Is 'Big Brother' Taping You? ;tape...When Stan Kenton lends an ear, it's a critical ear. So a tape recorder had better be good if it's to keep com-pany with a perfectionist like Kenton

Is 'Big Brother' Taping You?

;tapeRECORDING U A R Y 50¢

IMMORTPISONGS 8

COLE ARLENHAROLD

BERLINIRVING B

ERSNwINOaGMEOW LOEWE

RICHARDRDDGERS

AND OTHERS

$1.00Who says Christmas is over? It isn't-not whenyou can get a superb recorded tape for a frac-tion of its actual cost just for trying a 7" reel ofDouble Recording Audiotape on Tempered"Mylar." (A great tape in itself: double lengthplus double strength.) Just buy a reel ofDouble Recording Audiotape (Type 2431T) atthe regular price, and for only $1.00 addi-tional come away with The Melody Lingers On-amagnificent 55 -minute program of great pop-ular standards. These unforgettable melodiesare performed in luxurious arrangements fromthe Everest stereo library, long noted for thesuperb quality of its recordings. The $1.00price tag is even more remarkable when youconsider that the entire program is recordedon a reel of standard Audiotape which actually

sells for more than twice that price! So even ifyou erased the tape (heaven forbid!) you'd stillbe ahead of the game. Go to any store thatcarries Audiotape products and buy a reel ofDouble Recording Audiotape, Type 2431T.Then add one dollar for The Melody Lingers On,a great tape that you and the women in yourlife will treasure. Available only in 4 -track stereo.

AUDIO DEVICES, INC.235 EAST 42ND STREETNEW YORK, N. Y. 10017

YAM

Circle 3 on Reader's Service Card

SIX HEADS ARE BETTER THAN THREE!No matter how you look at it, six heads can outper-form three anytime. And only Concertone's incom-parable 800 has them. Six heads let you record or playfour -track stereo tapes in both directions-withoutreel turnover. And Reverse-o-matic® gives you con-tinuous music programming at the push of a singlebutton. No one in the industry can give you six headsand Reverse-o-matic®. No one in Concertone's Series800 price range can give you these features either.

Entirely self-contained. Twin speakers. Two micro-phones. Three motor system. Echo control. Sound onsound. Center capstan drive. You will be astoundedat what you get with Concertone's incomparable 800.And it costs less than $399. For complete details andthe name of your nearest dealer, write Concertone,P.O. Box 3227, South El Monte, California 91733.CONCERTONE C

IN CANADA: HARTONE ELECTRONICS, 298 BRIDGELAND, TORONTO, ONTARIO, CANADA

Circle 6 on Reader's Service CardFebruary 1965 3

Not shown: CIPHER V, 2 -speed monaural tape recorder; $79.50.

CIPHER I: a remarkable high-fidel-ity tape recorder with automaticpush-button control; tape speeds71/2, 33/4 and 1'/e ips; up to 7"reels; dynamic microphone; moni-toring earphone; digital tape index;pure idler drive (no belts); $139.95.

CIPHER VI: a 4 -track stereo re-corder with detachable speakersand 2 dynamic microphones; tapespeeds 7'/2 and 33/4 ips; 2 VU me-ters; automatic shutoff; digital tapeindex; pause control; plays hori-zontally or vertically; $239.50.

CIPHER VII: a 4 -track stereo re-corder with detachable speakersand 2 dynamic microphones; tapespeeds 7'/2, 33/4 and 1'/e ips; 2 VUmeters; automatic shutoff; playshorizontally or vertically; $274.95.(Also available as the VII -D deck.)

CIPHER 800: a professional 4 -trackstereo recorder with 3 hysteresis -synchronous motors and 3 heads;plug-in head assembly (2 -track alsoavailable); no pressure pads; tapespeeds 7'/2 and 33/4 ips; solenoidcontrolled; 2 VU meters; $499.95.

So sorry.

It is not enoughthat a tape recorderis Japanese.

It must be Cipher,too!After many years of research and development, the Japanesetape recorder industry has achieved a number of significant advances.Today, as in cameras, Japan sets a standard of excellence the Westmay well envy. Yet, while there are many Japanese tape recorders of goodquality on the market, none measure up to the remarkable Cipher.The four Cipher models shown here are without question themost thoroughly engineered Japanese recorders seen so far. At the sametime, they are priced significantly lower than tape recorders ofcomparable performance made anywhere else. That's why Cipherhas been rated by experts as today's leading value. But don't take anyone'sword for it. Ask your Cipher dealer for a demonstration.For further information, write to Inter -Mark Corporation,29 West 36th Street, New York, N.Y. 10018.In Canada: Inter -Mark Electronics Ltd., CIPHER298 Bridgeland Avenue, Toronto 12, Ontario.

Circle 4 on Reader's Service Card4 Tape Recording

taiDeR ECORDING

Articles

Is 'Big Brother' Taping You? by Arthur Whitman 10Building the Basic Tape Library (Symphonies) 14James Lyons Selects 17

Inside Microphones by George Robertson 19Pictures on Tape by Robert Angus 22Taping FM Stereo by Hans Fantel 25Adding Sound to Your Slides by Harold Weiler 28

Features

Education: World's Largest Language Lab by Richard Ekstract 38Tape Equipment Reviews 33Tape Clinic 37Tape Reviews 45

Tape Recording: Publisher: Richard Ekstract; Editor: Robert Angus; Music Editor: ErvinBagley; Technical Editor: Peter Whitelam; Design Consultant: Peter Palazzo; Art Di-rector: Michael Uris; Production Manager: Wendy Klein.

Tape Recording (title registered U. S. Pat. off.) is published seven times a year by A-TRPublications, Inc., Richard E. Ekstract. President; Robert N. Angus, Secretary; Executiveand editorial offices 156 E. 52nd St., New York, N. Y. Subscription rates: U. S. and Canada$3.00 for one year, $5 for two years, all other countries $4.50 per year. Single copies 50cents. (All subscription rates include The $1.00 Annual Buying Guide.) Entire contentscopyrighted 1965 by A-TR Publications, Inc. Second class postage paid at Baltimore, Md.

February 1965 5

Cracked cadenzas in your concerto?... then " "bargain " " recording tape's no bargain!

Mistakes you can buy cheap. And tape -making mistakesyou're almost sure to get in recording tape sold dirt cheapwithout the manufacturer's name. The dangers for audio-philes? Fade out of high and low frequencies. Distortion.Background hiss. Even tape flaking, or worse, abrasive-ness that can damage your recorder. Worththe gamble? Hardly.

You can make fine performance, long -lifecrystal-clear recordings a certainty by speci-fying "ScoTcH" BRAND Recording Tapes. All"ScoTcH" Tapes must pass over 100 qualitytests to earn their "brand"... tests no bar-gain tape could hope to pass!

Thinner, more flexible coatings of high -

ScotchALL PURPOSE

Circle

potency oxides assure intimate tape -to -head contact forsharp resolution. Precision uniformity of coatings assuresfull frequency sensitivity, wide dynamic range, plus iden-tical recording characteristics inch after inch, tape aftertape. Lifetime Silicone lubrication further assures smooth

tape travel, prevents squeal, protects againsthead and tape wear. Complete selection of allpurpose tapes-from standard to triple lengths,with up to 6 hours recording time at 33/4 ips.See your dealer. And ask about the new"SCOTCH" Self -Threading Reel. Remember

. . on SCOTCH w, BRAND Recording Tape, youhear it crystal clear.

nrimagnetic Products Division COMPANY

".COTCH" AND THE PLAID DESIGN ARE REG. TIES Al 311 CO.. ST. PAUL I9. MINN. C 1966. 3M CO.

16 on Reader's Service Card

6 Tape Recording

A $200 stereo portable is known by the company it keeps.(You know Stan Kenton?)

When Stan Kenton lends an ear, it's a critical ear. Soa tape recorder had better be good if it's to keep com-pany with a perfectionist like Kenton. The 1630 is aprofessional recorder... in the Roberts tradition ... infact the first (and only) professional recorder to sellfor less than $200.00... its performance stands up totape recorders twice its size and price.

The Roberts 1630 plays/records 4 -track stereo/mono at 17/8, 33/4 and 71 ips with 15 ips option.Frequency response is 40 to 18,000 cps. It has 2 5x7extended range speakers plus all the versatility, sophis-tication and simplicity audiophiles yearn for; operatesvertically or horizontally, is FM -Multiplex ready,costs just $199.95 ... and Stan Kenton gives it his

professional blessing.

Want to have some fun? Stop in at your RobertsDealer's and give the Model 1630 a work-out.

And while you're there, get clued -in on America'snew dance sensation: TapeOtique. Roberts has a newTapeOtique album ... 170 all-time dance hits pre-recorded in full -frequency, long -play, 4 -track stereo at11/2 or 33/4 ips ... and a free booklet that tells how tostage a rip-roaring TapeOtique party of your own.Ask your Roberts Dealer about it, or write direct to:Dept. TR1, Roberts Electronics, Div. of RheemMfg. Co., 5922 Bowcroft St., Los Angeles, Calif. 90016

ROB E RTS ®'R'In C.,nA.. J. M. NELSON ELECTRONICS.I . ZIC9 COMMERCIAL DR., VANCOUVER ID,

(nRICE.. SLIGHTLY HIGHER In CANADA)

Circle 19 on Reader's Service CardFebruary 1965

JAMES 6 LANSINGsr

JAMES B. LANSING S

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NOW TRY No matter how perfect your

THE FRESHtape recordings, they cansound no better than the loud -

CLEAN SOUND speakers to which you listen.Even if you do not have an elaborate audio installa-tion, you still can enjoy the lifelike reproductionwhich only tape provides. For example, the JBLLE8T shown above will give you sound as clean andfresh as a Spring flower. It is a true precision trans-ducer, as different from an ordinary 8 -inch loud-speaker as a precision chronometer differs from an

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S B. LANSING SOUND. INC.

ES B. LANSING SOUND, INC.DESB. SOUND. INC.

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alarm clock. It will perform brilliantly when con-nected directly to the speaker jacks of any taperecorder. The amazing sound of the LE8T is pro-vided in handsome furniture such as the slimTrimline 54 or the Lancer 33 bookshelf system...or you can build your own acoustical enclosure ifyou like. Hear this remarkable unit at your nearestfranchised JBL Audio Specialist, or write directlyto the JBL Technical Service Department forfurther information. James B. Lansing Sound, Inc.Los Angeles, California 90039.


Some plain talk from Kodak about tape:

Bias transfer characteristics

and dependent parameters

Ever heard the story about the piloton his first solo flight? Unfortunatelythe engine failed. But fortunately hehad a parachute. But unfortunatelythe chute failed to open. But fortu-nately he landed on a haystack. Butunfortunately there was a pitchforkin the haystack. Except for the un-happy ending, this might be the storyof how gamma ferric oxides respondto magnetic fields. Everything aboutit is fortunate with one exception.Linearity. The oxide needles used inthe coatings have atrocious linearitycharacteristics. Feed in a clean, puresine wave and out comes a non -sinusoidal complex waveform thatlooks something like a demented snaketrying to bite its own head off. Howdoes it sound? About as pleasant asJunior's first violin lesson.

How then is magnetic recordingpossible? Fret not-there's a way out.The entire problem is solved by onewonderful, mysterious phenomenoncalled bias. The transfer curves tellthe story.

OXIDECHARACTERISTICS

CURVE AII

IllAUDIO TAUT

IIIBil +AUDIO INPUT

The slightly twisting curve at theupper left represents the oxide re-sponse. The lower curve is a pure,sine wave input. At the upper rightwe have the result of the responsecurve on the input ... a mess.

The reason it looks the way it

does is because the sine wave input isaffected by the non-linear character-istics of the gamma ferric oxides. Butlook closely. Note that while the oxideperformance is non-linear when takenover its entire length, we can findlinearity over selected sections. Inother words, we can get rid of our dis-tortion if we can put the signal on thelinear section of the oxide's character-istic curve. And that is exactly whatbias does. It "lifts" the signal awayfrom the convoluted central area onthe graph and moves it out to linearareas.

NON-LINEARBIAS OUTPUT

Aleal audible).

11,1111111OXIDECHARACTERISTICCURVE -P

AUDIO OUTPUT

H. F. AC BIAS-PAUDIO INPUT

The amount of bias (that is the cur-rent in milliamperes) applied tothe head is highly critical if top per-formance is to be achieved. Bias affectsoutput, high and low frequency sen-sitivity, signal-to-noise ratio and dis-tortion. This curve explains it.

The steep curve represents low fre-quency sensitivity (measured in db.)at varying bias levels for many tapes.Note that you get good performance

providing you have a bias setting ofabout 4 milliamperes. (Curves for theother magnetic parameters are simi-lar in shape and all peak at about thesame bias level.) Vary one milliam-pere and you "fall off the curve" andsuffer severe losses in sensitivity. Nowlook at the broader curve. You canvary a milliampere with hardly anychange in performance at all. Here'sthe point. Kodak tape has that broadcurve. It gives you top performanceeven though your bias settings aren'tperfect. And if your tape recorder ismore than a year old, then chancesare enough shift has taken place topush you off the cliff. That's why wedesigned a Andthat's why you need it. It's just onemore way that Kodak tape givesyou an extra bit of assurance of topperformance.

SOUND RECORUINC TAPE

KODAK Sound Recording Tapesare available at all normal tape out-lets: electronic supply stores, specialtyshops, department stores, camerastores ... everywhere.

®Eastman Kodak Company, MCMLXI

EASTMAN KODAK COMPANY, Rochester, N. Y.Circle 8 on Reader's Service Card

February 1965 9

Is Big Brother Taping; You?

10 Tape Recording

Last September, a car pulled up beside a 36 -year -old West German diplomat named Horst Schwirk-mann on a quiet street in the outskirts of Bonn. Therear window opened, and a mass of oily liquid flewout, splattering over Schwirkmann's face and body.He screamed in agony. The car roared off. Thesubstance thrown at Schwirkmann was mustard gas,the viscous killer developed for trench warfare inthe first World War.

Rushed to a hospital, Schwirkmann survived.However, his lungs are so severely damaged and historso and legs so badly burned that it seems unlikelyhe will ever work again. Thus the attack served itspurpose-to remove Schwirkmann from the inter-national eavesdropping war.

An electronics wizard, Schwirkmann's special jobin the diplomatic service was to clear German em-bassies of "bugs," or electronic eavesdropping de-vices. On his last periodic visit to the Russian em-bassy, he had installed an ingenious device of hisown design that administered a severe electric shockto anyone who tried to tap an embassy phone. Noth-ing will ever be proved, but there is no question thatthe mustard -gas attack on him was a direct retalia-tion for installing the shock device.

News of the incident was particularly upsettingto me. As the victim of an eavesdropping outragemyself, Schwirkmann whose job was to prevent suchthings, was one of the best friends I ever had. En-gaged in a project in behalf of one publisher, I wasapproached by another to do a similar job. Forreasons only the good Lord knows, this second manrecorded his conversation with me, without myknowledge. When I refused him on the grounds ofmy prior commitment, he edited the tape, leavingin some ill-considered remarks I had made, butleaving out the substance of our talk-his offer andmy refusal. I lost the commission and the substantialsum of money that went with it.

I regret my loss, but I regret even more that I wasthe only participant in this reechy affair who seemedto find anything unusual, let alone outrageous, in it.With my radar now out on the subject, I've dis-covered that no one else seems to think twice aboutelectronic prying, either. It has become so much apart of the landscape that when bugs were discoveredembedded in the walls of the American Embassy inWarsaw in November, 1964, it hardly caused anystir in the press. On the earlier discovery that ourMoscow Embassy had been bugged for at least 11

years, there was some press outcry, but no one inthe know was even half horrified. A State Depart-ment man, filling friends in on the incident, com-mented that it was "as surprising as the sun risingin the East."

When you consider how deeply the practice haspenetrated our daily life, the official's comment ishardly shocking. Eavesdropping has apparently be-come as much a part of the American Way as applepie and mother, though it is hardly as savory as theone or as beneficent as the other. Numbers aredifficult to establish in an enterprise that is bydefinition clandestine, but here are a couple that areavailable. In 1962, a House Committee reportedthat at least 5,000 phones in Federal offices in Wash-ington were bugged-not by Russians, but by Ameri-can bureaucrats spying on each other. Not long ago,an official of the San Francisco Telephone Companyestimated that 10,000 firms in Northern Californiaalone monitor the calls of their executive employeeswithout the executives' knowledge.

Here is a partial list of other everyday uses of"bugs" of one type or another:

Federal security agents have microphones installedin certain rooms in popular hotels in many majorcities. When guests under surveillance are expectedto register, the management is notified and theguests are assigned the bugged rooms.

Agents of the Food and Drug Administrationcarry concealed tape recorders on routine inspec-tions, to record possible bribe attempts. So do foodand building inspectors in some large cities. So dopolice "shooflys"-the special squads maintained insome cities to police the police themselves.

Local investigators almost everywhere use illegalphone taps to tape evidence against bookies, pander-ers and the occasional dope pushers who do businessby telephone. The evidence cannot be used in mostcourts, but it does provide useful leads to evidencethat may be admissable.

Difficult as it is to sympathize too deeply withsuspected spies and known criminals, the fact re-mains that what can be done to them can be doneto the rest of us. Thus, the use of bugs and wiretapshas spread into other areas:

Classrooms in many school systems are bugged sothat principals can flick a switch and listen to class

(Continued on next page)

February 1965 11

Is Big Brother Taping You?

discussions without the knowledge of teachers andpupils. Going the educators one better, students have,on many occasions, used hidden recorders to "getthe goods" on teachers suspected of liberal politicalviews and other heresies.

Business firms regularly bug the offices of keyrivals to learn trade secrets or get inside knowledgeabout sales and other strategies.

Corporations, as we've seen, monitor executives'phone calls. Others have bugs to monitor conversa-tions at spots where employees congregate such astime clocks, locker rooms, cafeterias and washrooms.One large company recently was faced with a strikebecause it had installed a hidden TV camera in themen's washroom. Another installed bugs in the toiletpaper containers in the ladies' john.

Politicians, each election season, tap phones andbug campaign headquarters to learn rivals' plans andstrategies.

Individuals involved in civil suits bug each others'premises to gather useful information and evidence.The prime area for this is divorce actions, particular-ly in states with restrictive codes. So little is sacredin this line of endeavor that bugs routinely arediscovered under the beds of estranged husbandsand wives who suspect each other of errant ways.The latest twist in this game is the installation oftiny radio transmitters in cars that relay to pryingears and tape recorders any conversations or othersounds produced by drivers and passengers.

Thoughtful connoisseurs of electronic prying at-tribute its spread to several factors. One is the ColdWar fears that have given us a McCarthy and aGoldwater in a single decade and have producedsuch national phenomena as the John Birchers.

Perhaps the greatest single boost to prying tech-nology is space research, which makes fantasticbudgets available for the development of minia-turized sensors and transmitters used to monitor menand modules orbiting and vast distances from theearth. Among the results of this research are power-ful transmitters so small they can be embedded insugar lumps for placement at your favorite res-taurant. Women can carry potent transmitters in acigarette case or lipstick tube. Men use chapstickholders.

There are devices so thin that a transmitter, plusmicrophone and antenna wire fit between a framedprint and its paper backing, leaving a bulge nogreater than that caused by normal warpage andwrinkling of the backing. Microphone -and -trans-mitter combinations fit inside fountain pens. They

also fit into quarter -inch -thick pads of sponge rub-ber. These may be slid under doors or placed underrugs and carpets in small squares cut out of theirnormal padding. Ingenious as all this is, it is rapidlybecoming obsolete. There are directional mikes nowavailable that are so sensitive that elaborate place-ment techniques are unnecessary. They can pick upconversational tones from distances up to 500 feet.

Curiously, no one knows whether the uses towhich all this prying gimmickry are put is legal ornot. The Fourth Amendment assures us of "theright of the people to be secure in their persons,houses, papers and effects against unreasonablesearches and seizures," and the Fifth Amendmentguarantees that no person will be deprived of libertywithout due process of law. These certainly wouldseem to assure us of the right not to be bugged, butthe Supreme Court has been very slow to considerelectronic prying as unreasonable search.

This has led to rather moonstruck incidents. Inone of the very few arrests Federal officers have evermade on private complaint for eavesdropping (in arecent Washington, D. C., case of industrial spying),the culprits had planted a tiny transmitter in a hotelroom. When apprehended, they were charged by theJustice Department not with trespass or violation ofprivacy, but with broadcasting without a license!

It's doubtful how much good would be done evenif our Federal laws did take on better definition inthe area. For example, if Congress got interested, themost it could do would be to ban the shipment andsale of bugging devices in interstate commerce. Evenif such laws ever did come into existence, circumven-tion would be laughably easy. Manufacture and sellwithin the same state and you're home free. If youdo ship out of state, be sure you ship only to policeorganizations and such other exceptions as the lawis sure to provide for. Suppression of the devices inthese circumstances is about as promising as huntingbutterflies with a harpoon.

The states doubtless could provide much moreeffective control, but so far New York is the onlystate with a statute making the use of buggingdevices a felony. Pressures on our notoriously sus-ceptible state legislatures by manufacturers and dis-tributors of the bugs, as well as by satisfied users,doubtless will prevent the enactment of statutessimilar to New York's by many other states-unlessthere is coherent and persistent action by theircitizens. This is an action I would support. In atime and place where anyone with a few hundreddollars and a reason can appoint himself Big Brother,the little brothers have very few options. They caneither learn to act together in the interests of pre-serving their rights-or they can learn to keep theirthoughts pure on an individual basis.

12 Tape Recording

. L eitthen j u n e house. The Concord 220 is the perfect tutor for music, lan-guage, arithmetic or, in fact, any subject. It is the world's most advanced hi-fi, 3 -speed, pushbutton, dualtrack, monaural tape recorder. Simple operation: push a button, then record historical events as they arebroadcast, rehearse school plays or ... well, only your imagination can lint the uses of this quality machine.Build your own music library too. ..off the air or from records in your friends' collections. You may expectflawless record and playback fidelity at the economical 1-7/8 speed (up to 12 hours record rig), 3-3/4 or themaximum performance 7-1/2 ips Professional quality assists in- CONCORD 104 "Compact' light-

clt. de Magic Eye record level indicator, cue and edit button, weight. portable, mono recorder.Plays up to 6 hours on ùll size

arisync flutter -free drive motor, dynamic microphone ... and 7" reels. 33/4, 72 speeds, electric

transistorized preamplifiers for freedom from heat, noise and eye recording level indicator, im-pacthum.

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*Prices slightly higher in Canada.

February 1965 13

Basic Tape LibraryBasic Symphonies

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Tape Recording

Imagine yourself in your favorite armchair in yourown living room. You've just placed a stereo tape onyour recorder. Suddenly, along the opposite wall, theviolin section of a full symphony orchestra springs tolife at the left, the violas at the right, and somewind instruments are scattered behind them. Thesymphony developed from listening conditions notunlike these. The courts of Europe in the midst ofthe eighteenth century had their own orchestras, andeven their own court composers-somewhat as amodern American family might have a maid.

One of these was Franz Josef Haydn, a man bornin Austria in the same year as George Washington.His job was to compose instrumental pieces to beplayed in the drawing rooms of the Austrian nobility,an early patron being Austria's Prince Esterhazy.Symphonies existed before Haydn's time principallyas short orchestral passages in operas or in concertos.He was one of the first to expand it, first into acombination of the string quartet and dance suites(collections of popular music of the day, also writtenby Haydn and his associates), later into the four -movement format we know today-usually startingoff with a fairly brisk introduction, followed by aslow movement, then a minuet and trio (holdoversfrom the dance suites), and finally a summary inrondo form.

Wolfgang Amadeus Mozart, 24 years youngerthan Haydn, also began composing music in thecourts, where he worked with the largest orchestrasthe aristocracy could afford, or their drawing roomscould accommodate. Both Mozart and Haydn, how-ever, lived in a period of change, when the middleclass began emerging in Europe. Soon towns weresponsoring public orchestras, which could affordlarger forces than the royalty could. Halls were builtwhich could seat hundreds, rather than the handfulwhich could squeeze into a palace drawing room.The orchestras added new instruments, such asbrasses and percussion to the strings and woodwinds.Mozart and Haydn found the sonic combinationspossible with these larger forces both exciting andfinancially rewarding. The last symphonies of Haydn,for example, were composed for a British impresario,who wanted them for public performance in London.

The so-called classical, or formal, period of Haydnand Mozart was followed by the more lyric, more

Haydn

Mozart

February 1965 15

A

Beethoven

,',ch I

Berlioz


romantic works of Mendelssohn, Schubert and Bee-thoven. They expanded the symphony from the 20 -minute pieces of their predecessors into works run-ning more than an hour. They added more musicians-and an important figure, the conductor, appearedon the scene for the first time. In Haydn's day, theorchestra might take its cue from the concertmaster(the man in today's orchestra seated immediately tothe left of the conductor in the violin section) . Thelarger forces required by Mendelssohn or Beethovenrequired a conductor to keep all sections of theorchestra together and playing in the same time.

Whereas the classicists worked with form, theromantics-led by Beethoven-worked with orches-tral color, painting pictures in sound. A good ex-ample is Beethoven's "Pastoral" or sixth symphony,which abandons the four -movement formula alto-gether to sketch a tonal portrait of a summer day inthe German countryside. It was Beethoven who,in the opinion of many musicologists, brought theclassical style of symphonic writing to its most per-fect and highly organized state. Soon 45 minutes wasconsidered average playing time for a symphony. Asthe Romantic Period wore on, however, some com-posers began equating length and size with aestheticachievement. This movement probably started withHector Berlioz, who was also interested in the tonalpossibilities of the orchestra. It received impetusfrom Richard Wagner, the opera composer whoproduced no symphonies, and is best exemplified inthe symphonic monsters of Mahler and Bruckner.

Not all late romantic music was gargantuan. TheCzech composer Antonin Dvorak, perhaps bestknown for his last symphony, "From the NewWorld," used a normal -sized orchestra and rarelyexceeded 45 minutes in playing time. Dvorak wasknown in musical history as a Czech nationalistcomposer because of his extensive use of folk themesfrom his homeland. The "New World" symphony,however, relies on American folk songs with whichthe composer is said to have fallen in love during astay in Iowa. Almost contemporary with Dvorak-and with industrialist Andrew Carnegie-wasJohannes Brahms, a devout admirer of Beethoven.So great was his admiration, in fact, that despite thefact that he was an established composer of songsand piano pieces, it took his friends more than tenyears to persuade him to tackle his first symphony.His reason was that his efforts would seem small incomparison to Beethoven's nine great symphonies.If record and tape sales 'are any indication, Brahmswas wrong; his symphonies are sought by collectorsjust as eagerly as are Beethoven's.

Brahms

Schumann

Tchaikovsky

16 Tape Recording

Of the other late Romantics-Saint-Saens, Franck,Tchaikovsky-it is probably the symphonies of thelatter which are most familiar to Americans, whohave heard them in their natural state or excerptedas popular songs. The mad Russian (he sufferedgreatly from nervous disorders which more than oncecame near to insanity and certainly colored hismusic) made up for this lack of organization with asuperb sense of melody and a genius rivalling that ofBerlioz for orchestration. Of his six symphonies, it isonly the last three which we hear widely in America.

The coming of the twentieth century brought an-other shift in musical format. Composers such asStravinsky, Hindemith and Schoenberg rebelledagainst what they considered the sugary sweetnessof the romantic symphony. With such large orches-tral forces at their disposal the moderns experi-mented with the contrast of rhythm upon rhythmand harmony upon harmony as the romantics hadexperimented with tonal colors. Some have evengone back to the strict classical forms of Mozart andHaydn, working with small orchestras, while otherssuch as Shostakovitch, Vaughn Williams and AaronCopland have experimented with a fusion of theromantic and the modern symphony.

The next time you listen to a tape of a Beethovenor Brahms symphony in the comfort of your ownliving room, remember that even the aristocracy ofeighteenth century Europe could not have affordedto have a full symphony orchestra in their homes.And when you play Mozart or Haydn-well, you'reliving as well as the Esterhazys.

Here then is a list of basic symphonies for yourtape library.

James Lyons' byline has been familiar tocollectors of serious music recordings for morethan a decade through his perceptive and de-tailed notes for recordings by every majorcompany in the field. The editor and publisherof the nation's oldest periodical covering re-corded music exclusively, The American Rec-ord Guide and The American Tape Guide,Mr. Lyons is the author of two books on musicappreciation, countless articles on the subjectfor the nation's leading magazines, newspapersand encyclopedias; and has conducted a radiofeature on music of the ballet for FM goodmusic stations across the country. He has alsoserved as an editor of Musical America andmusic critic for several major daily newspapers.Mr. Lyons has made his home around thecorner from Carnegie Hall in New York-andthe pathway between them is well -trod.

James LyonsSelects

Basic SymphoniesActually, this list includes more

than 10 basic symphonies because ofthe ability of tape producers to puttwo shorter symphonies on a singlereel of tape. I commend all 10 tapeslisted here-and all of the sym-phonies on them-to anyone wish-ing to become familiar with thesymphonic literature. -J. L.1. *'Beethoven-Symphony No. 5 in C.

Cleveland Orch. cond. Szell withMozart-Symphony No. 41, "Jupi-ter" Epic EC 839, $7.95

2. Brahms-Symphony No. 1 in C.Boston Symphony Orch. cond. Leins-dorf

RCA Victor FTC 2181, $7.953. Brahms-Symphony No. 2 in D.

New York Philharmonic cond. Bern-stein Columbia MQ 500, $7.95

4. Bizet-Symphony in C. New YorkCity Ballet Orch. cond. Irving withGounod-Symphony No. 1 in D

Kapp KTL 49001, $7.955. Dvorak-Symphony No. 9, "From

the New World." NBC SymphonyOrch. cond. Toscanini

RCA Victor FTC 2082, $8.956. Haydn-Symphony No. 104, "Lon-

don." Vienna Philharmonic Orch.cond. von Karajan. With Mozart-Symphony No. 40

RCA Victor FTC 2080, $8.957. Schubert-Symphony No. 8, "Un-

finished"; Symphony No. 3. Pitts-burgh Symphony Orch. cond. Stein-berg Command C 11017, $7.95

8. Schumann - Symphony No. 3,"Rhenish." New York Philharmoniccond. Bernstein

Columbia MQ 475, $7.959. Sibelius-Symphony No. 2 in D.

Philadelphia Orch. cond. OrmandyColumbia MQ 520, $7.95

10. Tchaikovsky-Symphony No. 4 in f.New York Philharmonic cond. Bern-stein Columbia MQ 455, $7.95

Some Other Symphonies which belongin your library:Brahms-Symphony No. 3

Pittsburgh Symphony Orch. cond.Steinberg (with Brahms-TragicOverture)

Haydn-Symphonies Nos. 100 and 101Vienna State Opera Orch. cond.WoldikeVanguard VTB 1609, $7.95

Mozart-Symphonies Nos. 33 and 39Vienna Philharmonic Orch. cond.KerteszLondon LCL 80135, $7.95

Mozart-Symphony No. 41, "Jupiter"(Continued on page 18)

February 1965 17

A 10 -MINUTE COURSE ON MICROPHONES TO EXP\-P

New University 8000: 529.95.With slide switch (the 8100): 531.50.

Model DS -10 Desk Stand: $6.95.

It's a cardioid. It's dynamic. It'sshock -mounted. It offers variableimpedance and uniform wide -rangeresponse. It's designed and made byLTV/University and it's less than$50.00. Less than any other cardioid!It's only $29.95. And it's sold with theworld's only five-year microphonewarranty!

The new University 8000 is a "first"and "only." For those who like to be ex-clusive, that's one reason for buying it. Theimportant reasons may be found in the follow-ing microphone buyers' guide!There Are Cardioids...and Cardioids. All car-dioids are essentially "deaf" to sounds origi-nating from the rear. They're invaluable foreliminating background sounds, for use in noisyand reverberant areas, for reducing feedbackand for permitting a higher level of sound rein-forcement before feedback would normallyoccur. BUT-not every cardioid uses ruggeddynamic generating elements. There are crystalcardioids which offer high sensitivity and out-put. But their response is limited; deteriorationis rapid due to heat, humidity, rough handling.The University 8000-a cardioid dynamic-isvirtually indestructible.

411L SUCCESS STORY

Why the new 8000is the most demandedmicrophone (of its kind!)

Tape Recording. Cardioid mikes are essentialfor quality recordings. They pick up only theperformer over a wide frontal area. They pre-vent the output of speakers from affecting themike, thus eliminating feedback squeal, andpermit recordists to work from far or near. Forstereo, only cardioids can assure proper bal-ance, if both are matched. University qualitycontrol makes any two 8000's absolutelyidentical "twins" to assure full stereo effect.

Realism. The new 8000 offers wide -bandresponse, extremely uniform to eliminatesibilants (hissing S's), bass boom and tinnytreble. Its reproduction quality is virtually in-distinguishable from the live performance. The8000 has variable impedance -30/50 to20,000 ohms, and comes with a 15 -foot cable.

Ready Now!New University brochure:

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Please send your new brochure: "Microphone Information." TR-1

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(Continued from page 17)

Vienna Philharmonic Orch. cond.Von Karajan (with Haydn-Sym-phony No. 103)London LCL 80138, $7.95

Prokofaev-Symphony No. 1, "Classical"Orchestre du Suisse Romande cond.Ansermet (with music of Borodin,Glinka)

London LCL 80087, $7.95

Schubert-Symphony No. 9, "TheGreat"

Columbia Symphony Orch. cond.Walter, Columbia MQ 467, $7.95

Off the Beaten TrackBizet-Symphony in C

New York City Ballet Orch. cond.Irving (with Gounod Symphony No.2) Kapp KTL 49001, $7.95

Borodin-Symphony No. 2Orchestre du Suisse Romande cond.Ansermet (with Borodin-SymphonyNo. 3), London LCL 80102, $7.95

Ives-Symphony No. 3Eastman -Rochester Symphony Orch.cond. Hanson (with Ives -3 Places inNew England), Mercury C 90149,$7.95

Mahler-Symphony No. 8, "Symphonyof a Thousand."

Utah Symphony Orch. cond. Abra-vanel, Vanguard VTP 1687, $7.95

Prokofiev-Symphony No. 5Cleveland Orch. cond. SzellEpic EC 819, $7.95

Saint-Saens-Symphony No. 3, "Organ"Orchestre de la Societe des Consertsdu Conservatoire cond. PretreAngel ZS 35924, $7.98

Shostakovitch-Symphony No. 5New York Philharmonic cond. Bern-stein, Columbia MQ 375, $7.95

*The nine Beethoven symphonies areavailable complete in a special five -reelpack from Everest with Josef Krips con-ducting the London Symphony Orches-tra for $19.85. Although you may notwant all nine symphonies in your basiclibrary, you'll want more than one-andprice plus performance make this anexceptional value.

18 Tape Recording

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Inside Microphoneso),/41e

When you buy a tape recorder or tape deck thesedays, the chances are better than two to one themanufacturer will throw in a pair of microphonesto sweeten the deal. The more expensive the re-corder, the better these microphones are likely to be.However, if you do very much live recording, a timeusually comes when you discover that the micro-phones you got with your recorder can't do everyrecording job equally well. That's why the largermicrophone manufacturers offer dozens of differentmicrophones-designed for every conceivable use.

The microphone most commonly supplied withtape recorders these days is a low-cost omni-directional crystal or ceramic. Despite its price(usually not more than five dollars), it can handlean amazing number of recording chores satisfactorily,and do some of them very well indeed. What do thebig words mean? These two and others, such ascardioid, bi-directional, ribbon, ceramic and crystal,when combined, describe many of the mike types inuse today.

The purpose of the microphone is to convert soundwaves into electrical energy which is fed into theelectronics of the tape recorder, amplified and even-tually appears as magnetic impulses on tape. Thereare many ways of doing this job. Microphones in-corporate generating elements which are widelyvaried, each of which has a particular application.

In addition to many types of generating elements,there are various acoustic configurations made pos-sible by ingenious design. Crystal and ceramic micro-phones are the least expensive and perform a fineutilitarian job. They are not generally desirable forhigh -quality recording because of their inherentweaknesses such as comparative inconsistencies onefrom another and great difficulty in providingextremely wide response with very small deviationsin the curve. In other words, it is difficult to obtainflat response with this type of microphone.

Ribbon microphones which utilize a thin strip ofmaterial which is set in motion by the sound waveshitting it, are considerably better than crystal orceramic microphones but because of their extremelyfragile nature, they are finding decreasing favor. Theribbon microphone, while still used in some degree,is being rapidly replaced by the dynamic micro-phone.

The dynamic microphone has virtually all of theadvantages desired in this type of device. Soundwaves strike the diaphragm of the microphone towhich is secured the voice coil. This moves in a mag-netic circuit, generating voltage which is fed to theelectronic circuits and amplified. It is an extremelyrugged configuration when properly designed and isvirtually impervious to damage. It is possible tobuild dynamic microphones of extremely wide range.Unlike most other types, they are impervious tochanges in temperature or humidity.

Microphones can generally be classed by the typeof generating element, and in addition, by the pickuppattern. In common use, there are four pickup pat-terns. The omnidirectional pattern which picks upsound equally in all directions, a bi-directional orfigure eight pattern which picks up sound equallyfrom the front and back of the microphone but notfrom its sides, a cardioid microphone which picks upsound in a heart -shaped pattern around the face ofthe microphone and rejects from the sides and therear, and a new configuration, the cardiline, whichis an elongated cardioid dividing pickup over agreater distance from the microphone. Each of thesetypes has specific applications, but a rule of thumbis that for the most professional results under themost difficult conditions, a cardioid pattern is pre-ferred. Combining a dynamic generating elementwith a cardioid pickup pattern will ensure close to

20 Tape Recording

professional results even in the hands of relativelyinexperienced users.

When you purchase a microphone, the dealer willwant to know the "impedance" you will require foruse with your recorder. Most recorders in the non-professional class employ a high impedance input.All crystal and ceramic microphones are high im-pedance types. However, all other generating types,

dynamics, ribbons, condensers, etc. are availableeither in high impedance or low impedance. Inmost cases, by a simple change, the better qualitymicrophones may be modified to either high or lowimpedance. For professional applications, almostwithout exception, low impedances are used. A prin-cipal reason for using a low impedance microphoneis that it enables the recordist to run a microphonecable an almost infinite length. High impedance linesshould not be run much more than 15 to 25 feet.When it is not practical to place the microphonenear a tape recorder, a low impedance must be em-ployed. In choosing a microphone to improve taperecorder performance, some additional factors shouldbe considered. For example, hum pickup can beannoying if the microphone is placed too close tohigh intensity fields such as arc lights and fluorescentlights. On the other hand, most good dynamic micro-phones have some shielding or use coils to minimizethis. It is axiomatic that the more expensive themicrophone the less susceptible it is to extraneouselectrical noise because of care in its manufacture.

Most tape recorders, even those sold quite inex-pensively, are capable of surprisingly fine dynamicrange of reproduction. A better microphone is themost significant improvement that it is possible tomake, and the results can be quite startling. Keepingsimple rules in mind can make an "expert" out ofeven an amateur recording fan. Treat your micro-phone with reasonable respect, but do not be afraid

of handling it. It is not a fragile laboratory instru-ment that cannot be handled without special care.When you decide you're ready for a better micro-phone than the one you got with your tape recorder,choose the most expensive microphone your budgetwill permit and consider a dynamic microphone witha directional or cardioid pickup pattern. Purchase amicrophone that can be wired for either high or lowimpedance.

When you go out to buy that superior microphone(or a pair of them) to use with your recorder, keepin mind your ultimate objective. Consult the chart onpage 44, it will be useful to you. Remember alsothat good microphones may be transferred from onetape recorder to another. Your quality microphonewill probably be with you long after you changeyour tape recorder as your interests and techniquesexpand.

A good microphone can be compared to a cameralens. There is simply no way of improving a cameraif the lens is not good. Improving the lens will im-prove the quality of the picture quicker than anyother camera improvement. So, too, improvingyour microphone will improve your recordingsquicker than anything else.

In succeeding issues, this publication will beoffering comprehensive articles on understandingmicrophones and modern microphone techniques.For a basic guide turn to page 44.

February 1965 21

Pictures on Tapeah./Jz,

The home videotape recorder is here-and it costs$3000.

In the early 1920s, it was the crystal set. In 1939and 1940 it was FM radio. In the early 1950s it wastape recording and component high fidelity. Todaythe electronic gadgeteer who has everything is settinghis sights on the home videotape recorder. With itand a closed circuit television camera, he can tapeinstant home movies --playing them back immediate-ly after they're made. With a television set and atimer he can tape the Late Late Late Show (starringClark Gable and Jean Harlow) for replay at a moreconventional viewing hour. Or build a library offunny bits from the Danny Kaye or Ed Sullivan TVshows. Or use the gadget to improve his golf swingor entertain his friends at a party. And all it coststoday is a mere $3000.

The price may seem a bit steep. But then so didball point pens at $39 in 1947. Or a seven inch blackand white television set at $900 in 1939. These thingsare all relative. For the fellow who's determined tobe the first in his block, the price tag on today'shome videocorders may not seem steep at all for aunit which looks like a conventional tape deck butrecords pictures as well as sound. Especially whenyou consider that one manufacturer will throw in aclosed circuit television camera, microphone and 21"TV set mounted in a console as part of the deal.

Actually, home videotape recorders have been onsale since the Neiman-Marcus department store inDallas, Tex., put the first one on sale more than ayear ago at $30,000. Of course, you get more thana recorder for that price. The Signature V, manu-factured by Ampex Corporation, included a video-tape deck similar to those in use by universities andbusinesses across the country (which sells for $11,-500) . Then there was an Ampex F-44 stereo tapedeck if you wanted to change to stereo sound oc-casionally. In addition, there was a high quality 21"color TV set and component stereo receiver mountedin a tastefully styled console. To top it off, Neiman-Marcus threw in a closed circuit TV camera andtwo dynamic microphones (so you could make in-stant home movies as well as home stereo tapes).

Despite this bargain in home entertainment, thepublic seemed unaccountably slow to respond. In abelief that the Signature V's price might have had

something to do with it, several companies an-nounced plans to develop and sell their own homevideotape decks at prices ranging from $150 to $500.The first of these was Telcan, Ltd., a British firmwhich has since gone bankrupt trying to perfect atape deck which would use standard audio tape toproduce both picture and sound. Telcan demon-strated its picture and sound for educators and thepress shortly after the Ampex unit went on sale. Onecritic described its picture as "murky;" another com-plained about the limited range of the sound chan-nel. Since the Telcan deck operated at the phenom-enally high tape speed of 120 inches per second-16 times as fast as most sound recorders-it con-sumed a tremendous amount of tape. In fact, it tookan 11" reel of triple -play tape to hold 22 minutes'worth of uninterrupted picture and sound. Thetremendous tape speed created other problems-heads wear out much faster at these speeds, as do thetapes themselves. In fact, tape used on the Telcanunit was worthless after about 400 hours of combinedplayback and recording even for low -quality audiorecording because of the beating taken by the tapebacking and the oxide coating. Heads had to bereplaced every 100 hours, at an alleged cost of twodollars.

The Telcan recorder, which looked very muchlike an ordinary tape deck, offered customers pic-tures of mediocre quality (when compared to theTV original) at a cost of about 70 cents per minuteof recording time. Next on line was FairchildCamera, whose recorder is due to go on sale shortlyafter this article appears. Fairchild's recorder pro-duces a near -perfect picture at 120 ips on a specialquarter -inch instrumentation tape. Or you can havea picture lacking somewhat in contrast at 60 ips.Sound quality is comparable to that from a goodFM table radio, but it is monaural. Originally, Fair-child hoped to license some television set manufac-turer to produce and sell the deck for home use at atarget price of less than $500. But negotiations havedragged, and the company has decided to manufac-ture and sell two models of the recorder itself at aprice of $3000.

The man who quoted the $3000 figure was WayneJohnson, vice president of the Fairchild subsidiarywhich developed the recorder. "There will be twomodels, and actually we don't intend either one forhome use. One, the Executive, is a console model

22 Tape Recording

which contains the video tape deck and a 21" TVmonitor mounted in an attractively styled console.The other is a professional monitor, designed foruse by institutions. It will include the deck plus thenecessary record and playback amplifiers mountedin a portable (65 lbs.) case." Fairchild still hopes tosee the low-cost version, but doesn't expect to forsome months.

"Ultimately, I expect to see a popular model anda high fidelity model," Johnson says. "The popularmodel probably will offer the user the -choice of 60and 120 ips and will use less expensive transistors,motor and other components. The high fidelity ver-sion will contain the best transistors we can get, ahysteresis synchronous motor, and probably will be120 ips only." Fairchild's $3000 price, however, in-cludes a closed-circuit television camera which canbe wired directly to the recorder to produce instantindoor home movies.

Another recorder scheduled to appear early thisyear is the Loewe Opta Optacord 600, which uses aone inch wide instrumentation tape at a speed of sixinches per second. The slow speed is made possiblebecause the German -developed recorder uses a rotaryhead similar to those used in the professional Ampexand RCA models. Its price is $2500 complete withcamera in deck form. The machines are being madein Germany for sale here through a syndicate headedby Sylvester (Pat) Weaver, peppery former head ofthe National Broadcasting Company's television net-work. Weaver, who has spearheaded a drive for pay -TV on the West Coast, has been accused of hedginghis bets by pushing equally hard for home videotape.Weaver did nothing to dispel this impression whenhe predicted that the Loewe Opta machine was theforerunner of a "Tape of the Month" club whichcould offer a Broadway show one month, a trave-logue the next, a complete opera the third, and soon. He predicted that the public would be able toamass its own home videotape library of great en-tertainment.

At the moment, however, Weaver's organizationexpects to be able to sell all the videocorders it canget to hospitals, education and industry at the $2500price. But if you really want one .. .

From Philips in the Netherlands comes a machinesimilar in price and specifications to Loewe-Opta's.Norelco, Philips' American subsidiary, had yet todemonstrate the recorder as this article was pre-pared, but trade reports from Europe indicate thatpicture quality is excellent.

Hi-fi buffs have been promised a recorder whichwill provide stereo high fidelity sound as well aspictures at 30 ips using standard audio tape by ParLtd., a research and development firm in Baltimore.Md. At press time, the Par videocorder remained

little more than a promise, although one of its de-velopers, engineer Stewart Hegeman, says his or-ganization hopes to lease the manufacturing rightsto a major electronics firm sometime this year. Hege-man feels that the Par recorder could be made tosell for only slightly more than a sound recorder ofequivalent quality.

Going Hegeman one better is the Sony Corpora-tion of Japan, which hopes to have a recorder onsale in time for next Christmas at a price below$1000. Sony's top brass aren't talking much aboutthe machine, except to acknowledge that it's in theworks and that sound and picture quality will bedetermined in large part by how much the Americanpublic is willing to pay. "We can give full frequencysound reproduction as well as stereo sound if thepublic demands it," a representative said recently,"but we can make a cheaper machine which willmatch the sound capability of most of today's TVsets." The man from Sony acknowledged that hiscompany's machine operates at 71/2 ips on a tape %z"wide, and that the Sony plant in Japan is equippedto manufacture and sell the tape. "We expect it tocost about $20 for an hour in the United States."

Home videocorders are coming, evidently. Butthey bear about as much resemblance to the video -corder you may be using five years from now as theAmpex 350 and Magnecord PT -6 recorders of theearly 1950s bear to today's high quality home re-corders. "It's like color television or any other newdevelopment," an engineer associated with one ofthe companies told TAPE RECORDING. "The firstmodels to hit the market are expensive, and thereare a lot of bugs to be ironed out. It will take ussome time, for example, to find out the best andmost economical tape to use with our recorder. Andby the time videocorders reach the popularity oftoday's sound recorders, we're going to have to dosomething about the need for head replacement."

But the biggest obstacle insiders see to publicacceptance of this first crop of home videotape re-corders is the high cost of tape. It costs approximate-ly $12.50 to record one hour of television program-ming with the Fairchild recorder-according to acompany estimate based on the possible cost ofinstrumentation tape in large quantities. Loewe -Optaestimates a similar cost for its videocorder, whileother estimates run much higher. This high costwould prohibit most of us from building a sizeablelibrary of home videotapes. And even the most op-timistic insiders aren't predicting sound quality tomatch most of today's good stereo machines for theforeseeable future. So if you're thinking of waitingfor an all-inclusive recorder, you may be in for along wait.

(See Chart-page 56)

February 1965 23'

Are separatetuners andamplifiers passé

96 98 100 102 104 106

80 9() 100 I10 120 p i40

Nothing duplicates the installation flexibility of separatecomponents. This is one of many reasons why Sherwoodsells so many of them. But for those who do not need thisflexibility, Sherwood engineers have created an outstand-ing single component, which without compromise ofity, combines both functions.The new S-770011 AM/FM/FM Stereo Receiver combinesthe 1.8 microvolt sensitivity and 2.4db'capture effect ofSherwood's finest tuner with the 80 -watt dual channelmusic power of Sherwood's highest -rated high fidelityamplifier. The size is a space -saving 16'/4" x 4" x 14". Youenjoy all the tuning surety of Sherwood's D'Arsonval zero -center tuning meter and 8" long professionally calibrateddial scale. And, you have front panel control of all stereoamplifier functions for phono, tape-plus a stereo headsetjack. As trim as the size, is the less -than -separate -com-ponents price of $374.50 (slightly more on the West Coast).

Sherwood low -distortion speaker systemsfor high fidelity music systems

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24 Circle 21 on Reader's Service Card Tape Recording

Taping FM Stereo

Its a steal, plain and simple. With your taperecorder hooked to an FM tuner, you just grab ahunk of music out of the sky, and it's yours for keeps.In stereo, too! What with FM stereo stations dottingthe U. S. map ever more densely, residents of nearlyevery major city have a virtually limitless reservoirof two -channel music floating over their roofs.

Musically, the choice is even wider than onrecords. For many FM stations carry live stereocastsof concerts, often combining singers, soloists andconductors that could never appear together on discsbecause of conflicting recording contracts. The en-tire Boston, Philadelphia and New York Phil-

harmonic series are aired regularly in stereo. Par-ticularly interesting are the many special broadcastsfrom leading music festivals, some of which areavailable in stereo. Because of commercial considera-tions, many of these performances will never findtheir way onto discs. But they can become part ofyour personal tape collection.

Besides, taking music off the air is markedlycheaper than buying records. Even at discount prices,a classical stereo disc on a major label is apt to costyou upwards of four dollars; but an hour's worthof stereo (recorded on a four -track machine at 33/4ips) comes to only $1.50 even when you use the best

February 1965 25

Taping FM Stereotape. Another important factor is the flexibility ofyour investment. If you find that you tire of a pieceafter several hearings, you can erase it and use thesame tape for another broadcast.

The trick is to tap that musical reservoir in thesky and turn it into a program source for your taperecorder. A component -type FM stereo tuner (orcomplete stereo receiver) is by far your best bet forthis purpose, although a good FM stereo table radioor console will do. Whatever type of receiver youuse, its performance will be enhanced by the selec-tion and use of a good FM antenna. The rightantenna gives your tuner or radio a far betterchance of catching FM stations clearly and reliably.The farther you are from the station, the better yourantenna should be. Especially for stereo broadcasts,a multi -element roof antenna (if necessary withrotor) is virtually a necessity.

If you have a component -type sound system, hook-ing up your tape recorder is extremely simple. Atthe rear of your amplifier (or preamplifier, if youare using a separate control unit) you will find twosmall round sockets marked TAPE OUT-L-R,the final two letters signifying Left and Rightchannels. You run a pair of patch cords (specialconnecting cables with pin plug terminals-you canbuy them for a few cents at any audio shop) fromthese TAPE OUT sockets to the left and rightinput terminals of your tape recorder. (By the way,don't use the microphone inputs but a separate setof inputs marked PHONO or LINE) . That's all.From then on, anything that comes in on your FMtuner is piped automatically to your tape machine.You're set for recording. If it's a stereo broadcast,use both channels. If it's a mono broadcast, just useone.

How about playback? On many stereo tape re-corders you'll find a set of terminals designated asoutputs for an external amplifier (usually markedEXT AMP) . Your tape recorder instruction manualwill give you particulars for your model. From theseterminals you run two patchcords (one for the left,the other for the right channel) to a set of inputson your amplifier marked TAPE IN. When you playyour tapes the music will then be reproduced auto-matically through your amplifier and speakers.

Even if you haven't got a component rig, you canstill latch your tape machine to the skybornebonanza. Suppose you have an ordinary FM stereoconsole or a good table -model FM stereo radio. Now,the obvious thing-and some people actually havedone it-is simply to set your mikes in front of eachspeaker, turn on the recorder and whirl away. Don't

you do it! For one thing, the acoustics of your livingroom will blur the recording when they are pickedup by the mikes-along with street noise, the tele-phone, the dog, the racket from the dishwasher,your wife, and your children. Family mementos ontape are fine. But not as background for Beethoven.Besides, the mikes are the weakest part in the typicalhome recorder and they're apt to limit the fidelity ofwhatever you're getting off the air.

The only really effective way to hook a tape re-corder to a radio receiver is by direct electrical con-nection. No mikes. If your FM stereo set doesn'thave a special TAPE OUT terminal for connectinga tape recorder, you can improvise one. Go to youraudio dealer and ask him to make up two inputcables for your tape machine, each with a pair ofalligator clips at one end. Next you take the backoff your radio and fasten the clips at some convenientspot (usually the speaker terminals) to the wiresrunning to each speaker. If output transformers aremounted on the speakers, attach your leads betweenthe transformer and the speaker, not between theradio chassis and the transformer. The other endsof your patch cords, equipped with regular pin plugs,again go to your tape recorder inputs.

This method isn't quite as good as getting yoursignal from a special tape -recorder connection oncomponent -type equipment. But at least it lets youbypass the weakest link in the signal chain-yourradio speakers and your recorder mikes-in gettingthe broadcast on tape.

The alligator -clip method of tapping off signalsfrom a radio can also be used with TV sets if youwant to record the audio portion of TV shows.Again, put the clips on the speaker terminals inyour TV set and run the line to your tape recorderinput. As yet, no TV programs are broadcast instereo, so you'll need only a single patch cord.

No matter which kind of hookup you use betweenyour tape recorder and FM source, if you plan todo a lot of off -the -air recording, it's a good idea toleave all the cables connected permanently. Thenyou can stash them neatly out of sight, but you'llalways be ready to roll whenever an interestingprogram is aired.

Suppose the Boston Symphony goes on the air at8:30 and you want to tape the Haydn symphonythey're playing as an opener. You had best be on thejob by about 8:10, giving your rig a trial run justto make sure everything's shipshape for the con-ductor's first downbeat. Besides, the extra twentyminutes will give your equipment a chance to warmup to its task. A properly warmed -up tuner won'tdrift off the station and need re-setting-a calamitythat could mar an otherwise perfect take. Besides,the drive motor of your recorder will run at more

(Continued on page 42)

26 Tape Recording

NEW ALL -TRANSISTOR

STRATOPHONIC SERIESharman kardon

The ideal music source for Stereo Tape RecordingAudio (Oct. 1964) says it's

Give yourself the thrilling new experience of SoundUnbound, yours only in the new STRATOPHONICSeries solid-state FM stereo receivers by Harman-Kardon.Never before have you heard such magnificent soundfrom a receiver. In full -power frequency response, FMsensitivity, freedom from distortion, and sheer listeningpleasure, Stratophonic Sound is unsurpassed.

And this totally new sound quality is yours at pricesequivalent to those of ordinary tube receivers.

Harman-Kardon has extended the frequency responseof the new Stratophonic receivers to include thosefrequencies at the bottom and the top of the spectrumwhich, though supposedly inaudible, have a profoundeffect on the living timbres of all music. At full usablepower, response of the new Stratophonics reaches its peakfar below and maintains its utterly flat plateau far

"in a category all by itself."beyond the range of all other one -chassis receivers. Whatis more, not a single vacuum tube (not even a nuvistor)is used in any of the Stratophonic receivers.

Stratophonic prices: Model SR900 (illustrated), $469;Model SR600, $389; Model SR300, $279. At theseprices, practically everyone can afford Stratophonic Sound.

SPECIFICATIONS, Model SR900IHFM music power: 75 watts Frequency response: 2 to 100.000cps ±1 db at 1 watt (normal listening level); 5 to 60,000 cps ±1db at full power Distortion less than 0.2% Usable FM sen-sitivity: 1.85 µv IHFM All -transistor front-end FM circuit foroptimum selectivity and sensitivity Damping factor: 40:1.

harman kardonPhiladelphia, Pa. 19132A subsidiary ofTHE JERROLD CORPORATION

LEADER IN SOLID STATE COMPONENTS

Circle 10 on Reader's Se vice Card

Adding Sound ToYour Slides

Combining slides and sound on tape is perhapsone of the most effective means of adding dimensionto both. Slides can be used to augment sound togive a greater memorability or for dramatic em-phasis. Sound when added to a slide show dramatizesthe context of a script, provides a sense of realityand motion to slides which their projection alonedoes not provide and makes for a better show.

When two slide projectors and a fading unit arecombined so that succeeding slides fade into eachother without abrupt change, a continuous tapecommentary or a musical and sound effects back-ground leave the audience with a sense that theyhave been watching a sound motion picture. Best ofall, this combination can be at a fractionof the cost of a motion picture. It also has the ad-vantage that it can be easily edited or changed forvarious audiences by the addition or deletion ofslides and a simple re -taping job.

In its simplest form a slide -tape show utilizes asingle slide projector and a tape recorder.

The first step in adding sound to a group of slidesis to select those which best illustrate the story youwish to tell. Arrange them in some order. It may bechronological, geographical or in any appropriateorder. Number the slides in sequence. Obtain anumber of 3x5 inch file cards and mark them withnumbers which correspond to those on the slides.We employ cards rather than sheets of paper toeliminate any possibility of recording annoying paperrustling as you read the notes they will eventuallycontain.

Next decide on the total length of the presentation.No single showing should be longer than twenty min-utes if you wish to retain the undivided attention ofyour audience. In fact, 15 minutes is even more ef-fective. When the program is longer it should bebroken into 15 or 20 minute sections. No individ-ual slide should remain on the screen for longer than25 to 30 seconds unless it is highly detailed and re-quires a longer description.

Your slides are now marked in sequence. Proj-ect them and at the same time start your tape re-corder. Just before you begin to speak, tap an emp-ty water glass with a spoon or a pencil. Then de-scribe the slide on your screen in a normal manner.

28

KODAC H ROMEAN S PARE N C Y

After you have completed your commentary for thatparticular slide tap the glass again. This sound isa signal which will tell you exactly when to changeslides. When making this recording you need not beparticularly careful with your commentary since itspurpose is to obtain a rough description on tape.Get all of the facts relative to the picture on thescreen, in this recording. We are not, at the moment,interested in how long it takes. The writer has foundthis method more effective than writing the initialdescription.

Project the first slide of the group and listen toyour recorded commentary. Do not be disappointed,for unless you have had previous experience you willfind, as explained earlier, your description rambles,drags, repeats itself and is marked by awkwardpauses. You do not sound at all like your favoritecommentator. Do not feel too badly, for despite hisexperience he would probably sound exactly thesame if he had to speak extemporaneously. The com-mentator invariably employs a previously preparedscript. This is exactly what we intend to do.

As you listen to your recorded commentary, whileviewing the slides again, make notes on the cor-responding card, choose only the most pertinentremarks. Explain when and where the picture wastaken. Try to anticipate the questions most likelyto be asked by the viewers. If you know an interest-ing story about the person or scene, write it on thecard. Guide books and travel folders are a goodsource of prepared commentary.

After this information is noted on the card, edityour comments so that you have approximately 60words. At the rate of 2%2 words per second, the speedof average conversation, the commentary for eachslide should take about 25 seconds. You may find ita little difficult at first to make your comments thisbrief. However if you persist you will find it can bedone with most slides. An exceptional one may re-quire a hundred words while others can be describedwith 50 or less, but you will find that 60 words is agood average to use. This elimination of superfluouswordage will provide a smooth flowing, crisp descrip-tion which is much more entertaining.

Aside from his confident delivery, you may feelthat your favorite commentator has an exceptionallypleasant voice. This is not necessarily true, he hashowever learned to use a microphone to emphasizeits best qualities and subdue others which may beless pleasant. You can do the same. You have anexcellent tutor, your tape recorder.

You should now be prepared to make your final re-cording. Project the first slide and turn the recorderto the record -position. Start the recorder and makeyour signal sound. Carefully read the first edited com-mentary. When this is completed make the signalagain and stop the recorder, marking the point atwhich you hear the ending signal with an orangechina marking pencil. Play the entire section you

29

Adding Sound To Slides

have just recorded to be certain it is satisfactory andthat the commentary is smooth. A recorder is abso-lutely ruthless in exposing the slightest stumbling orhesitancy. If you are satisfied with the result, meas-ure 183/4 inches of tape from the last marked pointif you are recording at 33/ inches per second. Ifyou recorded at 71/4 ips, measure 371/4 inches of tape.Mark this spot and by hand move the tape backonto the supply reel, one turn. This unrecordedlength of tape allows you approximately five sec-onds to change the slide before the narration for thenext one begins.

When you are ready for the next slide start therecorder again, as soon as the marked point on thetape arrives at the recording head make anothersound signal and begin to read the commentary forthe second slide from the corresponding card. Re-peat this procedure until you have as many record-ed sections as there are cards and slides.

This form of recorded commentary is the simplestyou can make. the projector and slides ready,start the recorder. At the first signal sound flash thefirst slide on the screen. Begin to change the slideafter you hear the signal indicates that the narrationis complete. Be certain that the change is completedbefore you hear the next signal, the point at whichthe narration for the following slide begins.

When employing an automatic projector withoutthe slide synchronization feature, the procedure isessentially the same as described earlier. However,the timing of the narration is more critical. The re-corded commentary must be timed to match exactlythe change cycle. Set the projector timing for a 30second interval and restrict your narration to anabsolute maximum of 28 seconds. This allows twoseconds of silence while the projector is changingslides. As originally explained, the tape should bemarked when the narration is completed. With thistype of projector you need only measure 71/4 inchesof tape when recording at 33/ ips and 15 inches ifrecording at 71/4 ips since the required time lapse isshorter; then mark the tape again. These marks andtheir accurate placement are extremely importantif sound and slide synchronization are to be main-tained throughout the entire showing. They are youronly indication of when to begin the narration forthe following slide.

If you use an automatic or semi -automatic pro-jector which has provision for a slide synchronizerthis attachment is an excellent investment. It per-mits you to vary the length of time each slide is on

the screen and consequently the length of the nar-ration employed. Its use also eliminates the necessityfor the sound signals and the measurement of tape,for it automatically changes the slide when the nar-ration is completed.

The recording procedure is exactly the same aspreviously explained. However, when the narrationfor a slide is completed, a momentary contact switchon the synchronizer is pressed for a half second. Thisrecords a signal pulse on the tape. Your narrationfor the following slide should begin immediatelyupon releasing the momentary switch.

Upon playback, after your narration for the firstslide is completed, the signal pulse previously record-ed on the tape automatically activates the slidetripping mechanism on the projector thus changingthe slide before your narration for the next slidebegins.

You should now have or be ready to make a tapeof synchronized narration. You may stop at thispoint, certain that the sound accompaniment to yourslides is a finished product which will enhance eachshowing and which will, probably for the first time,allow you to relax and enjoy a sandwich and a drink,during the showing.

Alternatively you may continue on to create aslightly more elaborate and much more professionalform which employs a musical background for yournarration. This form of sound track is no more diffi-cult to make but requires a little more time andpreparation, and can be made with older recordersand projectors without the aid of other accessories.More on this in our next article.

How to Improve Your NarrationThe simplest recording to make is that of a sin-

gle speaking voice. In recording narration, intelligi-bility and definition are of paramount importance.This simply means that the microphone should beplaced fairly close to the narrator. A distance ofone to three feet is usually correct for average con-ditions. The exact distance is dependent upon theacoustics of the room in which the recording is made.In a comparatively "dead" room, one with wallto wall carpeting and drapes and heavily uphol-stered furniture, the microphone should be placedcloser to the three foot position to avoid the artificial,too intimate sound, characteristic of a room of thistype. In larger or more "live" rooms, without hang-ings, rugs, etc.; the microphone should be placedcloser to the one foot distance.

To determine the exact placement, for your par-ticular voice, in the specific room you intend using,two simple test recordings are required. Choose a

(Continued on page 55)

30 Tape Recording

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Circle I I on Reader's Service CardFebruary 1965 .71

not allcardioid microphones

are alike .. .

SHURE

BROTHERS, INC.

222 Hartrey Ave.

Evanston, Illinois

i

MODEL 545S

only the

TJMDY ETRUE CARDIOID UNIDIRECTIONAL DYNAMIC

MICROPHONE SOLVES ALL THESE

COMMON MICROPHONE PROBLEMS!

PROBLEMS CAUSED BY INEFFICIENT REJECTION OF UNWANTED SOUNDS BY THE MICROPHONE

SITUATION

REFLECTIONS

COLUMN

LOUDSPEAKERS

j

REVERBERANT

BOOM

BOOM

PROBLEM

Feedback occurs where a so-called "cardioid" micro-phone is used and the speak-ers are placed to the rear ofthe microphone. A commonoccurrence in churches, au-ditoriums, and meetingrooms.

Unexplained feedback. Col-umn loudspeakers are usedto distribute sound moreevenly to the audience inchurches and auditoriums.

A disturbing, echoing effectof low frequency sound oftenfound in churches, large au-ditoriums, and arenas.

CAUSES

Sound bounces off hard surfaces on thewalls, floor and ceiling, in and aroundthe audience area and the microphoneused is not effective in rejecting thesesounds at all frequencies, and in allplanes about its axis.

While column speakers direct thesound toward the audience, they alsohave side and rear sound lobes whichmay reach the microphone. Feedbackoccurs when the rear and side soundlobes of the speakers coincide withthe rear and side lobes of a so-called"cardioid" microphone.

The particular "cardioid" microphoneused fails to retain its unidirectionalcharacteristics with low frequencies. Inaddition, its front response tends toaccent low frequencies of the desiredsounds. These factors result in pickupand reinforcement of the low frequencyreverberation and boominess charac-teristic of many halls.

SOLUTION

The Unidyne Ill eliminates thisproblem because of effectiverejection of sound at the rearof the microphone with uni-formity at all frequencies.Sounds bouncing off the flooror other reflective surfacesthat reach the rear of theUnidyne Ill are rejected.

The Unidyne Ill solves thisproblem because it has no

rear or side lobes. Thus it re-jects the side and rear lobesof the sound column speakers.

Using the Unidyne III Micro-phone will solve the problembecause it maintains a uni-form pattern of sound rejec-tion in all frequencies, even aslow as 70 cps. The frequencyresponse also has a controlledroll -off of the low end. Thisprevents reinforcement of thelow frequency reverberationand diminishes the effect of aboomy hall.

PROBLEMS CAUSED BY THE MICROPHONE'S INEFFECTIVENESS IN PICKING UP THE DESIRED SOUND

GROUP COVERAGE

WITH ONE MICROPHONE

0 Q Q

USING MULTIPLEMICROPHONES7

A single microphone doesnot provide uniform cov-erage of a group. This iscommonly experienced withchoral groups, quartettes, in-strumental combos, andspeaker panels.

Variation in the pickup leveland tonal quality existsthroughout the broad areato be covered. This may oc-cur in stage pickup of mu-sical and dramatic produc-tions, panels and audienceparticipation events.

The particular "cardioid" microphoneused lacks a uniform pickup pattern,so that persons in different positionswithin the general pickup area of themicrophone are heard with varyingtonal quality and volume.

The pickup pattern of the microphonesused is too narrow, causing "holes"and "hot spots". The off -axis frequencyresponse of the microphones also varies.

The Unidyne Ill affords uni-form pickup of the group witha resulting consistency involume and sound qualityamong the members of thegroup.

The Unidyne III permits a

smoothness in pickup as thetrue cardioid pattern givesbroad coverage with uniform-ity throughout the coveragearea. This eliminates "holes","hot spots", and the variationsin sound quality and permitsblending many microphoneswith ease.

DISTANT PICKUPToo much background noiseor feedback results whenworking with microphone atdesired distance from soundsource.

So-called "cardioid" and particularlylong range microphones being used areless directional with lower frequencies.In addition, they have lobes or hot spotsthat pick up sound at the rear, resultingin the background noise or feedbackproblem.

Manufactured u der U. S Patent D11,0, 864; O.her pa,cnn pending


Use the Unidyne III to gainrelatively long range with ef-fective rejection of sound at allfrequencies at the rear of themicrophone.

Tape Recording

Cipher I

-,

This recorder may be the answerfor the tape beginner who is moreinterested in value for his moneythan in stereo sound. While the sug-gested retail price is $139.95, mostdealers around the country alreadyare selling it for less than $100. Whatyou get for your money is a three -speed monaural recorder mounted ina wood (not plastic) cabinet. Therecorder comes with several access-ories, including a dynamic micro-phone, earphone, patch cord, splic-ing tape and an empty reel. Featuresinclude instant stop and all -pushbut-ton operation.

Intermark Corporation, which dis-tributes the recorder, makes no pre-tense that this is a high fidelity unit.Its frequency response claims of 70-13,000 cps at 7%2 ips are borne outby our tests. Response at the slowerspeeds, while not in the high fidelityclass, certainly is adequate for thebeginner in making tapes of familyand friends, or recording music fromradio or records for casual listeninglater. Here are our test results:

The company has been equallyconservative in its figures for wow

tapeEQUIPMENT REVIEWS

& flutter. The former, in fact, wasvirtually unmeasurable at 7%2 ips,while the latter was 0.15%. Thecombined figure was 0.2%, a fullhalf per cent less than the machine'spublished spec. Rewind time for 1200feet of tape was a good deal lessthan the three minutes claimed by themanufacturer-in fact, only 2:22.Other figures include a signal-to-noise ratio at normal recording levelmeasured by us at 32 db, both fromthe monitor output and the speakeroutput. We measured sensitivity 4> vu

1000 cps of 1.0 mv at the micro-phone and 250 mv for the phono-tuner line. Total harmonic distortionrecord at -10 vu, 7%2 ips, amountedto 4.5% at the monitor output and4.9% at the speaker output.

We found the machine to be quietin operation. The instant stop ispositive. A record interlock preventsaccidental erasure of recorded mate-rial. When the tape is in either ofthe high wind modes, a tape lifterremoves the tape from the heads. Un-fortunately, there is no end of tapebreak shutoff switch. The accessoriesare adequate to get the newcomerto tape started, and all else that isneeded to have a complete, useablesystem is a reel of tape. The controlsare easy to operate and fully controlthe recorder, the speed selector beingespecially effective since it allowsspeed change during operation orwith the recorder turned off. The pi-ano key function controls are firmand require positive operation.

All in all the Cipher I is a neat,complete package which would makea fine tool for a student or beginningtape hobbyist on a budget. The re-corder worked well and easily in thehands of a 13 -year -old, giving clean,crisp voice recordings. Playback ofrecorded tapes was most satisfactory.We found the instruction book ade-quate-but would warn purchasersof the Cipher I to read it throughbefore trying to operate the recorder.

Concord 330

two -speed battery -operatedmono portable (it weighs only sixpounds) has many features for useas a business machine for recordingreports, conferences, etc.-and it hasseveral features which make it de-sirable for other applications. Twoof these are automatic slide advanceand automatic movie synchronizer.Its minimum resale price is $149.50and other features include automaticstop during playing when sensingtape has been applied to the tape,VU meter, remote control start -stopswitch on the microphone.

The recorder can take any five -inch reel of tape and operates at 33/4ips and 17/8 ips, which gives it a to-tal recording time of up to six hoursper reel. Speed change is accom-plished by using a slip-on capstan for3/4 ips operation. When not in use,the capstan is stored conveniently outof the way.

Signalling to a slide projector orto provide for auto-stop is accom-plished by means of metallic tabsplaced on the emulsion side of thetape. It was found that these tabs,to work the auto-stop and slide synchhad to be just under %4" in lengthfor the 17/8 ips speed. Longer tabsremained on the signalling contactsand overrode the start command.

The voice actuation feature makes

This

February 1965 33

the recorder an ideal portable note-book, although the activation mech-anism of necessity clips off the firstword or two when the machine starts.In addition, there is no provision forbackup of the tape to facilitate tran-scription by a stenographer. Never-theless, we found the recorder quiteadequate for recording business con-versations and conferences and forelectronic note -taking.

What about performance? Wefound comparatively low wow & flut-ter figures: 0.4% and 0.8% respec-tively at 33/4 ips, with a combinedfigure of 1.2%; slightly less at 17/8ips. Signal to noise ratio, measured at1000 cps and normal recording level,was 40 db at 33/ ips and 46 db at17/8 ips. Total harmonic distortion,on the model we tested, was 4% atnormal recording level. It took thismodel two minutes and 57 seconds torewind 600 feet of tape. Fast forwardwas slower, taking five minutes and20 seconds for the same amount oftape.

The accessories provided with the330 are a microphone with start -stop switch, earphone, sensing tabs,speaker extension cord, line inputcord and carrying strap. An ACadapter is available as an optionalaccessory. Six D cells power the re-corder, and the VU meter doublesas a check on their condition. Theinstruction book is both comprehen-sive and detailed, covering a numberof possible uses for the machine. Inaddition to explaining the locationand function of all the controls, itdiscusses adding sound to motionpictures and synchronizing slides andsound.

A high fidelity component thisisn't. But it is an amazingly versatilerecorder for the student or the busi-nessman.

Ampex 2070

The Ampex 2070, at $499, mayjust be the recorder for people whohate tape recorders. It is designedto thread itself, to reverse tape direc-tion at the end of each reel, in shortto do just about everything exceptturn itself on (it does turn off auto-matically) . How does it do all ofthese things? And how efficient is it?

Self -threading, the machine's mostdistinctive feature, is accomplishedby means of a unique take-up reelwith a hub of teeth mounted on asingle flange. A cover containing aslot into which the tape is droppedhides the reel from sight and simpli-fies its operation. When tape isdropped into the slot, the teeth grabit, looping it automatically aroundthe hub for standard operation. Thewhole assembly can be removed ifdesired and an ordinary reel sub-stituted.

Triggering the automatic reversingmechanism is a 20 -cycle reversingtone which must be recorded direct-ly on the tape. The recorder comesequipped with the device for gen-erating the tone, which makes itpossible to apply it to tapes alreadyin one's library, or to commercially -recorded tapes (some recent Ampexrecorded tapes already carry such atone) . The reversing action is rapidand positive. Reversal tones can beremoved from the tape by the re-corder's own erase head.

Like most recorders in its pricerange, the Ampex 2070 records andplays back four -track monaural andstereo tapes. It can be used to playtwo -track and four -track tapes aswell, and operates at three speeds-7/2, 33/ and 17/8 ips. The machineloses its automatic threading featurewhen making recordings. It's neces-sary to use a standard takeup reel,so that reels can be switched at theend of the first track.

The machine uses three heads-asingle erase head, mounted betweentwo record/playback heads. Thehead mount is a precision block ma-chined to give precise, permanentalignment of the heads. However,because of the location and type ofheads used, the machine can be usedto record in forward mode only, al-though it plays back in either direc-tion. A unique feature of the unitis its dual capstan system, whichassures proper tape tension and guid-ance regardless of the direction of

tape travel.The direction lever, which deter-

mines the direction of tape travel inthe normal or fast wind modes, islocated in the center of the headcover. The normal and fast windmode controls are located just abovethe direction lever. Above these islocated the speed selector and totheir left is the counter. The re-corder responds quickly and gentlyto these controls. The amplifier con-trols are at the right side of therecorder, arranged vertically. At thebottom is the volume control foreach channel, then a ganged tonecontrol, the recorder indicator lamps(the unit uses neon bulbs in prefer-ence to VU meters), the mode selec-tor switch, and at the top thestereo/mono switch. The mode se-lector switch has a spring -loadedposition for placing reversing toneson the tape.

Now, about performance. TheAmpex 2070 met or passed its per-formance specifications with ease.For example, its wow & flutter com-pare favorably with some of thebetter professional machines. At 7/2ips, the figures were .01% for wow,.045% for flutter, for a combinedfigure of .05%. Even at 17/8 ips thereadings were .2%, .1% and .2%respectively. Combined record/play-back response at 7/2 ips is 30-15,000±2/2 db; or 40-5300 cps ±5 db.Rewind time for a 1200 -foot reel oftape is slightly less than two min-utes; the same for fast forward. Sig-nal to noise ratio from 3% THD wasrated by us at 50 db for the leftchannel; 48 db for the right.

The microphone jacks are locatedconveniently on the front of the re-corder. The line inputs, preampoutputs, external speaker jacks andthe projector actuator jack are locat-ed on the rear of the unit and arelabelled clearly. Studs for cord stor-age are provided. Also supplied wasa single Ampex model 2001 micro-phone. Presumably the buyer mustpurchase a second microphone if heplans to do any live stereo recording.While the instruction manual iscomplete, it is by no means clear.Some parts are unidentified in thedrawings; instructions on how tomake certain types of recordings areincomplete. One would think buyersof a tape recorder in this class areentitled to a better instruction book.

34 Tape Recording

Concertone 801

The Concertone 801 two -speed re-corder offers a number of interestingfeatures at a price that's right forthe serious audiophile-$450-suchas six heads, three motors, solid stateconstruction and automatic reversal.It thus is ideally suited for providinguninterrupted programming for longperiods of time without attention.

But what about performance? Insome respects, the Concertone 801received by our testing lab actuallyexceeded the published specifications.The manufacturer, for example,claims a signal-to-noise ratio of 50db. Our test results showed that thefigure was more like 55 db for theleft channel, 52 db for the right, ata reference of 3% THD at 1000 cps.Rewind time for 1200 feet of tape islisted by the manufacturer at 45 sec-onds. Our sample unit did it in 40.As for other characteristics, we foundwow & flutter at 7% ips to be 0.1%for the former and 0.24% for thelatter, or a combined rate of 0.3% inthe forward mode. Operating in re-verse, the machine did nearly aswell: 0.13% wow, 0.23% flutter anda combined figure of 0.34%. Thefigures for 3s/ ips operation wereeven better -0.07% wow and 0.25%flutter, or a combined figure of0.27% in forward mode; 0.1%,0.2% and a total of 0.26% operatingin reverse.

Other statistics of interest are those

for sensitivity (at VU record level @1000 cps, the microphone readingwas 3.5 mv per channel. Line sensi-tivity was 234 mv for the left channeland 240 mv for the right. On thesample received by us for testing, thetotal harmonic distortion, recordedat -10 vu and 7%s ips was as fol-lows:

Left channel Right channel1000 cps 1.75% 2.2%100 cps 1.5% 1.7%10,000 cps 2.4% 3.0%

The unit's six heads include twoeach for record, playback and era-sure. Features in addition to theautomatic reverse-which we foundefficient and trouble-free-includetrue sound -on -sound recording,proper tape monitoring facilities,push-button controls to operaterecord, playback, fast forward andreverse and start -and -stop. These arelarge and easily distinguishable, buta bit noisy in their operation, prob-ably due to the large area in contactwith the front stop as the buttonsmove from the depressed position.The knobs controlling volume, bal-ance, etc. are large and easy to use.Though there is no indicator to warnof being in the RECORD mode, it'sdifficult to erase a tape accidentallybecause of the sequence of controloperation. Cueing by depressing bothFAST WIND buttons simultaneouslyplaces rather high stress on the tape,probably too much for thin tapes.Tape pack in the normal forwardand reverse modes was good. Revers-ing operation was smooth.

Live recordings with the dynamicmicrophones supplied with the re-corder had a nice clean, crisp sound.The instruction book was clear andamply illustrated, and covered theoperation of the recorder very thor-oughly. The diagrams could havebeen larger, but are adequate for theuser. The Concertone 801's packingwas superb. It comes inside a poly-ethylene bag, bedded in beaded poly-styrene packing inside an innercardboard carton. The physical con-dition and appearance of the re-corder when unpacked was excellent.

Norelco Carry -Corder

What's the best way to test a bat-tery -operated tape recorder whosechief virtue is simplicity of opera-tion? What TAPE RECORDING'S testlabs did was to put aside theoscilloscope and the other tools ofthe trade and turn the Carry -Corderover to a 14 -year -old tape novice.Assignments: read the instructionbook, take the recorder to thetheatre, walk around Manhattanand come back with some interestingmaterial. Herewith Our Girl Satur-day's report:

"The Norelco Carry -Corder is alot of fun to operate. It weighs onlythree pounds, although it feelsheavier. But it comes in a leather -type carrying case, which makes iteasy to handle. I put the batteriesin myself, following the diagrams in-side the recorder. I got the cartridgein the right way the first time, al-though the instruction book doesn'ttell you which way it goes in and thecartridge doesn't either. It would behelpful if the cartridges were num-bered on each side, like records are.You don't have to thread this ma-chine like you do with the big ones.You just push the cartridge intoplace, and you're all set.

"The microphone is easy to han-dle and has a remote control switchon it, so you can start and stop re-cording without touching the re-corder itself if you want to. Thereis one control for record, playback,fast forward and reverse. You pusha red button as well as the recordcontrol to record. There are separatevolume controls which I set too highfor most of my recordings. A meteron top of the machine shows whetheryou're recording too loud. It alsoshows if your batteries are all right.

February 1965 35

The cartridge holds 30 minutes'worth of tape. When you come to theend, it stops. Then you have to takethe cartridge out and turn it over.You can then record for another 30minutes. I liked it. It was fun."

To which we'd like to appendsome notes of our own. Power forthe recorder is provided by five Ccells, or an AC adapter (not pro-vided) can be used both to powerthe unit and change its batteries.Norelco claims that battery life isabout 20 hours. We have passed thatpoint and still find the batteries use-able. The cartridges are equippedwith 300 feet of triple play tape only0.15" wide. At a speed of 17/8 ips,this provides 30 minutes' uninter-rupted recording and playback time.Rewind time on the Carry -Corder isquite fast-approximately 65 sec-onds for 300 feet of tape.

We discovered that recordingsmade on the Carry -Corder soundsignificantly better when playedback through a component highfidelity system (a patch cord is sup-plied for this purpose) than whenplayed back through its own 2"loudspeaker. The latter has a ten-dency to rattle with certain types ofprogram material. We found thatrecordings of speech-whether madefrom the balcony of a legitimatetheatre or surreptitiously in a livingroom-were much more successfulthan recording of music or sounds.The latter tended to distort, per-haps because our youthful assistantrecorded at too high a level. Cho-ruses and orchestral passages from aBroadway show tended to blur anddistort rather badly, too, whilespoken passages from the same showwere recorded clear as a bell. Theomnidirectional microphone, unfor-tunately, picked up a good deal ofcoughing and program rustling aswell as the show.

What about recording music offthe air? You can do it easily with theCarry -Corder - but the results, asplayed back through the unit's smallspeaker, are equal in quality to thosefrom a $30 or $40 transistor radio.The Carry -Corder thus becomesideal as a companion to the beach oron picnics. For recording streetsounds - construction near Rocke-feller Center, a New York subwaytrain-the Carry -Corder is at best

quite good and it really shone in onerecording of 'a street Santa Clausringing his bell and an ambulancetearing across 42nd Street. All ofthese recordings sounded much betterplayed through a large speaker sys-tem. Wow & Flutter, rated by themanufacturer at 0.35%, are wellbelow the limits where they'renoticeable to the ear.

Finally, the Carry -Corder is dis-tinctly more reliable than many otherbattery -operated portables, and cer-tainly more than most others sellingfor less than $140.

Wollensak 1280

The Wollensak Model 1280 is a4 track, dual speed stereophonictape recorder/reproducer. It hasdual matched amplifiers incorporat-ing record/playback pre -amplifiers-providing three watts of powerper channel. It can be operated ineither the vertical or horizontal planeor any position in between.

Additional features of the 1280include VU meters, independentvolume and tone controls on eachchannel, automatic tape lifters infast forward and rewind modes andbuilt-in reel locks. The tape liftermechanism is driven by a rubbertired cam and has a smooth, fluidlike action which is very gentle withtape. A removable plastic strip atthe bottom of the loading slot per-mits easy cleaning and degaussingof the heads and quite good accessfor editing.

The Wollensak 1280 tab controlpanel and independent channel cir-cuitry provide flexibility and ease ofoperation. Four finger tip tabs con-trol On-Off/tape speed, forwardtape travel and record/play func-tions of each channel. The func-tional and unique tab control sys-

tem, while different from the controlsystem found on most recorders willrequire some familiarization on thepart of a new operator. The tabsystem allows one to record on bothchannels simultaneously in stereo oron either channel separately inmono. Since the tape travel tab op-erates independently one can set therecording levels and channel bal-lance before starting the tape in therecord mode. The machine with itsinterlocked controls affords easy op-eration, flexibility of performanceand quality sound. The controls areso interlocked as to make it almostimpossible to erase a previously re-corded tape, but no indication ispresent that one has accidentallygone into record mode.

The Record/Monitor switch con-trols the output of the recorder'sspeakers so that during recording thespeakers may be turned off to avoidacoustic feedback. With the switchin the monitor position one canmonitor the signals being fed to therecorder, allowing monitoring of theprogram material being recorded.This is desirable for recording radioprograms where one might wish to"active -edit" using the instant stoplever.

The high speed search lever isused to rewind tape or to fast for-ward to a previously recorded por-tion of a tape. It is interlocked toprevent operation when tabs are inrecord. Tape speed may be changedwhenever desired, except duringrapid forward or rewind operation.

Our tests revealed the 1280 to bea recorder which offers value formoney. Record/playback response,measured at 7%2 ips, was 50-15,000cps ± 5.2 db for the left channel,+9 db for the right. At 33/4 ips, thereadings were ±3.8 db for the left,±4.8 db for the right. Wow & flut-ter figures at 71/2 ips were .09%wow, .14% flutter and a combinedfigure of .18%. At 33/ ips the fig-ures were .23%, .27% and .3% re-spectively.

Rewind time per 1200 -foot reelwas two minutes and 12 seconds-while fast forward for the samelength of tape takes only one minuteand 34 seconds. Other test resultsshowed satisfactory readings for sen-sitivity, harmonic distortion and rec-ord level. (Continued on page 58)

36 Tape Recording

Q. What's the difference between A -wind and B -wind? Is it true thatB -wind produces higher fidelity?

Daniel KatzChicago, Ill.

A. A -wind and B -wind are terms be-longing to the very earliest days oftape recording, and refer to whetherthe oxide on recording tape iswound outwards or inwards. All oftoday's raw and prerecorded tapesare A -wind. B -wind tapes simplyshow dull oxide on the outside be-fore they're unsealed. A half -twist ofthe tape converts one to the other.

As to the relative fidelity of thetwo types, there's a misconceptionpopular in Europe that B -wind issuperior. Since the only differencebetween the two types is the locationof the recording and playback headsin regard to the tape, there can beno difference in fidelity, assumingtape and heads of equal quality. Thereason that American (and virtuallyall other) manufacturers standard-ized on A -wind was the belief thatthe exposed portions of B -wind tapecan become scratched or damaged.Since A -wind tape has no such ex-posed portions, it has come to beaccepted as the standard.

Q. I'd like to use the tone controlsand filters on my amplifier to com-pensate for deficiencies in recordswhen I'm transferring to tape, butthe tape output bypasses all thesecontrols. What do you recommend?

Richard MintonLong Beach, N. Y.

A. One way is to tap the cable toyour loudspeaker, using a patch cordequipped with alligator clips, ratherthan using the tape ouput. The bestplaces to make such a connection areat the leads to the speaker terminals,

tapeCLINIC

at the speaker taps on the amplifieritself or (if the speaker isn'tmounted in an enclosure) to thewires which connect the speakermagnet to the cone and frame.When you've made such a connec-nection, all the controls on youramplifier become operative, includ-ing the volume control. When mak-ing such a connection, be sure thatthe alligator clips don't touch eachother or any metal which couldground them. Remember, too, thatthe farther you go from the outputstage of your amplifier, the morechance you have of picking up dis-tortion-and that tapping the wiresin a speaker introduce all the dis-tortion and idiosyncracies of thatspeaker. However, with certain typesof recording-i.e. 78 rpm transfers-it may well be worth it.

Q. I am the proud new owner of aused two -track stereo recorder. Isanybody still making two -trackstereo prerecorded tapes? Howmuch do they cost?

Sheila Bal f eShaker Heights, Ohio

A. The biggest library we know isthat of Livingston Audio ProductsCorp. If dealers in your area don'tcarry them (and most don't thesedays), you might try the companydirect at Route 46, Parsippany, N. J.Livingstone has approximately 100two -track stereo tapes, most of them30 minutes long. These include sym-phonies, dance and mood music andsome folk music items and sell for$11.95.

Q. I've noticed a lot of referencesrecently to low noise tape. Is it some-thing new? Does it have advantagesover regular recording tape?A. Even top quality standard re-

cording tapes contain a backgroundnoise which can usually only beheard when tapes are played at topvolume, when recording level is verylow, or occasionally between re-corded selections. Manufacturershave reduced this tape hiss in thepast few years to a level where itnever bothers the average home user.

Not long ago Minnesota Miningdeveloped a tape which dramaticallyreduced tape hiss. Other manufac-turers followed suit. These low noisetapes are being sold at a cost about25 per cent higher than that forstandard audio tape. They are ofvalue to the serious recordist whoowns high-priced high fidelity equip-ment, and improve fidelity when re-cording music at slower speeds. Lownoise tapes are likely to make littledifference in sound quality to mostowners of low-priced recorders.

Q. Recently had a request to make12 copies of a tape recording butdon't have the facilities. Do youknow of any commercial firm whichwould duplicate such a small number?A. There are several reliable tapeduplication firms scattered across thecountry, some of whom are gearedto handle small jobs such as this one.You might try National Tape Servicein Parsippany, N. J.; Terry Moss,1908 California St., Omaha, Neb.;or Magnetic Tape Duplicators, 7925

Santa Monica, Los Angeles, Calif.

Q. What's the difference between a"transistor" recorder, and a "transis-torized" recorder?A. An all -transistor tape recorder,obviously, uses transistors throughoutto replace tubes. The same is true ofa transistorized tape recorder (al-though the latter may not be com-pletely transistorized. Only a carefulreading of the specifications willreveal this) .

February 1965 37

World's Largest Language Lab

Tape Recording

When the University of Friendship of Peoplesopened in Moscow on October 1, 1960, it featuredwhat Rector Sergei Rumyantsev called the world'slargest language laboratory. Friendship Universityneeded a large Ianguage lab because its students arealmost all young people from underdeveloped nationsin Africa, Latin America and Asia who have come toMoscow to study medicine, engineering, sciencessuch as geology and mathematics, and the humani-ties. And while their native tongue may be anythingfrom Bantu to Spanish or Tagalog, all of the coursesat Friendship University-except language-aretaught in Russian.

Friendship University is an idea of former PremierNikita Khrushchev's. It provides free tuition, medicalcare, clothing and spending allowance, dormitory,and travel expenses both ways for some 3500 quali-fied students from underdeveloped nations. Youdon't have to be a communist to qualify-but ithelps. The idea was to woo these students awayfrom American or British universities where theywould have to pay their own way.

Although Friendship University is designed pri-marily as an educational institution-it's housed ina former school for army officers-it also serves animportant propaganda function. Khrushchev himselflet the cat out of the bag when he told the school'sfirst 500 students, "If you would like to know mybelief, I won't conceal it. I am a Communist. Ifsome of you come to the conclusion that suchideology is to your liking, we shall not be angry."The New York Times, speaking editorially, sawFriendship University and its all-important lan-guage lab as a potential threat to democracy in thefuture because the school would attract tomorrow'suncommitted leaders of emerging Africa and Asiaaway from instruction in the West.

A student at Friendship spends all of his first yearstudying Russian-in some cases with an individualinstructor, because of the wide variety of tonguesand dialects spoken by students. Following this firstyear, he receives a regular four-year college coursein science, engineering or the humanities, all of ittaught in Russian by regular Soviet instructors(medical students receive a fifth year of training).

During that first year, the instructors use everyteaching device there is to make the student not onlyproficient in conversational Russian, but with thetechnical terms he's likely to encounter during hisfollowing years of study. Tape recorders are used to

Students from Africa and Asia prédominate atFriendship University.

Students get lessons in Communist ideology mixedwith their language training.

February 1965 39

World's Largest

Language Labhelp the student learn proper pronunciation and toenable him to study by himself while the instructoris working with other students. No details were givenby Professor Rumyantsev on the size of the labora-tory other than the claim that it's the world's largest.Number of units, the length of time each studentspends in the laboratory each day, and details onthe equipment itself are unavailable.

After four years, it's evident that the language labhas been doing its job. The ratio of students flunkingout because of inability to keep up with the class isslightly higher than one in 100-despite the factthat the classes are similar in content to those atMoscow University, where Russian students andAmerican exchange students have similar curricula.For whatever reasons, the rate is dramatically lowerthan that for the language department of theaverage American university. One reason for thedifference, according to the Soviets, is that studentsare provided with both the incentive to study andthe opportunity to practice what they've learned.

The language lab serves an important propagandafunction, as well. Students learning a new languagehave to read something-so they're given the worksof Marx and Engels. Conversation periods, accord-ing to one African student who dropped out, includediscussion of world affairs from a definite pro -Sovietpoint of view. "I told my instructor at one time thatshe was trying very hard to indoctrinate me. She didnot deny it. She told me that it was her job to in-doctrinate me." This political orientation in languageinstruction has been an important factor in persuad-ing some African and Asian students to return homebefore graduating, or to transfer to universities inWest Germany, Britain and the United States.

There seems to be little question about the effec-tiveness of Friendship University's ability to teach aforeign language-an effectiveness not matched byany American university, although none have thesame comprehensive type of instruction. On the otherhand, the U.S.S.R.'s barely concealed attempts tosubvert students from unaligned countries has an-noyed both the students and their countries.

Has tape helped the Russians to steal a march onus? If so, how long can we allow this situation tocontinue? With the advanced tape recording equip-ment we have, the United States should be able toboast of having the world's largest language labora-tories. We should take the lead in training studentsfrom the undeveloped nations in the fundamentalsof democracy. It's up to each of us to request moreand better language lab equipment in our schools-now.

Texts carefully prepared by Russian instructors re-portedly are heavily laced with Communist propaganda.Whether for this or other reasons, each student receivesmuch more individual help than is the case in Americanuniversities. Each lab station includes tape deck, ear-phones and dual controls for operation by student or topermit instructors to monitor their progress. Exercisesinclude readings from Gogol, Ehrenberg an'd otherprominent Soviet literary figures.

If videotape equipment of this nature is being used atFriendship University, it would indicate a hefty invest-ment on the part of the Soviets in the latest typeequipment for educational purposes.

40 Tape Recording

WHERE CAN YOU BUY 40 SOUND QUALITY FEATURES? 1. Modular con-struction featuring complete plug-in record amplifier, reproduce amplifier, and bias oscillator 2. Fully solid-stateelectronics 3. Hysteresis synchronous metering capstan drive 4. Solenoid operated tape gate, brakes and pres-sure roller 5. Separate reel drive motors 6. Safely handles all tape, including half mil 1. Front panel microphonejacks 8. Mixing inputs for high level line 9. Front panel mode switch with tally ights 10. Monitoring from tape orsource. 11. Separate channel monitor and output switches 12. Durable, easily cleaned. easy -on -the -eye profes-sional vinyl f nish 13. Standard readily available American transistors and components 14. Superior tape guiding15. Military type fail-safe differential band brakes 16. Sturdy die-cast main plate 17. Signal switching availableat remote socket 18. Position for optional fourth head 19. Remote "start -stop" 20. Local -remote front panel con-trol 21. Pushbutton transport controls 22. Record safety interlock 23. New "cue ' transport control 24. Large, rug-ged hardened stainless steel capstan 25. Ball bearing inertial stabilizer flywhee 26. Payout compliance arm andtape break shut-off 27. Automatic capstan motor stop for tape run -out 28. Take-up compliance arm 29. Regulatedpower supply 30. Emitter follower outputs 31. Stereo -mono front panel earphone switch 32. Simultaneousrecord and playback 33. Double flywheel capstandrive 34. Switchable equalization 35. Auxiliaremitter -follower outputs 36. Auxiliary high impeance inputs 37. Standard "hi-fi" connectors 38Large "operator" type knobs 39. Earphone monitorjack on front panel 40. V.U. meter for each channel

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February 1965Circle 15 on Reader's Service Card

41

Taping FM Stereo(Continued from page 26)

constant speed once its temperature is stabilized andits lubricants sloshed around a bit.

Be finicky about tuning in your station. For stereo,it's got to be right on the nose. Otherwise you losestereo separation and the sound gets fuzzy. Don'trely entirely on the visual tuning indicator, if yourreceiver has one. Always confirm the accuracy ofyour tuning by ear, rocking the tuning knob backand forth until you get the clearest sound. Also, inthe interest of sonic clarity, a quick dab of cleaningfluid on your tape recorder heads will prevent dull,muffled tapes due to dirt -clogged head gaps.

Next set the gain controls on your recorder for theproper level on both channels. Use as your test signalfor this adjustment whatever program your stationhappens to be broadcasting before the concert. Moststations try to keep the transmission level constantbetween one program and another. So if the record-ing level on your recorder is set correctly before theconcert, chances are that it will be correct duringfie concert. Commercials, however, frequently arebroadcast at a louder level than the rest of the pro-grams-so don't set recording levels while a com-mercial is on.That Haydn symphony coming on at 8:30 won'tlast longer than half an hour. So a standard 1200 -foot reel of tape running at 71/2 ips will catch it all.Always try to estimate the music's playing time. Oneof the saddest sights is a recordist's face as hewatches his tape run out in the middle of a once -in -alifetime performance. Some program bulletins pub-lished by FM stations give the timings for the variouspieces of music. Otherwise, you can make a roughguess at the length of a symphony by checking in theSchwann record catalog how many sides it takes upon a recording, allowing about 25 minutes per LPside. Always load more tape on your recorder thanyou think you'll actually need. It's simple enough toclip off the excess later, and it's the only insuranceagainst the loss of an irrecoverable program.

An adequate tape supply is rarely a problem. At7/2 ips, you get a full hour's playing time (in eachdirection) on a 7 -inch reel of double -play tape.There are less than a dozen symphonies that long.In case of especially long-winded works, you canflip over the reels when the orchestra pauses betweenseparate movements. With a little practice, youshould be able to complete a flip in five seconds flat.Some recordists keep a second pair of reels alreadythreaded next to the recorder, ready to slap on themachine when the music reaches a convenient stop-ping place. By using these "standby" reels they canshave a second or so off their flip time. Besides, it

assures that tape is recorded in one direction only,which facilitates later editing.

Of course, you can double the playing time perreel by recording at 33,4 ips. Sure, you might losesome highs, but modern recorders perform so wellat this slower speed that the loss is not appreciable.Network broadcasts, for instance, rarely containenough high frequencies to make the loss noticeable.But in case of locally originating programs or pro-grams broadcast from tape, the 7/2 ips speed mightprovide a discernible margin of quality.

In any case, keep in mind that what really countsis not the total playing time per reel (i.e. playingtime in both directions) but the uninterrupted play-ing time (i.e. playing in one direction only). Theorchestra won't stop in the middle of a movementjust because you have to flip your reels.

The clock creeps toward zero hour. Start yourmachine about 20 seconds before broadcast time, soyou'll be sure not to miss anything. You can alwayscut out that commercial later. Once the program ison, keep an eye on the recording level meters. If thelevel seems a little high or low at first, just let it go.Chances are that the engineer at the station will cor-rect it. But if the engineer is asleep at the switch,by all means adjust the signal level. But do it dis-creetly. Turn the knobs very gradually, and turnboth channels simultaneously. A good trick used byveteran broadcast engineers is to follow the expres-sion of the music while you do it. If you must raisethe volume, do it during a crescendo, hiding yourmaneuver under the natural swell of the music.Coversely, lower the recording level in a passagewhere the music naturally subsides. Frequent volumechanges give the recording a broken up feeling. Thebest recordings are those with the least amount ofknob twiddling.

At the end of a live musical broadcast, don't snapoff the recorder at the last note. You might amputatethe fading reverberation of the last chord, ending anotherwise fine performance with a jolt. Wait for theapplause or the announcer to follow the music, thenslowly fade out both channels in tandem.

In recording non-musical programs off the air, agood rule is to let the recorder run through every-thing. Don't start and stop the recorder to edit outstretches you think you don't want. You can alwaysdo that later, and you'll have a chance to decide atleisure what you want to keep. If you missed some-thing in the original taping that turns out to benecessary for continuity, it's gone for good.

In The Next Issue The International Tape Underground Tape Teaching-Does It Work? Eight Track Stereo Tips From The Pros

42 Tape Recording

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uau 1965 43

Inside MicrophonesHere's a handy guide to microphones suitable for usein recording in the home. To select the proper micro-phone, try to find a use similar to the one you havein mind listed under one of the pickup patterns (listed

Omnidirectional

across the top of the chart). The use to which youplan to put the mike determines the type you'll need.The price you should pay for it depends on the qualityof sound you want in your finished recording.

Cardiold Bidirectional

Price range

Uses

$9-$15 for crystal$12-$105 for dynamic

$5-$25 for crystal$15-$150 for dynamic

$504150

Recording business confer-ence with single mike

Recording on -the -street in-terviews

Recording sound effectswhere there is no back-ground interference

for dictating in quiet room

making letter tapes with agroup

recording voice againstbackground noise

eliminating feedback frompublic address or recorderloudspeaker

recording vocal groups instudio

for dictating in noisy room

making letter tapes withonly one voice

recording music or dramaduring performance

Studio recording of inter-views

Recording of piano -violinduets (or other similarduets)

reducing feedback in diffi-cult situations

tapedsounddeservestelexphones

designed especially for...

LANGUAGELABS

Telex is the leader in headsets for lan-guage laboratories.

Complete line of dynamic and amplified dy-namic headset -microphone combinations,

Shock -proof, tamper -proof --and most im-portant.., student -proof, Completely field

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Fits every type of school sound system.

HI -Fl performance captures every accent andsubtlety of speech.

For language teaching at its best order freeliterature today.

designed especially for...

STEREOHI-FI

Telex Stereo -Phones make any finetape recorder more.useful, more fun.

Ideal for stereo or monaural monitoring andediting.

Deep mellow bass, brilliant highs. Bettersound than speakers, and so -o -o private,

Stereo separation that puts you "in the re-cording hall."

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ST -20 has individual channel control on eachearpiece-$29.15. Featherlight ST -10-$24.95,

Ask your dealer or write for literature.

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Tape Recording

BeethovenConcerto in D for Violin, JosephSzigeti, violin; London SymphonyOrch. cond. Dorati, Mercury STC90358, $7.95

+ Music+ Performance

+++ Recording

This recording was made last yearby a performer who had been beforethe public for some 40 years-andsounded it. As an exponent of thisand other serious works for the violinin the 1920s when better-knownviolinists were treating the public tolarge doses of sugary pap, Szigeti hasearned a right to make such a record-ing. But virtuosity is almost as im-portant to Beethoven as understand-ing; and here he is hopelessly out-classed by Jascha Heifetz' fine re-cording for RCA Victor. Or, if you'rein the market for something a littleless showy, try Zino Francescatti'sthoughtful performance on Colum-bia. For us, the Szigeti is a ratherpoor third choice.

HandelJulius Caesar: Highlights, JoanSutherland, Monica Sinclair, soloistswith New Symphony Orch. Cond.Bonynge, London LOL 90087, $7.95

+ Music+ Performance--- RecordingNot so many years ago, the idea of

music as esoteric as this appearingon tape at all seemed ridiculous. Nowwe are treated not only to the music,but to a performance of it by one ofthe world's leading sopranos, all re-corded according to today's higheststandards. To top it all off, for thoseowners of automatic recorders whichwork on sonic beeps, there isn't evenany need to reverse this reel manual-ly-the beep tone is already there.

Actually Miss Sutherland tendsoccasionally to indulge herself in

tapeREV' \\

some vocal flourishes which mighthave puzzled Handel, and some ofher text is unclear. But for the mostpart this is beautifully sung, beau-tifully recorded.

MahlerSymphony No. 5, In C Sharp Minor,Berg: Wozzeck (Excerpts), PhyllisCurtin (soprano) and the SacredHeart Boychoir (in the Berg). BostonSymphony Orchestra, Erich Leins-dorf, conductor, RCA Victor FTC7007, $14.95

+++ Musical Interest+ Performance

+i Recording

Erich Leinsdorf leads a powerful,beautifully controlled performance ofthis huge variegated work. His pac-ing is precisely right: wonderfullyexciting in the tumultuous first move-ment; breathlessly tender in the love-ly Adagietto. Rarely has the fineBoston Symphony string sectionsounded so superb. In fact, this isdefinitely one of the best Mahlerreleases in years.

In the Berg excerpts, Leinsdorf'sskill as an operatic conductor, to-gether with excellent singing byPhyllis Curtin, result in a perform-ance that seems frustratingly brief.

PurcellDido and Aeneas, Mary Thomas(soprano), Dido; Honor Sheppard(soprano), Belinda; Helen Watts(contralto), Sorceress; Robert Tear

(tenor), Spirit and Sailor; MauriceBevan (baritone), Aeneas; OrianaConcert Choir and Orchestra, AlfredDeller, conductor, Vangard VTC1692. 54 minutes. $7.95

+++ Musical Interest--- Performance+ Recording

Henry Purcell was probably thegreatest composer England ever pro-duced. Everything he wrote con-tained a measure of inventivenessand maturity found in few of his con-temporaries. This delightful opera,composed for a girls' school just 275years ago, is the first major Purcellto appear in the tape catalogue.Moreover, the performance, as con-ducted by Baroque musicologist Al-fred Deller, is rich in dramatic em-phasis and adroit characterization.The principals are well chosen andthe singing of the Oriana ConcertChoir is beautifully defined. The re-cording is good without being spec-tacular, and stereo separation is notaccentuated. The work is recordedas a concert performance, ratherthan with simulated movement.Highly recommended.

SibeliusSymphonies No. 2N4, L'Orchestrede la Suisse Romande, cond. Anser-met, London, LCK 80152, $14.95

+-+ Musical Interest++ Performance++ Recording

One can never accuse Ansermet of

PerformanceUninteresting

What the Stars MeanRecordingLow -fi, totally lackingstereo effect

Of interest to a specialized Mediocre, lacklusteraudience onlyOf general interest

Of particular interest

Musicin + Poor

Comparable with today's re-cording standards-good av-erage recordingOutstanding, with intelligentuse of stereo effect

-+ Routine

++

+Good overall

Outstanding,superior

February 1965 45

TAPE REVIEWS

limiting his repertoire. The octo-genarian conductor, having given ussuperb performances of Stravinsky,Debussy, Ravel, Tchaikowsky, re-cently produced some masterly Bee-thoven and Haydn "Paris" sym-phonies. Now he turns to the special-ized material of Sibelius.

The results, unfortunately, are farfrom successful. Where one mightexpect Ansermet's attention to or-chestral color to reveal new facetsin these scores, his conducting simplyproduces two overly cautious, unin-teresting performances. There is nodash, no arctic fire, none of the ex-citement generated by Ormandy inthe Columbia tape of the SecondSymphony. It's all a grey monotone.

His orchestra, usually one of thebest co-ordinated ensembles inEurope, plays listlessly. It's all sucha pity, because this is the first Sibel-ius Fourth in the catalogue, andboth works are blessed with super-lative recording. Moreover, this isone of London's bargain twin -packs,a point that may still attract somebuyers to this release.

A French ProgramArtur Rubenstein, piano, includesRavel's Valses nobles et sentimentalesand La vallee des cloches; Poulenc'sMouvements perpetuels and Inter-mezzo; Chabrier and Faure, RCAVictor FTC 2188, $7.95

+- Musical Interest+ Performance

+++4- Recording

Rubinstein's first all -French pro-gram contains superb playing andmuch persuasive charm. The selec-tions are delightfully varied, and allare performed with a high degree ofpolish. There is gallantry and bra-vado in Ravel's Valses; quiet tender-ness in the lovely Faure nocturne.

And yet, I do find the perform-ances rather meticulous. I miss theflowing colors of Casadesus or Giese -king, who have recorded this musicon disc. They add a mysterious im-pressionism, merging the myriadthoughts and emotions into subtlecompositions, like stained glass win-dows in rain, with the rich colorsrunning softly into each other.

The piano sound is excellent. Allthe nuances of this delicate musichave been captured with great

clarity. In spite of my one misgiving,I do hope that Victor persuadesthis magnificent pianist to recordmore from the French repertoire.A tape like this is a beautiful wayto round out your late -night listen-ing.

Johann StraussDie Fledermaus, Eberhard Wachter,Eisenstein; Anneliese Rothenberger,Adele; Adele Leigh, Rosalinde;George London, Falke; Rise Stevens,Orlofsky; Sandor Konya, Alfred;Erich Kunz, Frank; Vienna StateOpera Orchestra and Chorus, OscarDanon, conductor, Victor FTC 7004$14.95

Anneliese Rothenberger

---- Musical Interest+ Performance

---o- Recording

Victor's recording of this belovedoperetta is quite different from VonKarajan's dashing performance. Thedialogue has been cleverly cut andthe score is the original version fromthe Library of Congress. The newtape also avoids a gala treatment ofthe Orlofsky Ball, which lengthenedthe London version and increased itscost.

Apart from that, the new produc-tion reveals only two stars: Danonand Rothenberger. Danon's warmthand wit with this score is second onlyto Clemens Kraus. And AnnelieseRothenberger is captivating as Adele,as gay and coquettish as a Viennesewaltz.

The rest of the cast is not inspired.Adele Leigh, as Rosalinde, sings wellbut lacks the cool sophistication ofHilde Gueden on London. Wachter

has no subtlety and simply shoutsthroughout his role. George Londonsounds too heavy, failing to capturethe right idiom for this music. AsOrlofsky, Rise Stevens is not onlyweak vocally: her characterization isgrotesque.

The stereo sound is rich, with ex-cellent separation. The entire record-ing is staged with imagination andvocal/orchestral balances are splen-did. Considering cost, and Danon'ssympathetic contribution, this wouldbe the version to own.

MahlerSymphony No. 2, "The Resurrec-tion," Jenny Tourel, Lee Venora,N. Y. Philharmonic, cond. Berstein,Columbia M2Q 604, $11.95

+ Musical Interest --- Performance --- Recording

There are plenty of fine perform-ances of this apocalyptic symphonyon disc: Scherchen, Walter, and tworecordings by Klemperer. Klemper-er's second version, a rather stolid,unimaginative reading, is the onlyother tape performance available.

In every case, the recording isinadequate. There are passages inthe tumultuous final movement thatrequire an immense dynamic range.In fact, other than the BerliozRequiem and the Mahler EighthSymphony, this is one of the mostdifficult scores to record.

Which brings us to Bernstein.Now, at last, the Columbia engi-neers have produced a recordingthat sonically does justice to themusical ideas. It is magnificent.Every detail is clear, every crescendobursts forth without tonal thicken-ing or distortion. It is a triumphantexample of modern recording tech-niques at their best.

Coupled to this superb sound isBernstein's exalted reading. It isquite clear that Bernstein is thefinest Mahler conductor in America.A worthy successor to the late BrunoWalter. This is a powerful, dramaticperformance with all the blazingintensity of Scherchen, all the gran-deur and lyricism of Walter, all theshimmering detail and discipline ofKlemperer. Bernstein is joined in hisstupendous achievement by JennieTourel and Lee Venora. Both singwith great inspiration, and the Col-legiate Chorale is excellent.

46 Tape Recording

Mahler was only 34 years oldwhen he wrote this remarkablescore. It is a score that RichardStrauss treasured all his life becauseit contained musical ideas yearsahead of its time. Perhaps it won'tappeal to everyone, but it should beheard. And I can think of no greaterperformance to reveal its manysplendors than this new recordingby Bernstein. Don't miss it.

BizetCarmen, Leontyne Price, FrancoCorelli, Robert Merrill and soloistsVienna State Opera Chorus ViennaPhilharmonic Orch. cond. Herbertvon Karajan, RCA Victor FTC8009, $21.95

+++ Performance++++ Recording--++ Music

Here's RCA Victor's answer to theCarmen released several months agoby London. As far as sound quality,theatricality and dramatic use ofstereo effect are concerned, RCA haswon the battle hands down. Butthere are some blemishes here andthere in the performance. RCA'sFranco Corelli is not noticeably supe-rior to London's Mario del Monacoin his phrasing and singing; whereasLondon's Regina Resnik is ourhands -down favorite as a singingactress in the title role. Von Kara-jan's tempos become downrightlethargic on occasion. Our verdict:good-but not great.

TchaikovskyOverture 1812, Minneapolis Sym-phony Orchestra cond. Dorati (inthe Tchaikovsky) University of Min-nesota Brass Band

BeethovenWellington's Victory, London Sym-phony Orch. cond. Dorati (in theBeethoven), Mercury $4.95

+ Performance-+++ Recording

++ Music

There's no other tape which evencomes close to this one in its abilityto deafen you with its cannon, mus-kets and carillon. The recordings arenot new-dating back to 1960 and1961. But they still rank supreme asdemonstrators for fine stereo systems.Dorati's 1812 gets off to a peaceful

Antal Dorati

enough start-so keep your volumecontrol in its normal position. Theracket commences soon enough.Wellington's Victory is pretty light-weight Beethoven, but if you musthave it, then this is the version tohave.

GershwinPorgy and Bess: A Symphonic Pic-ture, Minneapolis Symphony Orch.cond. Dorati (in the Gershwin)

GouldLatin-American Symphonette, East-man -Rochester Symphony Orch.cond. Hanson (in the Gould),Mercury SR 90394 $7.95

* Performance- Recording

++-+ Music

"This album has been electronical-ly created from the original monauralmaster tape" announces a tiny lineat the top of the jacket. And so ithas. Monaurally, both of these werefine high fidelity recordings whenthey were made back in the mid1950s. Today their sound still isgood, although there is nothing inthe way of stereo effect. The Gouldand Gershwin are two easily acces-sible pieces of American music whichshould convince just about anybodythat "serious" music is worth listen-ing to.

TchaikovskyCapriccio Italien, The London Festi-val Orch. cond. Black, London LCL75004, $7.95

Rimsky-Korsakov

Capriccio Espagnol, The LondonFestival Orch. cond. Black, London

+ Music--- Performance

++++ Recording

Victor and Epic have recordedessentially the same program, withbetter performance but sound whichisn't nearly as striking as this. Lon-don's Phase 4 treatment of these twowarhorses more than makes up forperformances which are outclassedby Dorati, Szell and Kondrashin (inthe Tchaikovsky) and Kondrashin,Szell and Bernstein (in the Rimsky-Korsakov). Epic's Szell generouslythrows in two other standards-Borodin's Polovtsian Dances from"Prince Igor" and Moussorgsky's"Dawn on the Moskva River" forthe same price. But for sheer sonicpleasure, London has no competitionat all.

Tchaikovsky

The Nutcracker Suite, PhiladelphiaOrch. cond. Ormandy, ColumbiaMQ 689, $7.95

++4- Musici-++ Performance++++ Recording

Here's a healthy portion of "Nut-cracker" in a sympathetic readingby Eugene Ormandy. The competi-tion includes no less than five re-cordings of the complete score (at$11.95 each), the best of them byArtur Rodzinski and the LondonPhilharmonic on Westminster; andthree 25 -minute sets of excerpts. Es-sentially the same program asOrmandy's has been recorded byFritz Reiner and Ernest Andermet.Of these three, the Ormandy, in ouropinion, is the best of the lot withthe Philadelphia Orchestra's lushstrings singing out at every oppor-tunity. The real question is howmuch "Nutcracker" you want. If25 minutes is enough, we'd suggestBernstein's recording, also forColumbia. But if you'd like a littlemore, this is your best bet. Record-ing is typical of the high standardColumbia has set in its previousPhiladelphia Orchestra tapes.

February 1965 47

is thisVq' PIR

tapecollection?

ScGlu6ERTrs UNFiNisHED (UNFiNiSNED)

MosT of $RAHMS SoNATn No. 3 1N F

OK!-ANoMA (SANS FiNALE)

INTERRUPTED MELODY (INTERRUPTED

of BEETHOVEN'S Fi FTH

AROUND THE WORLD iN

TcHAjKoVSKV'S (SI2. (uP to THE CANNONS AND BELLS)

ViVALDI S FOUR SEASONS (THRu OCT. 2t

Well! We should hope not .. . But, then again, if you arestill buying old fashioned conventional length recording tapes, you areeither wasting a lot of music or a lot of money. Let's face it; Schubert,Brahms, Beethoven and Company didn't write music to fit a reel ofrecording tape.It's up to you, the recorder owner, to buy a tape that will fit the music.Only American offers a complete line of Professional Length recordingtapes at prices you are now paying for old fashioned conventional

lengths. In fact, only American offers a selection of 45 different record-ing tapes available in lengths of 150, 250, 300, 350, 450, 500, 600,900, 1200, 1500, 1800, 2000, 2400, 3000, 3600, 4800 and 7200 feet.Be up to date. Insist on American, the tape designed to fulfill yourevery recording need.

See your dealer or write to:

RECORDING TAPEGREENTREE ELECTRONICS

2135 Canyon Drive, Costa Mesa, Calif.

TAPE REVIEWS

None But the Lonely Heart,Isaac Stern, violin, Columbia Sym-phony Orch. cond. Katinu, Includes:Greensleeves, Ava Maria, Clair deLune, Humoresque, Liebeslied, Hun-garian Dance No. 5, JamaicanRumba, etc., Columbia MQ 688,$7.95

++ Music+--+ Performance

-++ Recording

The last violinist we rememberoffering this kind of program wasthe late Fritz Kreisler, who is repre-sented on this tape by his "Liebes-leid." Here are pyrotechnics smoth-ered in syrup-the sugary favoritesfrom the classical and modern rep-ertoires served up with Stern's ac-customed fire. True, Aaron Cop -land's "Hoedown" does help to takethe edge off things, but there's stillall that Brahms, Tchaikovsky andStephen Foster to wade through. Theorchestra provides a lively and sym-pathetic background; and recordedsound is excellent, with perhaps aslight shrillness in some of the highs.

ShakespeareHamlet, Richard Burton, HumeCronyn, Alfred Drake and OriginalBroadway Cast, Columbia DCQ 665,$11.95

++ Performance++ Recording-+ Interest

This taped version of RichardBurton's Hamlet has one distinct ad-vantage over the live production-the listener isn't distracted by actorswandering about the stage in moderndress. But he may find the recordinga bit dry and uninteresting (stereois rarely used here to create a theat-rical effect) and he may prefer themore dramatically satisfying perform-ance by the Marlowe Society on Lon-don S 86005. But if you want asouvenir of Richard Burton, here itis, all on as single reel of tape (re-corded at 33/ ips).

Sidney MichaelsDylan, Alec Guinness, Kate ReidOriginal Broadway Cast, ColumbiaDCQ 666, $11.95

+++ Performance+- Recording++ Interest

This is one of those tapes whichwill be played and replayed by stu-dents of the drama and lovers of

Circle I on Reader's Service Card

48 Tape Recording

great theatre. It features the virtuosoperformance of Alec Guinness as thepoet Dylan Thomas and the sensi-tive portrayal of Kate Reid as hiswife. Stereo effects abound here, vir-tually always adding to the sense oftheatre. Recording is made at 33/4ips, providing substantial tape econ-omy and eliminating no less thanfour breaks found in the disc version.

Gil EvansThe Individualism of Gil Evans,Verve VSTC 319, $7.95

-+++ Music-++ Performance+-++ Recording

This is the first album in threeyears by jazz composer, arranger,conductor and pianist Gil Evans.While his work is out of the ordinary,it is far from dull. It is intricate,highly stylized and highly intellec-tual. It offers a new direction andcreates new opportunities for jazzmusicians. Evans may prove difficultfor some listeners at first, but hismusic is exciting.

Evans was at one time chief ar-ranger for the Claude Thornhill or-chestra and one of the first to useFrench horns in jazz. He uses flutes,oboes and English horns (the stand-ard classical woodwinds) along withFrench horns and a few convention-al jazz instruments to extend thescope of the jazz orchestra. Some ofthe sounds he creates may seem atfirst listening weird and unearthly,but they are intriguing and draw thecareful listener back. Each listeningenhances the magical Evans effect.This tape is well worth adding toyour collection. The stereo effect, bythe way, is subtle but superb.

The IncomparableMantovani

Mantovani and his Orchestra, Lon-don LPM 70088, 35 minutes, $6.95

++ Music++ PerformanceN Recording

Lovers of Mantovani and the lus-trous sounds he creates will bepleased with this tape. Included aremany old favorites: Fly Me to theMoon, September in the Rain, I'llBe Seeing You, As Time Goes By,and Yesterdays. And all are playedin the rich, sweeping style that hasbeen captivating millions for morethan seventeen years. The recordinghas depth rather than width. It iswarm and glowing, creating an ideal

mood for relaxed, late -night listen-ing. Altogether, a most enjoyable re-lease.

Al Hirt"Pops" Goes The Trumpet, (Holi-day for Brass) Al Hirt & The BostonPops with Arthur Fielder, RCAFTC -2171, $7.95

+ Musici --F Recording

From the opening bullfight classic"La Virgin de la Macarena" Al Hirtis in command. This is a tour deforce by a master ably backed bythe Boston Pops. The traditionalHebrew melody Eili, Eili is donebeautifully. His Carnival of Venice,Trumpter's Lullaby, Toy Trumpet,Bugler's Holiday and Trumpet Con-certo show Hirt at the top of hisform. In fact, the only let downcomes at the close of the albumwhen Hirt plays his great hit, Java.The Boston Pops just doesn't swingenough to balance Hirt's great trum-pet. But that's our only complaint.This is a fine listening tape.

Jimmy SmithThe Cat, Jimmy Smith, Verve VSTC322, $7.95

-++ Music--- Performance+-- Recording

In case you're not familiar withthe swinging jazz organ of JimmySmith, this tape should serve as anexcellent introduction. With tremen-dous energy and feeling, Smith putshis organ through its paces and isclearly the victor. He is heavily back-

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Circle 17 on Reader's Service CardFebruary 1965 49

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TAPE REVIEWS(Continued from page 49)

ed with brass including six trumpets,four French horns and four trom-bones (one manned by Urbie Green)and a tuba. In addition to bass, per-cussion and drums, he has KennyBurrell on guitar. This session wasarranged and conducted by LalSchiffrin who has concentrated hisefforts on showcasing the talent ofSmith and his driving, moving organ.

Beatle SongsBig Band Beatle Songs, Arrangedand directed by Bob Leaper, LRL74056, $7.95

-- Music. - Performance

--- Recording

What has sustained the Beatlesbeyond the faddist stage is theirmaterial. The hit songs written forthe group by John Lennon and PaulMcCartney have easily rememberedmelodies and strong flexible chordprogressions which lend themselvesto a wide variety of rhythms andinterpretations. To this reviewer BobLeaper's big (19 men) brass dom-inated band gets in the way toooften. I like the opening "Love MeDo" followed by "Please Me" onside one. The stereo separationthroughout is excellent. However,except for some fine individual per-formances on side two, this big,driving band left me cold. So far,I prefer Arthur Fiedler's approachto Beatle orchestration.

Football SongsKick Off, U.S.A., University ofMichigan Band, includes MaineStein Song, Down Down the Field,Eyes of Texas, Fight Tiger, NavyBlue and Gold, Nittany Lion, RollOn Tulane and 15 others, VanguardFTC 1691, $7.95

H Performance---- Recording--- MusicThis tape arrived a bit late for the

collegiate football season - and,frankly, it's difficult to work up en-thusiasm for it in the middle ofbasketball season. Suffice it to saythat there are gridiron marches from20 colleges across the country (plus76 Trombones and the National An-them) played as you might hearthem any Saturday afternoon in an

Ivy League college bowl, but re-corded in stereo with all the skill ofVanguard's engineers. A bit muchfor repeated or prolonged listening,however.

Johnny MathisThe Wonderful World of Make Be-lieve, Johnny Mathis, includes Came-lot, La Mer, Shangri-La, House ofFlowers, Alice in Wonderland, I'mAlways Chasing Rainbows, Sands ofTime, Beyond the Blue Horizon andothers, Mercury STC 60913, $7.95

-+ Music+ PerformanceN RecordingHere are a number of slightly off -

the -beaten -track tunes done in theJohnny Mathis style, which accountsfor the fact that the album has al-ready scored on the best-seller charts.Sound is adequate.

Sam CookeSam Cooke at the Copa, RCAVictor FTP 1290, $7.95

-- Music---» Performancetea` Recording

I came to this album with a "showme" attitude. Young Mr. Cookeshowed me-but good. This was adynamic, versatile young performerwith a high degree of showmanship.It's obvious throughout that he hadplenty of personal charm and hadthis Copa audience with him all theway.

Cooke is best on upbeat materialand distinguishes himself with "BillBailey," "If I Had a Hammer," andthe "Tennessee Waltz." On some ofhis numbers he begets almost a re-

JU Tape Recording

ligious fervor which adds to his in-fectious quality. The album includesCooke's first big hit, "You Send Me."He will. He was an artist.

Connie FrancisA New Kind of Connie, ConnieFrancis, MGM STC 4253, $7.95

+a- Music-e-~ Performance

Recording

In some ways this is indeed a newkind of Connie. In fact, on "I'veGot a Crush on New York Town,"she exhibits a quality which remind-ed this reviewer of Eydie Gorme.This number is easily the best thingin the album and almost worth theprice of it alone. It is destined to bea classic.

On side two Connie opens with avery fast and very good "Will YouStill Be Mine" and follows with abeautifully paced rendition of "MyMan" sounding very much like theold Connie Francis. She then liftsthe pace with "More" and followswith a smashing version of "TheSweetest Sounds," the best numberon this side. This is a tape any Con-nie Francis fan will enjoy-and onewhich may win her many new con-verts.

Caterina ValenteValente & Violins, London LPM70089, $7.95

+ Music+ PerformanceN Recording

Caterina Valente is certainly a

distinguished performer. She is athome with a wide range of materialand shows it in this album. Shecomes across very well in two num-bers arranged in a Bossa Novarhythm. However, Miss Valentesounds as if she's straining on acouple of numbers.

The addition of the violins asmentioned in the title doesn't seemvery significant in the overall per-formance, which is good but not aslyrical as the liner notes would haveus believe.

Osmond BrothersAll -Time Hymn Favorites, TheOsmond Brothers, includes In TheGarden, My Task, Whispering Hope,Abide With Me, I Need Thee EveryHour, Now The Day Is Over, OhMy Father and others, MGM STC4235, $7.95

+- Performance- RecordingH- Music

Here are a dozen favorite old-timehymns sung tastefully by four per-sonable boys who have developedtheir own following from TV ap-pearances on the Andy WilliamsShow and the Travels of Jamie Mc-Pheeters. What this tape lacks in big-city sophistication it makes up inhonest heartfelt sentiment. If you'relooking for really good recordings ofthese sacred standards, you can't dobetter than this tape.

Knuckles O'TooleKnuckles O'Toole Plays Again, in-cludes: The Band Played On; I'mLooking Over a 4 -Leaf Clover; IWant a Girl; Kitten on the Keys;Beer Barrel Polka; Bye Bye Black-bird; etc. ABC -Paramount ATC 843,$7.95

+ Music-e Performance++ Recording

What the box doesn't tell you isthat there's a Mitch Miller chorusmixed in with this honky-tonk piano.Either one by itself would have madea first-rate tape, but the combinationdoesn't seem to us to be a good idea.The chorus doesn't appear in everynumber, which gives you some op-portunity to hear one of the bestragtime pianists in the business athis very best. The piano is recorded

close -to, with plenty of presence. Thesongs are all old favorites. This isn'teverybody's cup of tea, but if youdon't mind a little sing -along withyour ragtime, you may want to giveit a try.

My Fair LadyMy Fair Lady, Original Sound TrackRecording with Rex Harrison,Stanley Holloway, Columbia OQ664, $8.95

1---+ Music+ Performance

Recording

"My Fair Lady" is still the smashhit it was when it opened in NewYork on March 15, 1956. Here areall the familiar songs, beautifullyrecorded, to provide a worthwhilesouvenir for the millions of Ameri-cans who are seeing the show for thefirst time on the screen. If you al-ready have the original Broadwaycast tape, however, you'll find littleneed for this one. Rex Harrison'sperformance on the screen isn't quiteas crisp, and Audrey Hepburn's vocalstand-in on this tape is no match forthe original cast's Julie Andrews.

Listed on the next page are each ofthe tapes reviewed in this issue ofTAPE RECORDING. Use the cou-pon at the bottom of page 52 as ahandy shopping list to take with youthe next time you visit your tapedealer. Simply check off below thosetapes which interest you, or thosewhich you must have for your li-brary.

February 1965 51

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TAPES TO BUY

The Wonderful World of Make Believe,Johnny Mathis, Mercury STC 60913,$7.95

My Fair Lady, Columbia OQ 664, $8.95"Pops" Goes the Trumpet, Al Hirt &

Boston Pops, RCA FTC -2171, $7.95The Cat, Timmy Smith, Verve VSTC

322, $7.95Sam Cooke at the Copa, RCA Victor

FTP 1290, $7.95KickOff, U.S.A., Univ. of Mich. Band,

Vanguard VTC 1691, $7.95All -Time Hymn Favorites, Osmond Bros.,

MGM STC 4235, $7.95Knuckles O'Toole Plays Again, ABC

Paramount ATC 843, $7.95Valente & Violins, London LPM 70089,

$7.95A New Kind of Connie, Connie Francis,

MGM STC 4235, $7.95Big Band Bcatle Songs, London LRL

74056, $7.95The Individualism of Gil Evans, Verve

VSTC 319, $7.95Beethoven Concerto in D for Violin,

Szigeti, Mercury STC 90358, $7.95Bizet, Carmen, RCA Victor FTC 8009,

$21.95Tchaikovsky Overture 1812; Beethoven -

Wellington's Victory, Mercury, $4.95Purcell-Dido and Aeneas, Vanguard VTC

1692, $7.95Handel-Julius Caesar, Highlights, Lon-

don LOL 90087, $7.95Mahler-Symphony No. 5, in C Sharp

Minor, Berg: Wozzeck (Excerpts),RCA Victor FTC 7007, $14.95

Beethoven-Fidelio, London, LGS 90085,$21.95

Gershwin-Porgy and Bess; Gould-Latin-American Synphonette, MercurySR -90394, $7.95

Shakespeare-Hamlet, Columbia DCQ665, $11.95

Sidney Michaels-Dylan, Columbia DCQ666, $11.95

Johann Strauss-Die Fledermaus, RCAVictor FTC 7004, $14.95

A French Program, Artur Rubenstein,RCA Victor FCT 2188, $7.95

Tchaikovsky-Capriccio Italien, LondonLCL 75004, $7.95

Rimsky-Korsakov - Capriccio Espagnol,London LCL 75004, $7.95

Tchaikovsky-The Nutcracker Suite, Co-lumbia MQ 689, $7.95

The Incomparable Mantovani-Manto-vani and his Orchestra, London LPM70088, $6.95

None But the Lonely Heart, Issac Stern,Columbia MQ 688, $7.95

Sibelius --Symphonies 2N4, London LCK80152, $14.95

Mahler-Symphony No. 2, ColumbiaM2Q 604, $11.95

Or if you prefer, just tear out thiscolumn and mail it to your dealer withyour check or money order for thetotal amount of the tapes you've check-ed off. Be sure to fill in the followinginformation.

Name

Address

City Zip Code State ....

Tape Recording

Rates: Commercial ads: 30¢ perword. Minimum order $5.00. Swaps:15¢ per word. Minimum $2.50.Copy must be accompanied by re-mittance in full.

Business Opportunities

Put your tape machine to work.Beginning and experienced record-ists needed to tape special events, byassignment, in your area. Goodmoney maker. For details write JBBEnterprises, Box 331, Granada Hills,California.

Educational Opportunities

"TAPE RECORDING For Pleas-ure & Profit" This tremendous vol-ume a foot square, an inch thick isjam-packed with hundreds ofmoney -making ideas using a TapeRecorder! Make Radio Commer-cials, Sound -On -Sound, UnusualEffects, Weddings, Industry, Busi-ness, Master Tapes, etc. An un-limited storehouse of uses! Uncon-ditionally guaranteed! Not a book.A complete Home Study Course!Supply Limited. $4.95 each, plus.30 postage. No C.O.D. Order To-day! Hammer Enterprises, Asheboro,N. C.

For Sale

Like New Ampex 351 portable withcases. 33A -7V2 ips. Two channelStereo. $1500.00. Walter GeorgeBergman, P.O. Box 214, WellesleyHills, Mass. 02181 617-235-3700.

NEW! Tape automatic shutoff$3.95. Reel adaptors: 101/2" for reg-ular, 7" for battery portables. LeeroiElectronics, Marengo, Illinois 60152.

What am I offered for 1962 AmpexModel 960? Four -track, two speed,normal amount of use but well cared

tapeCLASSIFIED

for. Shipped to highest bidderC.O.D. from New York City. Box113, Tape Recording, 156 East 52ndStreet, New York, New York 10022.

Luxor MP 423 for sale. Swedish -made three -speed four -track stereorecorder, used but in good condi-tion. Complete with microphone andservice manual. Your quote shouldinclude shipping from Danville, Pa.Box 119, Tape Recording, 156 East52nd Street, New York, New York10022.

What am I offered for used NorelcoEl 3516 3 -speed two -track monorecorder in top working condition?Also have used Magnemite 610 SDbattery -operated tape recorder (71/2ips, mono, two -track) ideal forbroadcast use, professional or scho-lastic field recordings. Highest offerC.O.D. from Brooklyn, N. Y. takeseach recorder. Box 121, Tape Re-cording, 156 East 52nd St., NewYork, New York 10022.

Rentals

STEREO TAPE Rentals for the dis-criminating listener. Gold CoastTape Library, Box 2262, Palm Vil-lage, Hialeah, Fla. 33012.

RENT 4 -TRACK STEREO TAPES-All labels and titles-Prompt serv-ice and dependability our keynote-No deposit-Postpaid both ways (48States) - Free BROCHURE andCATALOG-TRIMOR Company,Dept. MTD, P.O. Box #748, Flush-ing, N. Y. 11352.

Swaps

Interested in opera recorded off theair-particularly Metropolitan Op-era broadcasts recorded in 1940s and

early 1950s, opera broadcast in Brit-ain, Germany, Italy, etc. Willing toswap dubbings of rare 78 rpm op-era vocals, etc. Prefer quarter -trackmono or stereo recordings @ 33/4 ipsfor this type of material. Recorder:Roberts 997. Hamilton Carson, Box111, Tape Recording, 156 East 52ndSt., New York, N. Y. 10022.

Interested in comedy-off-the-airfrom 1940s by Fred Allen, W. C.Fields, Ed Wynn, Henry Morgan,Bob & Ray, etc.; film sound trackslike Arsenic & Old Lace, Never Givea Sucker an Even Break, etc.; Ca-nadian or British comedy by Raw-hide, Goons, Tommy Handley, TedRay, Steptoe & Son, etc. Have num-ber tapes of similar material to swap.Prefer 33/ ips quarter -track mono.Recorder: Norelco 401. George Rob-ertson, Box 120, Tape Recording,156 East 52nd St., New York, N. Y.10022.

Tapes

USED MYLAR TAPES -1800 foot-7 inch reels. Minimum order 10tapes for $10.00. 20 tapes for $19.00.50 tapes for $45.00. Postage prepaidin U. S. Send check with order. B.Freeman, 800 W. 87th St., KansasCity, Missouri. 64111.

SATIRE: John Paul Jones educa-tional and philosophical tapes fea-turing integrated sound effects.Stereophonic sampler, $1.25. Freecatalog. Write SOUNTAGE RE-CORDING COMPANY, Box 176,Levittown, New York 11756.

Miscellaneous

BIG BANDS, air checks, collectorsitems. Box 322, Glen Head, NewYork.

February 1965 53

Saue M p: y :.

WITH

Tape Splicers(invented by Joel Tall, Pioneer Tape Editor)

Patented curved groove holds tape snuglywithout clips for fastest, safest splicing! Tape edges stay ungouged-just like new! Spliced tape can be used thousands of times-splices won't separate-ever! Shattered bits of tape splice togetherquickly, perfectly! Precision made-stays accurate for morethan 1 million splices! Used by professional broadcast tape editorsall over the world!

S-2, 4 in. long, adhesive mtg $6.50KS -2, includes S-2 plus accessories $7.45

S-3, 53/4rr long, mtg. holes $8.00KS -3, includes S-3 plus accessories

(complete with instructions)$8.95

At your dealer or send checkor M. O. (delivery postpaid) to:

THE TALL COMPANY158Mt. Vernon, N

h Terrace10550

Dealer Inquiries Invited.


Erases an entire reelin seconds!

ROBINSLOW-COST BULK TAPE

ERASER model ME -77At last! A professional quality bulk eraser for theamateur recordist. The ME -77 completely removesrecorded and unwanted signals from reels of tapeup to 1/4" wide and 7" in diameter. Seconds afteryou switch it on-you have a fresh-sound-freeand noise -free tape ready for recording. And sincethe ME -77 reduces background noise 2 to 4 dbbelow normal erase head levels, future recordingswill be as clear as the original. Easy to use, thecompact ME -77 comes in a durable bakelite housing.

At dealers or write:ROBINS INDUSTRIES CORP.

FLUSHING, N.Y., 11356


tapeCLUB NEWS

A plea for help in sending aspoken message from a gravely illpatient in England to his mother inPoland travelled from Ampthill, Bed-ford, to Cheshire (England), thenceto Dallas, Texas, U.S.A., over toMunich, Germany, and then byradio to Poland with the help ofWorld Tapes for Education membersin these many places.

Alojzy Matysek, bedfast and al-most unable to talk from dissemi-nated sclerosis, hoped to receive ataped message from his mother inGornly Slask, Poland, in answer tohis tape.

Bill Leggett, a member of the Toc.H. Hospital Social Services, set thewheels in motion for this unusualmessage when he asked members ofthe Bedford Tape Recording Club tohelp Alojzy tape the message. Thelocal club sent an urgent letter toWTE Representative for the UnitedKingdom, John Davies of Sale,Cheshire.

An airletter from Davies to WTEHeadquarters in Dallas was relayedto Alex Menhard, a WTE memberwho is in charge of radio programsbeamed to Poland from the RadioFree Europe station in Munich,Germany. Alex immediately con-tacted the hospital in England, butthe tape he received did not containAlojzy's voice, only that of anotherperson relaying his message.

Alex, who had already planned ashort trip to London, left immediate-ly with his portable recorder andsoon arrived in Bedford, England.He recorded Alojzy's whisperingvoice in this message to his mother:

"My dear mother, this is your sonAlojzy speaking. I send you warmgreetings. I am in a hospital nearBedford. Perhaps it can be done, andI shall receive greetings from you ontape. This would make me veryhappy. Please do not worry aboutme. I wish you all the best. I wish

you a happy Christmas."This message has been broadcast

a number of times over Radio FreeEurope, with an appeal to tape re-corder enthusiasts in the town ofBytom, Poland to tape a reply. "Uptill now, there was no reply fromPoland," reports Alex Menhard, "butwe hope it still will come, in spite ofthe official ban on sending tapes outof the country."

World Tapes for Education wasrecently ruled a non-profit corpora-tion to which donations are deduc-ible for Federal income tax purposes.

Many new volunteers have beenreceived for the WTE Services forthe Blind, directed by Bob Brunson,Oklahoma City educator. Followingan appeal in TAPE TOPICS, the bi-monthly magazine which goes to allWTE members, several people haveoffered to do this valuable readingservice for blind students and pro-fessional people.

The WTE Library, directed byEdward E. Cumbie, Homestead,Fla., offers more than 500 programsto members on a dubbing basis. Thelibrary now is facing the problemof securing tape and dubbing facili-ties so that each of the six branchlibraries in other countries can beprovided with a copy of each pro-gram.

For information about the activi-ties of the International Tape andCine Society and its magazine "Tapeand Cine Reel," contact:

Roger Pirie, Secretary83 Warrens Hall RoadDudley,Worcester, England

For news of the FRIENDLYTAPE NETWORK, contact FredReynolds, 544 Clarkson Street,Colo.

54 Tape Recording

TAPE NOTES

(Continued from page 30)

paragraph of this article and read the first sentence,with the microphone directly in front of you, at adistance of one foot, the second sentence with themicrophone at two feet and the third at three feet.Leave as little empty tape as possible, between thesentences. Be certain the recorded level is the samewith all three sentences; this means that the recordlevel control will have to be advanced each time thedistance is increased.

Play this test strip back and notice the differencein the character of each individual recording as com-pared with the others. The differences will be quitestartling to anyone who has never made a compari-son of this nature. You will notice that as the dis-tance between the microphone and the narratoris increased the sound becomes more "alive," rever-berant and fuller. The difference in the quality andtimbre of your voice at the various distances is quitenoticeable. Choose the distance and mark the settingof the record level control at which your voice ismost pleasing.

The character of your voice may be further al-tered by utilizing another of the techniques em-ployed in recording studios to obtain a more flatter-ing recording. Any microphone becomes less re-sponsive to the higher voice frequencies as the speak-er moves off the axis of the microphone. Since itis these higher frequencies which are primarily re-sponsible for the harshness and excessive sibilancefound in so many voices, it is obvious that any reduc-tion in the amount of high frequency pickup willalso reduce the amount of harshness and sibilancerecorded. Our second test recording will show this.For this test use the distance and recording level de-termined previously. Stand directly in front of themicrophone and read the first sentence. For the sec-ond sentence stand at an angle of 30-35 degrees offthe axis of the microphone. For the third, use a 50-55 degree angle. For the fourth sentence a 75 degreeangle should be employed.

When you play this recording back you will findthe difference in the high frequency content of eachsentence is quite noticeable. If your voice has anytendency towards harshness or sibilance you will alsonotice how they disappear as the angle off axis isincreased. Choose the angle at which your voice isagain most pleasing. We might suggest you com-pare this last recording with one of your earlierones, you will be quite pleased.

Local radio commentators aroundthe country are conducting personalinterviews with celebrities they'venever even met. It's all done withmagnetic tape. The interviews arerecorded in Hollywood or New Yorkwith appropriate blank spots intowhich local announcers insert theirown questions from a script providedwith the tapes. This gives station lis-teners the feeling that their localbroadcasters are acquainted withleaders in entertainment, the arts,politics and other fields from everycorner of the globe.

Have you ever wondered how youstack up against the average tapeuser? According to a 1962 survey byBennett-Chaikin, Inc., he's male, 25to 45 years of age, a college graduateearning anywhere from $7000 to$15,000 per year; he's either in theprofessions or is a business manageror proprietor; has 12.3 reels of tapeat home, 9.7 of which are recorded,and has owned a recorder for at leastthree years. Three out of four aremarried, one in ten uses tape to prac-tice musical instruments, 14 per centto rehearse speeches or sales talks.Surprisingly, only 30 per cent havetape recorders primaily as a meansof supplying musical entertainment.

Pre-recorded 4 Treck StereoTapes at Discount

Through Our Special Membership PlanCitadel Membership - Proven by thousandsof satisfied club members because ...

YOU DECIDE ON YOUR PURCHASES - Buyas few or as many tapes as you want .FREEDOM OF SELECTION - Virtually anytape, on any label, by any artist is available.

FREE! COMPLETE TAPE CATALOG - Withmembership you receive this current cata-log of all 4 -track stereo tapes.

PROMPT SERVICE - Many orders areshipped the day received . rarely laterthan the next several days.

100% GUARANTEE - All tapes are guar-anteed factory fresh and free of defects.

(Special! All LP records also available underyour Citadel Tape membership.) Membershipdues is $4.00 a year ... a nominal amountwhen you consider that as a CITADEL MEMBERBUYING TAPES AT DISCOUNT PRICES, YOURDUES WILL BE PAID FOR WITH VIRTUALLY THEFIRST PURCHASE YOU MAKE THROUGH THECLUB. Additional savings mount up, permittingyou to buy more tapes on your tape budget.Try membership for 30 days. If not completelysatisfied, your dues will be refunded immed-iately. Complete the coupon below, includeyour $4.00 yearly dues and upon receipt weshall forward all membership material to you.

CITADEL. TAPE CLUBdivision Citadel Record Club ST -5

545 Fifth Avenue, New York, N.Y. 10017

Name

Street

City Zone State


February 1965 55

PcturPi es on TapeHere are the leading contenders in the home video -tape sweepstakes, together with their vital statisticsand technical information which has been made avail-

Price

Cinerama-Telcan

$160 or so

Fairchild Norelco

$3000 for console or port- $3000 for industrial modelable model

Loewe -Opta

$2500

Availability Telcan has declaredbankrupcy

Promised for next month Expected early this year early this year

Recorder size same as conventionaltape deck

same as conventional tape about the same as conven- slightly larger than conven-deck tional tape deck tional deck

Tape quarter -inch triple -play tape 1/4" triple -play tape on 11" believed to use 1" videotape 1" videotape on 8" reelon 111/4" reel reel on 8" reel

Tape cost per reel $30 $25 No estimate $25 estimated

Tape RecordingTime

22 minutes uninterrupted,44 minutes per reel

15 minutes uninterrupted unstated120 minutes per reel @ 120ips

1 hour

Tape speeds 120 ips 120, 60 ips 6 ips 6 ips

Number of tracks 2 8 unstated 1

Reverse no yes no

Head life 100 hours 1500 hours unstated

Head replacementcost

$2 $15 unstated

Heads 2 -erase record/playback 2-record and playback.All tape must be bulkerased

2-erase and slant trackrecord/playback

Type of electronics transistorized transistorized transistorized

Type of motor ordinary induction ordinary induction hysteresis synchronous

Connections to TV audio, video & horizontal audio, video & horizontalsynch. Can be done by synch. Can be done byqualified TV serviceman qualified TV servicemanfor about $15

audio, video & horizontalsynch. Can be done byqualified TV serviceman

Picture quality unsatisfactory for prolonged Highly satisfactory corn-viewing, comparable to pared to TV original. Pic-early TV kinescopes. Ver- ture shows slightly less con-tical hold wasn't always re- trast than original at 120liable ips. No problem with ver- reported to be of very high

tical or horizontal hold quality

nearly as good as Fairchild,and quite satisfactory forprolonged viewing despitesome darkness at pictureedges

Sound quality adequate - comparable to adequate, comparable to reported to be good$59 recorder quality good table FM radio sound

comparable to FM tableradio sound and equal toFairchild sound

Video camera $160 extra included in $3000 price $500 included in price

56 Tape Recording

able thus far about each. Information has been com-piled from data supplied by the manufacturers andfrom a number of trade sources.

Par Ltd.

$250 estimated

Ampex Signature V

$30,000

Sony Videocorder

$600 -1 -

still in experimental stage on sale now expected late this year

same as conventional deck slightly larger than slightly larger than conven-conventional deck tional deck

%4" triple play tape on 7" 1" videotape onreel 8" reel

1" videotape

$11.95 $20 for 1 hour

24 min. uninterrupted48 min. per reel @ 30 ips

60 minutes

60, 30 ips 7'/ ips

2

yes

unstated

unstated

transistorized

four -pole shaded

. audio, video & horizontal comes complete withsynch can be done by quali- TV setfled TV serviceman

only marginally better than well-nigh indistinguish- unavailable at press timeTelcan at 60 ips, with a able from TV originalgood deal of show and lossof picture clarity

nonexistent now, although equals TV reproducer's stereo. Fidelity will be de -Par hopes to have wide sound quality pendent on retail pricerange stereo sound

$500 estimated included in $30,000 Yes, but price not set yetprice

TandbergMEETS A

GREATARTIST

RICHARDTUCKER

acclaims the "Better, Clearer,More Natural Sound" of

RFiandbergMODEL 74B

3 SPEED/4 TRACKSTEREO MUSIC SYSTEM

Mr. Tucker's choice of a tape re-corder was based on the most exact-ing criteria . . . uncompromisedsound clarity, unrivaled performance,unequalled dependability. Tandbergmet and surpassed these standards,adding to them; compact size, easeof use, and overall fine quality. Listento this Tandberg yourself. Comparethe unparalleled record / playbackfrequency response - the lack ofwow and flutter, the low tape tension.You'll agree that the Model 74B isperfect for you. Other features in-clude - FM Multiplex filter, built-inspeakers & amplifiers, 2 built-incathode follower outputs, precisionheads, "free" tape thread. At fran-chised dealers everywhere ... $449.50

lincl. carrying case I.

ONEYEAR

GUARANTEE

RE3andbereOF AMERICA. INC..

P.O. Box 171, 8 Third Avenue, Pelham, N. Y.Circle 24 on Reader's Service Card

February 1965

with thissolid stateAC operatedMonarchtape recorderyou can

Model RT-300

. listen to music. . . record from radio,

Tr or records... practice sales talksor speeches... have fun at parties

... practice music

. . . record familyevents

. . . tape businessmeetings

. . improve yourspeech

. . . add sound to homemovies

. learn a language. preserve your

children's voices. .. dictate letters

and ... (the best part)it's only $79.50

MONARCH ELECTRONICS7035 Laurel Canyon Blvd.North Hollywood, California 90601

TAPE EQUIPMENT

(Continued from page 36)It is interlocked in this way to pre-vent tape spillage or damage.

Each channel's recording andplayback volume is independentlycontrolled and in conjunction withthe separate VU meters is a greataid in balancing channels duringstereophonic recording and play-back and in maintaining uniformlevels from tape to tape, whetherstereophonic or monophonic.

The independent tone controlsfor each channel operate only duringplayback operation. The Hi -Fi posi-tion provides essentially flat play-back response for playback throughhigh fidelity equipment and iseffective on signals from the pre -amp and external speaker outputs.During recording it is inoperativeand has no effect.

The Wollensak 1280 has auto-high frequency erasure

removes previously recorded soundimmediately before a new signal isrecorded on the tape. The Wollen-sak 1280 provides all of the desirablefeatures one expects to find in aquality recorder in this price class.The one notable omission was lackof a carrying handle.

The John F. Kennedy MemorialLibrary has asked some 40 worldleaders to tape their impressions ofPresident Kennedy for posterity.Among the first to accept wereHarold Wilson of Great Britain andPaul Henri Spaak of Belgium.Among those invited to take part wasNikita Khrushchev, who may enjoythe ground rules. The leaders weretold they could hold their tapes forrelease after their death or at anyfuture date they might specify.

Dick Tracy may have his wristradio, but the police in Philadelphiahave their own battery -operated taperecorders for use in interviewing wit-nesses, interrogating suspects andmaking reports. The development oflightweight, reliable portables hasfacilitated field use of such equip-ment.

ADVERTISER'S INDEX and

READERS SERVICE

CARD INDEX

READERS

SERVICE

CARDNUMBER

1 American Recording Tape

PAGE

48

2 Ampex Corp. Inside back Cover

3 Audio Devices

4 Cipher

5 Citadel Tape Club

6 Concertone

7 Concord Electronics

8 Eastman Kodak Co.

9 Electro -Voice

Inside Front Cover

4

55

3

13

9

Back Cover

10 Harman Kardon 27

11 Heath Company 31

12 Koss Electronics 52

13 James B. Lansing Sound 8

14 L T V University 18

15 Magnecord 41

16 3M Company 6

27 Monarch Electronics 58

17 Nortronics 49

18 Revere Wollansak 43

19 Roberts Electronics 7

20 Robins Industries 54

21 Sherwood Electronics 24

22 Shure Bros. 32

23 Tall Co. 54

24 Tandberg of America 57

25 Telex 44

26 Viking 50

Circle 27 on Reader's Service Card58 Tape Recording

Until another stereo tape recorder matches all thefollowing features, the Ampex 2000 will set the standardín stereo tape recorders. Ask anyone who knows.

Automatic threading. 'Merely lay tape inslot and that's it. Thread tape in the timeit took to read this paragraph.

Double Capstans. Provide constant tapetension resulting in fidelity at 33/4 crowd-ing that of 71/2 ips! Plus-eliminates theneed of pressure pads. Benefit: no excess

of the heads!

Diecast aluminum frame (and rigid blockhead suspension). Built like a truck (trybanging other units with plastic frames!).Keeps wow and flutter at an all-timelow, low.

Automatic reverse. subsonic signal canbe added (by you) at any point on thetape. Result: continuous music with nofuss, no foil.

Styling. Note how form has followedfunction, No frills-just good looks thatblend with any decor. And anyone canlearn how to operate it in but minutes.

Quality control. Guaranteed by Ampexwith their full year service on all partsand labor. Need we say more?

Frequency response at 7'1, fpsaverage (production run: ,2db, 30-18,000 cps

guaranteed minimum: :',3d1t, 50-35,0(x) cps.Signal-to-nrese al 7V: ips:

average (production run): 52 dbguaranteed minimum: 44 db

Wow & Flutter at 7V2 ips:average (production run): 1/13 of 1°/e (.0007)

guaranteed minimum: 1/8 of 1°/e (.0012)

Guaranteed specifications. And onlyAmpex can dare do it. Reasons: only thebest engineering, quality control, and ma-terials (plus the Ampex name) go intoevery Ampex tape recorder.

Ampex heads. The heart of the Ampextape recorder; micro -calibrated, they'reproduced to professional standards andare the finest heads to he found on anyamateur or semi-professional equipment.

Professional heritage. Over 20 years ofexperience in every area of tape elec-tronics for industry and the military.There's a reason why most recordingstudios use Ampex recording equipment.

Have we piqued your interest? We hope so ... for we've got amost engaging and complete story to tell you about the Ampex2000 stereo tape recorders. Write.r

Ampex CorporationConsumer Products Division2201 Landmeier Road

Elk Grove Village, Illinois 60007In Canada, write:

Ampex of Canada, Rexdale, Ontario.

Ask anyone who knows.

AMPEXPlease send me all available literature.

Name

Address

City StateTRI

L


How does this

7 FOOT

MONSTERhelp you to better

tape recordings?aThe giant microphone shown here is the

biggest microphone in captivity! The Model643 is also the most directional microphone soldtoday. It helped E -V win the first Academy Awardfor microphone design in 22 years.

But beyond this, the 643 has been one of our mosteffective field research tools, offering a far-reachinginsight into the nature of directional microphones,and their applications.

An obvious result of 643 research is our uniqueModel 644. Same E -V CardilineTM principle*,but only 16 inches long. It reaches up to twice asfar as any other general purpose unidirectionalmicrophone to give you better long distance pickupsthan were dreamed possible a few years ago.

And this same basic research stimulated thedevelopment of our new Model 676 cardioid micro-phone. It uses the Continuously Variable -D® car-dioid principle (a creative development from ourexclusive Variable -D patent*) to provide smoothercardioid action-in a smaller unit-than any othercomparable model.

MODEL644

$ 110.00

MODEL676

$ 100.00

MODEL664

$85.00

But let's not ignore the most popular cardioidmicrophone of all, the Model 664. Here's wherethe Variable -D principle got its start. And since theintroduction of our seven foot laboratory, the 664has been further refined to offer better value andperformance than ever before.

From such startling microphones as the 643,come continuing basic improvements - and thetools you need to significantly improve your taperecordings. Only E -V provides this kind of designleadership. With an E -V microphone you have abig head start toward better sound. After all, we'reat least seven feet ahead of everybody else!Model 643, 51.560.00. Normal trade discounts apply on list prices shown.

*Cardiline Patent No. 3095084. Variable -De Patent No. 3115207

ELECTRO -VOICE, INC.Dept. 152TR, Buchanan, Michigan 49107

EkerCr011iaSETTING NEW STANDARDS IN SOUND


Documents

Is 'Big Brother' Taping You? ;tape...When Stan Kenton lends an ear, it's a critical ear. So a tape recorder had better be good if it's to keep com-pany with a perfectionist like Kenton