker has super-
one of its electrodes may vibrate within speaker arises when the cone is driven ior transient characteristics when [Link]-
certain constraints in response to the by the voice coil at a frequency near pared to expensive horn-loaded hlgh-
applied signal. This introduces a resist- one of the many natural resonances of frequency loudspeakers. Cone - type
ive component permitting work to be the vibrating system because. th~ cone tweeters are a poor third.
performed, in this instance, th~ produc- is set in motion by the applicatIOn of
tion of acoustic power. Physically the forces applied only in the region of,the Const ruction
unit consists of a fixed electrode, com- apex of the cone. Corringto!,! has given
monly called the backplate, and the vi- The electrostatic loudspeaker shown
an excellent treatment of this phenome- in Fig. 1 has several novel design fea -
brating electrode known as the mem- non. 2 Analogous behavior cannot occur
brane or diaphragm. . tures. One of the most significant is the
in t he electrostatic speaker because the semicylindrical form which accounts for
Both electrodes must be conductive,
vib rating system is set i~ motion by !he its desirable field pattern. The speaker
of course so that if the vibrating element application of electrostatic forces which
is an ins~lating plastic, it must be ren- is mounted with the axis of the cylinder
are equally distributed over the whole vertical. Acoustic energy is radiated
dered conductive by the application of
area of the vibrating system. It, there- quite unifOl'mly in .the h?rizontal p!ane
conductive material. The backplate must
fore moves everywhere in phase, and but somewhat restncted In the vertical.
approach acoustic transparency at t~e no ;ubsidiary modes are possible.
lowest frequencies to be reproduced, In corresponding to the requirements of
The use of modern plastic materials, ordinary home music systems.
order not to increase the stiffness of
conductively coated, for the diaphragm Close examination of Fig. 1 will reveal
the system in the operating range.
or membrane provides a moving element that rather than being truly a semicylin-
Since the electrodes are close spaced
whose mass is small. Negligible ener~ drical surface, the speaker is actua1~y
and the membrane has a . high compli-
is stored in the moving system. ~Ir formed of sixteen slender facets. ThiS
ance, constraints are usually provided
to insure separation of the electrodes. damping is adequate t? ?top t~e motion assembly approaches a true cylindrical
These constraints may be in the form of rapidly when the dnv1l1g Signal has section since the width dimension of each
small spacer pips or strips, or they may ceased. The transient behavior of t~e facet is small compared to the wave-
electrostatic speaker is excellent. OscIl- length of the highe~t frequency. of .the
he compressible material. Additionally,
2 M. S. Corrington, "Transient testing
audio range. Effectively, a cylmdncal
1Hunt "Electro Acoustics," John Wiley of loudspeakers," AUDIO ENGINEERING, Aug. wave is generated. Figure 2 shows polar
and Son: 1954. 1950. curves of . the sound-pressure response
Fig. 1, (left.) Front and rea r views of [Link] n ~w t weet e r. Fi g. 3, (righ t.)
Th ese cutaway views shaw how t he vIb ra ting element , fo rmed as a
sl eeve is placed ove r the semicylindrica l backplate and broug ht t o
, t ension by spring load ing .

AUDIO • SEPTEMBER, 1955 23

[Link]
[Link]
 a.t several frequencies. Polar distribu-
tIOn of a magnetic horn tweeter is also
shown for comparison. .
Th.e _stationary electrode is perforated
aiumlllum on which vertical ribs are ID
[Link]. These r~bs act as the spacers to a

provide separatIOn between the fixed ~,o 0

and vibrating electrodes. The active area >
of the loudspeaker is that of the narrow Fi'g. 8. Sound-pres- "'
..J

I~~ .....
rectan/?les lying between these ribs. sure response of t he
Mountlllg feet attached to the backplate • phonograph of Fig. 7.
serve al~o to. stiffen the' assembly. .
The vibratlllg element is fabricated as
~9 0
.,"
"''"a:
.. a 0
II "' ~I,I I'" I~IJ
.t
~

a sle~ve of ~ondl!ctively coated plastic

a
z
V-
matenal. This umque design overcomes " 10 Ir'
~
the assembly .problem of stretching the
men:brane umformly over a rectangular
or circular frame. The sleeve is placed 2. . .. '00
.. '000
, , . , .
'0000 20000
over the semicylindrical backplate and FREQUENCY IN CYCLES PER SECOND

[Link] to p~oper tension by the applica-

tion of a spnng-loaded pressure plate as frequency. In the region of the crossover
shown in Fig. 3. This eliminates varia- an~ above, it may be many times the
ti?ns in tension that may result froin a optimum load for the amplifier. 3
sltghtly uneven mounting surface and The equivalent circuit for the electro-
also protects against changes in the static loudspeaker is given by HunU
speaker's characteristics should there be For the design of. coupling networks,
same small cold flow of the plastic mem- however, only the Impedance presented
brane material. by the static capacitance between the two
This me~l1brane is a film of a new poly- electrodes need be considered. In the
ester plastic .0005 inch in thickness . It model described, this is about 3000 fJofJof.
is re~?ered conductive by a vacuum The coupling circuit is shown in
deposIting process which places an ex- Fig. S. The network alleviates capacitive
ceedingly thin layer of metai ove'r one loading effects of the speaker and at the
surface. The plastic is characterized by same time prevents the electrostatic
speaker and its network from loading the
Fig.? A. commercial table-model phonograph amplifier in the operating range of the
which Ineludes the electrostatic tweeter. dynamic speaker. The Q's of both the
series and I?arallel resonances are kept
high mechanical stability as well as di- to appropnately low values by the
e l ~c~ric strength. Theseproperties assure 33;000-ohm resistor. No deleterious ef-
mlm~um m~ss of the moving element fects from the connection to a single
consistent With mechanical and electrical plate of the push-pull output stage have
requirements. The total mass of the been noted. The polarizing potential is
ta~en from either B+ or the plate ter-
vibrating system is about 1/10 that of
cone-type dynamic high-frequency loud- mll1al. S=n IS required for blocking.
e Th~ Impedance seen looking into the
spea~ers and is sufficiently small that it
has Itttle effect at the highest frequency couplmg network of the electrostatic
of interest. The mass reactance of the sp.e~ker is shown in Fig . 6 (A). The
vib~at!ng sy~tem is compar<tble to the
mmlmum of the curve is due to the
radiation resistance at the upper end of series resonal}-ce of the coupling capaci-
the audio spectrum. Fig~tre 4 shows the tor and the mductance. The maximum
f frequency response of the electrostatic is due to the parallel resonance of the
speaker. It will be noted that there is no inductance and the series combination
(A) h,f. fall-off in the audio range. of the speaker capacitance and that of
the blocking capacitance. It will be noted
[Link] that the network is effectively removed
In application, the electrostatic loud- from the amplifier throughout the oper-
speaker is used in conjunction with a atll1g range of the dynamic speaker.
companion dynamic loudspeaker the The signal voltage developed across
two units being driven by a conventional the .sp~aker is shown in Fig. 6 (B), The
push-pull audio amplifier. The cross- varIation across the useful range is about
over frequency is about 7,000 cps. This 2 db.
frequency was chosen because there are . Fig~tre 7 shows a typical application
e In a mass-produced table-model phono-
available many types of curved-cone
grapl~ . The electrostatic high-frequency
dynamic speakers which exhibit reason-
able effic!ency up. to about 7,000 cps. Ul11t IS prot~cted by a perforated plastic
Above tim there IS a natural fall-off in housll1g wlllch does not appreciably dis-
-[Link] power developed so that no elec- turb the polar distribution. The axial
trical cutoff network is required for the sound pressure curve with constant in-
dynamic speaker. It should be noted that put signal is shown in Fig. 8. This curve
f alth?~gh some dynamic speakers wi ll was taken with the tone controls set
exhibit good axial response above the fOl' flat response. There is, however,
(8) some low-frequency compensation ac-
7-kc figure, the ~otal radiated power,
as measured by mtegrating the sound complished by a tap on the volume' con-
field, ~al1s rapidly above this frequency . trol , to offset the low-frequency loss due
Fig. 6. Impedance looking into the electro-
static tweeter coupling network is shown in The Impedance of the dynamic loud- to the small size of the enclosure.
(A). In (B) cune shows signal voltage across ~peake.r in the ~pper registers is largely 3 F. Langford-Smith, "Radiotron Design-
speaker. mducttve and Its magnitude rises with er's Handbook, 4th ed., 1952, p. 837,

24 AUDIO - . SEPTEMBER, 1955

[Link]
[Link]
 .. Fig. 1. The largest MirrShall organ, Model Le, which has a chorus
generator.

The New Minshall Organ

RICHARD H. DORP

In Two P-arts - Part I

A ne~ approach to design details has produced an electronic organ with the kind of con-
structIOn economy and performance standards that make for good engineering in any field.

I T IS A SAFE BET at this moment that the

next product of the electronic art
scheduled for a boom in the manner
of radio, television, and high-fidelity
formance. When the market was con- The original all-electronic model of
fin ed almost exclusively to churches this the Minshall is described in the writer's
problem did not loom so large because book, Electronic Musical Instruments.
churches, whi le most of them are by no The company is one of the youngest in
sound is the electronic organ. The bet is means wealthy, can at least, in effect, the field and this was its first commercial
safe because that boom has already pool the funds of many individuals to reali zation. Sinae then, however, a good
begun, even though it is still just in its pay for an instrument. The home organ .deal of change has been made to over-
infancy and may never perhaps attain the buyer, however, is using only his own come faults which extensive field reports
proportions of the high-fidelity market. money and now that he is an important brought to notice and to increase very
All of the companies in the field, princi- customer prices must be scaled down. g reatly the quality and variety of tonal
pallyoccupied for years only with selling This is a problem because organs are in- -.r esources. In this article we shall see the
to churches, now make spinet and me- herently somewhat expensive. They organ and its components and point out
dium-sized organs for the home-and must, for example, provide at least one improvements.
are selling them by the carload. Complete separate tone generator for each of at There are today four standard Min-
kits are becoming available for home least 60 notes, and this alone leads to 's hall models. Top of the line is the LC
construction of organs. And new com- volume consumption of tubes and other shown in Fig. 1. This is a full 2-manual
pani es, sensing the growing demand, are components. \ unit with 2S-note pedal clavier. It is dis-
entering the field with new designs. The One of the most economical and inter- tinguished from the Model L , shown in
consumer is finding that an instrument esting designs is that of the Minshall elec- Fig. 2, by the fact that the LC has a
with the ability to produce sustain ed tronic organ (made by Minshall Organ, s~co nd 4-octave set of tone generators
tones with many different timbres is a Inc., Brattleboro, Vt.-formerly Min- which may be tuned slightly sharp or flat
fa8cina ting and rewarding one to buy or shall-Estey but now having no connec- of the main generator set and can be
build, and, as in so many industries be- tion whatever with Estey) . The Min- switch ed in to give a "celeste" effect. The
fore this ·one, hi s discovery is working a shall tone generators employ only half a two models are otherwise identical. Fig-
metamorphosis. tube, 4 resistors, and 3 capacitors per ·nre 3 shows the spinet Model S, which
One of the principal problems which note. Similar economies occur through- has two offset 44-note manuals and 13
manufacturers of organs have is econ- out the instrument. Yet it produces a pedals; the S has about the same regis-
omy of design consistent with good per- g reat variety of tones which are imitative tration as the larger models despite its
of pipe-organ sounds, and the organ is at smaller size and lower price, which
* Audio Consultant, 255 W. 84th St., home with music of any type from Bach makes it one of the most versatile spinets
New- Y01'k 24, N. Y. to Basin Street. " offeree!'. -:LlJ..e new Minshall Chord Organ

AUDIO - '. SEPTEMBER, 1955 25

[Link]
[Link]
 tue of the circu it is that it is inexpensive range for a ll the generators has been
a11d yet reliable. divided into four sub-ranges of three
The complete circuit of a tone-genet'a- sem itones each and four sets of values
tor chassis appears in Fig. 6. Each 'of the are used to cover the total. The values
frequency dividers requires only one-half for these are all shown in F'ig. 6.
of a 12AX7, w ith no transformers or The master oscillator which may be
other expensive components. The resis- tuned to set the organ in tune is a well
tors and capacitors used are all standard designed Hartley. To a llow for vibrato
10 per cent tolerance components, none creation by variation of d.c. element volt-
having to be specially selected except for ages, the time constant of the grid-leak
R, through R.. The frequency ranges network R,-C, has been made slightly
over which a generator with one set of smaller than \vou ld be required for opti-
values will operate and divide properly mum stability and an a.c. path has been
is over half an octave. There are four a dded between plate supply and grid .con-
dividers on a chassis, however, and the sisting of C. and Re. \ iVhen the plate sup-
useful ranges overlap somewhat so that ply voltage is varied at a rate between 5
the total range fo r the chassis may pos- and 8 cps, the frequency varies at the
sibly be less than five semiton es. For this same rate. The use of the L-C oscillator
reason, the required total 12-sem itone is a part of the new models and is an im-
Fig. 2. Model L, described in this article. provement over the old design in which
R -C phase- hift osci llators were used.
is shown in Fig . 4. This is a single-man- The R-C osci llators tended to be some-
ual unit w ith 48 keys. It may be played what unstable over a period of time be-
in the standard way, but for chord use cause of change in tube plate resistance.
ten chord buttons are provided . These The frequency-divider stages are ef-
are used with the lower-octave keys of fectively voltage amplifi ers in which the
the manual to produce ten chords in each plate output is used to charge a capacitor
of the -12 keys, 120 in all. In this article between plate and cathode. The value of
we shall describe the Model L in detail. the capacitor is so chosen that it can
All the other models are essentially simi- charge only at a rate in the neighborhood
lar except for the chord organ which of balf the input frequency. The funda-
would require a separate article. mental component of the plate voltage is
then fed back to the grid in such phase as
Over-all Scheme to cause th e tube to cut off during every
other input cycle; this causes the alter-
A simple block diagram in Fig. 5 gives nate positive peaks of the input wave to
a general idea of the layout of the organ make the tube conduct and produce plate-
sections. Each of 12 tone-gener;ltor chas- CUlTent pulses at half the input fre-
ses pt;oduces five notes separated by oc- quency. The action, li ke that of most
taves, so that 60 notes are generated in feedback systems, is ·hard to describe in
all. These are wired to a key-switch as- a few wor-ds; complete details can be
sembly for each manual. Each key-switch obtained elsewhere.
assembly has three output busses,! one Fig. 3. The spinet, Model S, has abbreviated The plate output is the resu lt of a ca-
each for 4-, 8-, and 16-foot tones. Each manuals ond pedals. pacitor which is charged and discharged,
bus goes to an amplifier, after which the
tones are fed through tone filters. The
original" tones are roughly sawtooth in
shape and contain considerable harmon-
ics; the tone filters, selected by tablet
switches, shape the tones to imitate vari-
ous org;ll1 voices . The outputs of the
fi lters are combined and fed through a
preamplifier which incorporates the
swell-shoe attenuator, after which the
tones are amplified by a power amplifi er
and fed to a speaker. The speaker is con-
tained in the console of the Chord Organ
and the Model S; the larger models em-
ploy separate tone cabinets. The Model
H , a one-manual organ which is being Fig. 4. The Minshall
discontinued, also uses a self-contained Chord Orgon, an ac·
speaker. . tive competitor of the
Hammond for the
tired - businessman
Tone Cenerators market, may also be
The basic distinction of Minshall elec- played without using
the chord buttons.
tronic organs has always been the tone-
generator system, invented by George
Hadden who is also responsible for other
advances in the electronic music art. The
basic circuit of this generator has been
described fu lly in the writer's book and
in other articles and the description will
not be repeated here. The principal vir-

1 For explanations of the terms used in

connection with organs, see the writer's
book "Electronic Musical Instruments,"
Radio Magazines, Inc., P. O. Box 629,
Mineola, N. Y., $7.50.

26 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 (A)

Fig. 5. BI'ock diagram shows the essential sections of the Minsha ll .

. ,.- li>i~;'~ . '

and therefore takes the waveform of a be seen in the resulting waveform of (B) (8)
sawtooth, as illustrated at .(A) in Fig. 7. in Fig. 7. With this improvement, the
As can be seen, the flyback time of the new models have very satisfactorily Fig. 7. Waveshape at (Al is t hat given by t he
sawtooth is quite large- at least 20 per bright and interesting r eeds and strings generato rs proper. The shape a t (B) has hig her
cent-and the harmonic content is not and a very good variety of colors. The harmonic content a nd is obtained by differen -
very great. This was a fault in earlier second function , incidental but useful, is tiation.
models and made it imposible to secure in voicing. By selection of the capacitor
any really bright tone qualities or, in- elements; of the differentiators, the over-
deed, to ha:ve any really satisfactory va- all' level ' of the higher notes is made The first is that a cathode-bias resistor
riety of tone colors. In addition, the high- greater than that of the lower ones. has been added in each- diyider stage.
impedance key~switch system had to be When all tones are passed through the There is now less possibility than before
of the shunt type because of leakage l<.l ter formant filter s which are mostly of that a change in some componept or volt-
through the capacitance of open switches. .. the low-pass type, the total scale tends to age will cause a misfunction, since an
In the new circuit the plate outputs have more even loudness from top to bot- unbypassed cathode resistor tends to be a
are not used directly. They are first tom than if .all incoming tones to the compensating factor, holding the tube at
passed through differentiators, which filters were of the same level. This is the about the same . operating point despite
may be .1Qoked On as high-pass filters. same job done in the Baldwin organ by changes in other factors , The s~cond im-
They ec>'h sist of €8~R", Cl1-R", etc., in networks. between octaves in the keying provement is that all the divider grids
Fig. 6. Th~y h;LVe two functions. First bus outputs and in the Schober Organ are direct-coupl ed. In the former design
and most ' ill}portant, they change the Kits by varying-value resistors in series the g rid impedances were extremely
harmonic structure of the waves, making with each key switch. high and weather variations would some-
the ha ro)onics lnuch more prominent There ar e two additional improve- times cause trouble. The new arrange-
with re;;pect to the fundam ental, as may ments in the new Minshall generators . (Continued on page 59 )

POWER SIG NA L
IN PUT OUTPUT
PLUG • PLUG
CB' u 470

.~
l\

M
CII 680
'" '"00

~i§-
'" ~ C 16 .001

H H
~

g
0
0
~

'0
-=- '" ~

"ii
N
~
o
g
~ .
C 20 .00 15

~i~-
"
'" N
.0022
rU-
;Q
~
g>
E
C2 .
0,
o. E
0,
:! ~ ~ ~
0,
~ ~
0,
~ ~
0,
~
=
N

'"
.,; 0.1 "'"0
N
"'''
N "'~
.,; "'".,;
N
O::~ .
.,;
~ 6 ~ ~ ~ ~

g, ~ C6 CI 2 CI4 CI 8 C22
~ ' E
0
:::? RI
; u
R2 ~
II
R3
~
R4 ~

.047 "'
. "'
r:._1.0.'
_.-. . . ,
.~
3 .047 !::: "'
!::: .047 !::: 0. 1
-""' 0. 1

...
_1.0. \' '"
~ R3 ,-
'-"-
f-_1.0... ,\ '"
.'_1.0.
,~

: '-"-
C3 R12 R22 R27
0.47 meg .
--- ,,, R1 7
---
~,
V',0 • • '
"
'" . C5J' ;:: 'Vlb :C7
3.27 meg. ,"'"
:
CI O
0.27 meg
.
~
, ;:,:.-
'. ~ Cl j
0.27 meg.
. --:-:
V30
" :
~C19
0 .27 meg .

~ ~
'';::
V3b
C23

.
:;, E V2b C13' V20
19) C9 C1 7 C21

~1 ~ g, t
* Cl 0,
.047 C4 4 v. g> 3.3v. 0,
0
~
E 0
0
..,"
E 0
0
~
E

.~
0
~
0
0 ..,"
C
ro "
.,;
N N
'" .,;
N
'" 0 "..,
N

'" .,;
<> 0 .,; 0 N

Tl '" "';;; <Xl

;;;
N
'"
'"N "'
N
'" '"N '"
'" '"
'"
'" '"
'"
-
MAS TE R OSC ILLATOR BUfFER FI RS T DI VIDE R SECON D DIVIDE R TH IRD DI VIDER - FOURTH DIVIDER

..-~." CAPACITOR VA LUE S DE PEN DIN G UPON NOTE

NOTE C3 C4 C7 C9 Cl 0 C1 3 CI S C1 7 C1 9 C21 C23

Resistors R1, R2 , R3, R4 are fac tor );
se lected. Approximate value 0.5 meg. C, C/ , D .0033 .047 .0 1 .0047 .0 15 .01 .027 .0 18 .056 .039 .12
0', E, F .0027 .039 .0082 .0039 .012 .0082 ,022 .0 15 .047 .033 .1
FI , G , G I .0022 .033 .0068 .0033 .01 .0068 .01 8 .0 12 .039 .027 .082
A, A', B .001 8 .027 .0056 .0027 .0082 .0056 .015 .01 .033 .022 .068

Fig. 6. T he new tone genera tors are simi lar to t he old on es but have several improvements .

AUDIO • SEPTEMBER, 1955 27

[Link]
[Link]
 UNIVERSITY DELUXE SPEAKER SYSTEMS
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ADDRESS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ ___ • This well pro- "COMPANIONETTE". [Link]-

I)ortioned, diminuth'e unit .. ith til" and smartly styled, A com-
CITY _ _ _ _ _ _ _ _ _ _ _ _ ZON E _ _ STATE _ _ _ _ __ ~I odel 308 Triaxial Speaker pact, top qualltl' loudspeaker
accomplishes what is wishfully s}'stem, ideal for lise as an ex..
, claimed for sman syslems.
"--- ------- - ..: . - - - --- - - - - ---- -- - - - - - - - - - - -- - - -- - - - - - - -- - - --- - ------ - - - -- - --------- - -- ~ tension speaker.

28 AUDIO • SEPTEMBER, 1955

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[Link]
 I NS T I TU TE OF

~'\ MAtVt/
~ ~
~ "70
- --l
u.. c:
~ ~
~ ~~
~'/NC' ~
INSTITUTE of HIGH FIDELITY
MANUFACTURERS
This is the firs t in a series of articles concerning the affairs of the Institute of High
Fidelity Manufacturers insofar as they affect the public interest. As more material
is made available, other articles will appear from time to time under the same masthead.
It has been said that most people know recognize the masquerade for what it is, Newcomb Audio Prod ucts Co.
a good thing when they see it. The ques- there will be nothing to justify and sus- Pilot Rad io Co rp.
tain the cost and effort of designing and Presto Recording
tion arising in some quarters is whether Rek-O-Kut Compan y
producing ever better equipment.
these people are equally aware of a good Mindful of the need for action, a Rockba r Corp.
thing when they hear it. River Edge Industries
group of well known manufacturers in Sonotone Corp.
High fidelity has brought its problems the field gathered together-and out of Stephens Manufact uring Corp.
as well as its blessings. The growing their deliberations was born-some 7 Techn ical Tape Corpo rat ion
interest in high quality sound reproduc- months ago-the Institute of High Te lectrosonic Corporation
Fidelity Manufacturers. A perusal of its The Pentron Corp.
tion has stimulated the rapid growth of United Transformer Co.
membership reads like the 'who's who'
a new market for high fidelity equipment. in the sound fidd: University Loudspea kers
This, in turn, has brought new manufac- ASSOCIATE MEMBERS
turers into the field and has encouraged Aud iogersh Corp. Aud io Magazine '
some of the older ones to direct their Altec Lans ing Corporation High-Fidelity Mag azine
Ampex Co rp. Sleeper Publica ti ons Inc.
attention to this category of products. Audak Company
While activity in audio was limited Beam Instrume nts Corporation One of the first undertakings of the In-
to engineers and hobbyists, there was a David Bogen Co., In c. stitute will be the holding of a public
fair likelihood of the buyer's ability to British Industries Corp. high fidelity show at the Benjamin
Berlant Associates Franklin Hotel in Philadelphia on No-
evaluate quality. But with the develop- Co nrac, Inc.
ment of a general consumer market, a Elect ro-Voice Inc. vember 4th, 5th, and 6th. This is to be
less informed buyer has come into being Fisher Radio Corp. the forerunner of other shows to be
Fa irchild Record ing Equipment Co. sponsored by the Institute throughout
- more ' susceptible to claims and less the country in 1956.
G & H. Wood Products Co.
qualified to substantiate the reliability General Electric Company The whole idea behind these shows is
of these claims. Harman -Ka rdon, Inc. to give the American people a fair pres-
The difficulty that has arisen is that James B. Lansing Sou nd Inc. entation of high fidelity, in terms of
some manufacturers are attempting to Klipsch & Associates equipment that is truly capable of high
capitalize upon this susceptibility, by em- Karlson Associates Inc.
Presto Reco rding Co rp. fidelity- and in the idiom of the exper-
ploying the magic import ' of the phrase John F. Ri der, Pub. ience as it applies to the home. By thus
"high fidelity" as a device to woo buyer Ma rk Simpson Mfg. Co., Inc. exposing the public to high fidelity-at
acceptance. The phrase "high fidel- its best-it will develop the ability to
ity" has lost vyhatever reliable meaning distinguish between fact and fiction. And
it has ever had. It has become a promo- the understanding which is now lacking,
tional 'gimmick'- a sort of 'open sesame' will be promoted- if not ultimately,
to the new market- applied, in some in- established.
stances, to products which hardly dem- In later columns we shall discuss other
onstrate the quality implied by the term. plans which have been proposed to deal
Manufacturers of bona fide high fidel- with this question. All of this is within
ity equipment are disturbed by this state the scope of purposes for which the
of affairs. Consumers, too, in many cases, 'Institute' was constituted. And these
have given voice to the need for clarifi- purposes can be summarized in one sen-
cation. Some have insisted upon the tence : To insure that the buying public,
establishment of 'standards' as the basis when specifying "high fidelity" will un-
for determining whether a piece of derstand the order of quality that it des-
equipment might be properly termed- ignates and implies, and will thereby be
"high fidelity ." Others have espoused the better able to obtain and enjoy the bene-
need, generally, for public education- fits of present and future advances in
guidance-as to what actually constitutes the art.
high quality sound reproduction. We invite the comments and sugges-
Some course of action is certainly tions of the readers of this magazine to
necessary if progress in this field is to help us evolve a program for the good of
continue, and if the public is to benefit the greatest number. Please address all
from such progress. Because-unless Geo rge Sil be r, Pres., Instit ute of Hi gh Fidelity correspondence to: Audio Magazine,
people learn to know true quality and to Manufacturers, Inc. P. O . Box 629, Mineola, N. Y.

AUDIO • SEPTEMBER, 1955 29

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 SOUND
EDGAR M. VILLCHUR""

Chapter I. The author begins a discussion of audio subjects with

a simple description of the nature of sound-musical or otherwise.

that the gen- It is easy to draw a picture of a trans-

I
T IS COMMON KNOWLEDGE apart. A given particle imitates the to-
eration of sound is associated with and-fro motion of the source, but with verse wave which will reveal its charac-
mechanical vibration, although the ex- a time lag, like that between the leader teristics; we merely take a cross-sec-
act nature of this vibration, and the way and followers of a "Simple Simon says" tional side view of the medium at any
in which it communicates itself to our game. Thetime lag grows progressively particulal- moment. It is more compli-
ears, is not as widely understood. N ew- greater with distance, and since the pres- cated, however, to make a pictorial re-
ton refened to sources of sound as sure changes are spread over an increas- presentation of a longitudinal sound
"tremulous bodies". This is an apt ex- ingly larger area, as the sound impulse wave. We would have to show the parti-
pression, because it implies a to-and-fro moves out the imitative vibrations of cles alternately compressed and rarefied,
motion which is small, fast, and con- the air molecules become weaker. as in (A) of Fig. 1-1, and since we could
stantly repeated. The vibrations of a source of sound only show a few particles the picture
The vibrations of stretched strings, are small : they may cover as much as a would be a crude one. Therefore we
reeds, or membranes are familiar exam- sizable fraction of an inch. But the abandon pictorial representation and
ples of such motion. When the vibrating human ear can detect particle "excur- substitute a symbolic graph, as in (B) of '
body advances it pushes against the air sions" of microscopic distances- as little Fig. 1-1. Where the graph line crosses
with which it is in contact, compressing as .0001 inches-and it can detect the horizontal axis the medium is in its
the molecules in front of it. Force ap- changes of pressure of the order of mag- normal, undisturbed state; where the
plied to a rigid body would cause the nitude that would be created by raising graph reaches its peak height the me-
whole body to move like a piston, all or lowering a body in the earth's atmos- dium is compressed to a maximum de-
parts in unison,but an essential charac- phere about one foot. gree; a nd where the graph reaches the'
teristic of an acoustic medium is that SOlmd travels as a "wave," and hence bottom of its "trough' the medium is at
"it is elastic. The molecules of air, there- the transmission is accomplished with- maximum rarefaction.
fore, are instead propelled against the out permanent displacement of air. This Thi s graph represents the pressure
neighboring particles, which in turn transmission can only take place through state of the medium at a given point, as
transmit the pressure to their neighbors, a n elastic medium, a fac t which was it varies over a period of time. We must
and a pressure impulse moves out with finally demonstrated by the classical ex- always remember that these graph "wave
a definite speed from the original dis- periment in which a bell and clapper forms" are not pictorial, and that, un-
turbance. When the source retreats it were placed in an evacuated glass jar. like ocean waves, sound waves do not
draws the nearby air towards it; the re- The bell's vibrations were made inaudi- physically look like their graph curves.
sulting partial vacuum is filled in by ble, as sound could not be transmitted The ocean wave actually fQrms such a
particles further out, and this time a through the vacuum. (The apparatus had pattern in space ·because of the fact that
rarefaction impulse travels out from the to be constructed many times by different its particles vibrate transversely.
source. experimenters before sufficiently refined The Characteristics of a Sound Wave
Thus we have an impulse, alternately techni ques were developed to completely
of compression and of rarefaction, which isolate the vibrations of the bell from the The adoption of the above method for
moves out from the oscillating source world outs ide the jar. ) If the moon is graphically representing sound waves
and which controls the behavior of the ever v isited one feature of the environ- ·makes an analysis of the quality of a
particles in its path, causing them first ment will be known beforehand with cer- sound much easier. A person would
to crowd together a nd then to spread tainty; the wastes will be noiseless ex- never mistake a buzz-saw for an oboe,
cept for vibrations transmitted through but the differences can also be detected
* Acoustic Research Inc. , 23 Mount the solid surface. Since there is no gas- by an oscilloscope and stated in purely
Auburn St., Cambridge 38, Mass. eous atmosphere there can be no tread quantitative terms. The graph of pres-
of footsteps heard, no rustle of clothing, sure vs. time will tell the story if we
and if an obstruction is dynamited the kilOW how to read it.
AIR MOLECU LES
debris will fly apart silently, as in a First, consider the height of the graph,
drea·m. from peak to trough. The greater the
When a stone is dropped into a pool vertical distance the more the air is be-
of water, waves travel out in all direc- ing compressed and rarefied, the greater
the excursion forced on the ear drum,
tions. This phenomenon is ' often used as and the greater will be the intensity of
an analogy to the action of sound waves. the sound. This characteristic is called
The force of the dropped stone is sent amplitnde.
out through the water, but the particles The second significant characteristic
of water merely vibrate in orderly se- of the graph is the number of times per
quence and do not travel with the force. second the complete sequence of vibra-
There is an important difference, how- tory events, called cycles, OCCIUS. T his
ever, between this type of wave motion characteristic is referred to as the fre-
and that of sound. The particles of water q1U!1'ICY, and the sensation of pitch de-
vibrate up and down, in a direction pends on it. The higher the frequency
(8) transverse to the direction of wave the higher the pitch. But all sounds do
travel, rather than back and forth along not have pitch, as is evident from listen-
Fig. I -I (A) Alternate compression and ra re- the path of the wave (as they would if ing to many of the everyday sounds of
faction of air caused by sound. (8) The physi- they were transmitting sound). The the street. The existence of a definite
cal picture of (A) represented symbol ically by water wave is thus called transverse, the pitch requires that a number of succes-
a graph . sound wave lon:gitudinao. sive cycles of the same frequency be

30 AUDIO • SEPTEMBER, 1955

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repeated. Regularity of this nature makes scope picture of the wave form of the
the sound a periodic one. Nonperiodic total sound of a symphony orchestra
sounds ar'e produced by automobiles, by would be formed by a complicated but
leaves in the wind, or by the jangle of single line, and a headset diaphragm
keys on a ring, and are referred to as could tl1eoretically reproduce exactly
noises rather than musical tones. Periodic the same ear drum vibration as 75
sounds are produced by musical instru- musical instruments playing together.
ments-midclle C on the piano, for ex- A fourth characteristic of sound is
ample, represents a string vibration more subtle but not of less importance.
whose frequency is approximately 261 It has to do with the instantaneous
cycles per second (abbreviated as 261 changes of volume which take place,
cps ). Th e frequency range of audible especially those involved in the starting
sound for a normal yO.\lng person is and stopping of the sound. The wave
at out 20 cps to 20,000 cps. characteristic which defines this ele-
The third feature which must be taken ment is called the wave envelope, and it
into account is the shape of the graph, or describes the transient attack and decay
the wave form, which determines timbre. of a tone, one type of vibrato, and cre-
The graph of Fig. 1-1 is that of a sound 'scendo and diminuendo. 4~~~~~~~~~~~
created by the simplest of vibrations. It The physical characteristics of sound
is called a sine wave. It is found rela- listed above-the amplitude of the pres- 5~"c-:P.",,=~""'=~""'=T-~
6~~~~~~~~~~~
tively rarely in nature and has a tone sure changes, the frequency, the wave 6~~~~~~~==~~~
which has little interest musically . The form , and the ~av e envelope-are 17L-~-------~--'
tone produced by blowing across the top associated with the sen sations of loud-
of a bottle is of this type, except for its
noise component. The characteristic
ness, pitch, timbre, and the sensation in- A
spired by instantaneous amplitude
timbre of various musical sounds is as- changes, in that order. Thi s is illustrated

-~ iiIIIIIi1.1 LW
sociated with a characteristic wave in Fig. 1-2.
form, and it is this element which will Although these associations are PrI-
immediately allow us to differentiate the marily correct the sensations are not
oscilloscope pattern of one sound from each determined exclusively by one Z 34567891 Z 3.
another. physical characteristic. Loudriess is also 200 1000
The reproduction of the tones of a affected by pitch, pitch by loudness,
whole symphony orchestra by a single timbre by wave envelope, and so on. B
vibrating speaker cone becomes less of
a miracle when we understand the full Musical Instruments
significance of the wave form of sound. The sound quality of a musical in- Fig. 1-3 Wave form and harmonic composition
The wave form graph, besides repre- strument, which we describe with sub- of a violin tone (G below middle C). (After
senting the instantaneous pressure state jective terms such as "fiery," "melan- Seashore)
of the air, may also be thought of as
representing the instantaneous position
of the human ear drum receiving the
sound. It is obvious that, no matter how
many sounds from how many instru-
ments are being heard at the same time,
the ear drum can be in only one position
at any particular instant. Since we are A Non-Technical Lecture-Demonstration by

(fl.~ i1~ mUlU~~SJ

able to hear and distinguish many
sounds at once, evidently the single,
complex vibration, and a single complex Author of "Loudspeakers", "Sou nd Reproduction", "Pianos ,
Pianists and Sonics", and (with H. H. Garner) - "Amp lifiers "
wave form can represent a combination
of many different sounds . • An oscillo- with the collaboration of

P. '-'. WALKER
who will operate the equ ipm ent and make the concluding address
AMP LITUDE
and
SOFT

v FREQUENCY
COLU_MBIA RECORDS
who are responsible for Artists, Recording a nd Playback

•
The following Columbia artists w ill appear :
HIGH .. OW APER IODIC
E. PO\Ner Biggs (Organ)
Leonid Harnbro (Piano) John DeLancie (Oboe)
Members of the Philadelphia Orchestra and Philadelphia
Woodwind Quintet:
WAVEFORM Anthony M. Gig li otti (C larinet), John DeLancie (Oboe) ,
Sol 5choenba~h (Bassoon), Mason Jones (French Horn)
Recordings wi ll be compared with live performances ; and

Stelnway Plano
Carnegie H a ll Organ
Wharfedale Loudspeakers
I
excerpts p layed from a w id e selection of records.
Leak Pickup
Acoustical Quad II Amplifiers
Garrard T ranscr iption Motor (301)
Admission ... $2.50, $2.00, $1.50, $1.15. ALL SEATS RESERVED
Ti ckets avai lable at Carnegie H all box office
beginning Tuesd ay, September 6, 1955.
Presented in the interests of the Science and Art
of Sound Reproduction by
W H A R FE 0 ALE WI R E l E SSW 0 R K S lTD . , 10 l E , BRA 0 FOR 0, ENG l AND
Fig. 1-2 The four physical characteristics of BRITISH INDUSTRIES CORPORATION, PORT WASHINGTON, NEW YORK
sound.

AUDIO • SEPTEMBER, 1955 31

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AMPEX STEREO
IS HEREI

. right in your living room

[Link]
[Link]
 choly," " brilliant," etc., can also be de- sive quality, or by a gradual rise and fall
scribed in terms of the four physical of volume.
characteristics of sound referred to
above. Units of Measurement
This is the most exciting The most dramatic characteristic of There are two units of measurement
an instrument is its ' timbre, which we in sound that should not be ' omitted
development yet in music have seen is primarily associated with from this discusion. One is the musical
listening. You will hear wave form. Musical instruments vibrate pitch interval-the octave, whole tone,
in complex ways; in addition to vibrat- etc.- and the other is the engineering
a startling difference in ing at the frequency corresponding to unit used to measure sound power, the
realism. This is stereophony the musical note on the score, they also decibel. Both are basically the same in
vibrate simultaneously at many other, concept.
as only a superb tape higher frequencies. The basic tone A piano keyboard seems to be divided
machine can provide it. which identifies the pitch is called the up evenly as far as pitch is concerned.
f~mdamental, while the higher frequency
The same apparent rise in pitch is pro-
components al'e called overtones. It is duced by going from middle C to the
the particular combination of funda- next hig her C, then to the C following,
mental and overtones, in number, kind, and so on, or from C to D to E . The
IT'S THE AMPEX 612
and ' relative amplitude, that determines first mentioned musical interval is called
the wave form and the timbre. an octave, the second a whole tone .
TAPE PHONOGRAPH In most musical instruments the over-
With Ampex quality it reproduces all From C to C sharp is a half tone.
tone frequencies are simple multiples of 'This apparently even division does
types of recorded tapes-half-track, the fundamental frequency. Such over-
full-track or the exciting two-track not correspond to a similarly uniform
tones are called harmonics. Thus if the physical division of frequency. As we
stereophonic tapes. The Ampex 612 gives fundamental tone ' is A above middle C,
you the fullest listening pleasure from increase the musical pitch, octave by oc-
440 cps, the second harmonic will be tave, we are not adding equal incre-
stereophonic-tape recorded music 880 cps, the third harmonic 1320 cps,
in your own living room. ments of cycles" but are instead multi-
and so forth. The general musical term plying the frequency by two. Starting at
for any component of a sound, whether 440 cps, one octave up will take us to
STE R EO PH O N I C T A P ES fundamental or not, is partial. 880 cps ; two octaves up will take us not
AR E A LR EADY AVAILABLE The wave form and make-up of the to 1320 cps but 1760 cps. A musical
Majol" recording companies for some complex musical tone of a violin, show- interVal thus represents a geometric
time have been recording all important ing both the fundamental and harmonic ratio of frequency, not a given number
sessions st~reophonically as well as overtones, is illustrated in Fig. 1-3. of cycles. An octave at the bottom of tlle
conventionally. Stereophonic tapes from Not all musical instruments, however, keyboard covers only 27.5 cps, while an
many of these performances are now have overtones that are harmonic. Cer- octave at the upper end covers 2093 cps.
on the market, and more are continually tain instruments of the orchestra, as a The range of musical pitch, however, is
being released for your selection. matter of fact, simultaneously produce the same for the two, because this is the
such a varied assortment of harmoni- way we perceive sound.
BE SURE TO HEAR cally unrelated frequencies that there is The decibel is a similar unit of ratio,
no definite sensation of one pitch. Strike except that it refers to sound power,
A DEMONSTRATION
tones and inharmonic . overtones make and the basic multiplier in the db system
You aren't up-to-date in the field of up a large part of the sound of such
recorded music until you've heard the is 10 rather than 2.
members of the percussive group as the We could construct in our mind's eye
Ampex 612. Your local Ampex dealer triangle, the bass drum and cymbals.
will demonstrate it to you with some of a ,special keyboard instrument in which
It is also true that certain musical all keys played the same frequency, and
the stereophonic tapes you can buy tones, with harmonic overtones, have
right now. Call and make a date today. where ascending the "scale" increased
weak and even inaudible fundamentals. only the volume of the sound. This
The lowest strings of the piano are ex- hypothetical instrument could be cali-
Prices: $395 in contemporary [Link].r e amples. We nevertheless clearly iden- brated in decibels by designing it so that
cabinet or Samsonite portable case; tify the pitch correctly, because we re- every ten keys increased the sound
$10.00 extra for blonde contemporary; cognize the harmonic structure and we power ten times. For example, if .01
$379.50 for chassis for [Link] installation. respond to the difference frequen'cy be- watt were produced by a given key, ten
tween harmonics (which, of course, is keys, further up would produce .1 watt,
always · the fundamental frequency). and ten keys further, 1 watt. Each such
This phenomenon of hearing accOtmts o-roup of ten keys would correspond to '
for the fact that tones from the double ~ power ratio of one bel, while each ad-
AMIPIEX
CORPORATION
bass or organ pedal pipes, when repro-
duced by table-model radios which are
incapable of vibrating at the low -funda-
mental frequencies involved, can still be
jacent key would increase or decrease
the power by one decibel.
The decibel, or db, represents, under
certain conditions, the minimum differ-
recognized musically. ence in sound power that the average .
934 CHARTE R STR EET · R E DWOOD CITY , C A L IFOR NIA
Musical instruments also differ widely human ear can perceive. There are con-
in relation to the three characteristics ditions (such as at the lower frequen-
Distributors in principal cities (see your of sound other than timbre. The majesty cies) when several decibels of ~hange
classified telephone directory under of the full pipe organ is partly due to its are required for a person to notice the
"Recording Equipment") ability to pump very large quantities of change of volume, and there ar~ also
Canadian distribution by Canadian vibrating air from its pipes, and to conditions in which a small fractIOn of
General E lectric Company. a decibel can be perceived.
achieve tremendous volumes of sound.
Some instruments, such as the pipe The main reason for the adoption of
the decibel system is the same as the
organ and piano, cover the entire musi- reason for the octave system in music:
cal range of fundamental frequencies, that's the way we hear, in terms of geo-
while others are specificaUy designed metric ratio rather than arithmetic'incre-
for bass or treble passages. The attack ments. Thus if we want to plot the per-
and decay of musical instruments may formance of an audio component over the
be characterized by sharp attack and frequency spectrum, and require a
slow decay, giving the sound a percus- g raph which lays out the ranges of fre-

AUDIO • SEPTEMBER, 1955 33

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quency with the propel· importance as- back. But when it has straightened it-
signed to each range, we imitate t~e self out it is moving transver·sely at high
piano keyboard and use a geometric speed, and momentum carries it beyond +30 db 1000
scale. When we describe the output of its neutral position, into a position of
this component at di fferent frequencies stretch on the other side. The overshoot
we state variations in relative db units, is stopped by an opposing elastic restor-
rather than in absolute units such as ing force, and the same half-cycle of
watts. The former is more accurate in events begins again, this time in the
terms of perception, and hence more oppos ite direction.
meaningful. It may be seen that the original ARBITRARY
The similarity between the layout of energy inj ected into the system is not REFERENCE
a piano keyboard and of fr equency re- abso rbed by either the elastic or the lE VEL o db 1 WATT

sponse graph paper used in a udio ",:ork mass element, bl;1t is stored temporarily
is illustrated in Fig. 1-4. A comparison by each in turn,' and is poured back and
between a linear (arithmetic) and deci- for th from one to the other like a - 10 db 0 .1 WATT
bel (geometric ) scale of power is illus- B romo-Seltzer being prepared at a drug
trated in Fig. 1- 5. counter. The rate of interchange of this
We have discussed the decibel as a energy, which is to say the resonant fre- - 20 db .01 WATT
unit of relative sound power ; it is also quency of the system, is determined by
used as a unit of relative electrical the relative values of mass and elasticity
power, or it can be applied to such of the string. This is why the strings of
quantities as voltage, current, sound the piano become progessively heavier
pressure, and sound intensity (power as the pitch decr eases, and why tighten-
per unit area). When a level of sound ing the strings of a violin, which in-
is described in db a reference level IS creases their elastic restoring force,
always g iven or assumed. Fig . 1-5 Comparison between a lin ear (arithme-
raises the frequency of the tone pro- tic) and decibel (geometric) power scale.
Let us make a simple application of duced.
the decibel system in order to see how it The vibrations cannot go on indefi-
affects the significance of absolute nitel y, because energy is lost with each
values. Suppose we own a ten-watt am- excursion-partly through mechanical tendencies . But all mechanical systems
plifier, and are not satisfied with the and aco ustical frictio n, and partly have mass and restoring force to some
power capability of our system for the through the energy represented by the extent; there is no such thing as a mass-
room in which it is used. We substitute radiated sound. If no new stimulus is less body or perfect rigidity. The loud-
a twenty-watt amplifier. How much g iven to the string, each overshoot be- speaker, too, has its own resonant char-
have we increased the volume of sound comes less than the previous one, until acter istics which we cannot exorcise
that we can call on? A power ratio of the system has come to rest. The proc- even though we might like to. A system
two to one is represented by 3 db, not ess of energy abso rption wh ich brings subj ected to forced oscillation acts dif-
a very damatic increase. Forty watts motion to a halt .is call ed d'amping. fe rently when the frequency of the stim-
will give us a 6 db increase over the H eavy damping stifles the sound ulus comes close to or coincides with
orig inal ten watts. quickly, while a relatively undamped the natural frequency of the system it-
Resonance
system allows the tone to continue fo r a self. It offers much less resistance
long period of time. ( technically the term is impedance ) to
Resonance is the bas is of musical in- The restoring force of a freely vibrat- being vibrated, and as a consequence
strument design ; it also plays an impor- ing mechanical system may be suppli ed the oscillatory excursions are very
tant but usually unwelcome role in by gravity as well as by elas ticity, as it much g reater than they are at other fre-
sound reproducing systems. is in the case of a suspended pendulum quencies, even though the magnitude of
If we pluck a stretched piano string or of water sloshing about in a wash- the stimulating force has not changed.
it will vibrate for a while at a certain bowl. Thus when a r ecorded bass viol
frequency. It we try it again we will find FOl·ced vibrati ons are of a different sounds a tone which happens to be at
that the fundan1ental frequency is the character. The stimulating energy can- the resonant frequency of the phono-
same. This frequency is its natural or not be a one-shot affair but must be ap- graph's lOUdspeaker there is a tendency
resonant frequency. plied continuously, and the vibrating for that particular tone to "boom." For-
When the string is first r eleased it is element follows the dictates of the stim- tunately there a re ways to mitigate and
in a position of stretch, and it springs ulus rather than of its own resonant even to completely overcome this tend-
ency.
A dramatic example of the results of
resonant behavior is g iven in the de-
scription, according to one theory of
geophysics, of the formation of the
I I I I IIII I I I I I II" I I I moon. The entire surface of the or igi -
I- nally molten earth, it is stated, fol·lowed
fr fr fr ~
fr ~
~
§. §- a tidal ebb and fl ow created by the
~ ~
'" :g 0
~ ~ ~ ~ ~~ g ravitational influence of the sun, which
M ~

~ 1~IHIU'!U!U~I~~I!UIHIU~I!mUIUIUmm"ll
alternately, according to the rotati onal
position of the planet, caused the surface
to lead and lag its spinning core. (The
clay was then about four hours instead
of twenty-fo ur ). We can readily recog-
nize the situation as one of forced oscil-
lation of an inertia-gravity system,
whose fr equency was controlled by the
velocity of rotation of the earth about
20 • 20000
the sun. This veloctiy began to decrease,
100 1000 10000 clue to frictional losses incurred with
FREQUENCY IN CYCLES PER SECONe
each tidal shift of the surface. It is
l·easonecl tha t a t some point the fre-
Fig. 1-4 Compa rison between the frequency scale of a piano keyboard and that of an audio quency of t;dal [Link] coincided
frequency response graph. (Continued on page 56 )

34 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 equipment manufacturers are making a vital contribution
to the development of electronics in all fields of application.
Their products are being exported to every corner of the world,
earning a universal reputation for advanced techniques and
excellent performance.
The majority of these electronic equipment manufacturers con-
sistently use Mullard tubes. This choice is decided upon because
they prefer the greater assurance of efficiency and dependability,
and because the vast manufacturing resources of the Mullard
organisation guarantee ready availability of Mullard tubes
wherever they are needed.
Write to the undermentioned distributors for full details of
Mullard tubes:-
Mullard In the U.S A. International Electronics Corporation,
Department A-9
81, Spring Street, N. Y. 12, New York, U.S.A.
Electronic Tubes In Canada Rogers Majestic Electronics Limited,
Department H-A
used throughout the world 11-19 Brentcliffe Road, Toronto 17, Ontario, Canada.

MULLARD OVERSEAS LTD., CENTURY HOUSE, SHAFTESBURY AVENUE, LONDON, ENGLAND

Mullard is the Trade Mark of

Mulford Ltd. , and is registered in most of the principal countries of the world. l%Sll
MEV 2;

AUDIO • SEPTEMBER, 1955 35

[Link]
[Link]
 Necessary Features For
Design Patents
Court decisions indicate some of the essential ingredients of a proper design-patented article.

ALBERT WOODRUFF GRAY ~:

claimed, "An ornamental design for a the following year, it was held that no
A N APPLICATION FOR A DESIGN PAT-
ENT of a vacuum capacitor was re-
cently before the Federal Appellate
Court. The description by the court was,
loudspeaker," with tile drawing disclos-
irig a loudspeaker with a circular out-
line. A desigri patent had previously
invention was shown over an octagonal
one. "The right to make any article,
round or square or in any other stand-
"A glass envelope of a distinctive pat- been issued for a loudspeaker with an ard form or shape," said the court, "is
tern within which was displayed the octagonal outline. From the rejection of inherently open to all and novelty can-
condenser body of general cylindrical this application by the Board of Ap- not be predicated on a design for a
shape supported in coaxial relation to the peals of the Patent Office the inventor square candle instead of the ordinary
body. Thin rod-like conductors extended appealed. The appellate court in its af- round one."
through inwardly disposed projections firmance of the rejection based its con- The essential of invention, the novelty
within the ends of the envelope from clusion on the absence of one of these required by the statute for a design pat-
outwardly curved e):1ds of the condenser essential features-originality. ent was emphasized in the decision by a
body to stepped terminals extending ax- "In order to sustain the application Federal court in Michigan, in which
ially outwardly from the ends of the we must find that the change of design that court said, "Design patents stand
envelope." from an octagonal sound board to a cir- on as high a plane as utility patents and
The Patent Office rejected the appli- cular sound board is inventive in char- -require the exercise of as high a degree
cation, holding that the invention lacked acter. This we cannot do. The mere of the inventive faculty." Here an appli-
novelty in the light of previously choice of a well known geometric form cation had been made for the patent of
granted patents, two for electron dis- . rather than another equally well known, a combined testing and charging stand
charge devices, two for similar patents, which does not in any way modify the for electric batteries. It had been cus-
and one for a short-wave tube. other portions of the design cannot sup- tomary before that time in battery shops
"The design," said the Patent Office port a patent." to use a rack or bench for batteries.
Board of .Appeals in sustaining the re- Another decision of the Federal court The subject of this patent application
jection, "shows a cylindrical condenser at that time sustained the tejection of a was the design of a cabinet with a door
body enclosed in a bulbous glass en- similar application for its lack of both concealing the batteries and protecting
velope with external connector caps. The artistic conception and invention. That customers from any possible contact
shape of the envelope suggests that it is application was for a radio repro- with electrical connections and on the
made in two similar halves united by a ducer resembling a common mantle face of this box or cabinet was installed
fused peripheral seal around the inserted clock with an elongated base and a an arrangement of indicating dials.
condenser. The evacuation of the sealed curved top. Two design patents however The court in refusing this patent ap-
envelope to protect the enclosed ele- had already been granted on similar de- plication followed as an authority an
ments and the mode of sealing specu- signs thus depriving the applicant of a earlier decision which had sustained the
lated upon above, are obviously utili- claim for either ornament or invention. rejection of a design patent application
tarian features not involved in the "Applicant's radio reproducer," said for an automobile lifting jack.
design under consideration." the court, "was made to imitate and "There is no invention," said that
The inventor appealed from tllese ad- resemble a common mantle clock. In court, "in merely selecting and assem-
verse decisions and in its reversal of the general configuration, except as to the bling the 1110St desirable parts of different
rejection the Federal cour.t said, "We degree or slant of the curves or angles, mechanisms where each operates in the
feel constrained to disagree with the there is very little difference between same way in a new device as it did in
concurring conclusions reached by the tlus design and the previous design of the old and effects the same results.
tribunals of the Patent Office. In con- a sectional clock case. "It requires only the commenest kind
sidering patentability of a proposed de- "In the front of the case is a circular of skill, such as any mechanic ordinarily
sign the appearance of the design must opening of substantially the same size as skilled in the art could and would have
be viewed as a whole." the previously patented design. In appli- exercised, to borrow from well known
The patent law enacted in 1952 in cant's design the opening is covered by styles of jacks one or more of their op-
relation to design patents is in part, a grill instead of a clock face through erative parts and put the same into an-
"Whoever invents any new, original and which sounds from the radio are trans- other, there to perform the same func-
ornamental design for an article of man- mitted. In the other previous design of tion as such respective part performed
ufacture may obtain ~ patent therefor." a prism plate we find substantially the in the nrst.
The original design-patent law passed sanle configuration as in the grill work "This lifting jack patent, for want of
in the early years of the last century of applicant's design. patentable invention and novelty, can-
provided for a patent only for "any new "In other words, if the previously not be sustained. The production of
and original design." It was not until patented clock case was fitted with a such a desig11 did not call for the exer-
the amendment of the law in 1902 that prism plate and used for a radio repro- cise of the creative faculty. Originality
this present phrase, "new, original and
ducer, substantially the same result in is wanting. The beauty of the design is
ornamental design" was included in the purpose and ornament would be accom- not impressive. For these reasons the
statute. In that sentence however are set plished. Applicant has combined two old patent must be held invalid."
out the three essentials for a design
features without new ornamentation. In the conclusion of its decision in
patent-new, original, and ornamental. Thel'e is no such new inventive beauty 'Of the case involving this battery testing
An application for a patent of this artistic conception as to be patentable." cabinet, the court added, "The patent
character on a radio loudspeaker In another appeal involving a cone- design lacks both ornamentation and
*3712 75th St., Jackson Heights, N. Y. shaped loudspeaker before that court (Continned on page 52)

36 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 CABINART '56
MODEL 10
MODEL 11
MQDEL 21
MODEL 22 MODEL 65
MOD~L 27 •
MOD EL 28 •
MODEL 27U •
MODEL 28 U •
MODEL 65 •
MODEL 70
MODEL 7112
MODEL 7115
MODEL 90
MODEL 91
MODEL 9(W
MODEL91U
MODEL 800 •
MODEL 800 U •
MODEL KR · 3
MODEL KR · 3U
MODEL KR · 4· 12
MODEL KR · 4·15
MODEL KR · 5
THE THE THE
MODEL KR·5·U
.• • storage
MODEL KR·5·P for tape recorder, turntable,
MODEL ST·l • record changer, tu ner, amplifie r
MODEL ST·2 • a nd speaker, jf desi~ed.
MODEL ST·3 •
MODEL ST . 4 • SPEAKERS SPEAKERS SPEAKERS
MODEL ST·5 •
MODEL ST· 6 •
MODEL ST·7 •
MODEL ST· 8 •
MODEL ST · 9 •
• 16 NEW EQUIPMENT CABINETS CABINART S PEAKER SYSTEMS
KI T 27K
•
KIT 28K

KIT 80
• MODEL 27K
MODEL 28K
KIT 8112

KIT 8115

KIT K·3

KIT K· 4·72
•
KIT K· 4· 75

KIT KST·7

KIT KST·2
••
KIT KST·3
•
KIT KST·4
•
KIT KST·5
•
KIT KST·6 •

KIT KST·7 •

KI T KST·8
• • TW E LVE NEW HI-FI KITS . . . EVEN A HI-FI STORAG EWA ll
KIT KST·9
•
ACC·'
ACC·2
ACC·2U 'TURNTABLE BASE
WITH LEVEL. RECORD
ACC·3
AND LEVELING CABINETS
ACC·4 • . 3 SIZES
DEVICES
ACC·5
ACC·6
ACC·7
ACC·7A, an d N 1N E H 1- F 1 AC C ES S 0 R1ES FOR THE SOU N D ·E NTH U S IA S T S .

Each CABINART design is ;n engineer's CABINART '56 CATALOGS:

answer to an indiv'idual hi-Ii equipment
sto rage p ro blem. Each cabinet, prop-
erIY'used, is a designer's expression of
the elements of good furniture design.
1. EQUIPMENT STORAGE
If your hi-Ii ' dealer does not stock 2. EQllIPMENT /ENClOSURE KITS
Cabinart, write for the name of our 3. REBEL HORNS & SPEAKERS
nearest Cabinart dealer or mail order 4. THE CABINART STORAGEWAll
:.o ctory and Offices: B'klyn, N . Y. house. 5. HI FI ACCESS O RIES

Iil cablnart] The pioneers in high fidelity radio furniture

Cobinort i, a division 01 G & H Wood Product, Co., Inc. • 99 N. nth St. • Brooklyn 77, N. Y.

AUDIO • SEPTEMBER, 1955 37

[Link]
[Link]
 New Equipment
Triad Amplifier Kits HF-3, HF-12, HF-18, HF-
40-Recheck on Crestwood 304 Tape Recorder

ECAUSE of tb e fact that this pa rticular even the complete novi ce to end up with a exact steps taken in construction, and must

B line of amplifiers has not been built

and then tested as is th e normal pro-
cedure for E QUIPMENT REPORTS, this sec-
piece of · equipm ent th at wiIl wo rk right
from th e sta rt with performance as good as
would be expected from a factor y-built
be so thoroughly stable that no trouble
shooting will be necessary-a procedure
that could never be followed by an inex-
'tion is titled "New E quipm ent" and serves unit. Man ufac turers of radio and television perienced builder. Every kit tha t we have
in a similar manner to describe these four sets have been known to depend on minor been privi leged to examine over t he past
amplifiers that are intended fo r the home amounts of regeneration to obtain the year or so has come up to these require-
constructor, and whi ch are so well engi- desired performance, and in those Instances ments sa tisfactorily.
neered as to warrant an es pecia l menti on. the placement of leads is li kely to play an The T riad line of amplifiel's consists of
Kit amplifiers- a s weII as test equipment important part in the fi nal performance. a self-powered preamp-tone control unit.
- are popular with the home constructor W ith ' a kit amp li fi er or test instrument, a 12-watt model with built-in preamp and
because they provide all the necessary parts th e manufacturer must "iron out all the tone-control section, an 18-watt amplifier of
fo r the fini shed product in a fo rm th at is bugs" before he puts th e device on th e ma r- the W ill iamson type, and a 40-watt ampli -
sufficiently complete th at the builder does ket to avoid considerable di ssatisfaction fi er employing a pair of 6146's. The last
not have to shop a round for th e last screw from his customers and a large amount of two models require separate control sec-
or for an escutcheon plate that will provide lett er wr iting whch is un satisfactory to tions.
him with a commercial- looki ng fini shed both customer and manufachlrer-as well The preamp-tone 'control unit, H F -3,
product. A nd because th ey are intended fe r as being expensive for the latter. T hus any consists of a 12A Y7 preamplifi er stage, fo l-
construction by th e inexpe rienced bui lder , kit that reaches th e ma rket must give a lowed by a 12A U 7 which provides addi -
they a re usually eng inee red to a hi gh deg ree high degree of sati sfaction to the user , ti onal gain for th e tone-control fun ctioning.
oi perfecti on so that it is easily possible fo r must be thoroughly documented as to th e The preamplifier is designed to accommodate
both magneti c and crystal or ceramic
pickups, ' the latter being reduced to a con-
stant velocity cha racteri stic by th e use of a
low va lue of ir>put resistor. N ine character-
istic curves are provided, which cove r prac-
tically any reconli ng cha racteri stic that
might be encoun te red. Bass and treble tone
controls operate to bypass a cathode resistor
fo r the boos t positions and to shun t [Link]
highs or lows-or both-to g round for th e
Fig. 1. Triad HF-3 cut positions, T he power supply provides
Pr ea mplifi er and 280 and 275 volts, well filtered, fo r the
control unit.
plates, using two chokes and 90 /-tf of ca-
pacitance in the fi ltering. It also furn ishes
12 volts d.c. fo r the heaters, thus ensuring
a very low hum level fo r the un it. T he
sc hemati c of the H F -3 is shown in Fig. 2,
while th e externa l appearance of th e chassis
is shown in Fig. 1.
The 12-watt model, HF-1 2, consists of
thi s same "front end" (except fo r the

ALL RESISTORS MA RKEO" XII AR E (l..C7N NOISE)

OEPQSITED CARBON TYPE
x x
PHON:). INPUTS ~ 12AY7 :i. OUTPU T
I MAGNETIC 47 K .
2 CR YSTAL
.gt---c::-:-<Hlf-:;! 1-'--:-- ....,..,t-----U'--NVv----,.--{) HI.
eND SHLO. Vis .25
AT N

2 (o-+~-Bc)~ LO.
"-o
...
r--

TRI AD
A-7.5.J

COM PE N SAT ION

1.. F L AT 2~ O CPS.

..2. FL AT '00 CPS .

.2. A [ S

~ COL UMB IA 78

..2. CO L UMBIA LP .

,§.J F RR
.1. N AR T B
.§. NE W RCA -VICTOR 33&76
~ OL D RCA - V I C T OR 76&33

Fig . 2. Schematic of the Triad HF-3 preamplifier and control unit.

38 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
You're looking at excitement in your life!
Excitement is the word for it ... yo ur reaction when free , ready to hear what the artist wants to say.
yo u first' hear music ... music re-created throu gh This is due to fine balance, smoothness, wide
a Jensen authentic high fidelity loudspeaker. frequency range, absence of appreciable distortion,
And you'll feel this excitement again and again false coloration and overemphasis-all in notable
... with every added hour of musical revelation, degree .. . with a finesse culminating over a quarter-
with each new disc or tape you try. century's specialization in fine loudspeakers .
You probably won't try to analy ze the exhilara- You can set your own standard of high-fidelity
tion, the sense of complete satisfaction that grows with Jensen. Make it as high as you like. You're in
with time; you don't really need to, for the sound for excitement in your life!
speaks for itself.
(top left) PR-100 Im perial, 3-way sys tem $52 5.00 in Mahogany ;
But naturally there are good reasons why Jensen $535.00 in Blonde. (rep center) TP-200 Tri-plex, 3-way system
is not only a hobbyist's choice in high fidelity, but $312.70 in Mahogany; $316.80 in Blonde. (rep right) CT-IOO
Concerre, 2-way sys tem. $164.50 in Mahogany ; $[Link] in Blonde .
also is winning instant acceptance in the homes of (lower left) DU-500 TV-Duette, 2-way system $85.50 Blonde Oak ,
music lovers everywhere. brass hairpin legs. $82.50 in M ahogany, wood legs. (nor illustrated )
DU- 400 TV-Duette $49. 50 Blonde or Mahogany finish, wood
Listening is easy, smooth, comfortable. There is legs. (lower center) DU-300 Duette "Treasure Chest" 2-way
realism without trace of nerve-tensing shrillness or system $76.50; wrought iron legs $4. 25. (lower right) DU-201
"Duette" Reproducer, 2-way system $62. 50 in Burgundy pigskin-
vaguely disturbing mechanical effects. You're grained Fabrikoid . .

--en3en MANUFACTURING COMPANY· 6601 SOUTH LARAMIE, CHICAGO 38

U OIVISION OF THE MUTER CO., IN CANADA, COPPER WIRI3 PRODUCTS , LTD . LICENSEE

WORLD'S QUALITY STANDARD FOR MORE THAN A QUARTER CENTURY

[Link]
[Link]
 2W.22 [Link] liE FEEDBACK
LEAD TO SAME
INPUT CI 68,.,,.,f TERM . U SED FOR
I.!I VOLT REQD, SPEAKER

,i.
0
~ ~ 0
~ '"
J§
0
~
+&&"1,

- s: ,i. ...
;0'"
. 25
HSM-94 OR
S- 42A

TRIAD
R-46A

·1&0"1,

i.
<DS:
<0- .!!. §~ i.
0
t-
2>0 v
25".
R4 ~5 8~
POT.
100". ~~
<D IW i.
~~
OJ ~~ 0
t-
V

AL~R~O~~AR~;~ L,tt'\ ~v: ~v: ~v: ~v: ~V~7 '~V~7

NOTE:- RI &CI CORRECT rOR Ie OHM SPEAKER,
IF OTH ER IMPEDANCES ARE USED, COMPUTE SHOWN p.
BY rORMULA RI=5S00)(~
ALL RESISTORS ARE 10 %& 1/2 ':;J ~ '" '" '"
CI:275-:-~IN~f WATT, EXCEPT WHERE NOTED

The manufacturer:s ·a re to ' be compli-

mented for the clarity and simplicity of the
constructional information, and for the
workmanlike design and layout. Decals are
furnished for the chassis, and while the
control unit, HF-3, might require some
thought on the part of the constructor to fit
it into a cabinet conveniently, its perfor-
Fig . 3 (above) Sche- mance is sure to be considered satisfactory.
ma ti c of t he HF-40 This description of th e kits was not in-
amplifie r, and Fig , 4 cluded in the section on AMPLIFIERS AND
(l eft ) its exte rnal
FREAMPLIFIERS in the January, 1955, issue
appearance.
because it was felt that- they deserved a
more complete presentation. S-15

RECHECK ON CRESTWOOD 304

TAPE RECORDER PERFORMANCE
The performance curves for the Crest-
wood Model 304 Tape Recorder which ap-
peared in the June issue left something to
b~ desired with t'espect to the quality of
d.c. heater supply) fo llowed by a three- supply of 530 volts and a fixed bias of 40 recording from radio or microphone input
stage power amplifier ending with 6V6's volts, with the tubes being separately aa- and playback from the tape so recorded, al-
- the power section consisting of a 6S]7 justable from about 35 to 54 volts. A volt- though the performance from the Ampex
direct coupled to the first grid of a 6SN7 age divider supplies 440 volts for the driver standard tape was considered quite satis-
and the first plate of this tube is direct- stage, and a regu lated power supply pro- factory. Crestwood engineers differecL with
connected to the second grid to fo rm the vides a fixed voltage of 180 for the 6146 us in their measurements of this unit, and
phase splitter. The output from the phase screens and for the input stage and phase suggested that it was possible that an error
splitter is taken off the cathodes of the splitter. Feedback extends from the sec- had been made or that possibly the change-
6SN7, Feedback is returned to the cathqde ondary of the output transformer to the over switch was not making proper contact.
circuit of the 6SJ7, and output impedances cathode of the input stage. Our own measurements did not seem to
of 4, 8, and 16 ohms are available, In addition fo the- normal schematic of come up to what wou!d be considered nor-
The 8-watt . model, HF- 18, is a conven- the amplifiers, complete pictorial drawings ma l, and further ch ~ cks were made on
tiona l W ill iamson amp lifier which may be of the finished units are furnished, together another unit of the same model. These
used as an U ltra-Linear with a few simple with detail drawings of the subassemblies measurements indicated that the response
changes in wiring-both hookups being such as phono equJization switches, mount- from radio and microphone inputs followed
shown in the instructions. The power sup- ing of parts, and so on. The instructions those from the standard tape and that the
ply filtering is thorough, and furnishes 480 for step-by-step construction are clear and curves of the "in and out" measurement
volts for the KT -66 output stage through concise. and are· sufficiently complete for shou ld fall withi11 the same limits shown in
one choke, 455 volts to the driver through even the most inexperi enced constructor. the l?ortion of the curves labeled "Tone
two chokes, and lower vo1t3ges through RC On listening tests all four models perform Control Range."
filters to the first stage and phase splitter. satisfactorily with no "bugs" or idiosyn- \\T.e are pleased to be able to t'eport that
The 40-watt model, HF-40, is shown in cracies that could be detected. Phono this instrument does work better than it
Fig. 4, and pictured schematically in Fig . equalization seems to be adequate in the two appeared to undet' the fi rst observation,
3. It consists of a 6S4 input stage driving models with preamplifiers, and the tone since the Crestwood 400 series of recorders
a 654 split-load phase splitter, followed by control action is smooth and offers a low- gave such a fin e performance and it was
a pair of 6S4's as a driver stage and the 6146 frequency boost curve that is preferred by to be expected that the 300 series would fall
Ot;tput stage. The 6146'5 wor k with a plate some listeners. III the same category. S-16

40 AU DIO • SEPTEM BER, 1955

[Link]
[Link]
 Inside and out
, •••
PRESTO

makes the best!

An inside view of the h eart of the

Pirouette turntab le .. . a single movable
pl a te on wh ich 3 idler wh eels are
mounted. A flick of the control lever auto·
maticalIy engages the proper idl er for
the desired speed, el iminati!lg excessive
wear on idlers. This mec11anism is made
the PRESTO quality way ... throughout:
The name PRESTO is always your assur·
ance of the fin est in parts . .• the grea test
care in production . .. PRE STO never cuts
a corner on quality!

The most advanced turntable

for professional use!
PRESTO PIROUETTE
T-18-H Turntable
Th e revo luti onary T·1H
model Il"il h hys tt'rcs is mo lor. THE
$lOn
irouette
T-18
streamlined, compact, trouble-free ••• featuring the revolutionary flick shift
••• one sideway flick .selects any speed ••• 33 .% r 45, .78 rpm

The turntable of the future is here ically engages th e prop er idler!

today ... in the PRESTO Pirouette ... [Link] arms and shi ft cams
PRESTO PIROUETTE a marvel of brilliant engineering, are eliminated, idler wheel wear sub·
T-68 Turntable pre cise balance and simplicity. stantially reduced, tro uble·free per·
16" version of the stream· Three idler wheels are mounted on form ance is assured. These PRESTO
lined T-18 ... heavy·duty a single movable plate. A sideway quality features ass ure topnotch
wonder. $79.50 performance all the way:
flick of the control lever automat·
• Finest turntable motor • Extra heavy·weight, wide·bevel aluminum table
• Precision deep-well bearing • Presto quality-engineered throughout
A beautiful 12" turntable in smart telephone black with brushed chrome accents. $53.50.

PRESTO SR-27 TAPE RECORDER

value of a lifetime
You get to p value in this superb PRESTO tape recorder.
3·motor drive .. . separate record, erase and playback
heads . .. fast forward and rew ind. No take·up reel cl utch.
PRESTO PIROUETTE No idler pull eys. Top performance, rugged constructi on,
T-68-H Turntable ideal for studio or home record ing. Complete with A·920
amplifier unit (pre·amp , equalizer and 10 watt amp li fier )
The 16" streamlined turn· only $485.
table with hysteresis motor.
$134
PRESTO RECORDING CORP.
Send this coupon for more information ~ Dept. A ·9
PARAMUS, NEW JERSEY
Rush catalog sheets on PHESTO Pirouette turntables,
SR·27 tape recorder and advise name of nearest
PRESTO dis trihutor.
Na tHe ..•......... __ .......................................... ___ ... .
RECORDING CORPORATION Company .................................................. .
PARAMUS, NEW JERSEY Address................................,......................................... .

Exp·ort Division : 125 Warren Street, New York 7, N. Y. Ci ty................................................ ,............... Zo ne........•
Canadian Division: Instantaneous Recording Service, 42 lombard Street, Toronto State ............................................................................... _
WORLD'S LARGEST MANUFACTURER OF PRECISION RECORDING EQUIPMENT AND DISCS

[Link]
[Link]
 EDWARD TATNALL CANBY':'

1. Pipe Organ to repeat, but 14 versions of the fugue would be The King of Instruments, Vol. IV: Hilli ar at
a lot too much.) St, Mark's. (M t . Kisco , N. Y.) Aeolian-
FIRST CONCLUSION, as I look at and The Toccata repetit ions are surprisingly easy to Skinner Organ Co., Boston 25, Mass.
M
y
li sten to the follow ing batch of pipe take, nor do you really have to play all 14 versions
one ofter the other unless you are chained hand This series, like the Moller series (below), is
organ records, is that there is still and foot to a changer mechanism . The reasons an organ-builder's project, recorded and sponsored
a confusion of aims and interests . For aren't hard to find . Here we have a set of arbi- by the makers of the instruments themselves. Tbe
\\,hom are these records intended-for what trarily fixed conditions-same player, sam e piece basic intent, thus, is to de,m onstrate the company's
va riety of interest? The music? The organ of music-which serv e to high -light rather star- in strum ents.
itself ? T he performer and hi s techninue? tlin g ly some of the variables that otherwise would But to whom? There we find the usual problem.
go unnoticed. Good. Here we have a particular organ, that of Saint
The low bass, for hi-fi systems? And if the Mark's at Mt. Kisco, and a featured organist,
music-which kind of music? We have The first thing you' ll notice, as the Toccata ends
a nd then begins once more, is the extensive, if Mr. Hilliar. (Earlier "King of Instruments" per-
everything here from theatre-organ pops to subtle, differences between organs , within the fOl~mers were in part anonymous). Good-two
Reger, Widor, and Vierne, not to mention framework of a s ingle tradit ion a nd sound-sty le. solid ly fixed factors, making for clarity and organi,
a gent who appeals to a different school of Second, you' ll hear acoustics differing sharp ly zation on the disc.
listener, M r. J, S. Bach. I find that the from re lat ively dead to ultra-live, and yo u'll begin There remains the music and the playing. Mr.
thinking whi ch assembles these records is to understand how intimately the organ and its Hilliar's program is unexpected in that all but
still on the fuzzy side, or perhaps more acoustics are bound up with one another. one of the works com e from the great period of
17- 18th century organ music. The one, by sti11~
likely, represents too many recording cooks' Next you ' ll sudden ly begin to realize, as Biggs
living Marcel Dupre, s tands out rather startling
ideas in the broth. begins this same piece aga in and aga in, th at h e is from the rest of the d isc, wh ich features Bach,
I still feel that the first volume of the playing tOI' til e aconst-ics, in each hall, that he
Pachelbel, Loeil1et, A r ne, of earlier times .
Aeolian-Skinner "King of Instruments" se- wa its del iberately for the reverberation to d ie to
I find the Hilliar playing of Bach et a! rather
a certain point he fore coming in with a following
ries, with the detailed analysis of organ passage, that he gauges the tempo to the rever-
deliberate, ultra·careful, especially in the orna-
tone and tonal usage by G. Donald Harrison ments wh ich are "spelled out" note by note as
beration , regi5ters the pipes so that the det:1i ls
was one of the best recol'ds on the organ though Hilliar were following a rule book. On the
come through best in each acoustic s ituation. The
whole a bit stodgy and unimaginative, though the
so far put out; it was to the point, unequiv- various versions are, indeed, quite unlike each
registrations are very nice and the ornaments are
ocal, well marshalled in its musical m'lterial other, in ways that are abundantly clear and en-
technica ll y correct. (But how about the double-
fo r direct and specific ends. Similarl y, the joyably evident to the listening ea r.
dotting t ha t is lack ing in the big Couperin organ
splendid Biggs album "A rt of the Organ" A good lesson for us here. Orchestral conduc- Mass?)
from Columbia, feat uring numerous Eu ro- tor s do the same; even pianists. But in such cases Record in g is technically gorgeous but, for my
pean organs, very old and very new, in a there can be very little physical change of tone taste, a bit too clin ica l and close-up. Understand-
color in the acoust ic adaptation. Nevertheless, if ab le in view of the company's special interest in
beautifully balanced program of Pachelbel, we had, say, the Amsterdam Concertgebouw on
Buxtehude and Sweelinck, (giants of the the instrument itself.
tour, recording the same piece in 14 different ha lls,
late 17th and early 18th century) was an- you would without the slightest doubt hear a simi-
other well-though t-out job: th e organs first, lar variation in performance, the conductor play-
Music for the Orga.n, Vol. II, M. P. Moller,
the music second but in perfect harmony, a ing up to the acoustics quite literally phr ase by Inc_ The Geo . Washington Memorial Shrine ,
single and sympathetic performer and, as phrase. Alexa ndria ; the Double-Ariste Organ . Ed-
a useful incidental, some ver y fine hi-fi And fina ll y, to return to Biggs, you will dis- ward Linzel , 'Ernest White, organists,
cover with a slight start, I th ink, that old Bach,
sound. See below fo r its successor. too, was p laying directly for his aco ustics. The
Another o r gan company, offer ing th e sound of
And in case you think I'm an organ snob, a huge organ ( \ ¥ash ington Memorial) and a
old bird knew his organs! The Toccata is most
the "M ighty Wu rlitzer" recording reviewed relatively small one-and the contrast is perhaps
r emarkab ly well written to take advantage of d ie-
not just what the company intended. The " sm all"
below is iust as good in its own entirely away time as a dramatic force. \Vh y else the
organ makes the most noise in these records!
consistent way. No question about its in- m any sudden pauses, why else the fancy solo flour-
It's not easy fat" those who are unfam iliar with
terest and intent and it's a whiz of a record ishes between chords , the arpeggio figures that
records to keep in mind that there is no such
in its own area. The others aren' t so easy blend into dynamically moving h armony ( li ke a
thing as absolute volume in record ing. Instead,
to pin down. transient wave form, never fixed but always in
there is a bsolute recording-level, which is roughly
the process of change)?
the same regardless of sound source, whether the
As you become fam iliar with the Toccata you'll sound is a cricket or an atomic bomb. 'What has
Bach: Toccata in 0 Minor (A Hi-Fi Adven- hear that Bach even wrote those flourishes and
ture). E, Power Biggs. Various orga ns. happened here is s imple enough. The level being
furbelows in such a way that in each of them the more or less fixed (on the average) by th e r ecord-
Columbia ML 5032 preceding hWl'/liony -is still i1nplied-and can be ing requ irements, other factors have raised their
This s uccessor to Mr. Biggs's SL 219, that carried over as an actual die-away echo, blending intriguing heads to distract our attention. The
featured three composer s on numerous European with the flourish itself. You adjust your playing s m all organ, for e..xa mple, was bound to be recorded
o rgans of the classic period, is a stunt and a good tempo to fit the echo. And you time your dramatic at a closer mike range than the big one. Its acous-
one, quail though you m ay at the prospect of a pauses too, allowing th e reverberation to die away t ical s urroundings are, natura lly, less enormous
single piece r epeated ] 4 times, ad semi-na useam 1 into the last far corners of the huge build ing (or so an d less a li ve. Thus the sma ll-organ sound i much
Mr. B iggs toured numerous countries on his it seems) before going on to the next harmony. All sharper, edgi er, the dramatic contrasts between
organ-hunting exped ition and up on each orga_n this Bach intended, and in each of the 14 versions full volume and pianissimo more li teral and more
he played, in addition to the afo rement ioned series of the music Mr. Biggs plays a shade differently, extrem e, as recorded.
of works by the three big Hp r e-Bach" organ com- with h is ear closely tun ed to th e bui lding itse lf. The big organ , a whopper in a huge h all, is
posers, a performance of the famous Toccata, by That is proper organ playing. heard at a di stance and with vast reverberation.
Bach... th e one th at Stokowski arranged for orches · As for the "Hi-F i Adventure" aspect, the sound The music is ultra, clear- thanks both to th e organ
tr a and that Disney put into his "Fantas ia ." is beautifully captured and presents great variety, builders and to Edward Linzel, who does the
(Mercifull y, B iggs omi ts the long fugue that goes as well as a good dea l of solid bass. H igh·quality playing an d cbose t he r egistrations. But the sharp
with it, except for one playing at the end of the engineering rates a hi -fi encomium a ll r ig h t. But edges are m ellowed and blurred, the contrasts in
record; the Toccata is re latively short and easy i~ the end, the above musico-acoustical points will volume comfortab ly rounded off, the whole softened
be your primary interest in the li stening. After a ll, and toned down.
* 780 GI'.eewwich St., New Y O1'k 14, N . Y. good fi is, and ought to be, a means to an end . Result: the " big" organ so unds with a velvety~

42 AUDIO • SEPTEMBER, 1955

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AUDIO • SEPTEMBER, 1955 43

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 smooth and rather gentle effect; whereas the Johann Pachelbel: Toccatas, Fugue and
"small" organ, all edge and closeness, will blast Chorale Preludes.
you out of house and home if you're not careful. Joh. CoHfried Walther : Concerto and Chor-
unprecedented It was too much for a not-tao-compliant stylus I
was using. ale Preludes. Luther Noss, Holtkamp organ,
Yal e Uni v. Overtone 8
A consistent musical program-an organist's
FMandAM pot-pourri of this and that and the other. As
might he expected, the organist's composers,
Here's an organist who has progressed beyond
the organ pot-pourri, beyond the collection of one
Vierne, Reger, W idor, (the eternal Three of the or two big composers, into the specialty range:
reception organ-playing profession) sound the best. Defi·
nitely not a record for the general music ~o."er,
two less-known (but b ig) men of the Bach penod,
back in the early 18th century. But the odd thing
at a sensible price nor yet much of a hi-fi record, thanks to condlttons
mentioned above.
is (and it doesn't surprise m e a bit) that the re-
sulting sound is a good deal more easily listenable
for the average music-lover than the organ records
cesar Franck: Three Chorals for Crand Or- that wrench you violently from one style to an-
gan; Prelude, Fugue et Variation. Ernest other one t ype of music to another type utterly
W hite, organ ist. Discuriosities BCl 7280 unrel~ted. Who ever first put over the idea that
the pot-pourri made for easy listening I
Here we ha ve a performer and a composer
The good reasons why this disc can grow on
featured (on a Moller organ). Ernest White,
who also p lays in th e Moller recording above, is you without too much troub le are: (a) There are
only two composers, two personahtles, to get m -
an e..xpert and experienced organist of wide knowl·
edge and virtuoso technique, but, for my ear, a troduced to and both a r e from the same back·
ground and' time. (b) They knew their musical
hard player whose authoritative performan ces a r e
often r hythmica lly tense and inflexible, wh ose business very, vety well. (c) Mr. N oss, the organ·
registration is on the steely, ultra-brilliant side. ist, knows h is-knows t he m usic, the compos~rs
and the background as well as how to play WIth
Cesar Franck is, of course, of the opposite tern·
perament as we a ll know from h is music- a gentl~. feet and fingers. (d) T he m a chine is a good one,
soft-hearted, cloistered little man whose mUSIC and well recorded.
soars with the utmost poetic honesty if sometimes Of the two sides, the Pachelbel s ide is the best
at too-great length an d diffuseness. These mild but for listening. He's a bigger, more d,ram a t ic ~om:
poser, although earlier, and his mUS Ic ,lends ltselt
lengthy chorals, free variations or fantasias, rather,
better to brilliant, jolly t one colorattons, Herr
on sturdy and typically Franck ian themes, can be
Walther, a cont emporary of Bach? is a milder, less
played with poetry and atmosphere; here they
imaginative composer (at least 111 these works),
lack both. Hard, dogmatic registration, inflexible
tending to the academ ic in a n ice sor t of way.
tempos, im part a chrome-plated taste to m usic t h at
Seems he was a celebr ated lexicographer as well
should be a ll honey and malted milk.
as an organist-com poser , which might account for
Robt. Elmore: Rhythmic Suite; . Rhumba. ~ . .
Actuall y, this Holtkam p or gan is two organs 111
Boellmann: Ronde Francaise. Roger-Du-
custom quality in a casse: Pastora le. Edward Linzel , organist.
one, in t he transept and t h e apse of th e Battell
Chapel at Yale (195 1). The fiist three Pachelbels
perfect package 411 high Discuriosities BCl 7201 on Side 1 are played on t he apse organ and I Itke
MI". Elmore's Suite for my ear is all noise and the sound better than that of the rest of th e disc,
Here is the tuner that offers you more precious litt le music. Here we get into orga~ists' made on the transept divis ion. Maybe it's the
music for a fare-thee-well-that the professtOnal recording, which in t he apse seems .nearer, more
for your money in every way: extraordinary apt for h i-fi sound, or in ' the or gan Itself and the
organist loves to produce on a powerful instrument
high fidelity tone, exceptional (and the organ composer too). A lot of people like regist ration , which is highly colored and full of
selectivity and sensitivity, more gain and the sound, I guess, but to me it 's as dry 'as dast. variety in t he apse r ecor dings. This part of the
The other works are musically more accessib le record is really first rate and a wonderful aural
high output, beautiful "space-save r" design. though I'd hard ly expect them to rate as firs t ~ entertaimnent. Try Band 2 for one of the jolliest,
The RAULAND " G OLDEN GATE" brings quality m us ic outside of the organ world . T his most good h umored, un·Bach-like fugu es you'll
one is a genuine organist's organ record. ever hear.
you a revelation in FM enjoyment,
a new experience in AM listening. The Mighty Wurlit:z;er Pipe Organ. Gordon
John Harms Plays Bach Chorale Preludes Kibbee, organist . Starlite ST 7002
and Other Works. Unicorn UN 1004
with every desirable feature ••• Here is another approach to the organ recor d,
Here it is! T h e gorgeous, fat, multi-colored
t heatre organ, 256 stops includ ing a real brass
from the new Boston-based Unicorn company.
FM response, ± .5 db, 20 to 20,000 Harms is not only an organist but a lso conductor
trumpet and a sax section and a r eal piano (played,
cycles; AM, ± 3 db, 20 to 5,000 cycles. we can s uppose, by r emote control), p lus the usual
of a well-known chorus carrying his own name.
belly-jiggli ng vibrato, the harps and chimes and
Sensitivity: FM-5' microvolts for 30 The two sides of the record are musically con -
st eam calliopes . . .. phew!
sistent, one of Bach, th e oth er of recent m usic ~f
db of quieting ; AM-5 microvolts for 1.5 There's only one trouble with my copy. It ar·
the neo-Romantic sort. The organ sound here IS
rived so bad ly warped t hat t he picku p skips every
volts output. Separate RF stage on fruitier, more gen tle even in the loud part s, than
other groove, a nd t he cover was ripped open on
both FM and AM ; tha t of the Discuriosities recordings preceding and
t hree sides . . . but it real:ly didn't matter much;
Mr. Harms shows himself as an excellent and
discriminator with dual I got the genera l idea easily enou gh by putting a
musical player of this juicier sort of organ litera-
weight on the p ickup. Such sounds as you can
limiters ; Cathode follower ture, as exemplified by the works on his Side 2.
hardly believe (unless you're an old-tim e movie-
(Only the last piece, a "Carillon" by V ierne, lets
with 2 outputs; AFC ; flywheel go with these typical organ roarings and thrash-
goer) whole orchestras of "real" brass, crashing
chimes that make you jump, wondro usly nasal
tuning ; FM di-pole antenna, etc. ings-about. )
snorts and grunts, pulsing melodies, a n ew stop
The Bach on Side 1 is more problematical. The
and a new sound every few seconds.
p laying is, somehow, that of the good professional
Arrangements in t he "modern" (Le. radio)
'keyboard man at work on a problem in registra-
manner of everything fro m "Pal Joey" and "You
tion and finger-technique---the notes are all pres-
1\1 ustn' t IGck it AI-ound" and each and everyone
ent, the sounds are appropriate, but the spir it that
is a gem of theatre-organese, th e pure a nd windy
~ome of -us recognize in old Bach is missing. Mr.
power stuff that is fas t vanishing today before the
Harms evidently doesn't hear these works as the
pale ons laught of elect ronics. Hi-fi? Absolutely
I:big" pieces, the profound expressions, that they
terrific.
can be,
You'll find the same thing among pian ists who
Quite honestly, aside from the very special
p lay the "Well Tempered Clavier" preludes and
Biggs Toccata in D Minor fourteen-fold, the only
fugues or the Bach Inventions as though they
were competent academic finger exercises-which, two records in the above batch that I 1'eally en·
Only 4' high-fits anywhere. oddly enough, they are. But they are m uch more joyed (and would have acqu ired on my own) ar e
than that, too, and so a lso are these chorale pre- th~sc last two, poles apart. On the one band,
Beautiful charcoal black Pachelbel & Co. from 18th century Germany and
marbleized finish with brass ludes elaboration-variation on hymn tunes and on
the emotions expressed in the texts of the tunes. on the oth e .. , the M ighty Wurlitzer. It's a fun ny
con trol escutcheons. Also world.
"Out of the Depths I Cry to Thee," for instance.
easily mount able behind any Not exactly a s ubject for a finger exercies.
2. Looking ' Em Over-'-Decca
custom panel. Tuner may be used In line with this somewhat professiona l attit ude,
up to 200 feet from amplifier. the Harms Bach ornaments-the added disson- Decca's current output, largely from
ances, turns, trills indicated by special signs-are European impo rts of a wide variety and ap-
Hear the consistently incorrect from beginning to end, peal, makes an interesting contrast wit\l th~t
RAULAND distorting the musical sense of the playing
(whereas Hiliar's, in ' the "King of Instruments"
of M-G-M surveyed last month, which IS
" Golden Gate" Tuner recorded exclusively in the U. S . T hese rep-
at your Hi-Fi dealer, disc are laborious ly correct, r ight out of the
book.). Like a good 'many keyboardists who don 't resent two opposites in policy; most com-
or write for details specialize fn Bach and his time, Mr. Harms evi - panies combine European imports with
dently isn' t especially aware of their musical im- American-made recordings.
RAU ' , AN D-BORG CORPORATIO N portance. (Co ntinued on page 50 )

44 AUDIO • SEPTEMBER, 1955

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AUDIO • SEPTEMBER, 1955 45

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 Listening quality
is everything!

erc.
CHROMATIC Hi.Q7
Today all pickups, good, bad
or indilferen t, have wide fre-
quency range. Yet, one will
perform smoothly, while
the others are harsh,
shrill, etc. The new
high output Hi-Q7
has BALANCE,
SMOOTHNESS,
Edward latnatl Canby
LISTE N ING
QUALITY , not
equalled by any The Home-Grown Tape Program
other pickup . But
--only YOU can tell what sounds best
to you. Hear and compare the Hi-Q7
with any other pick up known and-YOU
be the judge.
Plays all speeds. Equipped with Chro-
B ACK IN 1943 I started a weekly radio
program, on a war-time FM station
in New York. Not many people
heard it-on the old FM band-but that
of the 78 record, and all were crackerjack,
and got better and better, too, as we prac-
ticed our musical sleight-oi-hand, until the
memory lapses began. I t got s,! we .seldom
didn't make the job of putting it on the had less than two records playmg Simulta-
matic DIAMOND and a sapphire stylus,
air any less demanding. neously and by that time I had charts and
BOTH replaceable AT HOME. The
The first show I cooked up, on mood diagrams-not only turntable speed ~nd
Hi-Q7 is magnetic, of course.
music required 25 different 12-inch 78 exact cue to the millisecond, but equah za-
rpm I~ecords in about 28 minutes and the tion setting and level for every record so
'lady engineer with whom I was to work the volume and tone-quality would match
went on strike in a huff. After a two- up correctly; and there were times when,
week delay I managed to reduce the ton- to match the pitch of two records we had
nage to something like 20 discs and she to lean gently on the edge of one tabl e to
reluctantly went along-and from thence slow it down at the crucial moment . . .
foreward I never turned out a show with anyhow just as my assistants and myself
less tllan a dozen or so tricky recorded were about to crack wide open under the
NEW COMPASS·PIVOTED cues. It didn't take long, either, to find st rain-Jackie Gleason has nothing on us
ARM out that you could mix and blend and over- -along came tape.
lap records in some odd an.d wonderful
Universally acknowledged as the most
ways---if you could get the Idea ov~r. to Tape to the Resc ue
efficient arm-barring ·none. No restraint.
the engineer who was to do the mlxmg
No frontal oscillations. No springs. No and blen·ding. To be sure, . I had ~ade some slight uS,e
fatigue. Highest tracing efficiency.
I had two lady engineers on that sta- of disc recordmg, at times when I couldn t
Eqltipped for styllts-presmre adiltstment. tion. (The first one blew her top every do a show in person. The studio would
New adapter makes this superb Audax
other rehearsal and, first thing we knew, disc-record a series of short spoken pas-
arm usable with practically all cartridges.
sh e ~d gone off and got married.) In '46
sages by me, which would ~ played be-
I shifted to a "real" station, New York tween slices of recorded musIc. Introduc-
City's own WNYC, and there, with. oc- tions and comment. But no tricks-not on
casional interruptions, I've been ever smce, a studio disc recorder I And quality was no
splitting the difference between AM and better than could then be expected. My
FM. I soon found iliat the politic way to voice never did take well to di sc record-
ing, having no announcer-style mid-fre-
get along, wiili my crotchety ideas, was. to quency "punch" or projection, and I used
brinO' in my own assistant from outside to shiver when I heard the travesty of
to d~ the real dirty wo rk- the mixing and myself that came forth, from those piece-
fading-and this system proved fine f~r meal 16-inch transcriptions.
all concerned, especially the WNYC engi- W e didn't transcribe the music-that
neers who, after all, had very few trained
musical minds between iliem, nor was there would have been unthinkable. Quality de-
any reason why they should. terioration, commonly described by the
And so-to the point for this month. term "dub," as then used.
STYLUS·BALANCE After a few years I began to lose weight. It must have been along about 19<:'0-
Good ' part of a week's. work at horne. on so long ago I-that I tried . a few "~uts" .on
. this really works . . •" Canby the new studio tape eqUIpment, Just m-
the script and the musIC cues, translatmg
" With the scales and gauges available here- them into . lines and cross-marks on the stalled, and was much gratified. And about
tofore, it has been impossible to check records and into musical descriptions that that time I got the tape bug and began
stylus-pressure closer .th~n 2 or 3 grams would make sense to my assistant and to thinking about a home-g rown show, to be
--one way or the other. That is 50% the cooperating engineers; then, of a Sun- done in my own "studio." I even .got
off-correct. This means deformation of day .morning, a hectic hour o~ two .of around to trying one. But the ~ombl?ed
groove-walls, which explains much of the concentrated last-minute persuaSIOn whlle room noise, backg round hum, distortIOn,
echoes, ghosts and other distortion. I tried to teach the cues to those who were misequalization and what-not added up to
Stroboscope-like, STYLUS-BALANCE ac- going to have to carry them out-and we something I prefer not to remember! Bless
curately indicates correctness or incorrect- were airborne. WNYC for forebearance and patience ; I
ness of stylus-pressure. Works with any I was helpless from the moment we got wasn't thrown off the air and so my show
arm and car tridge. . . . Net $4.8 0 on the air, and could only pray for luck, lived to see better days, as to audio.
(add 25¢ if shipped from N. Y.) and make oh-so-casual excuses when the Those better days began when this mag
wrong side of the record was playe~ or a and myself launched a version of the same
copy of "ELECTRO NIC 78 disc started off at 33-and-a-thlrd. It show that proved to be a bi t ahead of time
FREE PHO NO FACTS" at YOllr happened-too often. as far as most small radio stations were
concerned-who would have thought, then,
dealer's, or write us. I began to get gray hair and my as-
sistants took to having hysterics and that radio would ever turn to classical
lapses of memory, as my shows got com- music and to classical records ?-but which
plicateder and complicateder. I had no less marked a big step forward , for me, inter-
than three (male) in the culminating years mediately.
A UDA K COMPANY For . at last I did the show at home,
500 Fifth Ave., dept. A, New York 36 with ~n assist~nt, the same who did my
Fine audio-electr onic apparatus over 30 years
* 780 Greenwich St., N ew York 14, WNYC show (which continued in its
N. Y. "live" form). It was taped, beginning to

46 AUD IO • SEPTEMBER, 1955

[Link]
[Link]
end, this show. But-and th is really amazes
me now, as I think back- the entire proce-
dure was borrowed direct from the "li ve"
show, complete with mixed records, cross-
fades and all the other Canby tricks, al-
ready known ( to the Canby trade) as
phonomontages.
It 'never occured to me, then, that tape
Fits perfectly
itself would allow me to develop new
tricks, to the point where I could dispense
into your varying
entirely with an ass istant, and disp'ense in
consequence with a multitude of other fo r-
mer necessities, such as script directions,
1TI..usic 'picture ...
record markings, timings- and even the
script itself! I had to learn. because
And so, with the invaluable aid of
edit!?r McProud .( whose basic equipment
I stIll use, week 111 and week out, to this
tif. so w~ufJ (/e/C~aIife!
?ay), we set up a. "live" show, so to speak,
111 a back room 111 my apartment. Sound-
proofing made of coarse rug-protecte r mat-
ting (Ozite). Two Rek-O-Kuts in po rtable
boxes, a McProud mixer and a W E car-
dioid mike, feeding into my tricked-up
~Iagn eco rder. A budget j ob, and inten-
tIonally so; my program is still of the
budget so rt and I wouldn't have it any
other way for the world-though at this
P01l1t the taped results are, I dare claim
of professional quality. I'm no Bing Crosb;
Enterpn ses, nor yet again Les Paul and
Mary Ford. My enti re equipment .c an be
disman~l ed and moved, by one person, and
set up 111 another room within an hour or
s?--I've done it twice already this year. I
lIke It that way. It's fun. And when you
get good r es ults, you are that much more
pleased with yourself.
Look and Listen
Perhaps I should flash back, for a mo-
ment, to a scheme that had occupied me
earlier in the game for a couple of years.
'Way back in the early postwar era I got
the idea of a radio program about ; ecords
given in the fo rm of a "live" lecture with
record-playing equipment mixer s 'loud-
speaker, mike and, of c'ourse a~s i stant­
with-script, all in plain sight ~f the audi-
ence. .r worked up several portable outfits
of thIS sort and gave quite a number of
asso rted lectUl"es, from script, with r eco rds
cued 111 exactly as in my air show.
The. mo~ t successful of these, you may
well lmag111e, were those in which said
assistant was a lady and dressed in a
fetching .red or black gown. She had lovely
black hall' and she went beautifully against
all sorts of backdrops-very. ornamental.
The spectacle of such a crea tUl"e enmeshed
Instruments in One:
in .e arphones (we had a record cue-up 1. Pushbutton Automatic Record Changer
deYlce, of course)., snapping switches, pre- 2. Pushbutton Manual Record Player
CU111g records, dOlllg quick flips in seconds
~at ( record fli ps» was; indeed, so intrigu- . for your complete enjoyment of All records!
mg, th at my lecture sort of got lost in the
shuffle. But we ventUl"ed as far away as No wonder the Mirarord XA-I00 is called "The Perfect 3-Speed Record
N ew Haven,. Conn. and Pottstown, Pelma., Changer" by engineers and high fid elity enthusiasts! The revolutionary Magic
as well as 111tO a number of N ew York Wand Spindle changes reco rd s quietly, allows you to intermix 10" and 12"
convention meetings, before the idea went records at will. No pusher arms or stabilizer plates here-records are released
by the board. quietl y, without fu ss or damage, and the Pausamatic allows you to select pause
This was, of course, the basis for my time between records . . . up to fi ve and one-half minutes. Or if you wish, you
first. home program on tape. We virtually can repea t the entire reco rd or any portion, at any time. A special Filter con·
duplIcated my lecture equipment, in more trol eliminates surfa ce noise from old records.
modern form, even to the cue- up device Now inse rt the Single·play Spindle- your Miracord XA·I00 becomes a manual
via earphones. ' player. Reverse the spindle and the record will rep ea t indefinitely. No other
Wh~ did I stop the radio-style lectures? changer brings you the wondrous Miracord versatility!
Very 111teresting. Because of what might
be call ed psychological factors. There were Other Features : No wow, no rumble· Ball hearing suspended turntable and
too many dist ractions. The excitement of tone arm· 4·Pole motor· White rubber matted turntabl e · Comes complete
the equipment (sprawled aU over the lec- with leads and plug.
ture stage with wires running here and MIRAPHON XM·ll 0 3·5peed Manual Player also available.
t~ere li~e a TV show) and the deft opera- See and hear the Miracord at your dealer Now! Or send for literature Dept. A-9
tIons WIth r ecords was indeed a show in
itself a nd kept people's ~oncen tr~t ion off the AUDIOGERSH CORPORATION
listening part. Fine-but a lecture without
a lecturer wouldn't have done much good 23 PARK PLACE, NEW YORK 7, N. Y.
(Continued on page 60) EXCLUSIVE ' DISTR~UTORS IN
T:fiEU': S~ ' FOR EtAC RF..r.qRDPl1 YfRr"" T

AUDIO • SEPTEMBER, 1955 47

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 NEW· ' PRO Due T S
• [Link] Hi-Fi Speaker. A small globe- • Lightweight Low-Cost Microphones, • Hi-Fi TV Speaker System.. A line of two-
like structure centered in the tweeter cone Suitab le for paging systems a nd general way speaker systems in convenient table
is easily the most unique among a number p urp ose work as well as for home record- form, designed to improve the sound qual-
of unusual features incorporated in the ing, a n ew series of American microphones ity of table- model TV receivers has re-
new Model 8P-WI Panasonic 8-in. speaker offer good audio performan ce despite their ce ntly been introduced by J ensen Manu-
recently. introdu ced in this country by R. small size of 3'4" x 2 'h " x 15/ 16" and facturi11g Co., 6601 S. Laramie Ave., Chi-
1. Mendels, Inc., 41 E. 42nd St., New York weight of but 2 oz. They are available with cago, Ill. The T V Duette replaces the
17, N. Y., North American representatives either sl~ie ld ed crystal or ceramic ele- sIT\all, side- mounted speaker in roo.s t table-
of Matsu Shita E l ect'ric Industries, promi- ments. Th'e crystal tytle h as a response of m 6del TV sets, resulting in greatly in-
ne nt Japanese manu facturer of electronic 100 t o 7000 cps with output of - 55 db; creased a udio freq u ency range and im -
products. Use of the globe is said to pro- the ceramic e lement freq u ency range is proved realism because t h e sound coming
vide improved distribution of high fre - from the front is "picture centered." Two
quencies. In construction, the Panasonic pO(,!itions of a three-position switch per-
mit instant comparison of the Duette with
the original TV speaker, while the third
position may be use d to operate the Due"tte
in con junction with a hi-fi music system.
Four TV Duettes are offered in Mode ls
DU- 500 and DU-400. DU-500, with com-

100 to 6000 cps with output of - 62 db.

Impedance i s high in both types. They
has separate tweeter and woofer cones, a r e omnidirectional and are available in
coaxially-m ounted, with a mechanical eith er gray or beige. Additional informa-
crossover. The woofer cone is treated with tion avail a bl e from Am e ri can Microphone
a patented e lliptical corr ugation to reduce Compa ny, 370 S. Fair Oaks Ave., Pasa-
resonances, and varies in both density and den a , Calif. S-l1
thickness from apex to edge for maxi- press ion-driven horn-loa ded tweeter and
m u m complia n ce. The voice coil is wound • Two-Channel Tape Recorder. Newest in 6" x 9" oval woofer, is availab le in blonde
of aluminum wire. Impedance is 7.3 ohms t h e series of Edu corder two-chann el mag- oak with brass-plate d hairpin l egs and
a t 400 cps, and frequency response is 40 neti c t ape r ecorders m an ufactured by Ed- ribbon-striped mahogany with brass-fer-
to 16,000 cps. 5-9 ·ucationa l Laboratories, Inc., 1823 Jefferson r uled wood legs. DU-400 is more modestly
Place, N. W., Washington 6, D. C., is the price d a nd may be ha d in Korina blonde
• Inte·r com.-Music System.. Both music Model M-7, a compact unit which occu p ies or mahogany finish printed on wood.
distribution and intercom functions are no more space than conventional single- It is equi pped with a direct-radiation
performed by the new Radi-O-Com system c h annel recorders. The new machine de- tweeter. S-13
introduced primarily for home use by livers nearly five watts output from each
'Frans-Tel Corporation, 736 N. Highland ch a nn el. It u ses spaced heads with proper • Metalphoto Corporation, 2903 E . 79th
Ave., Hollywood 38, Calif. The assembly spacing for pl ayback of recorded com -
merci al binaura l tapes, and can be u sed St., Cleveland 4, Ohio, h as availab le a
consists of a master unit in which is in- to make its own binaural recordings. P r o- comprehensive fo ur-pa ge report detailing
corporated a 6-tube s uperheterodyne re- vision is also made to permit use of the technical aspects as well as many n ew
second chann el to control a n a utomatic application s for the Metalph oto p r ocess of
pro j ector, causing slides or strip film to photographic r epr odu ction on photosensi-
move in synchronization with recorded tive a luminum p lates. The free literature
illustrates and describes the Meta lphoto

lecture material on ch annel one. The

uniqu e ' feature of being ab le to listen to
one channe l wh ile recording on the other
provides o'ne of the r ecorder's most com-
mon u ses. A student working. by himself
,v ith . the m ach ine listens to recorded
master lessons on Channel I, and during
pauses provided in the lesson material
ceiver, three remote speaker p anels, and a provided for the purpose, uses c h anne l 2
speake.r fo r front door installation. All t6 record his own response or imitation of
units contain permanent-magnet speakers the drill material. When the lesson is manufacturing process, an d covers in de-
as well a s microphones for complete two- completed, he plays back through split tail t h e formation an d stru cture of the
way intercom operation. Com pon ents h ave h ead phones which give him the master a n odized layer of the pla tes in which the
been desig n e d to fi t between studs in n ew lesson in one ear a nd his own response
home construction a nd for surface mount- legend to be reproduced is imbedde d. It is
in the oth er, thus permitting direct com- this feature that provides t h ese p lates
ing in existing houses. Picture-frame- parison an d se lf-eval uation ' of his prog-
type enclosures for remote speakers are ress. Further information will be s upplied with their high d egree of permanen ce.
available. S-10 on written r eq u es t. S-12 S-14

48 AUDIO • SEPTEMBER, 1955

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PORTABLE TAPE
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MASTER A high quality tape reco rd e r de signed for
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o f the 600 is identi cal to the console model
Model 80-C 350.
Has separa te erose, record b nd playback heads
Professional, lever. type equalization for all current rec ording characteris- and plo y back amplifiers. A direct-reading meter permits continuous
tics . Separate equalizotion and amplification directly from tape playback checking of recording level. Tap e speed is 7 1; ' inches / sec . with a fre -
head. Complete mi xing and fading on up to 5 chann e ls. 7 inputs, including qu e ncy response from 40 to 10 ,000 cycles ± 2db , and to 15 , 000 cycles
2 Phono, Mike, and Tope. Separate high -gain microphon e preamp . Push - ± 4db .
button channel selectors with individual indicator lights and simultaneous Other features include :
AC on - off switching on 2 channels for tun e r, TV, etc . VO,ricble-crosso ver ·Signal-to-noise ratio: more than 55 db • Flutter and wow: ' less than
feed-back type boss and treble controls . loudness balance control. Moster .25 0/ 0 • fa st forward and re wind : 90 seconds for 1200 feet· Microphone
volume control and 5 independent level controls on front ponel. 2 cathode- input : high impedan ce · line input: for high level source ( . 5 volt level)
follower outputs. Self-powered. 4 dual-purpose shielded and shock-mounted • Separate lev e l and mixing controls for microphone and line inputs •
tubes . DC on all filaments achie ves inaudible hum level, non -measurable Monitoring : through phone jock or playback output· Playback output:
inherent hum , 1M and harmonic distortion. Frequency response uniform from 1.25 volts into 10,000 ohm load (matches input of most amplifier systems)
10·100,000 cycles. Recording dis,fortion is negligible. The Model 600 is extremely easy to
use . Only one hand is ne eded to thread the tope . Can be operated either
Chassis on'ly, compl e te with tubes ............... . ............. . . $99 50 vertically or horizontally , and is readily adaptable for installatio'n in
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The
AMPEX 620
FISHER PORTABLE AMPLIFIER-SPEAKER SYSTEM
Designed as a companion piece to the Ampex 600 Portable Tope Recorder~
Weighs approx. 19 Ibs. case included, and measures 13 x 16 x 8", Em-
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harmonic distortion . Frequency response ranges from 20 to 20,000 cycles
TUNER ± .25db. Sp,aker is housed in built-in acoustically matched [Link].
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phonics. Three controls-Variable AFC /li ne-Switch, Sensi tiv ity, and Station Model AA-1UU
Selector PLUS on e xclusive Output-level Control. Two bridged outputs of
low-impedance , cathode-follower type, permitting output le ods up to 200 RECORD CHANGER
feet long . Eleven tubes . SElf-powered . Beautiful , brushed-brass front panel.
Chass is size 12 3/" x 4" X 81/a ", i ncl [Link] control knobs.
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Completo with 11 tubes and dipole antenna , Chassis only .......... _... $139 50 greater than one record. Four push-buttons provide wide controrftexibHity;, '
The START button also acts os a ' reiect' , for the purpose of switching to
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interval be tween records: from 5 sec . at 78 rpm to 328 sec. at 33VJ rpm.
The FILTER button introduces a ' scratch filte'r' 't hat suppresses surface
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Both the turntable and a rm are mounted in double boil - bearIng races.

FAIRCHILD A hum-shielded 4 -pole motor further reduces vibration ru",ble and 'wow'
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r Reploce: 6L6, 1614, and 5B81 tubes $695
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0 .9-volt input. Controlled frequency response from 20-20,000 cps, +0,
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AUDIO • SEPTEMBER, 1955 49

[Link]
[Link]
 RECORDS
(from page 44 )

T he danger in an all- E uropean outlet is

that the organization on this side of the
A tlantic may tend to atrophy into a mere
distribution setup. leaving the heavy work,
the initiative and the know-how to the fo r-
eign end of the connecti on. More than one
company has gone through a local hell when
policy suddenly called fo r renewed domestic
original recordi ng, after a long session with
the opiate-like fl ow of pre-fab European
jobs, ready fo r the market.
But, so long as the European flow keeps
up, we customers get it easy, and D ecca's
classical repertory is a fabulous one right
now. (Some chamber works seem to be
recorded in this country, as well as the
Little Orchestra, th e Zimbler Sinfonietta.)

Mo:z:art: Violin Concerto # 5. ,K. 219

("Turkish" ) Sa xon State Orch. , Konwi t -
schny. Symphony # 32. Bambe ~ g Symph .,
Fritz Lehmann. Decca DL 9766
Decca's contribution to the growing list of
O istrakh records- see also th e B r ahms and
Tchaikowsky concerti. A first- rate performance by
:! wonderful musician, rather on the sweet, melt-
ing side as compared to the more g littering and
g lassy Moza r t uow often hear d. Sym phony #32 is
one of those written in the I t alian "sinfonia"
style, three m ovements played contin uously as a
piece; g lossy, bright· to ned m usic quite un like the
m ellower Aus t rian·sty le Mozart that is m ost famil ·
iar to us.

Virtuosi di Roma vol. 4 : Music of Vivaldi.

Decca DL 9729
T his group compares with the s imilar HI Mus ici"
on A ngel and RCA's Societ a Corelli-all small
groups of cham ber players, u suall y less than a
dozen, who do the 18th century concerti in an
a lmost chamber style, am plified, however, by spaci-
o us recording. T he V irtuosi g ro up has good taste.
Among t he hundreds of V ivaldi concerti these are
certain ly outs tanding. Four here, one o f which
is ultra· familiar (and p layed w itho ut m uch imagi.
nation) and another, "II sospetto" is a m ajor find
a nd a splendid work powerfuV y p layed. A fine
record of its type. .

Mo:z:art: Serenata Notturna in D, K. 239 ;

Six Notturni for Voices and Woodwind ;
Piano Concerto # 14 in E Flat, K. 449.
Grete Scherzer, pf. ; London Baroque En-
semble, Haas. Decca DL 9776
T h e Lon don Baroque g r oup d id recor d ings for
Wes tminst er, but of B ach; h er e th ey t u rn t o the
lat er (and not rea lly Baroq ue I) Mozart. T h e Noc·
turna l Serenade is pleasantly light Mozart back-
ground m usic; the s ix Nocturnes fOt- voice are un-
us ual short items, for voices accompanied by a
c lar inet and a basset h orn ( mid·range clarinet);
the piano concerto is n ot only lovely but m ost
gracefull y and refr eshingly played. Excellent. Some
Th e S·J he a d i, 01. distortion in the Parlophon recording; the Con-
way, TANG ENTI AL certo has the least.
fa th e record groove. er ro r.
New 8-J is th e ONLY
to ne arm that ho lds the nee dle Irmgard Seefried Concert. (Hindemi t h :
TANGENTIAL TO THE GROOVE Geistl iche Motetten. Mozart : Overture, aria
from II Re Pastore, "Non Temer" , K. 490.)
fr om the b eginning to th e end of th e with Vienna Symphony, Leitner. Erik
reco rd. NO TRACKING DISTORTION Werba, pf. Decca DL 9768
LESS RECORD WEAR - LESS T his one, from Deutche [Link], features
STYLUS WEAR - LESS SURFACE NOISE the outst:mding German soprano whose German
s ongs (with piano) are superb on two earlier Dec-
You o b ta in lange I life and grea ter fideli ty from your r ecord s. cas, especiall y the second, of Wolf and B r ahms.
She s ings the fl indemith here w ith fi ne energy and
Prec i sio n mode B· J mee ts th e r equi re ments of th e mos t di sc ri m·
expression and with excellent dic tion (w ith piano)
inaJ in g hi nd e lity e nth us ia st . Ea sy to ins ta ll o n any turntab le but, perhaps due to m ike placem ent, the orchestral
exc ept automa ti cs. wOl-ks of Mozart find her seem ingly poor in die·
Accommodates mos t standard p ick up C artri d ges tion and she seems a bit listless in expression.
Hard to say why, bu t I suspect the trouble is not
If unobtainable from your local dealer order direct fro m in the voice but in the mike placing, which in the
Mozart puts her peculiarly off·mike. No texts
DEPT. " A " HI-FIDELITY INC., 1, EI Vigia, Ponce, Puerto Rico p1"Ovided for a ll these--a big m ist ake. A h igh, thin,
pure vo ice of rea ll y lovely q uali ty and mu sical-
it/.

50 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
Monrt: Piano Concerto # 26 in D, K. 537 .
Carl Seeman ; Berlin Philharmoni c, Leh-
mann . Concert-Rondo # I , K. 382. See -
man ; Bamberg Symphony, Lehmann .
Decca DL 9631
i\'Io re Moza rt- D ecca, li ke' ever ybod y else in
E urope, is h eJ.d in g in to th e Moza r t year of 195 6.
his 200th birthday year. This lat e·M ozart con cert o
is don e with a big ("sy mpho n y") so und , n ot as
intima te as the London Bar oq ue above, m o r e
s uave, faultl essly t a ilor ed but a wee bit unins pired
in a very proper w ay. J l1st a t race -n ow you h ear
it no\. .r you dou' t. j\lIozart concerti so easil y fa ll
into t his ! A lot better than a I011d or crude or
ell te performance, I must say .
T he Coneet·t-Rondo, thro wn in fo r extr a , is a
pat an d s wee t set of var iation s. S om e comments.
Not a n outs t andin g d isc , jus t a g ood and proper
one.

Schumann: Symphony #4. Haydn : Sym-

phony #88. Be rlin Philharmonic , Furtwan-
gle r. Decca DL 9767
I t 's seldom th at a conductor , even a famous
one of long e.x perien ce like F urtwling ier , can p ut
.· &39
heart and so u l both in a S ch uma nn and a H aydn.
Here, it is the H ayd n tha t s u ffers a s o £tish, un- The fi nest directional ca rdioid
&33
d ra m a ti c p lay ing ; the Sch um a nn, in spite of a microp hone usi ng both ri bbon The famous " sa lt shaker"
som ew h at heavy·handed and echt-German a p· a nd dynamic elements: Used for dyna mi c mi cro phone wh ich ha s
proac h (a nd wh y n ot ?) has t be ver y sens e of long been a po pu lar choice
high est qua lity when extraneo us
d r am a, the feeling for k ey changes, fo r m oods, for
no ises must be eli min a ted . for gene ra l stud io an d fie ld use .
points we ll m ade, th a t th e H aydn s ignally lacks.
N a t a good pair ing. Freque ncy response: Freque ncy respo nse:
T h is Schuman n 4t h , never th eless, is a w elcom e 30' 12,000 cycles. 30· 15,000 cycles.
change from too m a n y ha rd, b ack ed , over-fast ,
over -jerky [Link] ances. It' s a p leas ur e t o h ear it
lengthen ed o ut and annealed , so t o speak, in th e
Furtw'angler furn ace. B ut th e mus ical world h as •....................•......... .................... ....•• .... "
fo und n ew th ings in Haydn s in ce 'Furt wahgler 's
formative yea rs, Tr y Scher chen o n W estminst er, '
or B eecham on Co lumbi a, if yo u wa nt to k now
·
abo ut t hem . &70A
Debussy: Sonata for Flute, Viola and Harp ; A broadcast qu al ity cardi oid &&0
Syrinx (flute solo) . microp hone tha t delivers hig hest An economical versi o n of the
,.
Roussel: Trio for Fl ute, Viola and Cello, op.
40. Julius Baker, fl. , Lillia n Fuchs, via .,
Laura Newe ll , ha rp , Ha rry Fuchs, cello.
performance at modera te cost.
Sma ll , rugge d, ligh t in weight.
Ave rage d isc ri mina ti on 18 d b.
fam ous Weste rn Electri c
"sal t sha ke r," using the sa me
efficie nt dyn a mic uni t in a
·
H ere, in Decca's America n recording, is one [Link] of va rious pickup small e r case. Freq ue ncy
of the m ost sens itive p erform a nces of t h e difficult patterns . Freque ncy respo nse: respo nse, 35· 15,000 cycles .
and subt le D ebussy s onat a I have yet heard,
recorded to perfection in exactly th e rig ht poetic
liveness. (O ther r ecord in gs h ave b een " hi-fi u
30· 15,000 cycles.
·
·
to the point of destroying ever y trace of its at-
m ospher e. ) If the wo rk has ba ffled you before--
............................................... ... .... ...• ..••..
try it again her e. Yo u won ' t b e d isappointed.
S imila r tt'eatment in th e R o ussel, a som ewhat
marc contrapun t al ( a nd less inter esting) piece.
Congrats to Decca.
&32 C
The Joys and Sorrows of Spain. &71A A close-ta lking dy namic
Amor, Amor-Love Songs of Spain. Or- A compa ct ve locity mi crop ho ne mic ro phone with a ri sing
questa Zarzuela de Mad rid, Torroba of ou tsta nd ing qu a li ty and frequ e ncy cha ract eristic for voice
(2 discs) Decca DL 9798 , 9788 ruggedn ess . Freque ncy response: use onl y. Provides ma ximum
Jose Creco. Ballet. Orq . Z arz . de Madrid , 30·15,000 cycl es. inte lli gi bil ity for diff icult PA
Machado.
an d pag in g installat ions.
Jose Creco. Dan:z:as Flamenc3s. Cho reo-
graph ic and Musica l arrs. by Greco.
(2 di scs) DL 9757 , 9758
. F rom D ecca 's Spanish pipeline comes th is por- .....................•......... .• ......... ....... .. ....... ......
t ion of the r ecent over\vhelmin g Rood of Spanish
semi· light m us ic on m any lab els. The indefa ti gable
Senor Torroba leads h is semi-pops orches tra, on M-20 M -I I
·
the first two, in a t ast y sort of Spa nish Strauss
pot -pourri, with a goodly dash o f K oste la netz- The Altec lipstik Microp hone Sys te m whi ch The po pula r M·ll Micropho ne System using
lig ht, tun eful and h eavil y orch estra t ed s tuff. provides a li pstick size ho using for the famou s the mode l 21 co ndenser mic ro phone is still
The Greco discs are evidentl y r ecorded stage model 21 condenser avai labl e to those
perform ances . The ballet r ecord has orch es t r a l micropho ne. Smoothes t who prefer t he gra ceful
music, with occas'jonal vo ices ; th e fl a m en co r ecord
freq uency response a nd shope of the 150A bose
features g u itars and s inger s plus th e inevitable ex-
cited bit s of voca l enco uragem ent, th e "O y es, " in greatest ran ge on th e to the co mpa ct ness of
the back g round, sounding just a bit fak ed up here. market. 10·15,000 cycles . the Lipstik. Freque ncy
The sing ers are excellent. D a n cing feet a udible, for respo nse , 10·15,000 cycles.
extra rh ythm and au th enticity , if yo u like it.

Arriaga: Sinfonia a gran orquest a ; " Los

esclavos Felices", overture; Agar (cantata ) .
Orq. Nat . de Madrid, Arambarri . Mari a
Ripo ll es, sopr. Decca DL 9756
This budding Spanish composer d ied in Paris in
1826 before he was nin eteen . H e mig ht h ave been
a first ·rat e gen ius -who kn ows ?
He was in the midst of h is imitative period here,
a nd the Grand S ymphony is ver y intriguing in its
charming r eflection of the reigning influences of
th a t day. Beethoven , straig ht·off (tl19ugh Arria ga

AUDIO • SEPTEMBER, 1955 51

[Link]
[Link]
 s tudied in Paris, not Vienna), then some fine
LEONARD RADIO, INC. Cherubini, flavored with Mendelssohn-like orna-
mentation. An excellent student work, very melo-
dious, with only an occasional boyish bobble, an
and ~YD7b:. ® invite all music I over-studious fugal imitation, to spoil the freshness.
T h e "Los Escla'vo.s" overture is from his thir-
N IE W Y 0 RK to: ~~ teenth year , before any formal study; the melo·
d ies again are sweet, the counterpoint remarkable
t for a boy, bu t the clumsinesses are pretty clear.
He very much needed instruction and soon got it
The Cantata, say the notes , was wri tten on French
bib lical lyrics; sounds like Italian to me and the
piece is in the grand It ~ lian aria st yle of the turn
of the century, quite well imitated.
N a t a trace of anything Spanish in the whole
collection.

DESIGN PATENTS
(from page 36)

novelty and its production involved no

exercise of the inventive faculties."
A Federal court in its decision of a
controversy involving the alleged in-
fringement of a design patent of an
FREE for the best co n- electric toaster, in holding that the
test entry obtained from patent had been infringed, summarized
our stor e •. . th e exciting
E-V Skylark 3 way. speak'
the essentials both of design and me-
er system! chanical patents.
"In 'determining the validity of the
(A) Hear E-V bigh fidelity demonstrated by your E- V claims involved, the 10llowing legal
tributor. A truly thrilling experience awaits you! (B) Fill
in and mail the official entry blank,_ provided by E-V principles are applicable : fi rst, that the
Distributor. (Be sure the salesman signs your entry blank.) issuance of a patent is enough to show,
Contest closes at midnight, September 30, 1955. until the contrary appears, that all of the
conditions prerequisite to patentability
Get F1Ill
LEONARD RADIO INC , •
Open Mon. Thru. Sat.
9 A.M. to 6 P.M. are present and that a heavy burden
Details at 6 9 CORTLANDT ST., N.Y.C. 7, N.Y. Tel. CO 7-0315 rests on the assailant to show invalidity.
"Second, that a new combination of
elements, old in themselves but which
produce a new and useful result or new
ELECTRONIC ORGAN KIT diversitY of arrangement of old things
which introduce a new function or a
Think of it! A full·sized concert organ that you build yourself for less than new and useful method of performing
half the ccst of a comparable instrument if you bought it factory built. Two the old function in a new way, support
61-note manuals and a standard 32-note pedal keyboard make it possible patentability.
for you to play the music you have always wanted in your home, and the "Third, if those skilled in the mechan-
nine tee n stops and six couplers give you complete flexibility of tone. The ical arts are working in a given field
Schober Elect ronic Organ is an instrument you will enjoy building-one that and after repeated efforts fail to dis· '
you will be proud to own and play.
cover a new and useful improvement, he
EASY TO BUILD - EASY TO PLAY - EASY TO PAY FOR who first makes the discovery has done
Construction is not complicated nor particularly difficult, even though there more than the skilled mechanic in the
are many ports to put together. Instructions are clear and complete, the art and has achieved patentability.
consol e comes already assembled and finished, and with all mounting
holes already predrilled. The woodwork is finish ed, and the bench and pedal "We li ve in an age when the great
clavier are ready to use. But best of all, you pay as you build-os little as masses of the populati on have little to
$22 .50 gets you started . As you finish one section, you can order another, spare for [Link], wh ich has created a
and spre ad out the cost as long as you wish. demand for ch eaply manufactured ob-
HEAR IT IN YOUR OWN HOME-Send only $2.00 (refundable when you purchase your j ects of both beauty and utility, and
first kit se ction! for a 10·inch LP demonstration record which shows you just what your
own instr ume nt will sound like when you complete it. One side, played by a professional been a stimulant to deSigners. In order
organ ist. s hows the f ine tone of the organ. The other side conta ins twelve bands of tones, for one to be entitled to a design patent
each note of t he scale, which you will use for tuning the organ, or for tuning any other his creation must be th e product of in-
musical instru m e nt.
ventive skill and, as in mechanical pat-
THE fjJcltJm ORGAN CORPORATION
ents, there mu~t be originali ty and the
exercise of inventive facu lties.
" In the mechanical fi eld there must
NEW HYDE PARK, NEW YORK be novelty ancl utility; ill desig ns there
------------------------------------
Export Dept. TELESCO. 270 Park Ave.

THE SCHOBER ORGAN CORPORATION, Dept. 18

35 00;1 Street, New Hyde Park, New York
New York 17. New York
must be originality and beauty. The
combination of old form s to produce a
new and ornamental design is not pat-
Centlemen: entable unless the ne w design produces
Please send me your free booklet describing the new Schober Electronic Organ
completely. I understand that this places me under no obligation whatever, and
that the booklet is to be sent to me at no cost.
Enclosed is $2.00. Please send me the Demonstration Record. A!so Includ~ the
D a new impression on the eye."
For seventy-five yea rs a decision of
credit certificate good tor this amount on my first purchase at any Schober
Organ Kit sections.
D
NAME (Please print) . .. . .•• ....• • .... ••• •• •.•. • •••• ••• • ••.• • •..• • ..• . ..• •... .
the United States Supreme Court in an
action involving a design patent of a
saddle granted under the design patent
ADDRESS ................ ................................... ..... .... ...... law of 1842, has served as a yardstick
CITY . .• . .••••.•.•••••••••••.•••••• ••• . ZONE • ..... STATE . •..•.• ...••.... . . in determining the presence of the es-
sentials for valid patents.

52 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 In that case the lower court, in sus-
taining the design patent of this riding'
saddle, had said of its resemblance to
other saddles.
"A mechanic may take the legs of a
stove, and the cap of another, and the
door of another, and make a new design
which has no element of invention. But
it does not follow that the result of the
thought of a mechanic who has fused
together two diverse shapes which were
made upon different principles so that
new lines and curves and a harmonious
and novel whole are produced, which
possesses a new grace and which has a
utility resultant from the new shape,
exhibits no invention."
Four years later this decision was
reversed by the Supreme Court. In set-
ting aside this judgment and holding
the saddle design patent invalid that
court laid down a rule that has since
been an underlying principle governing
the courts in their determination of the
patentability of designs.
"The law applicable to design patents
does not materially differ from that in
cases of mechanical patents. To entitle
a party to the benefit of the act in either
case there must be originality and the
exercise of the inventive faculty. In the
one there must be novelty, in the other
originality and beauty. Mere mechani-
.cal skill is insufficient. There must be
something akin to genius-an effort of
the brain as well as the hand. The adap-
tation of old devices or forms to new
processes, however convenient, useful
or beautiful they may be in their new
role, is not invention.
"Many illustrations are referred to,
as, for instance, the use of a model of
the Centennial Building for paper
weights and ink stands, the thrusting
of a gas pipe through the leg and arm
of a statue of a shepherd boy for the
purpose of a drop light, the painting
CARTRIDGE
upon a familiar vase of a copy of
The "MUSIC LOVERS" Cartridge is l'ecord changers and transcription
Stuart's portrait of Washington-none
of which were patentable because the a new, 3-speed, dual-needle ceramic arms. Equipped for direct connec-
elements of combination were old. The cartridge, designed to enhance the tion to magnetic inputs of ampli-
shape produced must be the result of quality of all the popular high fidel- fiers not yet provided with constant
industry, effort or genius and new and ity equipment in use today. Mechan- displacement ceramic inputs, thus
original as applied to articles of manu- ically interchangeable with allowing the full advantages of
facture. magnetic pic1mps in practically all compensation circuits.
"The exercise of the inventive or
originative faculty is required and a * Eliminates induced hum
person cannot be permitted to select an * Eliminates cartridge "drag" caused by magnetic
existing form and simply put it to a new attraction to steel turntables
use any more than they can be permitted
to take a patent for the mere double use * Increases record and needle l~fe
of a machine. If however the selection * Provides higher output
and adoption of an existing form is * Response not affected by loud re ..,i.<;[Link]
more than the exercise of the imitative
faculty and the result is a new effect * lO-second needle replacement
and a new creation, the design may be * Individual needle compliance eliminates rteedle
patentable." interaction
References FREE! COMPARATIVE ANALYSIS BOOKLET ON THE "MUSIC LOVERS" CARTRIDGE
Application of Jennings, 182 Fed. 2d 207
In re Hopkins, 34 Fed. 2d 1016
In re Staunton, 35 Fed. 2d 63
I-------------------------------~I
SHURE BROTHERS, INC., 225 W. HuttON ST., CHICAGO 10, ILLINOIS

In re Hopkins, 37 Fed. 2d 755 I Please send analysis booklet on your "MUSIC LOVERS" Cartridge I
Heyer v. Allen Electric & Equipment Co.,
I I
37 F.S. 455
Forestek Plating & Mfg. Co. v. Knapp-
I N'a rne ... . . ... . ............. . ..... . ..... . .... . ... . .. . .. . ............... .. . ,
Monarch Co., 106 Fed. 2d 554 II .
Address ... . .... . ..... . .......... ... .. . .. . .... C. ty . . . . . . . . . . . . . . . . . . . . . . . . II
Whitman Saddle Co. v. Smith, 148 U.S.
674, reversing 35 Fed. 414 I---------------------------___~~_I
AUDIO • SEPTEMBER, 1955 53

[Link]
[Link]
 HIGH FIDELITY
RECORDINGS, INC.
presents
FIVE NEW RELEASES
R-702 GEORGE WRIGHT ENCORES AT You Can't Always Tell a Record by its Cover
THE MIGHTY WURLITZER
PIPE ORGAN HAROLD LAWRENCE *
R-201 JOE ENOS PLAYS TWO PIANOS

R-301

R-401
THE MITCHELL
SINGS
DICK STEWART SINGS
BOYS CHOIR
B EFORE THE: INVENTION of the "album,"
dics were sold in drab yellow or
faded green envelopes, and recording
companies held to the obsolete conviction
more attention in a window or on a display
counter, and hence attract more sales. The
race for the record-buyer's eye, now at
feve r pitch, has resulted in a special
that their prod ucts could be me rchandized musico-advertising galler y of what at best
R-703 A RICHARD PURVIS ORGAN in fl imsy attire. Apart from the original contains some high ly imaginative exhibi ts,
RECITAL IN GRACE CATHE- investment in label art work and perhaps and at worst-well, we'll get to those later.
DRAL in draw ings of their top artists for use First, a brief look at what happens
( R-703 available on 2 track binaural · & 3 on a standard stock envelope, the empha- when a cover a rtist fai ls to apprise him-
track stereophonic HIFlta pe, prices on
request.) sis was on the record itself. Even after self of the contents of an a lbum. On a
RCA Victor and Coh:lmbia began housing new Mercu ry release of Bart6k and Ravel
ALL ARE RECORDED IN FULL their symph onies and concertos in albums, Sonatas for Violin and Piano, neither
FREQUENCY RANG E HIGH FI- covers were in keeping with their distin- instrument appears in the art work. In-
DELITY SOUND WITH STRIK- guished contents, e.g., RCA Victor's simple stead. there is a trombone, snare drum.
gold lettering over damasked flora l pat- bass drum, trumpet. string bass and piano.
ING REALISM AND ARE OUT-
terns, with top billing for the composer. The bright colors and attitudes of the
STANDING FOR DEMONSTRA- Then during World War II Art entered pi ayers suggest a jam session in progress.
TION PURPOSES OR TO SHOW the recording field. But what with war Now the second movement of the Ravel
OFF YOUR OWN " H I FI" EQUIP- shortages and the Petrillo ban, it did not Sonata is entitled, Blues. But that's no
MENT . . . . make much headway t,mti l nearly ten years excuse.
later. A record-starved public in 1945-8 Another cover artist got his Greek
SEE YOUR DEALER OR ORDER kept the record companies so busy filling names confused while working on Samuel
BY DIRECT MAIL AS FOLLOWS: back-orders that not much attention was Barber's !VI edea. He pro!Jably skipped a
1. Long playing 12" HIFlre cord $ 4 .95 paid to covers. Art's onward march was page while thumbing through his Mytho-
2. 7 % IPS half track HIFltape 6.95 further delayed by the Columbia LP bomb- logical Dictionar y and came up not with
3. 7 % IPS full track HIFltape 8.95 shell in 1948 when the fi rst covers were Medea, but .Wedusa, she of the ter rible
4. 15 IPS half track HIFltape 8.95 modest and economically designed. On the face and serpentine hairdo.
5. 15 IPS full track HIFltape 15.95 advice of buyers from leading record MGM's recent release of A lan Hov-
shops, however, the recording companies hannes's sco re for Clifford Odets's play,
simply forward your check, began to veer in the direction of color, Th e FlozlJe1·ing P each, bea rs a striking
specifying which release you flesh, and fan tasy. It is a proven fact that photograph on the cover. But no peach
want together with reference a bright and unusual cover w·ill attract blossoms these . . . azaleas in full bloom !
to above numbered "HIFlrec- On a vis it to the U nitecl States a few
or d " or "HIFItape" desir ed. Prices years ago, the members of the Quartetto
include tax and m ailing cha rges. * 26 W. 9th St., New York 11, N . Y. I tal iano were informed that one of their

HIGH FIDELITY
RECORDINGS, INC.
6087 Sunset Boulevard
Hollywood 28, California

Visit Audio Capitol's Gleason

record cover-a Doli
painting. n. . • an -
guish, . . . space,
atthe . . . solitude."

AUDIO FAIR

Hotel New Yorker

Room 616

54 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
albums was be;.ng displayed in the window
at a Madison Avenue record shop. To
their surprise and amusement the drawing
on the cover depicted four males. The
second violinist, Elisa Pegreffi, happens
to be a very charming young lady.
[Link]. • • ADD TAPE
One of the finest Miinchinger perfor-
mances in - the London catalogue is that to your hi-fi system !
of Mozart's Divertimento, K. 136, for
strings- a trim, jolly chamber work. What
do we have on the cover? To begin with,
the scene is a large hall (or court) . In-
stead of an intimate group, there is a
symphony orchestra, part of which over-
, f"

flGWS into a corridor and up a flight of

stairs on the right. To the left under arc
lights a chorus, seemingly about to launch
into the Ode to Joy.
So much for cover "boners." Three of
the most popular ingredients in maga-
zine art and photography are sex, children
and pets. The first two have already found
a secure place on covers of record albums.
Sex, of cou rse, came first. Scriabin's Po em
uf Ecstasy on RCA Victor features a
sweet young thing clad in a diaphanous
gown and reclining on a velvet cloud.
Capitol's version of the same work pic-
tures a nude lady in what seems to be a
tropical setting. RCA V ictor's Rela.'t" with
Victor Herbert finds a languid model
sitting in a living room and wearing a
!
white negligee. A book is in her lap, !.

yellow roses perfume the atmosphere, her

eyes are closed. This is what Victor Her-
bert will do for you!
Liszt, Schumann, Tchaikovsky . .. what
does it matter? There's always room for
l'amour. Debussy composed two books of
Etudes. As the titles indicate, this is purely
abstract music, studies in octaves, thi rds,
repeated notes, arpeggios, chromatics, etc.
the 404
For its new recording of these piano
pieces, Epic provides a breathless close-up
photograph of an enraptured model whose
head is tossed back in utter abandon, and
DAYSTROM
with roses in the foreground. RCA Victor's
album of Restful (Good) Music, contain- is [Link] give highest
ing works by Cesti, Frescobaldi, and Bach,
has a model reposing on a satin sofa wear- quality sound at lowest cost
ing the uniform of the cover model : a Now you can enhance the en joyab le hours with your "Hi·Fi " system
di,a phanous gown. The same apparel, or by comp leting it with the greatest form of musical reproduction-trlle
lack of it, is worn in Music for a S~lmmer high fide lity tape. And you can do it at a su rprisingly low cost.
Night. There is also the ever-present rose
The Daystrom CRESTWOOD 404 Tape Recorder a lone, in its
in the right hand. For a change, the model price class, provides full "Hi· F i" response (30- to 1 5,000 cycles at 70
is standing, not sitting, though the effort inch tape speed) , smoothest tape movement, f r eedom from v ibration,
seems to have taxed her energies for the the abso lute min imum of wow and flutter (less than 0.30/0 at 70 inch
poor thing is leaning heavily against a tape speed) and two speeds (7 0 and 3:J4 ) for maximum versati lity.
Grecian column. Origina l sound qua lity is preserved by use of the finest components,
Now for the children. At first, they were and playback ch aracteristics are not li mited by a bui lt-i n amplifier.
kept in their place, restricted to such - A s a resu lt, the fu ll range of your "Hi-Fi" System is uti li zed.
pieces as Children's Cornel' or Kinder-
Liste1l to the Daystrom CRESTWOOD 404 at your dea ler's today .
seenen. Now the kiddies' invasion is in
Compar e and let you r ears tell you the difference!
full swing. It all began rather quietly on
the Entre label with the re-release of the
Rodzinski version of Brahms's First . Be-
tween "Brahms" and "Symphony No. 1
Audioph ile Net Prices
Model 40 4 wi t h standa rd ca se . $229 .50
r------------------,I
DAYSTROM elECTRIC CORP.
in C Minor" was the photograph of a Model 4 0 4 less case $ 21 4.50 De pt. , 29 I
child falling asleep in her father's arms. Mod el 402 (compa n ion po wer a mplifier a nd 7 53 Main Street, Pough kee psie, N. Y. I
This was followed on Columbia's album e x tended rang e speaker ) . $ 100.00
(P rices sli g h t ly higher in Denver a n d we st)
I
P lease send me complete information
cover of the Shostakovitch Tenth by the I
on Daystrom CRESTWOOD Mode l 404.
picture of a little boy in a crowd. For a
DAYSTROM o I
Wou ld use in "Hi -Fi" System
Roussel concert on Epic, there is a candid o I
For use with 402 Amp lifier and Speaker
shot of a boy and girl musing. But with o I
Name of nearest CRESTWOOD dea ler
LC 3094, Epic really gets down to busi- I
Name'_ _ _ _ _ __ _ __ __ _ __
ness. Enough of this dozing, musing and I
Street_ __ _ _ _ __ _ _ _ _ _ __
standing around-let's play! S ') our little I
boy and girl are off to a swimming pool. DAY STROM ELECTR. I C CORP. City
L_ ____________ _____ JI
State
She creeps along the springboard, he fol- POUGHKEEPS I E, N. Y.

AUDIO • SEPTEMBER, 1955 -55

[Link]
[Link]
~~\ ' ' ' ' 1/1111""",,/1!fI1!I/1j(,~
lows. She turns and gazes at him. He tol obtained the expensive talents of Sal-
looks off in the opposite direction, em- vador Dali who, it is reliably reported,

~INSIST ON EMITRON~
barrassed but flattered. What else? Schu- will not turn out a painting the size of a
mann's Etudes [Link], of course! postage stamp for less than $5,OCO. Here
At this point it is fairly obvious that the

' T 6/~~
is Mr. Dali's "explanation" of his first

~K
cover art need have no relation to the album cover, the highest llriced in record-
music it enfolds, like the paintings on paper ing history:
~
~ /~
back editions of the classics. RCA Victor,
ill fact, believes firmly in ' the doctrine of
"The first effect is that of anguish, of
space, and of solitude.
the separation of record and cover for their "Secondly, the fragility of the wings of
~ ~
~
~
~~
His Master's Voice albums. Most of these
de luxe sets contain color reproductions of
a butterfly, projecting long shadows of
late afternoon, reverberates in the land·
::s.::
§.-
-=
-= works by famous artists, suitable for fram- scape like an echo.
~
::::::::=:::
-::=
--
ing. There are paintings by EI Greco,
Hals, and Van Dy€k.
"The feminine element, distant and iso-
lated, forms a perfect triangle with the
And speaking of the fine arts, the ulti- musical instrument and its other echo, the

---
mate tribute to the selling power of the shell."
album cover is Capitol's latest Jackie Maybe you can't tell a [Link] by its cover,
Gleason recording. For this release, Capi-

---
but it's even tougher with records.

.:::
..::
===
..:=::::::::

SOUND
(from page 34)

with the [Link] frequency of the ter- close mechanical analogy would be a
restrial mechanical system or of some weight on a spring.
part of it ; the surface excursions The Helmholtz resonator is charac-
rea.c hed their peak of violence, and a terized by the fact that it produces DO
part of the surface was broken loose and harmonics, and that its natural fre-
hurled into space. quency is determined by the dimensions
Another example of the effect of reso- of the port and the volume (not length )
nance on forced vibrations is the "wolf- of the enclosure.
note" produced in certain stringed in- The resonant frequency of the air col-
~struments such as the cello. The body of umn, on the other hand, is determined
the instrument, forced into vibration by precisely by the length of the column.
the bowed string, has its own natural and it is rich in harmonic overtones. The
modes of oscillation, which help form air can pulsate longitudinally as a whole,
the characteristic tone of the instru- in sections, or in both modes simultane-
ment. An unfortunate design may cause ously. It should be clear from the com-
the excursions of belly and back to over- parative characteristics of these two
vibrate at their primary resonant fre- resonant devices that the air column is
quency. Pieces do not fly off, but the the one most suitable for musical in-
howling sound produced has the un- struments.
pleasant connotations of its name.

Acoustical Resona,nt Saurces

There are also sources of an acous-
tical nature in which free vibrations
Now you con [Link] make professional
may be induced. These fall into two
recordings under the most gruelling field con· types ; the air column, such as exists in
ditions. Tapes will faultlessly play back on all the flute, pipe organ or "acoustical laby-
professional and home recorders. Ruggedly rinth" loudspeaker enclosure, and the
designed for maximum dependability and top· Helmholtz resonator, illustrated by the z
~
:::>
notch efficiency. Combines unlimited versatility empty bottle, the ocarina, or the bass- ....
of performance with extreme simplicity of op' reflex speaker enclosure. ou
eration. Choice of fourteen models available The simpler of these two is the Helm- '"
for every conceivable application.
:;;:

~ UPORT
O\
holtz resonator. It consists of an en-
000 00
closed body of air with an opening or
Incorporates a [Link] VU monitoring 00
meter for precise setting of recording level
duct to the outside. If the longest acous-
without earphone monitoring. Meter also accu· tic path within the enclosed space is
rotely indicates condition of "A" and "B" small ' relative to the wave-length of a
stimulating oscillation, the internal pres- ENCLOSURE
batteries. Five single speeds as well as two,

r
three and 4·speed models available. Units sure state at any instant will not vary
weigh only 19 Ibs. with batteries and measure significantly from one point to another, (A)
6Y2" x 9Y," x 14~". Higher speed models and the entire bulk of the imprisoned air
meet NARTB standards. All recorders are will be compressed and rarefied as a
guaranteed for One Full Year.
Write tor complete technical specifications unit.
(8)
and direct factory prices to Dept. AE The enclosed air supplies elasticity,
and the requirements of a freely oscil-
AMPLIFIER CORP. of AMERICA lating system (restoring force and in- Fig. 1-6 Helmholtz and air column resonance,
398 Broadway. N. Y. 13 . N. Y. ertia) are completed by the acoustic illustrated by simplified diagrams of ocarina
• r 1.\ R~!; u! Pc l OR mass of the air in the port or duct. A and flue organ pipe .

56 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 HOW DO WE HEAR?
(from page 21)
NEW TANNOY
over the membrane and hence the num-
ber of hair cells involved. -
"The analysis of a compound wave
follows the principles already laid down.
HIGH - FIDELITY
However complex the form of the sta-
pedial movement, a bulge always starts
at the basal end of the cochlea and con-
tinues to be extended until there is a
CORNER ENCLOSURE
change in the dire€tion of the stapedial Here is a new hi-fi Speaker Enclosure which has broken
movement. The number of bulges formed, the traditional reserve of the British. Praise for the
therefore, corresponds to the number of performance and appearance of this remarkable marriage of
maximum and minimum points in the audio engineering and cabinet design is lavish enough to be
compound wave; and the length of each almost un-British! Hardly surprising, perhaps. Tannoy certainly
bulge depends upon the amplitude as would not release an Enclosure which did not extract the last
measured from one of these points to degree of realism from their own world-famous speaker units.
the next. Since the amplitudes between
successive maximum and minimum
points always vary in a compound wave,
the different bulges will spread for dif-
ferent distances."
This description is clearly illustrated
in Fig. 4 wherein is presented an initial
displacement (position 1) of the first 30
units of the basilar membrane, as in-
duced by the sound pressure amplitude
at time a. The change in pressure as
evidenced by the progress of the ampli-
tude curve from time a to time b causes
the formation of a bulge on the mem-
brane which progresses a distance of 30
units of length, effectively erasing the
initial bulge and resulting in a final
membrane displacement to the right as
shown in position 2. Further changes in
the amplitude of the sound pressure
wave as given at times c through g will
cause corresponding displacements of the
basilar membrane as shown in positions
3 through 7 respectively. The lengths of
the membrane will be affected in accord-
ance with the differential amplitudes of
the sound pressure wave at the times
of observation.
Meyer's theory is unique and his man-
ner of presentation is abrupt, conse- TANNOY "GRF" CORNER ENCLOSURE
quently it has not been too well received
by the scientific world. This does not • Elaborate interior system of sound source expansion
alter the fact, however, that it has merit
• IS H Tannoy Dual Concentric Unit
which is recognized, for according to
Wever, "Meyer's theory has had far less • Horn loaaing for bass reproduction
consideration than it deserves. It is a
difficult theory; difficult · in conception • Frontal /'adiation of mid-range frequencies
and perhaps more so in its presentation; • Non-directional horn loading for high frequencies
and herein may lie part of the reason
for its continued neglect." • Entirely new acoustic coupling
Wrightson believed that the cochlear
fluid was incompressible, consequently • Max. front to rear 29 H ; max. width 38H; overall
H
height 48" ; floor clearance 6t
any movement of the stapes would set up
a pressure wave which was instantly ' • Special washable plastic grill
communicated to all parts of the cochlea.
Since no time was lost in this transmis-
sion process, there could be no space ef-
•
fect, i.e., all nerve fibers were stimulated
by sounds. Stimulation of the nerve
fibers , occurring with every flexing of a
hair cell, was said to Qccur four times for
every fu ll cycle of flexing motion of the
basilar membrane; triggering of the
nerve fibers occurs for every maximum, TANNOY (AM ERICA) LTD . 38 PEARL STREET' NEW YORK 4 . N.Y. U.S.A.
minimum, and axis-crossing point of the
wave. Wrightson's thoughts on loudness TANNOY (CANADA) LTD· 36wELLINGTONSTREETEAST' TORONTO I . ONTARIO· CANAD"

of a sound were contained in his belief

AUDIO • SEPTEMBER, 1955 57

'.

[Link]
[Link]
, ~1!:.~1!r.:~r.:s1!'~ ~
that the nerve fibers were affected more
violently as ' sound intensity increased
above near-threshold values. This belief
has been subj ected to a great deal of

~ REEVGRAMPIAN _ criticism in later days because of the

"all-or-nothing" principle of nerve fibe r
fir ing which was developed.
Somewher e in this accumulation of

-
knowledge an answer lies waiting to be

~
born. From the laboratories and the
ex periments involving thresholds of

" hearing, pitch discr imination, spatial dis-

crimination. cochlear microphonics, ef-

~
Famous feedback disc recording culterhead delivers ~ fects of va rious compounds upon the
wide frequency range • •. 30 cps to 20 kc . . • silicone damped. .. '"
top transient response flux correcting feedback ... precision balanced
armature • .• extremely stable! _

~
use in conjunction with .. . REEVES· GOTHAM amplifie r . .. capabl e of 30

~
d e livering 150 walls with less than .7% harmon ic and inte rmadulation d isto rtion
from 40 cp s to 15,000 cps. Includes all e quali zation fo r all of today 's sta ndard
recording curves . .. at all speeds .
.III
,.

•• fuRee~~~J,q!lp~!~I~rp. _
~
IJ'~""'"IJ' IJ' .iIIIr IJ'. /
~ 17
. :;
~ 11

ELECTRONIC
MUSICAL
INSTRUMENTS 4 6

Fig. 4. Meyer's theory of cochlear analysis. The

compound wave affects the basal portion of the
basila r membrane as shown, at selected points
By of the wave cycle. Arbitrary scale units em-
ployed correspond t o each other, in amplitude
Richa rd H. Do rf of distance.

nerve electrical potentials, etc., will pr o-

In one big vo lume, you ca n now lea rn all about the intricac ies of
ceed one day the fi nal link which will
commerc ial electronic organs , incl uding the Alle n, Baldwin, unite these fin dings into the truth sought
Connsonata , Hammond , M inshall -Estey, Lowrey Orga no, a nd over many long centuries. Until then,
others, together wi th many smaller inst rumen ts. Const ructi ona l the reader may fo rm opinions of his own,
deta ils on the author's Electronorgan and t he simple r T hyrat one guided by the works of leading scientists
show you how t o bu ild one of t hese fasci natin g instruments for parti ally summarized in the texts con-
yoursel f. A compil ation in book form of the a utho r's articles in ta in ed in the short bi bli ography below.
Radio Electronics, brought up to date and with many add itions.
Price $ 7.50 (Fore ign, $ 8.00) . B IBLIOGRAP H Y

Customary discounts t o dealers and dist ribu tors F letcher, Speech and H ear·ing itt Comm uni-
cation. Van Nostrand, 1953
W ever, T heol'y of H earing. Wiley, 1949
RADIO MACAZINES, INC., Book Division Stevens and Davis, H earing. W iley, 1938
P. O. Box 629, Mineola, N. Y. Meyer, How J;Ve H ear. Branford, 1950
Please send me . . . . . ... copies of Dorf' s ELECTRONIC MUSICAL INSTRU- Stevens, H aHdbook of Experimental P sy-
MENTS. I enclose chec k 0 money order 0 for $7.50 each
(Foreign , $8 .00) . chology. 1951
Na m e
Bekesy and Rosenblith, The early hi&tory.
!. Acous. Soc. Am., Vol. 20, No.6,
Address . . . . . .... • .. ...... . .. . . .. . . . . .. .. . . . . .. ... . .. . • . .. . . . ... .. .. . . ...
pp. 727- 748, Nov. 1948.
City . .. . . . . . . .. . .. . .. ... . . . . . . . .. ... Zone . . . . .. State .... . . . ... . . ... .. . Kostelijk, Theor·ies of H earing. University
of Leiden Press, 1950

58 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 LEONARD RADIO
THE MINSHALL ORGAN PROUDLY PRESENTS
(from pag e 27 ) -LIVINGSTON-
··BI-F)!!!!
FOR YOUR LISTENING
PLEASURE

Fig. 8. Side view of a

tone-generator chas-
sis shows the printed
circuit which holds
most of the compo-
nents.

llIent brings g rid impedances down to the organ lield to make extensive use of
normal .equipment values and this prob- printed circuits and this organ probably
lem is eliminated. conta ins more than any other in its tone
Fig'/A,re 8 shows how a tone-generator generators and keying circuits, except
chassis looks. Notice that almost all the fo r the Scho: .er El ectronic Organ Kit
resistors and capacitors a re mounted on which empl oys 130 all told. The genera:
a printed-circuit panel. The printed cir- tor chass is is ex tremely easy to replace
cuit makes for neat and inexpensive pro- when necessa ry because of good mechan.- FOR THE ADVANCED AUDIOPHILE,
duction and easy servicing since ea ch ical desig n. F ig'lwe 9 shows the rear of LIVINGSTON HAS DEVELOPED A
component may be lifted or removed the organ. To remove a ge nerator, the SUPERBLY ENGINEERED, UNIQUELY
DESIGNED, LOW COST BINAURAL
without di sturbing others and may even divide r strap is loosened and the genera - PLAY-BACK UNIT. JUST LOOK AT
be put back again with6ut ha rm if found tor is simply pulled 'out ; it is held in THESE PLAYBACK FEATURES:
to be good. M inshall , at Mr. H a dden's place only by the power and output plugs Flutter & Wow : Negligible
insti gat ion, has been among the first in on its ends. Hum Level : 60 db Down
Output : 5 millivolts
Frequency Response : ± 2 db 20- 15,000 cps
At 7 V2 ips
Selector Switch : Binaural; Monaural; Half
Track (You ca n play standard half track,
or binaural tape s I
Attractively housed in a blonde or ma-
hogany finished cabinet as shown: ,
NET $119.50
Chassis only: $99.50

Bi-Fi Recorded Tapes

from the Livingston Library
Net $10.00 ea.
Superbly recorded music by the leading
domestic and foreign combos, orches-
tras and choral groups, adds a new di-
mension to your listening pleasure ...
#702 Wagner- Tannhaeuser Overture
BN Wagner- Flying Dutchman Overture
#704 Debussy- Afternoon of a Faun
BN Schumann- Manfred Overture
Glinka- Kamarinskaja

#705 Ross ini- Will iam Tell Overture

BN Brahms- Academic Festi v al Overture
Massenet-Under the Lindentrees
# 708 Dukas-Sorcerer 's Apprentice-Flor-
BN ence May Festival Orch ., Vittorio
Cui , condo
Pfitzner- Little Symphony, Opus 44,
Vi enna String Symphony, Kurt
Fig. 9. Rear view of the Model L, showing the tone generators, power-supply and power amplifier, Rapf, cond o
and tablet-board chassis.
Complete listing of Staggered-Head and
Stacked-Head Binaural, Dual, and Single
track recordings on request, Write Dept.
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RADID, iNC.
YorfI7, N. Y. COIfIo"dt 7-0:115

AUDIO • SEPTEMBER, 1955 59

[Link]
[Link]
 FABULOUS~JrJir~JifJ'~
AUDIO ETC.
(from page 47)
MODEL 215A
I could do with tape itself that were nev, .
either; and so I had to drone on as best
MAGNETIC CARTRIDGE I could, in competition. The sessions with my assistant gre\\
shorter and my editing time longer. We
And another funny thing: the musical
With DIAMOND Stylus
did sections of the show in the old way,
illustrations didn't go over, either. On the
Regular HUDSON'S
cross-fading records, blending background
air, they were fine. No visible distractions
Price music and speech, and then I began to edit
$37.50
PRICE
$21.95
and, as one li stens to radio, the very idea
8.75 2.95 them together. We made mistakes, reeled
of a musical illustration is highly accep-
the tape back and tried again until it
table. You sit back in your chair, or doze,

• Fits Most Pickup.

$24 90 worked. In no time I was splicing together
or do the dishes (or drive the car-listen-
dozens of short "takes," cutting out the
ing to your car radio) and time passes
plops and switching noises, the overlaps
most agreeably. But on a lecture stage-
and r epeats which we began more and
no. My introduction would go over well
• For 33-1/3 and 45 R.P.M. more to take for ·granted as we caught
enough in spite of distractions; but when
Made by FAIRCHILD, manufacturers of the finest, onto tape. Isn't this exactly what every
the music started to play, something in ..
highest priced audio equipment-this magnetic variably happened. Simple enough! studio went through in those days? Yes.
cartridge Is recognized by Hi-Fi fans as a superb but not many home tape men.
The visual, live show all of a sudden
performer - and at Hudson's Terrific Low price,
It's an outstanding buy - superior to any cartridge stopped dead-except for one turning turn-
And then came the day when I got tired
anywhere near this price In today's market: tabl e, yet it was still there and had to be
of cross-fades and decided to try a straight
Used with Fairchild 826 mat~hlng plug-in looked at. A ll of a sudden, I became mute.
splice between two musical passages, minm
transformer, this superior cartridge can be
used as a replacement for the G.E., Pick- I froze. I had nothing to do, standing
assistant.
ering, Audak, etc. giving higher quality there in front of a whole audience, but
I couldn'.t believe it would work. I wa~
performance at a low price. Single diamond
stylus (which extends record life) has 1.0 look preoccupied, as though the music were
so indoctrinated with the idea of the cross-
r~~11 dl:,~:rn~ ~ee~~I:[Link]~ta~~a~3d m~~nt~~~ piercing my very soul or something. (It
fade, a gradual blendillg of one piece of
fits most Record Changers and pickups with· wasn't, I can assure you.) And my assis-
music with another, and I had done it so
out alteration. Simple mounting instructions ·tant either froze, too, which made double-
many thousands of times, that I was sure
Included. trouble, or she went to work on the next
Here's your chance to convert your record
the instantaneous shift-over of a straight
cbanger or player to truly hi-fidelity repro- cue, which merely set up a welcome but
splice would "show" only too dismally,
duction - at 'Iess than half normal cost for irrelevant . distraction. spoiling the nice effects of blending that
this superb magnetic cartridge, with match- Nope, it wouldn't go. And I even got
Ing transformer - but Hurry! Our quantities I had been achieving. Little did I know.
are limited! DBqt . ~ ·9 complaints from some Ladies' Club man-For I soon found what every record
agers that they thought I really shouldn't
maker knows, that, given the right spot,
All Hi·FI Accessories use a script-it looked bad. No use ex-
In Stock - Easy Terms the right micro-instant, you can patch
plaining that (a) a radio program has a
things together by splicing and never hear
Hi·FI Trade-ins script and (b) without a script I couldn't
the transition at all. It works wonders for
A~lolnlng Radio City 'Downtown N.V.C. In New ersey coordinate with my assistant, who followed
the tape editors who assemble recording~
48 W. 48th St. 212 Fulton St. 35 [Link] St. me on her carbon copy. No avail! and broadcasts. It did even odder things
New York. 36, N, Y. New York 7.. N. Y. Newark 2, N. 1. The ladies were perfectly right; the
Clrcl. 604060 Circle 604060 MArket 4-5154 for me, who deliberately spliced things
idea really had basic faults. And so I
the Lord never intended to be spliced, nor
gave it up, quite voluntarily, though I
the composers!
probably could be at it to thiS moment if
Take two versions of a work, one for
quality control of I'd wanted to torture myself. orchestra and the other for piano; com-
Now we have TV. And I commend this
pare them directly by joining hunks of
JIM LANSING""!'~
experience most earnestly to any AUDIO
each-so that a chord which starts as a
reader who has ideas of putting on a
piano sound is suddenly and inexplicably an
musical TV show. The conflict between
orchestra sound, without apparent transi-
speakers by listening habits and looking habits can be
tion. Or patch up a flute and a violin
very acute, let me tell you. TV has already
version of a sonata (Prokofieff) so that
Bl testing worked out its own look-listen techniques
the work breezes along merrily without a
One of the final Inspec· for a vast area of entertainment and in-
break-for both flute and violin, so that
tlons given all Jim Lan· struction. But it still makes occasional
sing Signature Speakers the flute player takes a big breath and
well-intentioned boners when it comes to
comes out with fiddle sound, as naturally as
is made with a Bl test· classical music and the dire necessity to
er. This instrument gives subjected to lines of you please, and the fiddler finds himself
a direct, accurate meas· force, the current flow- combine the visual and the audible in-
playing flute notes right in the middle of an
urement of each unit's ing through the wire. terest of music. up-bow. All very "strange to your ears,"
electrical quality. This total relationship We cannot, however much we would
as another tape-trickster has put it.
Magnet size and flux
(Bl factor) can be meas- like to, find a way to duplicate the "Iook-
Indeed, I got quite fascinated with the
ured by applying a volt· li sten" of a live musical concert. Impossi-
density alone do not de· new possibilities and turned out phonomon-
age to the voice coil ble. The best proof: your concert-goer sits
termine speaker efficien. tage after phonomontage, each more devil-
and measuring the force
cy. The force available exerted by the dynamic
for 10 hours in a single seat with a single
ish, instructive or silly (depending on how
to move the dynamic assembly. view, and is not disturbed by any lack of
you listened ) than the last. I compared
assembly in any speaker "variety." But on the screen-TV or film
is proportional to: - the three recordings of one piece, interchanging
In the Signature Bl test· -with its two-dimensional proj ection, its
flux density surrounding er a speaker's ability to them dozens of times without a break in
narrow side-limits (even the "giant"
the voice coil, the length support a known weight the music. I "rewrote" many a piece of
of conductor uniformly is read directly on a screens), a single viewpoint is good for
music, altering continuity, making cuts and
calibrated walt meter. a mere thirty seconds or so at best. Then
omitting repeats, all for special reasons and
No other commercially you must change. Flit here, flit there,
all without an audible break.
produced speakers have close-up, distant-shot, Ifollow-thet-tlreme
Caveat Emptor. One choral group I re-
a higher Bl factor than from instrument to instrument, watch the
do Signature units with corded didn't even notice a cut which, neces-
conductor's arms, his tortured face ' (he
their edge-wound wire sarily, made perfect gibberish out of the
must be tortured or it won't 'Iook right)-
ribbon 4" voice coils. words being sung. People don't notice edit-
occasionally pan out ove r the audience
And, before being re- ing because-even today-they aren't pre-
leased , every Signature (and look out for people half-asleep in the
pared to notice it. And even an expert will
Speaker must meet the front row where it shows) .. .. This is
miss the changeover if it is done properly.
same high standards. what TV and the cinema require, for Naturally, all of this musical mayhem
visua l music. You can't dodge it any more
was done with the best care I could possibly
than I could dodge the same sort of thing
muster and I put every bit of musical knowl-
in my lectures. And so, live and learn, and
JAMES B. LANSING SOUND. INC. edge I had into matching keys, melodies,
back to tape and the all-audible show.
manufacturers of precision transducers harmony, structure and the rest. I'm proud
The Tape Solo of the tricks and except for a few emergen-
2439 FLETCHER DR. LOS ANGELES 39, CALIFORNIA cies, I'll stand by the "musicality" of my
It wasn't long, after my home-grown tape operations.
sho\\' started, that I began to find things And so-the solo tape. I dispensed with

60 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
my assistant entirely. I threw out my WNYC for trial-and-error frequency runs, 'when high fidelity
second turntable--no more cross-fading. I but in the end we came out ·so close to flat
moved the portable fixings in a bit closer, that I was thoroughly satisfied. stopped being
mounted my mike on a goose-neck and got Now, for broadcast recording I can
me a Hermes portable typewriter that would choose either type, Magnecorder or Ampex. machinery and
fit under my nose, and started out doing I suspect that I own the only Magnecorder
home-grown broadcasts, solo. The works. in existence that makes Ampex tapes-and
It happened first, as I remember, in St. Magnecorder tapes too.* . became a new
Louis in 1953 in the pantry of my elderly * The Magnecorder M-models now make
landlady-hostess's old-fashioned apartment. tapes interchangeable with Ampex tapes. kind of
St. Louis had never seen anything like it One more discovery helped up' the quality
-at least, the four or five St. Louis trades-
men who stumbled into the kitchen by the
on my voice. The condenser mike made by musical instrument!"
Altec is technically non-directional, but at
back door and interrupted me hadn't. close range-within six inches or so-it
From the pantry I moved into the maid's picks up the voice much more naturally
room on her day out. The trolley cars made head-on, pointed at your mouth, than in the
less noise there. And each week, that spring vertical position. When I accidentally dis-
of 1953, I set up the whole shebang, did my covered this, I was able to remove the last
tape and then took it all down again and major difficulty that had bothered me, apd
stored it in the closet. What a studio! But since that time my tapes have been uniform
the show went on, back at WNYe. enough to keep on file and repeat with rea-
sonably good expectations for fine sound
Equalization quality.
We do live and learn! I have on hand
That is. it went on until I came back to tapes back to my first experiments, but
New York in June just in time to catch until three years ago I made so many un-
the final broadcast which I'd mailed in the knowing technical blunders that many of
week before. I almost died of chagrin. For them are now unusable. Two main head-
instead of my good hi-fi I heard an almost aches went along with me, over and above
unbelievable bumble and rumble, an unin- those already mentioned. The matter of
telligible hodge-podge-my voice sounded exact speed (especially at th e insides of the
as though I were at the bottom of a well old-type 7-inch reels) and ·that of head The Festival did it by pioneering two
and buried in soggy mattresses. Why? alignment. seemingly radical points of view • •••• ".
I had inadvertently made two mistakes
which, I suspect, are still being made again Alignment and Speed
and again by unsuspecting tape experimen-
ters, even today. I began aligning my heads before every One was that high fidelity equipment need not'
A. Any broadcaster could have tQld me broadcast (and how I hate the chore) in look like an inverted dish pan, bristling with
about this one, but I hadn't heard. To beat St. Louis, and I recommend the practice
the background of St. Louis trolleys and to every user of home-style tape. Most of steel and glass. The Festival looked the part it
busses I moved up unusually close to my my earlier shows proved to be recorded off- played. It was sleek, copper brushed and func-
cardioid mike. The ribbon complement alignment in one way or another. Today, I tional. It didn't look at all like a conventional
thereupon proceeded to boom unmercifully. must copy them, after aligning the playing
Never use a ribbon for close-to work! So, head deliberately to match t\:le individual radio and certainly nothing like the usual
to begin with, my voice was horribly bass- tape, before I can use them. frightening hi·fi machinery. Women fouml it
heavy when it hit the tape. I didn't then Many an amateur, and some professionals, positively attractive - liked the way it looked
know why. have forgotten that a wrongly aligned tape
B. My program was recorded on a Mag- plays back beautifully on the machine that sit ting on an open table in the living room.
necorder (and is still today), a special job made it. A deadly trap for the unwary, I
but still basically "Maggie," with the can assure you. I used to blame the people Then, too, the Festival combined all the elec-
Magnecorder type of equalization. The who cut disc transcriptions from my tapes tronic elements of a high fidelity system on one
tapes had been played on Magnecorders at for the soggy sound, but I don't any more. well organized compact chassis. It was at once
WNYC, so all had been OK. But while I It was largely my fault. These are the
was away, WNYC bought some Ampexes weaknesses of any non-professional or semi- a sensitive AM-FM tuner, a flexible pream-
and without a thought to the consequences professional operation where standards are plifier and a powerful Ultra Linear amplifier_
blithely shifted my show over to one of made up as you go along and things are Each element was of the highest quality and
them. Because of the differing methods of worked out the hard way!
recording and playback equalization, my And as for speed, that, too, is a dangerous they were mated for optimum performance.
"Maggie" tapes came out of the Ampex thing. As with alignment, a tape made on a This was no glorified radio, but a system which
with a ghastly droop in the highs and an machine that plays at the wrong speed, or commanded the professional's respect. It had
apparently huge bass boost. that changes speed during recording, is very
So-combine the already bass-heavy voice likely to play back perfectly on the same just the number of operating controls neces-
recording from the ribbon mike with the machine. The changes cancel out. But just sary to perform all the good high fidelity func-
further bass-heavy reproduction due to mis- try a bit of editing-or play the tape on tions and everyone in the family could quickly
equalization in the playback and what came a different machine, and see what happens
out was a sound more like a sick walrus to your pitch. Professional tape recording understand and use it. The Festival made good
than a, well Canby. It was awful. I practi- has now pretty much licked the pitch prob- sense and it made wonderful sound.
cally crawled under the bed for shame. lem, even in Europe where, at first, trouble
It t60k atlother year or so (during which was rampant and music appeared on LP Thus a new kind of high fidelity instrument
we tried various bits of equalization at the records in all sorts of wrong keys and with was born, and the days of high fidelity ma-
station, with only partial success) before I sags and speedings-up that were sometimes
hit upon a fine solution to the equalization blood-curdling to a musical ear. No longer. chinery were numbered. Today there are fre-
problem. And, as fo1" the voice, I went But in any non-professional set-up, again, quent imitations of the Festival, and that's
back, but quick, to my Altec condenser the old tFouble is likely to reappear-and
mike which, most handily, had an optional you seldom discover it until too late. to its credit. We think you'll prefer the im-
40-cycle cut-off switch on it that neatly My remedies were severally simple, over proved original! !
removed whatever boominess remained some length of time.
when I got up close. A. Periodic cleaning and overhaul of the
I decided the thing to do was to have all tape machine, even though it seems to be in Write for FREE colorfully illustrated
my cakes and eat them too. I liked the fine condition. Makes all the difference. new Catalog #A-9.
Magnecorder for its easily managed editing, B. The use of a stroboscope, every so
with the tape lying flat on the open head, often, to check exact running speed under The Festival is a registered trade mark or:
the reels mounted vertically. For me, after operating conditions. Most tape recoFder
long practice, it was good. So I got some- firms will provide one for you.
body to rebuild its electronics to give me e. Mo.s t important-the new reels with
two equalizations. Magnecorder and Am- wide hubs. Users of lO-inch professional-
1;6U;'6',I kardon
INCORPORATED

pex. Just flip a switch. type reels need not worry. But if you still
520 Main St.
It took us some months to get things have some of the small-hub 7-inch reels
right, yvith test tapes flying down to around, stay clear of the last half-inch of Weslburlr, L. I., N. v.

AUDIO • SEPTEMBER, 1955 61

[Link]
[Link]
A new range tape, on any machine! I used such a reel,
without noticing, on my Ampex 600 the
other day. Sure enough, as the end of the '--CLASSIFIED-
tape approached, the music (from the play- Rates: lOe per word per Insertion for noncommercial
back head) began to flutter and squeal. The advertisements; 25¢ per word for commercial adver·
machine just isn't designed for the old reels. tisements. Rates are net, and no discounts will be
Fortunately, there are very few of them left allowed. Copy must be .ccompanled by rcmlltance In
nowadays. The large-hub 7-inch reel was full . and must reach the New York omce by the
a major innovation (along with the thinner first of the month preceding t he date of Issue.
tape that made it possible), improving speed
accuracy by a huge factor in a couple of
million existing tape recorders. I hate to 'rHE AUDIO EXCHANGE bas tbe largest
,;election of new and fu lly guaranteed nsed
think of the number of man-hours I wasted eCluipmen t. Catalog of used eqnipment on re-
thanks to th e old reel s, before I found out qu est. Audio Excb ange. Dept. AE. 159-19 Hill -
about them. side AVll .. Jamruca 32. N. Y. OL 8-0445
AUDIO EXCHANGE EXCHANGES AUDIO
* * * *
6-Eleme nt B"oad-Band FM antennas. All
Enough. This rambling account has seamless a luminum. $10.95 ppd. Wholesale
goaded a good many readers, I suspect, into Supply Co., Lunenburg 10, Mas '. '
fury at me for omitting the spicy details,
of PARTRIDGE (good and bad) of the Canby Home-Grown
Tape T echnique. For the edification of
25-50 % DISCOUNT. Factory-fresh gu aran-
teed LP records, 69¢ a nd up ; send 20¢ for
cata logue. SOUTHWEST RECO RD SALES.
amateurs and, even, a few professionals,
Line Transformers I'll go on in a future issue to present de-
tails, for what they're worth in entertain-
Dept, A. 11 08 Winbern, Houston. Texas.

AMPLIFIERS-HI-FI
Th;s new Partrid ge range of line trans- ment and education. Home-style or no, I 45 % 011' 40,000·cycle amplifier . r ecorders.
think some of the tricks of the trade are pian os, organs, accordians, typewl'i tel's. movie
formers is available in resio cast construe. eQ nipment, binocu lars, Amazing bargains!
worth describing. It's a great game. .\BELMART, 466 Belmont, Paterson 2. N. J ,
tion, and in a variety of colours. Full
specifica tion a nd detai ls ava il able on HIGH FIDELITY SPEAKERS REPAIRED
request. Amp l'ite i)peaker Se rvice, 70 \' e~ey St.. New
York 7. N. Y. BA 7-2580
• For d etails oj tlt e (l1, c,We (J1II1 ulh.'r
Partridge models, and nt1l111! of you r V AIUTYPING Compos ition. DSJ, IBM,
pa,te-u!1. ruled fo rms, advertis ing layo ut and
local distributor , writ,> to: technical matter in English and foreign lan-
l'nrLridge TransfO flllt:I"S L td~ guages , Catherine Rein, 874 B r oadway at 18tb
St .. New York. GRamercy 7-5720,
c/o B ri ti s h Elcc'tro lli (' Su ll's Co., lu c.,
23-03, 45Lh Rond, Long Is lund City 1, N.Y.
SALES-SWAP-SERVICE
PARTRIDGE TRANSFORMERS Sept. 23-24--Fifth Annual Fall Symposium 0 .11 a ll j'l'pes of n ew and u sed audio e~u i pment.
'ARGUS SERVICE COMPANY
get the hest out of good equipotent. of the LR.E. Professional Group on 235 Lyons Avenue _
PARTRIDGE TRANSFORMERS LTD Broadcast Transmission Systems, Ham- Newark, N. J. WAverly 3-3020
TOLWORTH , SUR R E Y, ENGLAND
ilton Hotel, \iVash ington, D. C.
I<'O l{ SALE: Pl'esto 166N overhpad I'ecording
mecbani sm 50 16-incb recording blauk~. 88A
Sept. 23-2S-Hi-Fi Home Music Show, r ecording amplifie r. RCA Velocity and Turner
lOIC micr opb ones. Fru r cbild 227 Tumtable.
Claremont Hotel, Berkeley, Calif. Hewlptt-Packard 4 00,\ voltmeter. All excellent
condition , Best ofl'el' over $500. Box CS-l.
cancer Sept. 30-0ct. 2-Third Annual High Fidel-
AUOlO,

ity Audio Show, NCAS, Sheraton-Palace BI'and New Rek-O-Knt B-12H, $98.95; Ped·
e rsen PRT-ILC P,'eamp , ~79.50. Box CS-2.
strikes Hotel, San Francisco, Calif. AUDIO.

FINE PHONOGRAPH RECORD S cut from

Sept. 30-0ct. 2-The 1955 High Fidelity you r fa,'orite tapes, Handy timing chart and
Show, Palmer House, Chicago. detail free. SOUND SERVICE ENGINEERS.
1778-A Fu l ton Ave. , East Meadow, L.I.. N.Y .

Oct. 3- S-N ational E lectronics Conference, SAL'ill : Western E lectric transformers. WE

H otel Sherman, Chicago. D-spec vertical r epr ou u cer with arm, UTC
LS t r ansformers. other Dnuiopbile items from
pe rsonal stock . ''I'm. Offenhause r, J roo New
('anaan. Conn.
Oct. 13-16--The Audio Fair and the Sev-
enth Annual Convention of the Audio BRAND NE'" Meissner Mode l 4DR di sc
Engineering Society; Hotel New Yorker, recorde r with 60 discs and Ampro tape re-
co rde r. Value ove r $350. Will se ll fO I' ~165.
New York City. ' R eim er 's, Fairview, Oklaboma.

RECORDINGS ON DISC from you ,' favorite

in Oct. 21-23-New 'E ngland High Fidelity
and M usic Show, Hotel Touraine, Bos-
or important tape. Professional res ul ts. on 33
LI' Microgroove loug lasting qua lity r ecords.
'''rite your r eq uirements and ot lle ,' data to
ton, Mass. NOWAK OPTICAL CO ., INC., 1105 Broadway.
BUl1'alo 12, N. Y.
Nov. 4-6-Philadelphia High Fidelity I NVENTIONS WANTED: We manufacture,
Show, Benjamin Franklin Hotel, Phila- marl,et and distribute new invent ions, pat-
delphia, Pa. A fifty-cent admission charge enteu or unpatenteu . Also national uistribu -
t ion of novelty lines. Founuers Produ cts Ltu.,
has been agreed upon to assure attendance Box 4853 Cleveland Park, Washington 8, D.C.
by an interested hi-fi conscious audience.
AUDIO CONSULTANTS for tbe Ran,as Clty
area. Specializing in tbe design and installa-
Nov. 3-6-First Mexican Audio Fair, Hotel tion of H il?h -Fidelity, sou nd and control sys-
tems. Fo ,' lllformation , write, wire or phone,
Reforma, Mexico City. For information,

I
of your friends Dona ld M. Walls, 3747 Eaton, Kansas City,
write Mario R. Aguilar, Lopez 43-301, Kan' as. P h one Johnson-7664.
give to

AMERICAN CANCER SOCIETY t Mexico 1, D . F.

Jan. 18-20-Canadian Audio Show, Wind-

sor Hotel, Montreal, Canada. Managing
Director, Emery Justus, 1022 Sherbrooke
Splices in a wink! NO SCI SSORS! NO
RAZOR BLADES !- with GIBSON GIRL
TAPE SPLICERS. Diagonal cuts tape enus
and trims splice edges witb tbe "Gibson Girl"
sba pc. lI10dei TS-4, $8.50 list. Mouel TS-4
Deluxe. $11.50 list. At your uellier or write;
ROBINS INDUSTRIES CORP., Dept AU
St. W. Montreal, P. Q, 41 -08 Rell Boule,' ard, Bayside 61, N. Y.

62 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 PROFESSIONAL • •
DIRE£:TOBY Simplify design and
The Bell & Howell Company, l ong
I\:no''' 11 as a l ea din g m a nufac tu re r of mo-
calculation
ti on pictu r!l eq ui pmen t . m a d e a n a u spi-
cio u s entr y into t h e hig h fi d e li t y fi e ld w ith
a press s h owing on A u g u st 25 . _
On hand to i ntr o duce t h e impresslve practical
new B&H radio-phonos were Frank Ben -
nett, V ice Presidellt i n Char ge of Engi-
n eerin g, w h o d esig ned t h e e lectr o nic p or- ELECTROACOUSTICS
ti on of t h e n ew un its, an d Howard Cu s h-
in g w h o is in charg-e of hig h- fi d e lity sal es. M. RETTINGER
Visitor s were deep l y i m p r essed with both
the so u nd and appearance of t h e variou s
mo d e ls on d isplay. T he showi n g took p lace
in t h e Manhattan penth o u se studios of The keynote of the book is UTIL-
Paul McCobb , n oted f u rniture d esign er,
w h o w as co m m issi on e d to d esig-n the cab- ITY in a practical coverage of the
in etr y of t h e new B&H h i-fi r adio-p h on os.
Hoste. s fo r t h e occasion was c h a r m in g rapidly developing field of electro-
Bett y Lyman, Assistan t D i rector of the
Be ll & Howell pub lic re lation s d e p a r t m e n t, acoustics.
w h o fl ew f r o m C hicago for t h e even t _
Electroacoustics 1S presented in
HIGH-FIDELITY HOUSE Mercury Record Corporation has a n -
no u nce d i ts en try in to the pho n ogr aph
and tap e r ecorder fie ld, a nd earl y i n S e p-
the light of the most recent develop-
Most complete stock of A.. dio ments. The modern methods and de-
tem b er began s hippi n g a com p lete line of
components in the West por tab le a nd hi-fi p h onog r a phs a nd t ape
r ecorde r R to d istri b u tors throu g h o u t the vices discussed in the book are those
Phone: RYan 1-8171 co untry. Accordin g to I rving B. Green ,
compan y president, t h e move is an i m- used at present in radio, sound-film
536 S. Fair Oaks, Pasadena I, Calif. pOl· tant step in Merc ury's previo u s l y an-
n o unced program of exp a n s i on a nd d i- recording, and allied arts.
versi fication. I n a n earlie r m ove, the
comp a -n y la un c h e d a w h o lly-owned s u b - Special emphasis is placed on the
s id ia r y r ecord la b e l, Wing Record s .
relatively new and promising field
'.r h e Wash in gton , D. C., d istric t offices of magnetic recording.
of Ampex Corporation h ave b een moved
to a n ew a ddress a t 8033 1 3th St., S ilver
S p r ing, M d . I n a nnounc ing the move, Many tables and curves show at
George 1. Long, Am p ex p reside nt ex-
p la ined t h at la r ger q u arters were n eceSS1- a glance the required quantities, re-
tated b y expan s i on of distri ct office acti vi-
ties an d the a ddi tion of n ew s t a ff m em- ducing calculations to a minimum.
bers. The Washington d istrict offi ce
pr ovides facilities fo r sales engineerin g The diagrams in the book are useful
an d service engineering p ersonne l f r o m
both A mpex product d ivis ion s, Audio a nd not only for lessening figure work
Instrumen tation .
but also for checking calculations
[Link] Industries Corporation, New arid illustrating relationships.
York , h as b r oad e n ed t h e Rco p e of t h e
high-fide lity p rodu c t s for w hic h it act s as
CANAlJA n ati on a l sal es agen ts with t h e a ddition CONTENTS-------,
of R i ver E d ge eq uip m e n t cabinets a nd
High Fidelity Equipment speal<er encl osures. In a nno unc in g t h e FOREWORD. MICROPHONES: Anecdo tal
Complete LInes • Com-p lete Serviet e n try of R iver E dge p roduc t s in to the History of Microphones-General Aspects
B I C fo ld, L eon a rd Cardune r, h ead of BIC, - TYl?es of Microphone - Microphone
HI-FI Records - Componenh state d t h a t t h e new op e r a tio n will be
and AcceBBorle. Techmque. LOUDS P E AKERS : Direct-Ra-
h a ndl e d by a c ompa n y fo rm !ld for the -diator Loudspeaker-Loudspeaker En-
s p ecific p ur pose, River Edge Sales Cor1)O- closures- Loudspeaker Cabinets- Corner
GLECTRO ...l)OICE ration. Henry She r w in of River Edge Xn-
dustries j o ine d wi th M r. Cardune r in an-
Cabinet for Loudspeakers-Horn Loud-
speakers- Directional Radiation- Damp-
SOUND SYSTEMS n oun c ing the n e w a ffilia tion . Sales p oli c ies
w ill p r evail w hi c h govern a ll other B I C
ing Loudspeaker-Cabinet Panels-Speiiker
~'I easurements-Speaker Distortio n. CIR-
141 DUNDAS ST_ WEST_ TORONTO, CANADA. p rodu cts, s u c h as Gar rard Reco rd C h a n g - CUITS : Constant-Resistance Crossover
e r s , W h a r f d a l e. Speak ers, R-J E n c l osu res Networks - Impedance-Measuring Net-
a nd Leak am pll fiers. works- Mixers. MAG NETIC STRUCTURES:
G eneral Aspects - Permanent ~'[ag nets.
PUBLIC-AoORESS SYSTEMS : Genera l As-
The Pentron Corporation h as e nte r e d pects - Outdoor Loudspeaker Output-
t h e fi e l d of pre-record ed tap es w it h its Power Requirements - Specificatio ns-
fi r s t recordi ng of "Mood s in M u s i c ," a Testing Public-Address System Installa-
15- m inu te dua l-track tape featuri n g L arr y tions-The J:lollywood Bowl Sound-Rein-
Paige an d H is orch estra. Reco rding s p eed forcement System- Loudspeaker lI-1atch-
is 7.5 i ps. Becau se the Pentr on tap es a r e ing . V IBRATIONS : Transients-Vibration
made sol e l y for play i ng on ta p e repro- I sola tion . ARCHITECTURAL ACOUSTICS:
du cer s , m u s i cal arran gers a r e g i ven w ~ d­ D ynamic Symmetry - Convex Wood
now av a'l labl e f or mag netic
est latitude in reali z in g t h e f ull potentla l Splays for Broadcast and Motion-Picture
lit " My lar &; Acetate T apes of tape as a recoydin g m e diu m_ Both ex- Studios-Recording Studios-Television
t r e m e hi g h s a nd l ows, as well as extr e m es Studios - Home Acoustics - Sound-Ab-
• A heat weld i n d y n amic ra n ge, p lay impor tant p a r ts sorptivity Measurements- Acoustic Meas-
• No Cement in t h e a rra n gem e n ts. Accordi ng to Irv in g urement Facilities. MAGNETIC RECORDING :
• No adhesives Ross m a n, Pen t r on p r e§ ide n t, t h e tap es Ring-Type Magnetic-Recording and Re-
w ill p e r -f o r m eq u a lly we ll o n a n y mak e _of producing Heads-Front Gap-Back Gap
. • • in seconds I ta p e r epr o ducer. Rec o rding was. d on e w ~ th -Alterna ting· Current Magnet ic Erase
Diagonal cut capable professiona l Dy n acord r ecord1l1 g eq UIp - Heads - Frequency Response - Experi-
of with standing :I m e n t. mental Results. ApPENDIX : Octaves-
pound !Jull Decibels, Volume Units, Dbm ve TSUS
Inaudlble with pla1l- Watts-Dbm v e TSU S Voltage-Bibliogra-
back amplifier gain at ph y-Index.
maWimrl1R
• A l so splices l eadet· to ---271 pages. 1955 • $10.00
any base magnet ic
tape without ad/w·
sives .
FIDELIVOX
Literature and Rample
'plice on requeRt! RECORDED TAPES Order your copy today from
THE L-O-N·G·E-S-T HOUR OF SOOTHING
CATHEDRAL ORGAN BACKGROUND MUSIC AUDIO
Moderate Cost • Mail Order • Free Details P. O. Box 629 Mineola, N. Y.
ELECTROSONIC, 7230 Clinton, Upper Darby 3, Pa.

AUDIO • SEPTEMBER. 1955 63

[Link]
[Link]
 /
," • ADVERTISING
/
IN DE X
You Are // /
•
Allied Radio Corp. . . . . . . . ... . . . . .... 45

Invited to//
Altec Lansing Corporation . .. . . . . .... 51
Ampex Corporation . . .. .......... 32, 33
Amplifier Corp. of America . . . .. . . ... 56
Audak Co . . ... . .... .. .. .... . .. . . ... 46
Audio Fair, The ... .. ... . .. . .. .. ... . 64
I Audiogersh Corporation .. ... .. . . . . ... 47

Bell Telephone Laboratories . . . .. . . ... 1"6

British Industries Corporation
facing p. I , 3, 31
Brush Electronics Company ... . . . . . .. 14

Audiarama 1955 p'resented by

Cabinart . . ....... . . . ........ . ... . . 37
Classified Advertisements . . ...• . . . .. . 62
Crestwood Tape Recorders ...... . .. .. 55

Electroson ic ... .. . . .. . . .. ... . ....... 63

Electro-Voice, Inc . . . . . . . .... . . . . Cover 4
THE' AUDIO FAIR Electro-Voice Sound Corporation .. .... 63

General Electric Company .. . .. . .•.... 43

Goodmans Industries, Ltd. 11
I
I Harman-Kardon , Inc . . . . ... .. . .. . •. .. 61
I Harvey Radio Co., Inc. ........ . .. • . .. 49
I Heath Co. . ...... .. . ... . . .. .. . . . ... 10

I
,
I COME SEE! COME HEAR! The largest
aggregation of high-fidelity equipment ever
High-Fidelity House ...... .. . . .......
Hi- Fidelity Inc . .......... .. ••.. , ... .
High Fidelity Recordings, Inc . . . . . .... .
Hollywood Electronics .. ...... . . .....
63
50
54
63
I displayed under one roof . .. presented by more
Hudson Radio & Television Corp. . . . . . . 60
Hughes Research and Development
I
,
Laboratories .. • • .. . .. .. ..• • ... .... 6
I than 125 manufacturer~ from all over the world. Hycor Co., Inc. .... .. ... . . . ... ..... . 2
Their re"presentatives will demonstrate the latest

,,
Jensen Manufacturing Company .... . .. 39
I developments in· the fast-moving audio hi-fi
Kierulff Sound Corp. ... .. . .... . ... .. 63
industry. At AUDIORAMA 1955, your questions Kingdom Products, Ltd . ... . . . .. . . . ... 56
I will be answered personally and authoritatively. Lansing, James B., Sound, Inc . . . . . . . . . 60
I Leonard Radio, Inc. . .. . .. ... ..... 52, 59
I AUDIORAMA 1955 is for music-lovers, bro~d.

,I cast engineers, sound-on-film men, military and

municipa! agencies, industrial purchasing
Marantz Company .. .. ... ... .... .. . . 50
Mendel Company . .. . . ... ..... • .. ... 15
Minnesota Mining and Mfg. Co. •• . .. . . 5
SPONSORED Mullard Overseas Ltd. .. . ... ... • . ... . 35
BY agents - for everybody interested in quality
National Company, Inc . . . . ... .. . Cover 2

Partridge Transformers, Ltd. . . . .. .... . 62

Pickering & Company, Inc. . .... ... . . . 13
Presto Recording Corporation .. . . . .. .. 41
Prestoseal Mfg. Corp. ...... ..•.. . . • . . 63
Pilot Radio Corp. .. ............ .. •.. . 4
Professional Directory . ... . ... . . .. . .. 63
NO ADMISS !I.O·N CHARGE
·Rauland-Borg Corporation . .. . ... .. . .. 44
FOUR DAyS ................. Oct. 13, 14,15,16 Reeves Equipment Corp. . .. . . .. ... . . . 58
Rek -O-Kut Company ... . .. .. ... Cover 3
FOUR FLOORS ................. 5th, 6th, 7th, 8th
Scheiber Organ Corporation . . .. ... .. . . 52
HOTEL NEW YORKER, New York City Scott, H. H. , Inc. .. . . .. . .... ....... . 9
Sherwood Electronic Laboratories, Inc. .. 1
Daily 1 to 10 P.M., Sun. 12 Noon to 6 P.M. Shure Brothers, Inc. .......... .... .. 53
Sonotone Corporation ... .. . .. •. . .. . . 7
AUDIORAMA 1955 is presented by THE AUDIO FAIR
Harry N. Reizes, Director of Audio Fairs, 67 W. 44th St., N. Y. T annoy (Canada) Lim ited .......... . . 57
Tung-Sol Electric, Inc. . ... ... . . . . •.. .. 8
An AUDIO FAIR-VIDEO FAIR, Inc., Management Praiect
University Loudspeakers. Inc . . . .. . . .. . 29
1- - _________._.___._________________ ~

64 AUDIO • SEPTEMBER, 1955

[Link]
[Link]
 NO
there are REK-O-KUT

-.J r.
2-Speed 12-lnch Turntables

The Model L-34 was originally

introduced to meet the specific
demand for a moderately p7'iced,
high quality 2-speed turntable,
The idea was an immediate success.
The response was overwhelming.

Mod •• L-S?
78 and 33~ rpm

In no time at all, a new clamour

M~d.' L .....
arose for a new 2-speed job that would
45 and 33% rpm handle 78 and 33 1/3 rpm. To meet this,
we developed the new Model L-37. Now you can
fullfill any 2-speed requirement with a Rondine Jr.
-the Model L-34 for 33IJ3 and 45 rpm records
or the Model L-37 for 33IJ3 and 78 rpm records
... each priced at *49 95

See them both at your Sound Dealer REK-O-KUT COMPANY

or write for details to Dept. KJ-l. Makers of Fine Recording and Playback Equipment
Engineered for the Studio • Designed for the Home
38-01 Queens Boulevard, Long Island City I, ·New York

[Link]
[Link]
 RES PONSE, R UGGEDNESS and VERSATILITY
Engineers and Mariageme·n t both want

Serving Stations Coast to Coast

PAY-IN AND DAY-OUT
,. You're ahead in every feature when you use Electro-
•1. ./ ", p ~•
... Voice Microphones. For the engineer . . . this means
easier, better set-ups; high sensitivity; high signal-
to-noise ratio; stable, wide-range reproduction;
trouble-free operation; utmost versatility and con-
vedience. For management . . . this means positive
performance; more in-service, less out-of-service
time; greater economy.
All models have the exclusive E-V indestructible
Acoustalloy diaphragm. Sliro-Trim models also
have integral blast and wind shield. No closely as-
sociated auxiliary amplifier equipment is required .
.Each microphone is guaranteed to be within its
very close tolerance specifications. In addition;"'E-V
Profenlonal manufactures a full line of accessory microphones
Microphones for intercom, paging and utility applications.
fOJ TV
and BC

Send (or
newTV& Be
Microphone
Catalog 118

Model 666. Variable 0 * Card ioid . Response 40 to 15,000 cps.

Output level - 55 db. Provides higl:1 front-to- back discrimination .
No proximity effects. TV gray. W eighs only 11 oz . ....
List Price . . . . . .... .... .. .......................... $245.
Model 6 55C. New Slim-Trim. Response 40 to 20,000 cps . Output
level -55 db . Omnid irectional . Easily concealed In studio props.
TV gray. I -in. diam. List Pri ce • •• ••• •• • • •••••• • •••• •• $200.
Model 6 54. Slim-Trim . Response 50 t o 15,000 cps . Output level
-55 db . Omnidirectional. Impedance selector. TV gray. I-In.
diam . List Price ...................... .. ............. $95.
Model 646. Lavalier-t ype . Response 40 t o 10,000 cps. Adjustable
for chest use. Output level -55 db. Omnidirectional. TV gray.
I-In. diam. Weighs only 7 oz . List Price •• • •••••••••••• $140.
Model 665. Variable 0 * Cardioid. Response 50to 14,OOOcps. Out-
put lev I -55 db . Unidirectional. Impedance selector. TV gray.
List Price . .. ...................................... $130.
Model .'f>SO. Response 40 to 15,000 cps . Output level -48 db.
OmniC![Link]. Oual-type external shock mount. Impedance
selector. TV gray or satin chrome. List Price .••••••••• $150.
Model 635. "Workhorse" of the Industry. Omnidirectional.
Respo nse 60 to 13,000 C:ps. Output level -55 db. Impedance
selector . TV gray or satin chrome. List Price ••••••• •• • • $75.

FULL PROFESSIONAL DISCOUNT APPLIES

·E-V Pat. Pend .

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