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Additionally, if your gorilla manages to color all four corner boxes, the warriors turn into chickens and the gorilla can get bonus points for in- tercepting them. After about five seconds and warning sounds, the chickens again become warriors and pursue your gorilla. Screen two is an identical maze, only this time you control a paint roller, while five pigs chase you; they look like tiny piggy banks in this version.
The objective is the same on this screen — color the maze. The difficulty level is the same — it increases only after every gorilla - paint-roller round. Successful comple- tion starts you back on the first screen with six faster warriors. What I don't see from the arcade ver- sion is the gorilla picking up coconuts along the maze in screen one.
In the second screen of the arcade version, the roller turns ninety degrees for horizontal painting — no such luck in the home ver- sion, because of the limited capabilities of the Also, in the arcade version the paint roller screen is a lot tougher, be- cause only blank squares adjacent to col- ored squares can be painted; the paint has to roll continuously around a square in- stead of leaving the haphazard trails that were permissible in the first screen.
Park- er's Amidar, however, is not so sophisti- cated. To the game's credit, I get frustrated sometimes when I've colored the fourth comer under pressure from the warriors. I expect an instantaneous switch from war- rior to chicken, but there is often a delay of a second or so — disastrous for my poor gorilla. Yet on other occasions, squares fill in immediately. The game's graphics are crisp for the and free from the serious Atari Pac-Man-carlndge flicker problems, even though there are more moving objects on the screen.
The sound, however, is somewhat dull, parti- cularly compared with the subtle, tension-building background music of the original. Amidar may be fine for a light action game, but don't expect the glitter of an arcade jewel. In the January issue of Radio- Electronics, Dr.
Harold W. Milnes claims that his experiments have shown that electric waves move over wire with velocities exceed- ing o— the speed of light. It is not my purpose here to argue about the theoretical aspects of his article; neither will I take the space to show some flawed assumptions— such as the negligence of the inductions of his giant loop, etc.
If we want to compare the velocity of light propagation c with the velocity of propagation of an electrical wavefront along a wire or a transmission line, then an experimental arrangement should be— and can be— devised to let the one "race" against the other. A most appropriate experimental setup— which, I agree, cannot be devised on the cheap — is to initiate an electrical wave as a result of a light wave.
Needed equipment and that is where the cost comes in : A collimated light source with remote control over a shielded wire by means of a pushbutton switch; a straight stretch of twin lead ohm transmission about meters long; two photodiodes — with identical characteristics no photo transistors — they are too slow for the experiment ; appropriate biasing battereis and "pots" for the diodes — also ohm termination resistances for each diode.
Now, the most expensive item: a two-channel, high-frequency scope with "storage" feature. The setup: Connect the ohm ter- minated transmission line to "channel A" of the scope with one photo diode at the "far end" properly biased to threshold forward conduction. Connect the other photo diode to the input "channel B". Align the two diodes with the collimated light source, so that the light will "hit" the diode of channel A first.
Use the pushbutton also to trigger off the horizontal sweep of the scope. Incidentally, to be able to distinguish the output of the two diodes, one might like to have the one connected in the opposite- polarity sense with respect to the other. That is easy, because we have two independent bias batteries. After proper arrangements are made, take care that no stray light hits either diode.
Wait until dark, for example. Now, the experiment: Push the button brief- ly to obtain a light flash. The light wavefront will hit the "far" diode first and then the one of channel B about Va microsecond later. The electrical wave front set off by the first photo diode meanwhile has traveled the distance toward the scope, but along wire. The posi- tion difference between the two vertical lines of the scope will tell you which one traveled faster than the other.
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In Canada call and ask for Operator These numbers are for orders only. Money order. Or charge to Mastercard Expiry Signature. In addition! RE6 ductance in each diode is small, but since both diodes are identical, the experiment will just cancel that possible excuse out and be totally honest. Incidentally, good photodiodes are made by many first-class semiconductor houses: There is Motorola's MRD or Hewlett Packard's HPQ, If all that is a little too expensive for your taste, there is a less comprehensive way of testing the theory: Take a crystal -control led MHz generator pure sinewave is re- quired and launch a standing wave on about 1 20 meters of transmission line by having first an open line and then a shorted line.
With a very loosely coupled detector, count the num- ber of minima nulls. You should find two nulls per wavelength. If the number of nulls along the meter stretch is less than eight, v would have to be larger than c. Good Luck! Microprocessors are, indeed. However, especially in today's fast-moving world of the article is already slightly obsolete in what it refers to as "state-of-the-art.
That single integrated circuit also features improved output ratings 50 volts and mA. Alternatively, if even higher output ratings are required, the drivers and diodes can be replaced with a single device from the Series ULNA tor ratings to 95 volts, or with two devices from the Series UDNB for rating to 1. They were de- veloped by Dr.
Larry Jones, professor of electronics-engineering technology, and are designed for students who have a basic un- derstanding of electronics. They go on to in- troduce students to theories needed to un- derstand and implement specific applications using the technology.
The courses. Admission requirements apply only to students who are working toward an OSU degree. These "learn-by-doing" courses are offered for year-round enrollment, and each consists of written assignments and two proctored exams. Students may go from enrollment to completion in their own home- towns; the materials are sent by insured, re- turn mail when the course applications are received. The exams may be proctored by an approved examiner in the enrollee's locale.
The courses are designed around a sylla- bus, the learner's guide to the course in- formation. Those guides serve much the same purpose as a professor's classroom lecture and are designed to supplement the course textbook. Of interest to career professionals may be the special reduced-tuition rate available to persons who need the information in the courses, but do not want college credit.
They may submit the written assignments only and omit the proctored exams; upon successful completion of the course, students selecting that option will be awarded a Certificate of Completion appropriate for framing. For more information on either of the courses, write Independent and Correspond- ence Study. Stillwater, OK, — or call Be sure to specify the course for which information is wanted.
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It's free, Just write. Say you want to take a good look at VACO. Vaco Products Company, 1 51 Skokie Blvd. FEW PEO- ple took time to worry about custom- tailoring the sound of their sound systems or enhancing recordings made with those systems. Actually, there wasn't really any choice, because equipment for fine-tuning frequency re- sponse was not readily available. But times changed, tastes grew more sophisti- cated, stereo equipment improved, and people wanted better performance.
Also, there was a growing awareness that everything in the listening area had an influence on the quality of the sound that could be obtained. Rugs, furniture, walls, ceiling height, and speaker place- ment all had their effects — often detri- mental. To overcome those obstacles, something was needed. What was needed was not a new de- vice. Rather, it was one that had been around for years in the professional audio industry — the equalizer, a device for boosting or cutting frequency response at a number of points in the audio spectrum to obtain the best response under a given set of conditions.
No matter what your requirements in interconnection products, we have just what vnu am lnnkine for. And best of all.. Your Single Source A P makes hundreds of electronic circuit and rainbow in a wide range of wk-. So sensationally low-priced it won't put a "crimp" in your budget. A P has it all for you! ON CAR processing devices used in the pro- fessional recording studio. At first, equalizers were expensive affairs, but quality equalizers for the home became available at modest prices, and they were then readily adopted by owners of stereo equipment.
One example of a high quality, low priced equalizer is the S Worth, TX It is gives you control over the frequency response of your stereo system in ten frequency bands per channel. There are twenty frequency slide- controls ten per channel on the front panel. They are used to vary the frequen- cy response at 31, 62, , , , , You may wonder why you would need an equalizer when you already have bass and treble controls on your stereo amplifier.
Well , those controls can have too much of an effect. Say, for example, that you move your speakers from a shelf to a stand on the floor. As a result, you may find that the bass response below 1 00 Hz drops. If you were to turn up the bass control on your amplifier, you would not only increase the response below Hz, but you might increase the response up to several hundred Hz, resulting in an un- Books from Texas Instruments For a basic understanding of today's technology Basic Electricity Series: From simple concepts to com- plex circuits.
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Check your choice on the coupon. OR Foreign orders must tie in U. Ship to: City. Prices subiecl lo change wilhDul notice. RE wanted "muddy" sound. The equalizer can be adjusted to compensate only for the loss of the lower bass while leaving the response in the middle-bass range un- touched. The equalizer can be used not only to compensate for the acoustics of the listen- ing area, but can also enhance and im- prove recordings you make.
It can get rid of high-frequency distortion, while add- ing the bass needed in some instances. For example, you may have had the expe- rience of making a cassette tape that sounded good on your home system, but that sounded awful when you listened to it on another one, such as a cassette player in an automobile. With an equalizer, you can compensate for the car's acoustics when you make the tape.
You can also compensate for the quali- ty of the source material that you are recording — an old scratchy record for ex- ample. By decreasing the high-frequency response you can stop much of the hiss and scratches from showing up on the recording. Setting up the unit In a typical home system, an equalizer is placed in the tape loop of the amplifier.
Then, the equalizer can be used to process the signal from the amplifier that will be recorded or listened to. That amplified signal can be from any source — a phono cartridge, a tuner, or even a tape deck. Let's sec how that's done. The various ways that the equalizer can be used depends upon the settings of the bypass, tape mon tape monitor , and eq rf,c equalization record buttons on the unit.
For instance, depending on how you set the eq rec button, you can use the device to equalize the signals fed to your amplifier while leaving the signal to your tape deck untouched, or you can equalize both the signals to be amplified and re- corded.
Using the tape mon button, you can equalize program material that is being played back on your deck. If you press both the eq rec and tape mon buttons, you will then be able to hear the equalized signals that are being recorded. Of course, if you have a three-head deck, you will be able to listen to the actual recorded equalized signals.
In those ways you can compensate for problems with the source material such as hiss and scratches on old records as you make the recording. When the bypass button is pressed in, it as you might expect disconnects the equalizer from the system.
You cannot equalize any signals in that mode, but the tape mon switch will still function and allow you to listen to your tape deck. A and CH. The zero-gain controls are used be- cause after equalization, the output signal levels may be higher or lower than the original input to the equalizer.
The zero- gain controls must be used to restore the level of the original signals. The two large knobs are located on the front right of the panel and above each knob are three LED's. Those LED's serve as indicators for the correct levels — whether the level is too high, too low, or "zero. Now that we know what is on the brushed-aluminum front panel, let's take a look at what's contained on the flat- black rear panel. That panel houses the unit's input and output connectors. An unswitched.
AC convenience outlet is also included. The intermodulation distortion of the equalizer is specified as 0. Hum and noise are 80 dB down at 0. Bench testing confirmed that those figures were accu- rate to within 5 percent. Overall, the Realistic Wide Range Fre- quency Equalizer was easy to use, but required a great deal of experimentation to get the most out of it.
The instruction manual gives a few pointers to help make understanding the control settings easier. It includes a chart showing the approx- imate frequency ranges for some musical instruments and for male and female voices.
Granted, each audio enthusiast's tastes are different, as is each listening area, but the owner's manual had few actual user-hints about initial settings. However, the manual was very strong on theory of operation, perhaps under the assumption that it would aid the begin- ning user. The setup pictorials were clear and straightforward.
Once the familiarization process was over, the equalizer became a welcome addition to my audio system. Sound reproduction from records and tapes be- came much more realistic and lifelike, with basses enhanced and the top ranges sharper and clearer. The same was true of recordings I made. Its performance is good and it will make a welcome addition to anyone's system. Although the novice user may be a bit confused by some shortcomings of the documentation, that confusion should be short-lived and easily overcome with a bit of experimentation.
Not that micros were ever ikat large , but they have now come down from tabletop size to pocket size. First run and classic movies, sports, specials, childrens shows and night club acts. Super stations from New York, Atlanta and Chicago. Adult films. Channels dedicated to health, medicine, science, religion, news, weather, financial information and live coverage of congress.
Some areas do require larger antennas to view all channels. Systems are available for ground or roof mounting with antennas constructed of aluminum, fiberglass or plastic. Optional equipment includes programable antenna positioners, wireless remote control and stereo. Most people who purchase our systems do their own installations. You need no special tools or skills. Instructions, aiming coordinates and alignment instruments are provided with each system shipped. Just in case there is any part of the procedure not perfectly clear, we have a technical staff standing by on our TOLL FREE line to answer any questions that you may have.
What a great feeling! Shipping is done by motor freight and UPS, depending on size and weight. Our shipping staff is alert and efficient, assuring you quick,complete shipments at the lowest possible cost. We at TRITON would be pleased to discuss dealership opportunities with the established satellite dealer as well as those who are thinking about selling satellite equipment.
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Sorry, no charge cards on dealer sales. All systems and components carry a full one year warranty. Now you can measure re- sistance down lo 10 milHO'hms with Ihis low cost, easy to use DVM Module Check coil resistance, Transformers relays, chokes, printed circuit board copper paths and ground cables.
Special ie«c balance control nulls out input cable resistance to ensure accurate readings. Requires a 9 Vail battery not included]. Lo Range LEDs ensure fast accurate readngs. Box New Haven. Address City. Pay via ciedi! S bank only. I'm at work surfing around your blog from my new apple iphone!
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You will be startled, and gratified, by this superb, completely up-to-date record-playing component made possible only by the unexcelled facilities and unique experience of the Garrard Laboratories. For literature, write Dept. Pey ton, Ltd. Ca, Lid. The extended range and increased effi- ciency of the low frequency unit make it ideal for use in relatively small enclosures, whilst still maintaining the "presence" of unrestricted sound.
This, combined with i he fully integrated sound source of the 'Monitor" Dual Concentric, makes it es- pecially suitable for stereophonic re- production.
Although there have been interesting ehanges in the audio field since the incep- tion of "Audioelinic'' in November, , there is one area which does not change. At that tiniCj most of the music systems described by my correspondents were mono- phonic units — known then as monaural systems. Stereo records were not then in common use although there were some stereo recorded tapes — known as prere- corded tapes.
Obviously, then, the majority of requests for advice addressed to "Audioclinic" were concerned with the components which com- prise a ''monaural" system and the uses of eueh. During and since the transition to stereo diaesj 4- track recorded tapes aud tin ally, multiplex broadcasting, the nature of the information requested of "Audio clinic" has changed. Today most questions deal with stereo and the techniques by which stereo U reproduced, together with roqnests for information about specific work each com- ponent perforins in a stereo system.
The other regulars on the staff of Audio go into these topics in greater detail, and I shall not do so here. Rather, I think there are other points which should be mentioned which more specifically relate to "Audio- clinic.
This element is common to all of you whether you are a "do-it-yourself" enthusi- ast who wants to experiment, or a music listener who simply wants the optimum per- formance from existing components. Prom the very beginning of this column, I have received many letters prefaced by the statement that the questions being asked are probably stupid, but would I an- swer them anyway. An analysis of these letters shows that they are not at all stupid hut rather well-phrased and intelligent questions.
They reflect only a lack of back- ground in the field of sound reproduction. However, to gain this background, it is really necessary to probe into the subject — and the quickest way to probe is to ask questions of someone who has more under- standing of the subject than themselves. Answering this kind of letter is just as important as answering letters from those who are well-informed and wish more subtle types of information.
Whatever you do, keep on writing. Many of the letters received by "Audio- clinic" have expressed confidence in the column. I thank you. Only by your com- ments can I ever know whether I am getting across to you.
On the reverse side of the coin, I have received some negative opinions of my work with "Audioelinic". These criticisms have usually been of a helpful nature and have been so received. The readers who were thoughtful enough to send them to me know my sineere feelings as expressed to them personally by letter.
Therefore, please keep your questions, suggestions, and comments coming, they are all important to me in making "Audio- clinic" serve you better in the years ahead. As many of you know, I acknowledge all mail, regardless of its suitability for use in "Audioelinic". Audio was and remains today jhe tech- nical review which audio specialists the world over consult as their basic guide.
Whatever its philosophical justification! Audio is fifteen years old. Audio has served us as a guide for fifteen years. Good luck, Audio, to you ;tnd to all those who contributed toward giving you your international fame. May you continue to guide us often during the next fifteen 3 r ears. Abrasive action of ordinary tapes causes recorder head wear And several mils of wear can open the tiny head gap below by a few thousandths of an inch— cut frequency response as much as a full octave!
How to keep your head in 4-track stereo! They deserve the exclusive protection of Silicone lubri- cation that's available only in ' Scotch" it hand Recording Tapes and lasts the lifetime; of the tape. Silicone lubrication not only protects against wear — it extends tape life, eliminates chance of squeal by assuring smooth tape travel! Silicone lubrication is impregnated throughout the oxide coaling of all "Scotch" Recording Tapes.
It's completely clean and dry — nothing gummy to attract rust or clog head gap. High-potency oxides make possible thinner, more flexible coatings that ensure intimate head- to- tape contact for maximum frequency response, wide dynamic range, sharp resolution. Precise hacking and coaling thicknesses assure identical recording properties inch after inch t reel after reel.
So 16 help ensure the lasting fine sound of your equipment 4, 2 or full track we suggest play the favorite "Scotch" bkand! Paul 1, Minn.
The upward power s urge has spent itself and given place, to reason, feedback went to siUy extremes and has come into sensible perspective, we have had various tests go through vog u e s — inter m o du 1 a ti on , squa r e - w a v e , tone burst, and so on. And, on the whole, audio seems to have grown up. Power, Power, Power On the power quest ion, at one time the attitude was, the mere power the better. Three factors seem to have eventually got this under control: first, the observa- tion that the extra power did not pro- duce a commensurate improvement in performance; second, too much power could prove costly in terms of burnt-out voice coils; and third, the advent of stereo really tamed the power urge.
Before stereo some of us can still re- member that! Now he can hear them by use of separation. This probably explains why the use of stereo channels makes the vol- ume seem louder with less total watts in the room ; a fact which enables adequate loudness to be obtained in our own room, without producing too much unwanted sound in the next block! Fifteen years ago, the argument called "triodes vs, pentodes" was still raging bitterly — lets hope it's dead by now!
Be- fore feedback, triodes undoubtedly had it for quality, pentodes for noise. But the advent of feedback and the variety of output circuits, ultra - linear, unity - coupled both kinds with their permu- tations and combinations, have changed all that Nowndaj'. Feedback Feedback was at first seized as a cure- all At the very first, not much was used, because the phase shift of early ampli- iiers would not allow more than a very few db.
AKG, uniting the talents of Europe's most: progressive acoustical engineers and musicians, has consistently contributed the most mean- ingful advances in microphones and headphones.
Unique in their variety and quality, AKG products have been welcomed warmly by broadcast, recording, and acoustical engineers, nnd by perceptive amateurs, the world around. Baffling of. Sounds good in print? Now, how deep does this quality go? First, feci the solidity and balance. Then note the Serial Number.
Your curve is available at a s'ight charge. The housing is machined; sensitive elements are shock -mounted. The diaphragm is individually centered by machine screws. The whole AKG factory is a "white area''. Quality control is strict and continuous from drawing board and raw materials to the final dog-tag performance test and packing. Just plug it in and hear for yourself. Built for 20, hours of service, D 19 B can be depended on for vears to come.
Dealer or write to Electronic Applications. In Canada; Eberdt Co. In re- tracing the audio developments of the past decade-aud-a-half in the field of light en- tertainment, I found myself stopping at many unexpected places in he road.
The interesting discoveries materialized in the LP discs of the late Forties and early Fifties when I played them with a modern mono cartridge. In these days of bulging record catalogs, it's amazing to reeall how little the early reader of Audio had to work with in com- mercial releases. Fifteen years ago, the rpm record was reaching its climax in the classical field thanks, iu large part, to the efforts of London jjrr but the popu- lar and show albums of that day were rais- ing few temperatures.
Those record fans whose heels were in good enough condition, found an element of glamour in patroniz- ing the import shops. A beautifully made 11MV 78 b ' a little-known chap named George Melachrino was a typical prize.
Heard on today's equipment, most import items still sound impressively flat and clean within their far from inconsiderable range. At that time, the guiding spirits of the small handful of domestic labels found it hard to believe that anyone eould be seri- ously interested in the audio quality of their product.
It took the development of the long-play microgroove disc in the late Forties to open the door to new labels that actually believed in the existence of lis- teners such as those found in the mailing lists of this magazine. Yet the high-fidelity movement of the Fifties was no great aur- prise to the readers of Audio.
Most of them were already familiar with the better sound assured in the specs of components such as amplifiers, ribbon mikes, and theatre speak- ers. The decade of the Fifties has been an important one because it brought into the home recordings that were worthy of play- back on an experimenter's best components. My particular vantage point in broad- easting provided a few advantages during the past fifteen years that were not readily available to the average discophile.
I heard just about everything issued by the record- ing i n d us try on studio eq u ip m en t m ai n - tallied in consistently good working order.
This gave me a day-by-day reference check on the performance of my own home music system. If a fault showed up in my play- back gear, I resisted the temptation to blame the recording. There were sound effect li- braries still in existence but these were not available to the general public at the corner record shop. As a matter of fact, you had to be pretty clever to find the Columbia heartbeat record because it was listed under "Miscellaneous Collections— Classical.
Many albums of light music wore mere transfers from 7S"h. Vir- tually all of the albums were issued on inch LP. Bing Crosby dominated the scene with twenty- five albums. The total num- ber of his albums was to reach fifty by Al J olson, almost forgotten by the present generation of record buyer sj had live albums in the catalog in In mood music, Paul Weston was deeply entrenched with seven album y.
The foreign contingent among the mood makers had already estab- lished a foothold. At the turn of the dec- ade. A year or so later, Mantovani was to hit the big time with his "sweeping strings" arrangement of 4l Chnrmainc" — first as a single, then as part oi an album. The ten-inch format then prevalent in the trade undoubtedly had a lot to do with the solid success Of light music on microgroove. In prediscount days, prom- inent labels such as Capitol, Colum- bia.
The average quota of tunes was eight to an album. The customer gen- erally got good value because the industry was recording mostly top-drawer music in building its catalogs, It took the smart; boys in the marketing departments, three of four years to figure out ways to pad a pop album with four more tunes and sell it in the higher-priced twelve-inch format.
In , the "Original Broadway Cast" album was already top dog in earnings in tlrn light, field. The big shows, to no one's surprise, were available only on twelve- inch disc. Eliot's "Cocktail Party. The idea of a long playing record was never to be questioned in the industry after the sales figures of these two albums wnre tallied at the end of their first six months on the market Such albums also encouraged a lot of independent producers to come into the burgeoning record business with labels of their own.
Because distribution was a real problem for the early indies, some of these labels were to disappear in a few years. On the other hand, many labels well known today weren't in existence in I IfOokin'G uack at the roster of labels ac- tive during that year, perhaps the most significant name missing from the list is that of Emory Cook.
During the Fall of , Cook was busy prowling the yards and trackage of the New York Central Railroad with top-grade recording equip- ment and a gleam iu his eye that probably went unnoticed by the train crews with whom he came in contact. By the time he finished his rounds, appointed and other- wise.
Cook, had a recording that way to shake most of the recording industry out of its lethargy and 9tart the high-fidelity era we still have with us today. His ten- inch disc called "Rail Dynamics'' was the first widely-distributed commercial record f. Most of m realized at the time that much of the suc- cess of "Rail Dynamics" Cook was traceable to the feedback cutter used in getting all of that sound into the grooves of the record.
As the years passed by and playback equipment underwent gradual im- provement, it became obvious that ovory hing that went into the making of the early Cook records was of a quality years ahead of its time. Of all the train sounds on this disc H the most impressive ore today is the fabu huis impact of steam transients recorded at very close range. For example, "Music Boxes of Long Ago" Cook still rivals in range and clarity anything else on the subject in the catalog today.
The Carl oil M on toy a Flamenco sessions were, and still are, models of that type of recording. For tnie presence on closeup mono recording of voices, the Trio Leones of Cabrito recorded on location in a restau- rant south of the border is a unique docu- ment in any collection. The value of these wordings transcends ":he immediate pleas nre they provided in the audio salons or the listener's home. When demonstrated on goud equipment, the Cook recordings pro- vided the first effective argument that eouhl be used in attempting to convince the major labels that their records eouid be improved in quality of sound.
There are 7 better reasons for choosing the Fisher B integrated stereo receiver. Just connect a pair of speakers and it's ready to play' 2. Ultrasophisticated wide band FM Multiplex circuitry, with 0. Master control-preamplifier section of grand-organ versatility and simplicity. Magnificent styling, with architectural brass-finish control panel and beautifully finished walnut or mahogany cabinet.
The Fisher name. No comment necessary. Write for the 19S2 Fisher Handbook, a page illustrated reference guide, idea book and component catalogue for custom stereo installations.
Mama Address. This handcrafted Swedish stereo tape recorder is designed for simple trouble free opera- tion whether you use it for recording Handel in stereo multiplex or Junior monanrally. U the best Audio dealer in your village doesn't handle this electronic gem. HE is on the way up! Cook was not the only label nudging the big outfits in the early Fifties. Peter Rartok, Van- guard, Westminster Mantilla, EMS, Eso- teric, and Mercury were labels doing ex- cellent pioneer work but most of their efforts were devoted to classical music.
All of these companies were active in but in tbc Spring of that year only one label was competing with Cook in the production of sounds on records. That outfit was Folk- ways. It is true that ingredients of more than average expense went into the production of these pressings but the price was also based on the assumption that the owner of a high-performance sound system would be willing to pay that price for unusual pro- gram material; and pay it he did.
A inkN" even more expensive proposition was set before the record buyer when ill nor 3' Cook introduced his version of the stereo record in the early Fifties. Called "bi- naural'' records by some, these discs had half the playing time of conventional mono records hecauso ckannal A occupied half of the record and channel B the other half.
The two mono pickups invariably Pickerings whenever Cook demonstrated the system were mounted on a dual arm that engaged the two bands simultaneously This technique offered all the separation yon wanted in the full range of sound then available on mono disc. The Achilles heel of the system, however turned out to be something that was quite unrelated to the cost in terms of playing time per record side.
I never expect to live through a more harrowing hour than that one in two -channel broadcasting. On the afternoon of the broadcast, Emory Cook brought down from Stamford, Conn, the table and dual arm he had been using in his demonstrations. The studio engi- neer rehearsed those two arms for several hours before air time and then managed to broadcast all six records successfully by patiently cueing and re cueing each pair of bands until they were working in unison.
At the end of the broadcast the man was a shambles and Emory possibly hud begun to entertain his first doubts about the future of dual-arm stereo. In comparison, two- track stereo tapes, when they came along a few years later, seemed like child's play.
Channel balance and distortion varied from one release to another but the process itself was manage- able. The early duplicating process did not lend itself to the standards of quality control then possible in the manufacture of discs. As usual, the lighter releases on two- track stereo tape escaped the problem that has always plagued classi- cal recordings. There is stiU a great deal to be said for the sound quality of a really good large speaker system, one of which is University's new Classic Mark II.
In operation, the Classic Mark II handles low frequencies up to cps through a inch high-compliance woofer that is installed in a ducted-port cabinet. The bulk of musical program content, however, is handled by an 8-inch mid-range speaker, which covers from to 3, cps.
Above 3, cps, a Sphericon super tweeter takes over. The measured indoor frequency response of the Classic Mark II was remarkably uni- form. As a rule, such response curves are so far from flat that I do not attempt to correct them for the slight irregularities of the micro- phone's response.
However, the measurements for the Classic Mark II prompted me to plot the microphone response also. This further emphasizes the uniformity of the system's frequency response. A 5-db increase in the setting of the tweeter-level control would probably have brought the range above 3, cps into nearly exact conformity with the microphone-calibration curve. The low-frequency distorlion of the woofer, even at a watt input level, was very low, and it actually decreased at 20 cps, where the output was beginning to rise.
Any good amplifier of 10 watts rating or better should be able to drive it satisfactorily. In listening tests, the Classic Mark II sounded very clean. The speaker sounded at its best to my ears at moderate listening levels. At high levels the bass tended to be overpowering. A different listening room, of course, could easily alter this situation com- pletely.
Over-all, the sound was beautifully balanced, with wide dispersion and a feeling of exceptional ease. There was never a hint that three separate speakers were operating; the sound seemed to emanate from a large, unified source. In my opinion the University Classic Mark II justifies the substantial claims that its man- ufacturer has made for it.
It is one of a limited group of speakers to which I would give an unqualified topnotch rating. Kens ico Ave. Canby has decided to con- centrate on our 5th anniversary which we seem to have neglected edito- rially — Ed.
Banner Year As I look back on that Fifth Anniver- sary year, I'm amazed — it was a time of feverish activity in the entire sound world with hi-fi as wc know it today, in all its aspects, just about ready to burst wide open. It was a time when developments came faster than you could keep track, when controversies raged with enthusiasm over matters now long yincc settled and forgotten. It was, that year, a time of free-wheeling free-thinking as to hi-fi standards — and an equally free-wheeling tolerance on the part of the hi-li audience.
Anything went. And it was in that year the LP record real ly to ok o ff in re spec t to qu a li ty o f sound, thereby at last giving the audiophile something to play on Lis rig. It's this that interests mc most about So I've spent an absorbing time, just now, doing what I never do ordinarily, going back with a new purpose over a group of real old LP records, straight out of the period.
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