DB 1969 04

THE SOUND ENGINEERING MAGAZINE
APRIL 1969 75c
Test Records
Electronic Surveillance Equipment
A Protected Audio Power Supply
Complete Guide to the West Coast AES Convention
YIOOt ñ K IttOx Alm

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www.americanradiohistory.com
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7
Coming
\oxt
Month
A highlighted enlargement of stereo
record grooves. Test records make pos-
sible the perfection of what is engraved
APRIL 1969 Volume 3, Number 4
on the record. See TEST RECORDS by
Arnold Schwartz (who also is author of
the monthly FEEDBACK Loop) begin-
ning on page 21. Talc of Contents
FEATURE ARTICLES
Abort Test Records

Arnold Schwartz
Electronic Surveillance Equipment
Roald D. Worther 25
21
A Protected Power Supply
the Walter Jung and Richard Groom 26

The 36th AES Convention Complete Program 30
MONTHLY DEPARTMENTS
Cover The Audio Engineer's Handbook

George Alexandrovich
Letters 2
4
The Feedback Loop
Arnold Schwartz 8
A number of writers that have ap- Theory and Practice
peared here before have new articles Norman H. Crowhurst 12
upcoming... Robert C. Ehle has a new Sound with Images omitted
paper in the series on synthesizers. This Martin Dickstein this month
one covers the circuitry of a power sup-
ply, a preamp, and various controls not Editorial 20
covered in earlier installments. New Products and Services 35
Walter Jung. whose power supply
The db Bookcase 38
article is in this issue has prepared a
manuscript entitled A COMMON BASS Classified 39
MIXER /FILTER APMLFIEIR. His one -
People, Places, Happenings 40
transistor amplifier is suitable for driv-
ing a common bass amplifier for a stereo
monitoring system. EDITORIAL BOARD OF REVIEW
Edward Tatnall Canby is coming
back with IMPLICATIONS OF THE Low George Alexandrovich
Sherman Fairchild
NOISE BACKGROUND which discusses Norman Anderson
areas other than the purely technical Prof. Latif Jiji
aspects of recent noise-reduction break- Daniel R. von Recklinghausen
throughs. William L. Robinson
Paul Weathers
Next month we will have a picture John H. McConnell
gallery of the NAB convention recently
held in Washington, D.C.
And there will be our regular colum- db, the Sound Engineering Magazine is published monthly by Sagamore Publishing Company, Inc Entire contents
copyright O 1969 Sagamore Publishing Co., Inc., 980 Old Country Road, Plainview, LI., N.Y. 11803. Telephone
nists. George Alexandrovich, Norman (516) 433 -6530. db Is distributed to qualified individuals and firms in professional audio-recording, broadcast,
H. Crowhurst, Arnold Schwartz, and audio-visual, sound reinforcement, consultants, video recording, film sound, etc. Application must be made on an
official subscription form or on a company letterhead. Subscriptions are 56.00 per year (57.00 per year outside
Martin Dickstein. Coming in db, The U. S. Possessions, Canada, and Mexico) in U. S. funds. Single copies are 75c each. Controlled Circulation postage
paid at Easton, Pa. 18042. Editorial Publishing, and Sales Offices: 980 Old Country Road, Plainview New York
Sound Engineering Magazine. 11803. Postmaster. Form 3579 should be sent to above address.
Robert Bach
One of a series of brief discussions PUBLISHER
Lottors
by Electro -Voice engineers
Larry Zide
THE EDITOR
db
Bob Laurie
ART DIRECTOR
DILEMMA
ROBERT F. HERROLD, III
Microphone Marilyn Gold
Project Engineer
COPY EDITOR
Charles N. Wilson
ASSISTANT EDITOR
To the person with an occasional or casual inter-
est in microphone specifications, statements
about microphone sensitivity may seem intended Richard L. Lerner
more to confuse than enlighten the user. ASSISTANT EDITOR
Part of the problem lies in the multiplicity of The Editor:
reference points used in establishing relative out-
Recent letters of comment, coupled A. F. Gordon
put levels. These differences in basic measurement CIRCULATION MANAGER
are not simply a disagreement between manu- with Ed Canby's well- written article on
facturers about standards. Each form of speci- t.v. audio, have prompted this letter.
fication was designed for a particular application
and reflects the wide variety of microphone
types available as well as the variety of uses to
which microphones are put. - -
At this moment, the one best way to
provide better t.v. audio and in stereo
is to have the audio portion of a t.v.
Eloise Beach
ASST. CIRCULATION MGR.
program transmitted on f.m. simul-

Indeed, some manufacturers, Electro -Voice in- taneously. I believe CBS did do this
cluded, may find it necessary to use more than within the past year. And just recently, SALES OFFICES
one reference standard to properly rate its micro-
phones. This is because of the wide disparity in WQXR and WNDT simulcast a con-
output of different classes of microphones and /or cert by the Washington National Sym- New York
the wide differences in sound pressures these phony. (It wasn't in stereo, but it was 980 Old Country Road
microphones arc intended to reproduce. Plainview, N.Y. 11803
one hell of a lot better than listening on 516- 433 -6530
For instance, the sound field used as a basis for
the tiny, tinny t.v. speaker).
measurement of most microphones is 10 dynes/ In an age where people are supposedly
cm'. But some high output microphones, espe- becoming more and more sophisticated Denver
cially high impedance models, will be referenced as far as things like sound are concerned, Roy McDonald Associates, Inc.
to 1 dyne/cm . Alternatively, some microphone 846 Lincoln Street
manufacturers prefer to express microphone out-
it is incredible that t.v. viewers will put Denver, Colorado 80203
put based on the microbar, a unit of sound up with the poor quality sound avail- 303 -825 -3325
pressure equal to 1 dyne /ems, and equivalent to able from most sets today. Only a few
a sound pressure level of 74 db, or approximately manufacturers even offer the option of
the average sound pressure of the normal male Houston
voice. Output reference may vary too, with the
a proper audio take -off to feed one's Roy McDonald Associates, Inc.
microphone product expressed in terms of db high -fidelity equipment. 3130 Southwest Freeway
below a 1 milliwatt or 1 volt standard. But the f.m. outlets (especially those Houston, Texas 77006
713- 529 -6711
of the major networks, who have been
Because there is a strict mathematical relation- unable to put their f.m. facilities to
ship between these various forms of measure- good use, it seems) are there for the Tulsa
ment, it is possible to construct a simple nomo- Roy McDonald Associates, Inc.
graph that permits conversion from one system asking. And no sets must be modified. 2570 S. Harvard Ave.
to another, taking into account the impedance The WNDT /WQXR effort on Febru- Tulsa, Oklahoma 74114
of the microphone under test. For years we ary 12th was unfortunate in only one 918 -742 -9961
have used such a nomograph in our laboratories. aspect: it was not publicized. I only
In order to increase its usefulness we have re-
cently created a circular slide rule version that happened to notice the duplication of Dallas
has proved even easier to use. program material in the New York Roy McDonald Associates, Inc.
Times, and simply turned on both sets. Semmons Tower West
Although we cannot offer completed slide rules I'm only sorry more people couldn't Suite 411
at this time, we can provide the components, Dallas, Texas 75207
carefully printed, plus instructions on assembly
have enjoyed the program this way, but 214- 637 -2444
and use. While a simple, modest device, this there was no advance notice, and only
conversion rule can simplify the problems of re- the briefest of announcements at the
lating relative output regardless of the measure- start of the broadcast. San Francisco
ment basis. We would be more than willing to Roy McDonald Associates, Inc.
625 Market Street
carry the audio portion of worthwhile San Francisco, California 94105
t.v. programs, especially live concerts. 415- 397 -5377
And, since many of our area's listeners
a free copy of the material
For cannot get clear f.m. from New York Los Angeles
described above, write:
ELECTRO- VOICE, INC., Dept. 4938D
without outdoor antennas, I believe we Roy McDonald Associates, Inc.
686 Cecil St., Buchanan, Michigan 49107 could perform a service and set an in- 1313 West 8th Street
dustry example at the same time. Los Angeles, California 90018
213- 483-1304
I'd appreciate comments from any of
your readers about this concept.
gkeroV9fez
A SI1eS11)Ii.HY OF Gl1LTON INUIISiHIES,
John Hood
Program Director
WDHA -FM
Roy
Portland
McDonald Associates, Inc.
2305 S. W. 58th Avenue
Portland, Oregon 97221
Dover, New Jersey 503 -292 -8521
Since some of you
didn't make it East
in October,
COMPONENTS
& CONSOLES
for audio recording
You'll find us in
BOOTH 45
at the AES Show in
Los Angeles, April 28 - May 1.
You'll find "the complete
audio line" on display. Learn
about Audex ... our new
switching system. See our
expanded 700 Series of
input modules. Plus all of our
AUDIO
other components. Or talk
to us about our custom console
service. Pick up your
"complete line" kit or write
DESIGNS
and Manufacturing, Inc.
Audio Designs,
15645 Sturgeon, Roseville
(Detroit), Michigan 48066
we're heading West

in April.
W
Circle 16 an Reader Servire Carl
The Aucio
FASTEST
LIMITER
Enc Inc cr s lanc000
OUT OF THE WEST GEORGE ALEXANDROVICH
MULTI -CHANNEL
RECORDING -WHY?
Last month, I discussed the positive reached epidemic proportions, no inven-

aspects of multi-track recording includ- tion yet will permit twenty -four chan-
ing the control it gives the studio opera- nels on % -inch tape with acceptable
tor and producer, and the potential results.
advantage for improved s /n. Well, we have to live with wide tape,
ULTRA -FAST attack time With all the advantages of the new and wide tape stretches. This is no re-
SOLID -STATE stable operation techniques, there are a few buts. Let us flection on the tape manufacturer, he
start reviewing this side of the coin with does his best to keep the quality of his
NO BALANCING ever required
the tape itself. The tape used is at least product to the best industry standards.
half -an -inch wide, most of the time it is In the era of single -track or even stereo
Like a fast "Gun Slinger ", the
I inch and for sixteen or twenty -four one -shot recording, it was a sin to run
tracks, it is 2- inches wide. Forget about the tape twice -that is, erasing a bad
1176 Limiting Amplifier has the editing splicer. Most of the time all take and recording anew over the same
ULTRA -FAST attack time...and you will splice is the leader tape. The piece of tape. The tape didn't run more
-
it's adjustable less than 20 wider the tape, the easier it stretches
and deforms as it is being pulled over
than a few times past the tape heads
psec. to 800 µsec. You get "quick - including the remix or editing session.
the recording heads, tape guides, and
draw" action with pushbutton capstan. Wide tapes are noted to exhibit
Take a look at what happens to the
selection of four compression stretching of the outer edges, causing tape now. We have sixteen channels.
ratios and four meter settings. Re- poor tape -to-head contact of the outer
Every time we record a track we run
the tape past two tape guides, idlers,
lease time is adjustable from the channels. Also, stretch of the tape
tape heads, capstan, and the tape is
front panel, independent of the de- causes phase shift at the higher fre-
quencies. When machines and tape
pulling even (hopefully) with the take -
gree of limiting. up reel. Then there is fast rewind. Bad
heads are new, these effects are hardly
take. Rewind again. Erase the track and
The compact 1176 fits a 19" rack noticeable. But uneven wear of the
re-record again. How many takes does
and uses only 31/2" of vertical tape- guiding surfaces will accentuate
the problem. In video- tape -recorder
it require on the average to have one
space. It has self -contained regu- successful take? One or two. Let's not
transports using 2 -inch tape there are
lated power supplies... so, why not
vacuum ports to keep the tape snug
kid ourselves. Before you know it, this
"draw a bead" on one and see for wide tape has traveled at least fifty
against the guiding track in order to
times back and forth.
yourself. minimize tape distortion and provide
improved tape -head contact. Using Now comes the remix session. You
Write for complete technical informa-
tion today! narrower tape lessens the problem but first want to hear all the tracks as they
Some prime Rep. and Distributor Terri- naturally tracks also become narrower. were recorded. You study them. The
tories still available.
So recording level drops along with fre- producer starts experimenting with con-
quency response, while interchannel
leakage increases along with the noise.
In order to maintain the same recording
shuttled back and forth again -
trols. How many times more is the tape
five
times, ten, or twenty? What is the total
standards, the width of the track has to wear on the tape?
remain the same. However, a variety of Would anyone ten years ago use tape
new developments will tend to permit that was re- recorded and played seventy
the use of narrower tracks with the times as a master? Can recording tape be
PRODUCTS OF MTET same results. These are: better tape reused so many times without dete-
11922 VALERIO STREET (chromium dioxide), focused -gap re- rioration or has the myth about virgin
NO. HOLLYWOOD, CALIF. 91605 cording using r.t. bias, and noise- reduc- tape disappeared? If the tape doesn't
v TEL. (213) 764 -1500
tion (Dolby system). But they are effec- stretch or wear out, then we have been
tive only to a point. With requests for sold a lot of tape for no reason. If it is
/ UNITED RECORDING ELECTRONICS INDUSTRIES
7/W more and more channels, which have wearing out, then multi -channel record-
Circle 1-I on Reader Service Card
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EICO 965 Faradohm Bridge /Analyser EICO 902 IM/ Harmonic Distortion
Low bridge supply voltage permits Meter and A.C. VTVM
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quiescent current. Measures insulation Less than 0.7 volt input
resistance and leakage currents. $175.00 required for measurements. $250.00
EICO 1078 Metered A.C. Supply EICO 342 FM Multiplex Signal Generator EICO 318 Audio Generator
0 to 140 V a.c. adjustable Crystal -controlled 19 kHz (_ ±:2 Hz) pilot. Switch selectable frequency
output at 7.5 A max. Both composite audio and f.m. r.f. outputs. output of 1 Hz to 110 kHz.
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ammeter and phono oscillator source. Low distortion Metered output voltage.
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NOW THESE INSTRUMENTS MAY BE ORDERED ON A DIRECT

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PLEASE SHIP ME THE FOLLOWING ITEMS:
MODEL QUANTITY MODEL QUANTITY

MODEL QUANTITY MODEL QUANTITY
IHAVE ENCLOSED $ AS PAYMENT FOR THESE UNITS. I UNDERSTAND

THAT THEY WILL BE SHIPPED F.O.B. NEW YORK.
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NAME COMPANY
ADDRESS
EICO 250 A.C. VTVM and Amplifier
Measures a.c. voltages from CITY STATE ZIP.._
100;,. V to 300 V. understand that must be fully satisfied or
I I I can return the unit within ten days
Cathode follower input circuit for refund.
for greatest stability. $89.95
ing is bringing serious problems into
recording.
(And this does not even consider the
possible effects on quality due to poor
erasure, partial erasure of pre- recorded
tracks by the adjacent recording fields,
or misalignment.
It is possible that we are trading in
Is price the quality of the recording for the con-
venience of conducting sessions and
the only extra time charges for re- recording and
reason
You just mixing. But we are also trading on the
artistic value of the performance. Per-
haps, though, producers no longer think
you never ran out of that the successful performance of a

musical group depends on gross en-
thusiasm transmitted from one artist to
bought a reasons. another finding its reflection in the
4 quality of the performance.
Neumann r The way I have characterized multi-
track recording is somewhat exagger-
ated to be sure, but not so far fetched.
microphone? mt,1 one?
I believe that this new tool should not
deprive us of principles we have tried
to adhere to; instead it should aid us in
Now you can own a Neumann micro- improving our ways to fulfill them. We
phone for as little as $237. Because should not use multi -track facilities to
we've reduced our prices by as much
as 30 %.
Using advanced transistor elec-
event than the original take -
make remix session a more important
strip-
ping away the art of mixing. Let us also
tronics, our new FET -80 Series Micro- not use musicians as musical synthe-
phones give you the same superb sizers.
acoustical quality for which Neumann Let us use all this flexibility with dis-
has always been world -famous. cretion, remembering that no matter
And -incredible as it may seem -by how many tracks we pre -record they all
paying less, you get more features than wind up as a two -track mix or mono.
ever before: Years ago, when the technology of re-
Central compatible powering, for ex- producing from disc recording was at its
ample, that provides you with greater lowest point, recordings were made di-
flexibility. By installing one power sup- rectly on wax, live. What a waste of
ply for just $82.50, you can power up- almost perfect recordings. If only we
wards of 30 microphones. could do it efficiently now.
Long life batteries may be used At times I like to draw parallels to
where there's no AC power available. put my thoughts across more clearly.
These batteries give you approximately Do you see my point if I compare multi-
10 days of continuous operation for channel recording with the attempts of
less than 1¢ an hour. a photographer to photograph a view
And you get a two -year guarantee. using separate exposures of different
Neumann FET -80 Series Micro- parts of the subject, and trying to bring
phones are available in many different the details of each exposure into perfect
models, priced from only $237 to focus. Then after all parts of the pic-
$417.90. Send today for our free il- ture are completed, he tries to put them
lustrated brochure together like a jig -saw puzzle. It would
Up till now, only the major record- take an expert to do the job right. But
ing studios of the world could afford when the job is finished and the picture
to own a Neumann completed, would it be the same?
microphone.And ev- What is your opinion?
ery one of them did.
Now you can, too. BACK ISSUES AVAILABLE
Gotham Audio Corporation DB-4 A limited number of back issues of db
2 W. 46th Street, N.Y., N.Y. 10036 are available to interested readers who
Please send me your free brochure and may have missed or misplaced earlier
technical article describing Neumann's
FET-80 Series Microphones. issues. When ordering plea indicate
date of issue desired and enclose 75c
Name for each copy.
Company CIRCULATION DEPARTMENT

db -The Sound Engineering Magazine
Address 980 Old Country Road
Plainview, N.Y. 11803
LCity State Zip
J
Circle 13 on Reader .Ser.'ire Card
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What do Neumann microphones

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Gotham Audio
Surprised? So are a lot of other sound engineers when Test equipment. And other products.
we tell them. That's why it's time we set the record These products are made by Europe's best -known
straight. companies. Beyer. EMT. Studer. And Neumann. Com-
Gotham Audio is the sole U.S. importer of Neumann panies whose products have consistently made sig-
- the world's finest microphones. And we're proud
of it.
nificant contributions to the technical excellence of
American audio.
But Gotham Audio is also proud of the more than So, if you want the very best in professional sound
300 other quality sound products and services we equipment of a I I
offer. Including tape recording equipment. Disk re- kinds, contact Goth- AUDIO CORPORATION
cording lathes. Disk cutting systems. Disk reproduc- am Audio. We've got West 44Rí Street. New York,
2 10036 (212) CO 6111
N. Y. 5
1710 La8rea Ave Mollawood.Ca 90046 (213) 874 4444
N
ing equipment. Studio and control room equipment. a lot in common. In Canada'. J Mar Ekctron!cs Lid
V
IMPROVED
PERFORMANCE! Tho
Fecc back Loop
ARNOLD SCHWARTZ
"Modern man can no longer escape of random noise; that is, sound without
from noise. He is surrounded by a multi- definite pitch with energy distribution
NORTRONICS tude of noise sources in his home, office,
and place of work which in turn are
over a wide range of frequencies.
To those of us in the audio field, noise
ANNOUNCES under the constant bombardment of
noise from aircraft, traffic, and scores
control has significance
the concerned citizen.
beyond that of
For years we
of other outdoor noises. Indeed, the have been struggling, in the face of
THE 9000 SERIES roar of the jet plane, expressway traffic rising noise levels, to keep the ambient
and power mower follows him to the noise at an acceptably low level in
TAPE HEADS countryside and seashore and invades broadcasting and recording studios. In
the solitude and privacy of these se- a broader sense, noise measurement
FOR cluded vacation retreats."
So states a recent report of the Fed-
techniques are part of the audio
Some of the most difficult problems
field.
PROFESSIONAL eral Council for Science and Technology

in describing the environmental pollu-
of noise control occur in and around the
jet airport. I had an opportunity to
and STUDIO tion problem of noise. Not all the harm-
ful effects of noise are known. Recent
learn about this problem at first hand
on a recent visit to LaGuardia Airport
EQUIPMENT investigations have discovered that ex-
posure to high noise levels not only
in New York City. It turned out to be
a very interesting visit, and I learned
UNEXCELLED PERFORMANCE IN causes hearing loss, which is a relatively much about the problem, as well as
AMPEX, SCULLY AND OTHER well -known fact, but other physiological current methods of noise measurement
PROFESSIONAL RECORDERS and psychological damage as well. The and control. Before describing my visit
Extremely smooth response from Federal Council report states that grow- I think it would be worthwhile to review
20 Hz to 20 KHz. ing numbers of researchers fear that some of the basic concepts of acoustic
Extra wide pole faces for minimum the dangerous and hazardous effects of measurements.
low frequency contour effects. intense noise on human health are being Sound Pressure is the variation of
Hi -Q, low loss core structures. seriously underestimated. There are atmospheric pressure. The frequency of
Extra deep deposited quartz gaps today six million, and possibly more, this variation is called pitch. The human
for sharp, clean edge definition. industrial employees who work under ear, in a young person with good hear-
Full gap depth for maximum wear conditions unsafe for hearing. ing, can detect frequencies from about
life. It is not always clear which sounds 20 to 20,000 Hz. Sound pressure is
All metal hyperbolic face for re-
are objectionable. A pleasant and wel- measured in microbars. A microbar is
duced oxide loading and intimate come sound to one individual can be defined as the pressure of one dyne
tape contact. noise to another. I recently read that a (about 1 /1000 of the weight of one
Gap Colinearity- Precise Gap South Carolina town has a law program) per square centimeter. Through
Alignment For Both Azimuth and hibiting the practice of public gargling. experimentation it has been determined
Phase on Multi -Track Heads, either To the performer the gargling sound is that, on the average, a sound pressure
4- Channel or 8- Channel. not unpleasant at all; the same cannot of 0.0002 microbar is the lowest sound
be said for other listeners in the vicinity. pressure that a person with excellent
MORE CONVENIENT THAN
FACTORY REPLACEMENT More serious complaints are expressed hearing can detect. This is called the
by home owners in residential neighbor- threshold of audibility. Engineers find
Available locally, from your hoods adjacent to a jet airport, or to a numbers like this cumbersome to use
distributor. neighbor who uses a power lawn mower and so sound pressures are measured in
Replace heads in the field, mini-
mum down time. Plug -in simplicity. early Sunday morning. Noise in the dB. Sound pressure level (s.p.l.) is a
No need for a spare nest. sense we are talking about is a sound quantity which expresses sound pressure
Wide choice of Record, Play, and that is either a hazard to our hearing or in dB relative to the threshold of audi-
Erase Heads, for 1/y inch, 1 inch, is objectionable for other reasons. It's bility. Sound pressure level measure-
and 1 inch tape, in a variety of meaning is not confined to the definition ments are analogous to voltage measure-
track styles.
CALIBRATED
Full details in Nortronics Bulletin
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Mighty versatile, too. Uses? Many. For
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Monitors live programs or off -air signal. Con-
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on stereo and SCA channels. For remote net-
work and studio transmitter links: Measures
screams, shouts, whispers, hum, crosstalk and
noise levels during program pauses. For re-
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range and noise levels during tape, disc or
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Measures ambient noise and reverberation
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This remarkable instrument replaces VU
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istics of the human ear apparent loud-
J
w ness depends upon frequency, and the
m 0 A
w 5 B AND C
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° 10
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"phenomenal performance ... Ñ
ó
15
20
B
to approximate this characteristic so
that the indicating meter will be more
numerous refinements ... UJ
-25
30
A
closely correlated to subjective loud-
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place Crown CX822 w -35
tive to low and high frequencies than it
? 40
5 45 is at higher levels. FIGURE 2 shows the
cc A, B, and C weighting network curves.
20 50 100 200 500 IK 2K 51(10K
FREQUENCY IN Hz
A network, with the greatest low and
IN A CLASS BY ITSELF" high frequency attenuation, is used at
Figure 2. The electrical frequency response low s.p.l. B network, with intermediate
-- AUDIO MAGAZINE for the three ASA standard weighting attenuation in these regions, is used for
characteristics. intermediate levels. The flattest net-
work, C, is used at higher s.p.l. Interest-
ments using dB, and the SPL is deter- ingly enough, we find that the ear char-
mined relative to the threshold of audi- acteristics and other psychoacoustic
bility of 0.0002 microbar by the formula phenomena often introduce problems in
SPL = 20 log P acoustic measurements and in the
'0.0002 evaluation of the results.
A photograph of a typical sound -level
where P is the r.m.s. sound pressure in
microbars. meter is shown in FIGURE 3. The indi-
cating meter is calibrated in dB relative
The s.p.l. of normal room conversa-
tion is about 70 dB. At approximately
to the hearing threshold. When weight-
ing networks are used we do not speak
120 dB sound will begin to produce a
of sound pressure level but rather of
tickling sensation. This is called the
sound level. The amplified microphone
threshold of feeling. At levels of 140 and
signal is available at an output jack.
CROWN CX822 greater this sensation becomes painful,
and is called the threshold of pain. Often the s.p.l. reading does not give us
enough information. We may be looking
reviewed by Audio S.p.l. expressed in dB can be handled
mathematically in the identical fashion
for the noise source that is leaking into
a studio but is difficult to locate. Addi-
To Crown owners, Audio's evaluation to voltage measurements. If the s.p.l. tional clues may be found by subjecting
comes as no surprise. They know in a room is 80 dB and it is transmitted
the signal to closer analysis. This is
that every Crown meets or exceeds through a wall having an attenuation accomplished by feeding the signal from
its specifications. Your own Crown of 30 dB then the s.p.l. in the adjacent
the sound -level meter output jack to a
CX822 will deliver the same "phe- room is 50 dB. When adding the effects
wave analyzer, filter, or oscilloscope
nomenal performance" as the one of two different sounds the dB values
where its frequency components may be
tested by Audio magazine. You will cannot be added directly. For example, identified. A variety of other techniques
find, as Audio's engineers, that two different sound sources at 95 dB are also used in the investigation of
"the new Crown CX822 is capable when combined are equal to an s.p.l. of noise.
of providing the most faithful repro- 98 dB (twice the power). Tables and In next month's FEEDBACK LOOP,
duction of sound through the magnetic charts are available which simplify the armed with this information on acoustic
recording medium. . .to date." You addition of sound sources. measurements, we will take a trip to one
Pure tones such as an oscillator fed
will also agree with Audio, that "to to an amplifier and played over a loud
of New York's major airports to see
truly appreciate this machine, you how the problem of jet noise is handled.
must use it." Your Crown dealer will
speaker are sinusoidal. Musical instru-
help you select the Crown model to ments are complex waves and their
meet your exact needs. energy is contained in a fundamental
tone and numerous harmonics. Sounds
from machinery, traffic, and air- condi-
tioning ducts have random frequency
and amplitude components, and the
energy is distributed over a wide range
of frequencies.
The basic instrument of sound meas-
urement is the sound -level meter which
shows the elements of acoustic measure-
CX822 ment techniques. As shown in the block
diagram of FIGURE 1, it consists of a
calibrated omnidirectional microphone,
To receive the 4 -page Audio test
pre-amplifier, calibrated attenuator,
report, free literature and the name weighting networks, amplifier, and indi-
of your dealer, write Dept. DB -4 cating meter. The sound is converted
into electrical energy by the micro-
phone, and then amplified by the pre-
amplifier. The accurately calibrated at-
tenuator acts as a range switch. Weight-
Box 1000, Elkhart, Indiana 46514 ing networks are introduced and finally Figure 3. A precision sound -level meter.
the signal is fed to an amplifier and indi- Photo courtesy of General Radio Corpora-
MADE ONLY IN AMERICA
o cating meter. Because of the character- tion.
Finally. An Electrodyne Because this one you can. It's a compact tabletop
job that's designed to deliver high -quality audio.
console for people who can't Handles 4 to 20 inputs and can have to 4 outputs. 1
Yet it's priced from less than $3,000!

afford Electrodyne consoles. Here are the modules that make it all possible.
1701 1 -C Equalizer- Amplifier; Modules pack
a low -noise pre -amp, 7- frequency equalization,
echo and booster amplifiers into 11/2" x 14" x 41/4".
Our color -coded and identified SU Series
Switching Modules come illuminated or
non- illuminated and with 4, 5, or 9 positions.
1721 Output Modules include an echo combining
amplifier, program combining amplifier, echo return .
control, straightline master level control and

program amplifier. Inside our 1738 Monitor
Modules: A cue combining amplifier and relay
switching, bus /play switch, mixing for echo or
monitor only, program amplifier and
monitor level control.
There's more you'll want to know about this
1700 Series console, of course. So call us.
Or write. Right now!
ELECTRODYNE
CORPORATION
7315 Greenbush Avenue North Hollywood Calif. 91605
Phone: (213) 875-1900 Cable Address: "ELECTRODYNE"
iY www.americanradiohistory.com
koory c no Practic
NORMAN H. CROWHURST
Speaker matching seems like a simple curve like FIGURE 1 attached to it. It ohms, as the case may be, how does that
and straightforward enough topic: just comes with a physical specification, relate to its impedance curve, in a form
connect the unit to the appropriate which tells you how big the cone is, like FIGURE 1?
impedance tapping on the amplifier, and etc., and an electrical specification, We have no way of knowing. So
you're in business. But it isn't quite which tells you its impedance and its having read a nice explanatory article
about -
that simple. It's often been written
I've lost count of how many
times I've covered the subject, and I've
power-handling capacity. And when the
impedance specification says 4, 8 or 16
that tells us how to know what we're
doing in speaker matching, we forget it
seen others' articles on the subject, too.

But still there are gaps.
As the usual explanation points out,
"it would be all right if loudspeakers
had a nice, uniform resistive impedance
at all frequencies." And most of the
inconsistencies arise because it doesn't,
that's true. So we could point out that
Q-,
ó
z
100
60
40 ÍI11
g gi i i
a>_ ami i i i
i
=11Mal1111ltiINEMINal
i
MIMtiMMg!7=i111111gl
I1III\\11111II
a i i
ItiMNMll
=MiII
111iiI1r
IIII
20
a dynamic speaker has an impedance
curve of which FIGURE 1 is a typical
sample, and let it go at that, hoping
ó
10
iiiiiiiiii:aìi::
iiiiiiiiiiaa
OHMS
everyone could now figure it out for 6 mmenaaamemai

inmoogl mmilmNgl
aalaalNEÌl
1=M1111UI
MINIMUM
themselves. Figure 1. A Typical
But when you buy or otherwise ac- loudspeaker imped-
20 50 100 200 500 IK 21( 5K 10K 20K
quire a speaker, it doesn't come with a ance curve. FREQUENCY Hz
NEW r
Mali* ii/iamass1\a\a\1\w\\\\`iNk
/llliiiiiiiiiiiiiit`MW
IMPAC fff/ /
LINE
INTEGRATED MODULAR
PROFESSIONAL AUDIO
AM -20: Vari- ATP -20: NAB MM -20: Mixer AL -27: Line AML -27: Low PM-40: Power
able gain MIC RIM Tape - module for amplifier with level micro- module with
COMPONENTS preamplifier Phono preamp combining up 600 OHM CT phone pream- up to 16 watts
with Input with high fre- to 20 inputs output trans - plifier, and peak audio
UTILIZING THE transformer quency trims with zero loss former, ad- high level line power output
-\ /
and up to justable gain, amplifier with Into 16 OHMS,
20DB gain up to 4-27 +27 dbm out- adjustable
MELCOR MODEL 1731 dbm output put capability gainn
capability Input and
AUDIO OPERATIONAL output
transformers
AMPLIFIER
MELCOR ELECTRONICS CORPORATION
AMPLIFIERS FOR INDUSTRY
kA
l c
M
1750 NEW HIGHWAY, FARMINGDALE, NEW YORK 11735
516/694 -5570
L
this
rekokut
bllgh
turntable
is basically
unchanged gor
nearly 10 scars ana il works, aoa
works, ana works and
works aDa works.....
Take a look through control and audition rooms of the
stations in your community and count the number of
Rek -O -Kut turntables that keep going and going and
going. Minimum maintenance, practically no repair. Faith-
ful, reliable sound. Year after year after year. Ask those
station engineers how long they've had Rek -O -Kut in-
stalled. You'll find some of those turntables have been
around a long time.
Rek -O -Kut turntables are built to take it. They are sim-
ple in design and operation, strong in construction. If you
have a Rek -O -Kut now, we'd hardly be able to sell you a
replacement. But we'd like to sell you another!
specifications:
SPEEDS: 331/3, 45, 78 rpm. NOISE LEVEL: -59db below 5 cm /sec
average recorded level. MOTOR: custom -built computer type heavy -
duty hysteresis synchronous motor. 45 RPM HUB: instantaneously re-
movable by hand. PILOT LIGHT: neon light acts as an "on/off" indicator.
FINISH: grey and aluminum. DECK DIMENSIONS: 14 x 15%". Minimum
Dimensions: (for cabinet installation) 173/4" w. x 16" d. x 3" above deck x
61/4" below. PRICE: B -12 GH Turntable $124.95. S-320 Tonearm $44.95.
Optional BH Base for audition room $18.95.
reM-o-Mut turntables by KOSS

KOSS ELECTRONICS INC.
2227 N. 31st Street Milwaukee, Wis. 53208
vD
-'
8'o
Export: Koss Electronics S.r.l.
Via Bellini 7, 20054 /Nova Milanese, Italia
Export Cable: Stereofone
all- because there's not much choice
and connect the speaker impedance to
-
4 or 8 Channel an amplifier impedance that agrees with
it, and hope for the best. In short, be-
Did your mother
cause it involves some effort to do other-
wise, we take the manufacturer's word
take you for
BUOQUADILITY for the speaker's impedance. That's your last checkup?
right, we've all done it.
As a practical matter, if you're any-
thing like me, you've rationalized that
C%.
, it's small -
mismatch isn't too important provided
say not more than a 2:1
ratio, either way; but larger mismatches
can be disastrous. But even at that, we
are left with some inconsistencies.
What does a speaker's power rating
mean? According to accepted standards,
it means that the speaker will handle a
voltage at all frequencies that would
represent the rated power, if the im-
pedance were a resistance of the nominal
impedance value. Thus, if a speaker is
rated at 10 watts, with 16-ohms im-
pedance, the first step is to find what
voltage represents 10 watts in 16 ohms.
The formula is V = WR =
At 10 x 16 = At 160 = 12.6V. So the
speaker should handle 12.6V r.m.s. at
all frequencies within the band for
which it is rated, without distortion,
buzzes, rattles, etc. That's an ideal inter-
pretation, and any unit so rated should
test out. But not too many people take
the trouble to make the test.
Ten watts at a single frequency is a
lot of sound, unless the speaker is ex-
tremely inefficient. Manufacturers know
this, and so they may or may not he too
fussy in applying this test. In any
event, who's going to listen to a speaker
that way? Nobody!
Practical 10 -watt signals are the kind
of output that a 10-watt amplifier will
deliver on program. Neglecting any dif-
ference between sustained power output
and music power output ratings, i.e. as-
suming the two output ratings are iden-
tical, this means that maximum power
is a program signal with a peak power
of 20 watts, or 17.9V across 16 ohms.
This is the same peak voltage as
would occur with a single sinusoidal fre-
quency of 10 -watt rating, with an r.m.s.
voltage of 12.6V. And across a resistance
of 16 ohms, the peak power would be
identical. But across a complex im-
pedance, such as a loudspeaker presents,
the situation is a little different, as it is
also for the amplifier.
This may not be such an easy, or sci- What is it about grownups?
entifically determinable test, as sweep- Don't they know annual
ing a single tone through the frequency checkups are the first line of
defense against cancer? It's
band at maximum power. But it's more nice to find out you're as
representative of working conditions. healthy as you feel. See your
And a lot of systems that would never doctor. You'll find that peace
pass the sweep frequency at maximum of mind beats lollipops any
GATELY ELECTRONICS power test will pass a test using full day! Help yourself with a
57 WEST HILLCREST AVENUE output power on program, with a good checkup. And others with a
HAVERTOWN, PENNA. 19083 representative variety of program. check.
AREA CODE 215 HI 6.1415 On the amplifier, the situation can American Cancer Society
...have you checked Gately lately ? perhaps be explained a little more defi- THIS SPACE CONTRIBUTED BY THE PUBLISHER
nitely than with the speaker's imped-

Circle 21 on Reader Servire Card
"We depend on the Dolby System for noise -free,
low distortion classical tape masters,'say.Israel
ilorowitz, Director of Classical Artists

and Repertoire and W. L. Barneke,
Executive Engineer of Decca Records,
New York.
"The noise reduction qualities of the
Dolby System are well -known ", says
Mr. Barneke, "but equally important
is that Dolby processed tapes have a
cleanness and lack of distortion that
greatly enhances the realism of our
classical productions."
The Dolby A -301
Pop or classical, rock or Rachmanin-
off, you can make superior tape mas-
ters with the dependable Dolby System.
DOLBY LABORATORIES INC.

333 Avenue of the Americas, New York, N.Y. 10014 Telephone (212) 243 -2525 Cable: Dolbylabs New York
Circle 22 un Reader Service Card
I www.americanradiohistory.com
through the frequency range, the load
line, approximated as resistive, may
then shift between OB (which would be
buy one its impedance at about 110 Hz) and OC

(which would be its impedance at about
1,000 Hz).
At OB, 110 Hz, the speaker is more
sensitive, because of its resonance, and
it gets slightly more voltage than the
FULL K
load line OA represents (measured hori-
zontally along the voltage scale). At OC,
the speaker is less sensitive, and the
L D 0 G voltage swing is reduced to about half,
without appreciable increase in current
8 -track
PLATE OR COLLECTOR VOLTS
swing (measured vertically on FIGURE
Figure 2. Applying a composite load to 2).
output transistor or tube characteristics (see So by this test, loading the amplifier
the text). with such a speaker will reduce the
power available without distortion. But
recording ance. FIGURE 2 represents the area of

on a direct comparison with a speaker
rated according to the standard, this
one may appear to deliver more power,
some plate or collector characteristics
for an output stage of class -B type. The relatively distortion free. The construc-
tions on FIGURE 2 show why.
console-
curve starting from bottom left and
going up through points B, H, A, C to We have assumed that the peak power
is made up of three representative fre-
the top, is the maximum drive line, for
the tube or transistor (the curve is more quencies. First a note at about 110 Hz
like a transistor's, but not too unlike a makes the part of the load line OB drawn
in solid line (not the dashed part) effec-
pentode tube).
and get The optimum load line, for this half
of a class -B output, is OA. This is the
load that a resistance load of design
tive. The other half of all these load
lines will be carried by the other tube
or transistor as we are looking at a
class -B output.
value, connected to the output, would
Then another frequency at about 250
tw0FREE!* present to this tube or transistor. As a
single, resistive impedance, it may devi-
ate between something like OB, which
Hz produces an added load line at an
angle parallel to OA. This opens out the
solid part of OB to fill an area bounded
represents a higher impedance, and
something like OC, which represents a by DEFG, and shaded with lines paral-
lel with OA. Finally, the third frequency,
lower impedance.
in the region of 1000 Hz, further opens
Well, not exactly. You Matching is the process of making
out the loading area along lines parallel
the actual impedance of the speaker, or
probably only need one with OC, to fill the boundary marked
whatever the power is used to drive,
"look like" the load line OA in FIGURE
system anyway. But, 2. The question comes, what impedance
we're prepared to sell it on an impedance curve like FIGURE 1
should be the one that looks like OA?
to you for /3 less than
1 Because amplifiers are designed es- PLATE
16
anyone else. Be sure not vices -

sentially as constant -voltage output de-
-
that is, the voltage output for a
given output is essentially fixed the
8
4
to miss it, at the Spring
output current depends on the imped-
AES show. ance. The lower the impedance, the PLATE
more the current. So the standard that (A)
has been adopted for rating loudspeaker
P.S.Our quality and impedance is that it should be the low-
est, or close to the lowest, value on the 16
performance standards curve. 8
are not on sale. On this basis, the impedance of the
speaker whose curve is shown in FIGURE
CLASS B
1 would be 8 ohms. Most modern speak-
XISTER 0/P
ers adhere to this, although it's a good
idea to check a speaker out, to be sure.
(B)
Even some time after the standard was
established, many manufacturers were
following another practice: naming the ,816
speaker impedance after an average
QUAD -EIGHT value, which in this example might be COMPLEMENTARY --vw--- 4
SYMMETRY 0/P
16 ohms.
ELECTRONICS In the latter case, the impedance may
deviate on either side of its nominal (C)
11810 VOSE STREET, NORTH HOLLYWOOD value. If the speaker is fed with a single Figure 3. Different methods of providing
CALIFORNIA 91605 PHONE (213) 764 -1516 sine -wave frequency that is swept output matching.
Because accuracy of
reproduction is essential,
AR -3a speaker systems
are used by
Connoisseur Society.
For their Vienna recording sessions with internationally distinguished Czech pianist
Ivan Moravec, Connoisseur Society brought AR -3a speaker systems from their New York
facility. Earlier recordings by Moravec on Connoisseur Society records have received
awards for outstanding technical and musical excellence. The newest release in the
series is record CS 2010, piano music of Debussy and Ravel.
Acoustic Research makes AR speaker systems, amplifiers and turntables. All are de-
scribed in our catalog, obtainable for the asking.
ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141

Overseas Inquiries: Write to AR International at above address J
Circle 30 on Reader ,1'rr,'i(e Gard
out as LEHJK (and back by completing
the area in the curves for the other tube
or transistor).
Altogether, the area occupied by this
composite loading effect, is not much
STEP UP different from a full -size ellipse along a
major axis represented by OA (strictly
this is a half axis, because we are examin-
ing class -B operation). So the total
...to the finest transcription turntable in the world! power delivered comes dose to being the
maximum the amplifier will deliver,
when the parts of the waveform at dif-
ferent frequencies are put together.
THORE3
N
If the nominal impedance is made the
lowest, or near the lowest measured
impedance, then OA will be the slope
of the steepest component, instead of
OC. Obviously the amplifier will deliver
much less power to this loudspeaker on
a composite signal, although on a single
swept sine -wave the power is seriously
limited with the first speaker, except in
the region of 250 Hz, where it matches.
If you're settling for less than the FIGURE 3 shows different ways of
entirely new THORENS TD -125, achieving matching, in different ampli-
or it's the integrated 2 -speed
companion, the THORENS fiers. At A is the time -honored output
TD -150 AB, you're making do transformer. At B, the same idea is
with less than the beer applied, but with an autoformer, for
THORENS TD -125; $185.00 transistorized amplifiers. And at C is
less base - THORE,IS
TD -150 AB; $110.00 with the method used in many transistorized
arm & base. amplifiers that have no output trans-
former: a resistance is used to pad out
Endorsed by Elpa because it successfully meets the stringent stand-
the load when a lower speaker imped-
ards of performance Elpa demands. Write for full THORENS details. ance is used, largely to protect the tran-
Elpa Marketing Industries, Inc., New Hyde Park, N. Y. 11040 sistors from excessive current.
With the traditional circuits shown
Circle 28 on Reader Service Card in A and B, using a different tap often
doesn't seem to make very much differ-
ence, either to the sensitivity (loudness
for a given volume setting) or to the
maximum power available before dis-
tortion shows. Sometimes it does make
an apparent difference. This depends
on whether the change is straddling
optimum condition, as our discussion of
FIGURE 2 did, or whether it is working
altogether further from a true match,
for example when a 16-ohm speaker is
connected to a 4 -ohm tap.
In the arrangement shown at C, using
the 4-ohm tap will always reduce both
sensitivity and apparent output power.
But it may be necessary to protect your
output transistors against being blown
unnecessarily. And in this kind of ampli-
fier, the output transistors are usually
the most expensive components in the
whole thing. So you'd better do as
you're told!
THE NEW FAIRCHILD LUMITENS Fairchild introduces a complete new line of noiseless attenuators MOVING?
with 7 new advantages: 1. Transistorized drives require only minute current to actuate circuit.
2. Multi-channel operation with common light sources to all channels guarantees tracking to within Have you sent us a change -of- address
Y2 db between channels. 3. 4 channels or more can be driven by a single actuator. 4. Infinite reso- notice? It takes time for us to change
lution from 0-00. 5. Plug -in light source allows instantaneous replacement. 6. Improved mechan-
ical construction of slide faders' precious metal sliding contacts gives long trouble-free life, offers your plate so let us know well in ad-
adjustable feel. 7. Plug -in, remote, and slide -wire models range from one to four channels and are vance of your move. Be sure to send us
designed with ultimate versatility in packaging.
the complete new address as well as
Contact your Fairchild Recording Distributor or write FAIRCHILD RECORDING EQUIPMENT CORP-
ORATION, Dept. 08.1, 10 -40 45th Avenue, Long Island City, New York 11101. your old address. Include both zip num-
Fairchild Lumitens (available in 600 and 150 ohms) Include: 66811 Attenuator, 668 PAN-2 Pan Pot Actuator, 668 ACT bers. Keep db coming without inter-
Remote Cell Actuator, 668 STII Stereo Attenuator, 668 RSB Remote Stereo Attenuator, 668 MC 4-channel Master
Control Attenuator card, 668 RAB Remote Attenuator packaged on compact PC card, 692 DI Single Remote Attenu. ruption!
ator, 692 D2 Two Independent Attenuators. Slide Wide Fader: SWL600 (600 ohm L pad).
DEPARTMENT OF AMPLIFICATION
A number of sharp-eyed readers caught what our copy- If it circuit without connection to
is desired to operate the
readers missed in Ronald Peshá s Electronic Telephone a beeper, Q2 should have its base go through a 'lytic of approxi-
Patch story. The drawing accompanying the story, which mately 1 mFd value to ground. Mr. Pesha tells us that this
appeared in the January issue on page 22, contained two should not be done unless no beeper connection is made.
errors which are explained in the correction shown in FIGURE There have been some field reports of distortion and diffi-
1. The area within the dotted ellipse is now correct both as to culty in obtaining a good null at the output of the unit.
the inclusion of the switch and capacitor in the telephone- Unless the two transistors are almost identical it becomes
line output. impossible to achieve linear operation from each. This is
because the two transistors are coupled for d.c. by the com-
mon emitter resistor R. in FIGURE 1. By using separate emitter
resistors as shown in FIGURE 2, matching becomes much less
critical. In this way the emitter resistors are still coupled
for a.c.
OUT
R6
50mf 1000
C6
IN
BEEPER
lOmf
Sl; ;i TELL
LINE
560
\ C5./
500 500
TRANSFORMER
f1 " -'
Figure 1. This is the correct schematic that should have appeared in
January on page 22.* C5 should be at least 3 mFd non -electrolytic, Figure 2. This alternate emitter configuration for the circuit in Figure 1
200V. makes matching of the two transistors far less critical.
Neve designed and

built it for Vanguard
Records
Designed, built and installed by Rupert Neve & Co.. Ltd.,

Cambridge, for Vanguard Recording Society Inc., New York,
this console incorporates 24 input channels, 16 output groups
and a comprehensive range of facilities. It is typical of the way in
which Neve meet the audio requirements of recording.
broadcasting, film and TV studios all over the world. This
console took only 7 months from drawing board to installation
Rupert Neve it Co. Limited, 'Priesthaus' Little Shelford, Cambridge, England. Telephone Shelford 3537
E0 itorial
T's THAT TIME of the year again for shows. We've just come back from the NAB
Convention. This most exciting affair was held in Washington, D.C. While a
good deal of the equipment shown is outside the audio field (ranging from t.v.
prompters to antenna masts), there is still much to report. Consoles, recorders,
components, et.al. galore.
One of the most exciting things to see, though, was a video product. RCA
changer works
audio scene
-
that commanded our
-
unveiled a video tape changer. The video tape is placed in cartridges, and the
carousel fashion to play short spot after spot. But it was the
prime attention. We will have a picture gallery
report of the products seen in next month's issue.
At the same time that the NAB was in Washington, an incredible bit of i
scheduled had the IEEE Exhibition in New York City. Our assistant editor
Richard Lerner reports that once again the IEEE is outside the audio scene. If
you need components that can carry you reliably to the moon, the IEEE is the
place to go. But, for the broadcaster, the recordist, and the sound reinforcement
man, the IEEE show holds no professional interest.
A few days after you receive this we will be heading west for the California
side of the Audio Engineering Society's semi -annual exhibition and convention.
Just turn to page 30 for a complete run -down of the papers, maps of the exhibition
rooms, and, of course, days and hours for the show. We hope you will all be there
and that you will stop by on the mezzanine to say hello to us.
For those that can't make the westward trek, we will have a picture gallery
report, when we come back. L.Z.
Test Rocorc s
ARNOLD SCHWARTZ
The many and varied professional test records are

herewith detailed so that anyone involved
with the recording or play of discs will better
know the utilization of this important
measurement tool.
RECORDS ARE MADE AND PLAYED primarily for a vast

audience of non -technical people whose judgments of
the technical excellence of the recordings are purely
subjective. Nevertheless the components of this sub-
jective evaluation can almost always be closely correlated to
a set of objective measurements. The professional test record
provides a rapid, accurate, and inexpensive way to make
these kinds of measurements. For example, frequency re-
sponse can tell us much about the coloration of a recording.
By utilizing available test records, a recording or playback
system can be accurately adjusted and periodically checked.
In fact, the disc recording engineer can make a routine fre-
-
quency response check of his entire system
disc
-
from tape to
in minutes by using a reliable test record as the basis
for his calibration. The broadcaster can set up and check his
disc playback equipment quickly and accurately with the use
of the available test records. Professional test records are
1 Arnold Schwartz is president of Micro- Point, Inc., manufac-

turers of recording styli. He was previously associated with CBS
Labs where he was instrumental in the design of their test
record series.
GROOVE BOTTOM
WITH NO MODULATION
DISC
SURFACE
DISC
SURFACE
/ DISC
SURFACE
DISC CENTER
PEAK
AMPLITUDE
MOTION OF GROOVE BOTTOM
MOTION OF GROOVE BOTTOM MOTION OF GROOVE BOTTOM
(A) LEFT CHANNEL MODULATION (BILATERAL MODULATION (CI VERTICAL MODULATION
ro
Figure 1. The static characteristics of a sinusoidal waveform in a disc groove.
modulation the direction of the groove bottom is 45
degrees to the surface of the record. When both chan-
nels are equal in amplitude and recorded in- phase, the
resultant direction is lateral (monophonic), and the
motion of the groove bottom is parallel to the record
surface. When both channels are recorded out-of -phase
we have vertical modulation and the direction of the
DIRECTION OF
groove bottom is perpendicular to the surface of the
LINEAR GROOVE
record. In this and the following discussions we can
VELOCITY just as easily talk about the direction of a groove cross
section of constant width (which supports the playback
stylus) as we do about the groove bottom.
DISC CENTER
Amplitude is the displacement of the groove bottom
RADIUS
in the modulation direction. Peak amplitude (usually
called "amplitude ") is the maximum distance the
groove bottom is displaced in the modulation direction
STYLUS
from its mean position (see FIGURE 1B). The groove
bottom is in its mean position when no modulation is
present (quiet groove).
Wavelength is the linear distance covered by one
complete cycle of the wave.
GROOVE / Dynamic Characteristics: If we now take our recorded
disc and rotate it at a constant rotational velocity we then
DISC ROTATION
add the ingredient which transforms the static characteristics
into the dynamic. The dynamic characteristics include linear
groove velocity, frequency, and modulation velocity.
The linear velocity of the record groove at the
Figure 2. Linear groove velocity of a disc. point of contact with the recording or playback stylus
is in a direction perpendicular to the record radius
drawn to that point of contact (novas 2). The linear
groove velocity depends upon the rotational speed, and
the record diameter.
When the groove is moving at a given linear velocity
carefully calibrated so they can be relied upon when making the recorded wavelength will determine the number of
cycles of modulation that the pickup will scan each
the numerous measurements and adjustments necessary to
have recording and playback equipment in top -notch condi-
tion.
second - which is the playback frequency. For
example, let us say that the wavelength is 0.004 inch,
Test records serve many purposes, and are used by the and the linear groove velocity is 20 inches per second.
following groups; recording studio engineers, broadcast en- Since there are 250 wavelengths in each one inch sec-
gineers, pickup manufacturers, research oriented profes-
sionals, and home hi- fidelity enthusiasts. This, in part ex-
plains the wide variety of test records, and the variations in
wavelengths each second -
tion of groove length the pickup would scan 20 x 250
or the frequency would
be 5,000 Hz. From the point of view of the recording
technical specifications describing them. This article will deal process, the recording stylus is vibrating at a rate of
primarily with those aspects of test records which are of im- 5,000 cycles each second, and the disc is moving past
mediate and practical value to the recording studio and to the stylus at a velocity of 20- inches - per -second. The
the broadcaster. In order to better understand test - record length of each recorded cycle would be 20/5,000 = 0.004
specifications and test - record utilization, we will start with inch.
From a playback viewpoint the modulation veloc-
a very brief discussion of disc recording principles.
DISC RECORDING FUNDAMENTALS

ity - or simply velocity - refers to the velocity of
the groove bottom away from and towards the position
Modulation on a disc can be described by two alternate sets of the groove centerline if no modulation were present.
of characteristics; the static and the dynamic. Static character- Referring to FIGURE 3 the groove bottom of a laterally
istics are those that can be determined by direct visual ob- modulated groove is shown (although single channel or
servation of the recorded disc. Dynamic characteristics are vertically modulated groove would serve equally well
those that best describe the input and output of the recording as an example). If we imagine the groove moving in the
and playback process. The two sets of characteristics overlap, direction of the arrow due to linear groove velocity, an
and are really two ways of looking at the same thing. Test observer looking down at the centerline of the moving
record specifications can refer to either set of characteristics. groove would see that centerline move right and left
Later on in this article we will demonstrate some of the rela- alternately. As point A passes the observer the velocity
tionships between them. of the groove bottom is maximum to the right. As
Static Characteristics. Three important static character- point B passes the observer the velocity of the groove
istics of a sinusoidal waveform are shown in FIGURE 1. bottom in the modulation direction is zero for an in-
Modulation direction. In stereophonic recording stant and the motion of the groove is actually parallel
we can have left -channel, right -channel, lateral, or ver- to the linear groove velocity. As point C passes the
tical modulation. In monophonic recording only lateral observer the velocity is again maximum but in the
a04 modulation is present. In either left- or right- channel opposite direction from Point A. The maximum instan-
taneous velocity, as represented at points A and B, is MODULATION DIRECTION (LATERAL)
called the peak velocity. The r.m.s. velocity is 0.707 of
the peak velocity and is analagous to the relationship
of r.m.s. voltage to peak voltage.
Velocity and amplitude are related by the formula: l--GROOVE BOTTOM IF NO MODULATION PRESENT
vpeak = 2=fapeak vpeak = peak velocity

f = frequency
apeak = peak amplitude
Another way of expressing the peak velocity is in terms of the C
wavelength (X), and the linear groove velocity (V.):
vpeak = 2rV.apeak
a MODULATION VELOCITY ZERO AT B
B
This confirms the earlier statement that static and dynamic

characteristics are directly related.
GROOVE DIRECTION OF MODULATION VELOCITY
TEST RECORDS BOTTOM
A
Listed below are the tests available on test records which

have direct and practical application for the recording studio OBSERVER
and the broadcaster.

1. Standard reference level
2. Frequency response LINEAR GROOVE VELOCITY
3. Crosstalk Figure 3. A diagram of the modulation velocity of a disc.

4. Pickup tracking
5. Turntable performance
6. System phase and balance
Because of the large number of test records available, we
have limited our discussion to the CBS Laboratories series, back gain is adjusted; each channel separately for stereo-
the RCA series, and the NAB test record as representative
examples. or 0 dBm -
phonic systems. The output signal level is set at, 0 vu, 1 volt,
whichever level is the conventional standard
signal or power reference used in your system. The calibrated
Standard Reference Level: A recorded single-channel
peak velocity of 5.0 centimeters/second at 1000 Hz is the playback can then be used to calibrate the recording system.
standard reference level. (At this velocity and frequency the The recording channel gain is adjusted; each channel sepa-
peak single-channel amplitude is 0.8x10' centimeters). When
both channels are modulated in phase (lateral) or out-of-
rately for stereophonic systems. The gain is adjusted so that
a specified signal input -0 vu, 1 volt, or 0 dBm
recording channel will modulate the disc at the standard
to the -
phase (vertical) the resultant peak velocity is 3 dB greater or
7.0 cm. /sec. Standard reference level test bands can be left reference level as measured on the calibrated playback sys-
channel, right channel, lateral, or vertical. tem. A lateral reference level band can be used to calibrate a
There is some confusion between the standard reference level stereophonic playback system. The lateral modulation is
and the maximum level. Standard reference level means just then considered as left and right channel modulations being
that: i.e. it is an arbitrary reference to which any given represent simultaneously. Unless otherwise specified, all levels
corded level can be related. It is not the maximum level that will be referred to in dB relative to the standard reference
can be recorded or played back, nor does it have any fixed level.
relationship to these maximum levels. Maximum recorded Frequency Response: The recorded velocity or ampli-
levels are determined by the power- handling capability of the tude of a frequency- response test band is related to the fre-
cutter head and the associated electronics, and by the geom- quency by the recording characteristic. In a constant-velocity
etry of the recording stylus. Maximum playback levels are characteristic, the recorded velocity is constant at all fre-
determined by the pickup and tone-arm dynamic systems, quencies. Similarly, a constant- amplitude characteristic has
and by the geometry of the playback stylus and record groove. constant recorded amplitude at all frequencies. A combina-
The maximum level for a particular record playback set of tion of constant -velocity constant- amplitude characteristic is
conditions can, however, be related to the standard reference frequently used, and the RIAA or NAB is of this latter type.
level. Frequency response tests can be recorded as spot frequen-
CBS Laboratories test record series has standard reference cies, or as a sweep or glide tone. Spot frequency recordings
level bands on the following records: have a series of frequency bands which are spaced at uniform
STR 100; left and right channel intervals in the frequency range covered. The sweep fre-
STR 130; left, right, and lateral quency band employs a continuously varying tone which
BTR 150; left, right, lateral, and vertical covers the entire frequency range. Sweep frequency bands
The NAB Test Record has a lateral standard reference require specialized recording apparatus to be fully utilized.
band. The RCA records 12 -5 -49 (lateral), 12 -5 -50 (lateral, For the recording studio and broadcaster the frequency re-
11 -5 -51 (lateral), 12 -5 -75 (vertical), and 12 -5 -77 (left, right, sponse test using the RIAA (NAB) recording characteristic
lateral) refer to a "reference level" which is approximately is most useful since the standard playback electronics have
2.1 dB below standard reference level, or 3.9 cm. /sec. peak the RIAA playback characteristic. The output of an ideal
single-channel velocity. playback system (pickup and associated electronics) with
The standard reference level band is used for absolute cali- RIAA playback characteristic will be flat when playing a
bration of the playback and record systems. With the pickup frequency response test band with the RIAA recording
on the appropriate standard reference level band, the play- characteristic. to
w
CBS Laboratories test record series has frequency response
test bands with the RIAA characteristic on the following
records:
STR 130; left, right, and lateral spot- and sweep -fre-
quency bands covering the range of 20- 20,000 Hz
at -14 dB. 50 100 200 500 IK 2K 5K 10K 20K
BTR 150; Left, right, and lateral spot frequency bands FREQUENCY Hz
covering the range of 50- 15,000 Hz at -14 dB.
RCA test record series have the following records with Figure 4. A typical pickup's frequency response. The test record is
the CBS STR 130 in this example, only the left channel is shown.
the RIAA characteristic:
Response is plotted relative to 0 dB at 1000 Hz.
12 -5 -49 (10 in.) lateral spot frequency band covering
the range of 15,000 to 10,000 Hz at -20 dB, and
10,000 to 30 Hz at -16 dB.
12-5 -50 (12 in.) similar to 12 -5-49
12 -5 -51 (7 in). similar to 12 -5-49 but at 45 rpm Pickup Tracking: Tracking refers to the ability of the
12 -5 -75 (10 in.) similar to 12 -5-49 but a vertical playback stylus to maintain continuous contact with the
recording groove walls in the presence of modulation. When, due to
The NAB test record contains the following frequency re- high modulation levels, the playback stylus is only intermit-
sponse test bands with the RIAA characteristic: tently in contact with the groove walls, audible distortion
Lateral spot frequency band 15,000 to 30 Hz at -14 dB. will occur. On rare occasions the pickup can be thrown com-
A second band contains 60- second duration tones at pletely out of the groove, although this is not likely in modern
100, 1000, and 10,000 to facilitate system adjustment. pickups. Harmonic and intermodulation measurements can
CBS Laboratories has a frequency-response test (STR 100) be used to determine the distortion caused by mistracking.
which has a constant amplitude (20 -500) and constant velocity Measurements made with appropriate equipment is preferred
(500 -20,000) characteristic. RCA has a series of frequency but critical listening can provide reasonably accurate results.
response tests using a constant-velocity characteristic (12 -5- The test record provides, with either single -tone or two -
67, 12 -5 -71, 12- 5 -73). By using these characteristics, sub- tone recordings, successively higher levels of modulation.
stantially higher recorded levels are possible. Better signal -to- The pickup output will sound normal or undistorted at low
noise ratios and more stable readings result. However, the modulation levels. When the critical modulation level is ex-
output will not be flat when played with the RIAA playback ceeded, beyond which the pickup cannot track, the output
characteristic. The "flat" position available in some disc becomes noticeably distorted. This then is the maximum un-
recording studios should be used when making measurements distorted level that can be played back by the pickup.
with this type of characteristic. CBS Laboratories Test Record STR 100 and STR 111 pro-
The frequency response test bands are used to measure the vide single-tone tracking tests with the levels calibrated in
response of the playback channel, whether on initial set -up peak amplitude. The STR 111 also contains two -tone inter-
or on routine check. The output level at 1000 Hz is used as modulation tests calibrated in peak amplitude. The levels on
the reference level (0 dB) and the relative levels at all the the STR 100 are from 0.001 to 0.005 centimeters in lateral
other frequencies are recorded in tabular or graph form. A and vertical modulation. The STR 111 levels are from +6
sample of a typical response test, and the results when to +18 dB re 1.12 x 10-3 cm. lateral, and from +6 to +12 dB
converted to tabular form, is shown in FIGURE 4. We call for vertical modulation.
this our calibration curve. RCA test record 12 -5 -37 (7 inch 45 rpm) and 12 -5 -39 (12
inch, 78 rpm) have two -tone intermodulation bands for pick-
Once the playback system frequency response has been
determined, the recording system can be calibrated. We now up tracking tests. The first disc has lateral modulation from
3.5 to 18 cm. /sec. The second disc has lateral modulation
know that the ideal recording (i.e. our test record) has the
from 4.3 to 27.1 cm. /sec.
response characteristic, as in our typical case, shown in FIGURE
4. Therefore each recording channel should be adjusted so Turntable performance: Turntable rumble can be meas-
that the playback response of a test recording will be as ured by playing the pickup on a quiet groove and measuring
close as possible to that of the calibration curve. A quick and the pickup output relative to the standard reference level.
accurate check of the entire recording/playback chain can be For increased accuracy a low-pass filter with a cut off around
made by recording a test tape with the same frequencies that 300 Hz should be used. CBS Laboratories BTR 150 and the
are on the test record. The tape is played, recorded on a disc, NAB Test Record have a quiet band for this purpose.
and then played back. Any deviations from the pickup cali- Wow and flutter can be measured with a Wow and Flutter
bration curve can then be plotted as deviations from the meter. A 3000 Hz tone is provided on the CBS BTR 150, the
ideal flat response. NAB Test Record, and the RCA 12 -5 -65, for this purpose.
Lateral frequency response test bands can be used to
System Phase and Balance: A system phase and balance
measure the performance of stereophonic pickups. However,
check is used to verify the following: channel balance, the
at frequencies below 100 Hz and above 8-10 kHz the results fact that in-phase signals are present at the playback system
are not always reliable due to pickup crosstalk.
output for lateral recordings, and the fact that out-of-phase
Crosstalk: Stereo standard reference level and stereo fre- signals are present at the playback system output for vertical
quency- response test bands provide a means for measuring recordings. RCA 12 -5 -77 and the NAB Test Record provide
pickup crosstalk. Crosstalk is a measure of the loss of stereo - phase and balance tests. Similar tests are available on CBS
phony. When left channel only is modulated, the right -chan- records in the form of left, right, lateral, and vertical standard
nel crosstalk signal is measured in dB below the left -channel reference level bands.
output. The reverse procedure is used to measure the left - Considering its modest price, and the wide range of tests
04
channel crosstalk. it makes available, the test record is a real bargain.
E cctronic SurvoiManc
Equicmont
ROALD D. WORTHER
In thisrevealing paper, the author describes two

commonly used surveillance devices. He also
details some of the work in ultra -
miniature componentry that has made them
possible.
MAGINE A COMPLETE TAPE RECORDER no larger than an Less dramatic and more practical systems are needed.
average cigar. Consider that this recorder will operate Obviously, no single pickup/transmitter is suitable for all
for thirty minutes, has a 100 -5000 Hz over -all response, situations. Let me describe one popular one. Where an un-
contains a sensitive built -in omnidirectional mic (con- attended surveillance device is needed to monitor a room or
cealed as the cigar band) and automatic volume control. area we use a complete system that is roughly the size of a
That was last year's device! A recent development of our six-penny nail. With such a device, we can literally hammer
it into a wall so only the head shows. With less than 1 /16th
to a coat button -
department just released for field use has reduced the recorder
the cord holes of which conceal the mic
entry. The recording time is now expanded to forty-five
of an inch exposed it is not likely to be discovered.
We recently used six of these units in a large attendance
minutes. Thickness is down to approximately 1 /8th inch and hall. This enabled our receiver, located about si-mile away
the tape cartridge contains the d.c. power supply so that a to completely monitor the room. We could hear whispered
change of cartridge ensures a fresh surge of power. I will de- private conversations no matter where in the room the caucus
scribe the recorder presently. was held.
Industrial (and other kinds) espionage customers want We generally use an unused frequency for the area in the
such devices. But there are times when even this button is too f.m. broadcast band. In this way, our transmissions are vir-
large. At other times, the physical presence of the individual tually undetected by conventional r.f. snoopers.
with the recorder is not possible. For these occasions, we
have worked for years on ultra -miniature sending systems. THE SYSTEMS
A variety of r.f. frequencies are used depending on what the I will first describe the button tape recorder's construction
customer believes will avoid detection. and circuitry because, I believe, this will be of prime interest
The spy movies have indoctrinated you, no doubt, with to the readers of this magazine.
the idea of a martini olive with a toothpick -like antenna. (Publisher's note: As the following originally scheduled
These inventions live only in the minds of science- fiction pages were being placed on the presses, we were visited by
writers, for the espionage field could never live with so easily agents of the United Network Command for Law Enforce-
discovered a device. One bite and you would know! ment who confiscated the page plates, giving the reason of
international security. We have been unable subsequently to
Roald D. Worther is senior engineer for miniaturization design reach author Worther. One of our most valued pressmen is
with an intergovernmental agency. He is widely acknowledged also missing and we can only assume that he was the informant
for his contributions to the field. agent.)
A Protoctoc Powor Su o oiy
WALTER JUNG and RICHARD GROOM
The authors describe a practical power supply

for audio amplifiers that is electronically regulated
and is equipped with circuit -breaker
protection.
ACOMMON PROBLEM associated with audio power

amplifiers is a means of automatic electronic short-
( ircuit protection. Such protection is mandatory,
both with respect to the output- driver transistor
group, and as much, if not more so, with respect to the ulti-
mate load. Although quite adequate and thorough means of
protection for the amplifier itself have been described.' little
if any means other than simple fuse mechanisms have been
forwarded as speaker protection. Faced with the unthinkable
horror of fusing a multi -hundred-dollar speaker system if a
transistor were to short (a remote but not impossible prob-
ability) the following approach to an electronic power supply
protector was devised.
Walter Jung and Richard Groom are engineers in the electronic

design department of Maryland Telecommunications (MTI)
04
of Cockeysoille, Maryland.
TI DI
D2
CI R3
RI
59T
IOK 680
#18 2500
D3 ;R2
18K 02
N 2N4036
D4 01
DI -D4 2N3567
IN4998
03
2N3055
D5 R4
24V 68
LM300 C3
- +35V
R5
6 39K
8
+ C4 + C5
+ C2 000 68
R6
22K
04
2N5132
R8
33
R12
20K
05 06
2N4888 2N4888
RIO
10K
.---1l
560 pf
08 09
2N3567 2N4036
R13
20K
R16
D6 -D9 .1N4998 Q7 68
D6 2N5132 jR15
>330 010 1 1
2N3055
18
1000 6.8
0
R14 o
33
35V
vD
D9
Figure 1. The complete power supply circuit described in the text. The lighter- shaded
portion (the minus supply) is part of the system but can be eliminated if a plus -voltage -only
circuit is needed. All resistors are in ohms, all capacitors in µF unless otherwise noted.
Transformer Ti and the integrated circuit LM300 are detailed in the text and on the parts list. K
The circuit is a dual-output, fully -regulated power supply anced operation of a differential amplifier requires that the
with short -circuit protection in both positive- and negative- inputs be virtually zero, it can be seen that the base of Qs
output legs. In addition, the negative output regulator is will be zero volts thus the + and - voltages are always
slaved to the positive output which insures that the voltages maintained equal and opposite.
will always be equal and opposite. Although the circuit may A unique contribution to circuit performance is provided
appear complex and expensive at first glance, a major portion by Qs, which serves as an active collector load for the differ-
of the semiconductors are very economical plastic types and ential amplifier. The high collector impedance of Qs causes
efficient use is made of a low cost i.-c. voltage regulator in a the voltage gain of Qs to be extremely high (several thousand),
configuration which extends its voltage range and improves much more than a simple resistive load.
regulation characteristics.' Aside from the obvious benefit of Additionally, the full differential gain of Q' and Qs is real-
the short circuit protection, the superlative regulation char- ized by driving Qs's base from Qá s collector, a connection not
acteristics of the circuit provide the virtues of improved ripple normally utilized. Aside from its high gain characteristics,
rejection, independence from line- voltage changes and a low this circuit also has high suppression of input ripple (60 dB)
dynamic-output impedance allowing full audio power to be due to the constant current action of Qb and Qs feeding Qs.
realized continuously. In a stereo configuration, this also It will also work with input potentials of only 1 to 2 volts
allows independence of power from one channel to the other more negative than the output because of the active drive of
and vastly reduced crosstalk. Qs to the Q9 and Qio combination.
The overload protection for this regulator is provided by
CIRCUIT DESCRIPTION R
an identical transistor -resistor pair, and Q7. In this case
The positive voltage regulator will be described first since it Q7 removes drive from Qs by shunting away the drive from
serves as a reference for the negative regulator and is respon- Qs, causing the output voltage to be removed. Again, recovery
sible for over-all circuit stability. is automatic after overload removal, as in the positive
Raw d.c. voltage is provided from a full -wave bridge rec- regulator.
tifier, D, -D, and capacitor C,. The negative leg of this recti- A power- supply regulator protector combination has been
fier goes to ground through short -circuit current -sense re- described with several desirable features for audio power
sistor, Rs (function to be described later). amplifier applications. Although the amplifier circuits used
The positive unregulated voltage is applied to the network with this power supply have not been described, they are
of Q. to Qa, which comprises a series regulator configuration. generally similar to that of REFERENCE 3, which describes a
This combination is driven by the LM300 i.c. which provides high power d.c. coupled split -supply power amp. Utilization
the voltage gain necessary for regulation. Rs and Re serve as of the overload technique with single supply a.c. coupled amp-
the output voltage sensing network, feeding a sample of the lifiers is equally valid, of course.
output voltage back to the i.c. to maintain dosed -loop
regulation.
Q,, in conjunction with the aforementioned Rs, serves as the
overload protection for the positive voltage regulator. Load
current passing through Rs develops a voltage drop which is
impressed across Qs's base-emitter junction. When load cur-
rent is sufficiently high to reach Q4's base-emitter threshold
of 0.65v (such as in an overload condition), Q, turns on and
clamps pin 7 of the LM300 which turns the regulator off and
reduces the output voltage. When the short or overload is
removed from output, normal operation is restored. For a
more detailed explanation of this circuit, the interested
reader is referred to REFERENCE 2.
The two output capacitors across the regulator output
serve two differing purposes. A large electrolytic (C4) is nec-
essary to supply the heavy peak currents demanded by large
signal outputs from the amplifier. Otherwise the overload
protection would activate on signal peaks and clip the wave-
form unnecessarily, severely limiting the power output. This
allows the overload network to sample average d.c. current
and a true fault will still be detected. A low- inductance, high - REFERENCES
frequency bypass such as a tantalum (C5) is necessary to
IDaniel R. von Recklinghausen, Protection of Amplifiers, Journal
lower the high frequency output impedance of the regulator of the Audio Engineering Society, Vol. 16, #11.
and suppress oscillations in the r.f. region. If a good high - :Walter G. Jung, Voltage Regulator Has Extended Range, Remote
frequency characteristic electrolytic is used for Cs, the need Shutdown, The Electronic Engineer, March, 1969.
'Direct Coupled 50 Watt Audio Amplifier, Delco Radio Applica-
for C' is obviated. tion Note #43, December, 1968.
The negative voltage regulator uses a similar bridge recti-
fier and capacitor -input filter, consisting of Do to D9 and Cs.
The composite pnp pair of Q9 and Q,o form a series pass
configuration similar to that of Qa and Qs in the positive regu- BIBLIOGRAPHY
lator. This series pair is driven by a % of a pnp differential 1. R. J. Widlar, Monolithic Voltage Regulator, Application
amplifier, Qs. As mentioned previously, the negative output Note AN -1, National Semiconductor Corporation, No-
is compared to the positive voltage and forced to follow in a vember, 1967.
2. R. J. Widlar, New Uses for theLMl00 Regulator, Application
1:1 relationship by R12 and R13. Qs serves as the other input Note AN -8, National Semiconductor Corporation, June,
m to the differential pair, its input being grounded. Since bal-
a 1968.
PARTS LIST
Resistors
SPECIFICATIONS R1, R9 10K, 1W, +10%
R2 1.8K, 1W, t10%
Ripple: Since ripple is a function of load current, and R3 680, MW, +10% Allen Bradley
R4, R16 68, MW, +10% or
load current will vary according to different applica- R5 39K, MW, t5% Equivalent
tions, a more realistic figure to characterize regulator R6 2.2K, MV, f5%
performance is line regulation; this is the output voltage R7 4.7K, MW, +10%
change per volt of input change. Measured figures for R8, R14 .33 IRC BWH
this regulator were less than 0.5 mV/V. Using a rough R10 10K, MW, f5%
figure of 5 volts peak -to -peak input ripple, this trans- Rll 10K, MW, +10% Allen Bradley
lates to 2.5 mV p -p output ripple. R12, R13 20K, MW, f5% or Equivalent
R15 330, MW, +10%
Regulation (output): Load regulation figures are

approximately 10 mV output change (measured with
Capacitors
Cl, C6 2500 or more uf ® 75VDC -
Sprague
36D252F075AC2A, Mallory CG252U-
a No of 1 amp). This figure is proportional to the out-
put voltage; that is lower voltages, such as +15 V for C2 1
75K1
µf, 20V tantalum - Mallory JAC
instance, will reflect better regulation figures due to
less division of the output change by R6 and Re. Equiva- C3
C4, C8
Series
47 pf polystyrene - -
Mallory SX Series
1000µf, 50V electrolytic Mallory MTV
lent output impedance (a good figure of merit) is:
--
Series
nEo or 0.01V
6.8 uf, 50V Tantalum Kemet Series
oIo, IA -10 millihenries. C5, C9
C7 560 µf polystyrene Mallory SX Series
Diodes
Imax: Short -circuit current is calculated from the Vbe
of Q4 or Q7 (0.65V) and the Re to Rio value. In this
D1-D4,
D6-D9
D5
1N4998 -
24V, 1W Zener,
Motorola
±20%
circuit it is roughly 2 amps. Exact values of limit cur-
I N4749 Motorola
rent are difficult to maintain because of the non -pre- 1R24 Solitren
cision of low -value resistors. In selecting different
values4or Ra to R,y usq: l'ransistors
0.65V Q1, Q8 2N3567 National,
Rsc -Isc
Q2, Q9 2N4036 RCA
Q3, Q10 2N3055 Solitron, RCA, Silicon Trans.
where Isc is the desired limiting value. Corporation
Aside from short -circuit current, the absolute cur- Q4, Q7 2N5132 National,
rent limit (design limit) is governed by the heat sink Q5, Q6 2N4888 Fairchild
for Qa and Qio, rather than a pure current standpoint.
The 2N3055's are extremely rugged devices and their Integrated Circuit
LM300 National Semiconductor Corporation
ratings with that of the heat sink specified will allow a Transformer
full 2 amp output current up to an ambient tempera- A. For those with winding facilities:
ture of 70 deg. C. Laminations:
Voltage changes: To scale the output for different

-
El-125, 29 gauge, grain -oriented
M -6 material, quantity approx. 140 prs.
Arnold or Thomas & Skinner, Inc.
voltages change R5 to fit the equation:
Eo - 1.8V
Bobbin:
Nylon -
rectangular window 1% x 2"
American Molded Products
- 0.82mA Wire:
Precise adjustment will necessitate a pot for a portion #20 & 18 AWG magnet wire, Heavy Formvar
insulation
(10 per cent of R6) if this is desired.
#18 lead wire, assorted colors
The negative regulation will automatically follow in Essex Wire
a 1:1 relationship. Misc.:
Of course the power transformer secondary voltage Hardware, tape, Kraft paper, varnish
must be adjusted to suit the new output level; that is
beyond the scope of this article.
B. For less fortunate souls:
Signal Transformer #68 -
2 dual 34VRMS
secondaries each rated at 2 amp, primary 117
Va.c.
Cost Estimate: The major component cost (exclusive Heat Sink for Q3 - Q10
Wakefield NC641 or equivalent
of hardware, p.c. board, etc.) is approximately $40
Source:
using a single -piece pricing. The prices are based on Charles Hock
the Allied Radio Corp. catalog from which most of the Hamilton Electro Sales
componentry is available. 8809 Satyr Hill Road
Baltimore, Md. 21234
36th AES Convention
BBK INST LIPPS

IELECT
EIGHT
D 1METRO-
TEC I
D NERO UPPER PART OF TECHNICAL
111 REDWOOD ROOM
MAIN EXHIBIT AREA SESSIONS
ABPHOT
EEJ AMPEX
WIEGAND
ALTEC AUDIO 1111111 PREPRINTS
MELCOR GOTHAM 111111
1
WAVEFORMS AUTOMATED
PROCESSES
AES
REGISTRATION
i ELECTRO- VOICE
E F. HUTTON UPPER PART BRIGHAM YOUNG UNIV

UNIVERSAL
SPECTRA
AUDIO OF LOBBY
SONICS EAST-WEST ROOM
ELECTRO -SOUND
1
EXHIBIT AREA
GAUSS
MAGNETIC
SCULLY
RECORDERS
CREATRONICS
DOLBY ó HARMAN - KARDON
HOLZER
TABER AKG MEZZANINE FLOOR
LANGEVIN T SHURE I
HEISER I
FAIRCHILD SUPERSCOPE
MAIN EXHIBIT AREA (BLOSSOM ROOM)

HEWLETT
Mc MARTIN
PACKARD
AUDIO
STANTON NAGRA
DESIGNS 1
i
EAST -WEST ROOM
NORTRONICS REDWOOD ROOM JBL
HARVEY
RADIO
F---
MARTIN
TANDBERG
AUDIO
GATELY n 3M
QUICK SUMMARY Transmission Lines in Studios -
O. Everett Wied -
mann, LTV Research Center, Anaheim, California
REGISTRATION An Unusually Flexible OP AMP Mixing Console
Mezzanine, Monday, April 28 through Thursday, Lyle Fain, Fedco Audio Labs, Providence, Rhode Island
May 1, 1969
9:30 A.M. to 8:00 P.M.
-
Bridging The Audio Limiter Gap James J. Noble
and Robert James Bird, Altec Lansing, Anaheim,
California
BANQUET
Automatic Presence Equalizer -
Richard G. Allen,
Social Hour
Banquet
--
Aviation Room, Wednesday, April 30, 1969
6:30 P.M.
7:30 P.M.
Emil L. Torick and Benjamin B. Bauer, CBS Labora-
tories, Stamford, Connecticut
Low Noise Replay -Preamplifier for Professional
TECHNICAL SESSIONS Audio Recorder -
Zoltan Vajda, University of
Minnesota, Minneapolis, Minnesota
--- Transducers
Aviation Room, Monday, April 28
10:00 A.M. Amplifiers & Audio Circuits TRANSDUCERS
1:30 P.M. Monday, April 28, 1:30 P.M.
8:00 P.M. Audio Systems (To be held at A&M Aviation Room
Studios)
Chairman: B. R. BEAVERS
9:30 A.M. -- Tuesday, April 29
Acoustics & Hearing
LTV Research Center, Anaheim, California
1:30 P.M.
7:30 P.M. -Music & Speech
Noise
A New User -Oriented Professional Unidirectional
Microphone -
Robert B. Schulein, Shure Brothers
Inc., Evanston, Illinois
9:30 A.M.
1:30 P.M.
-- Tape Recording
Wednesday, April 30
Disc Recording A New Underwater -
Earphone Louis A. Abbagnaro
and Benjamin B. Bauer, CBS Laboratories, Stamford,
Connecticut
9:30 A.M. -- Instrumentation -
Thursday, May
Signal Processing
1
Panel Discussion Loudspeaker Phase Characteristics -
Richard C.
1:30 P.M.
7:30 P.M. - Reinforcement
Sound
Heyser, Cal. Tech. Jet Propulsion Laboratory, Pasa-
dena, California
EXHIBITS urements -
The Meaning of Quantitative Loudspeaker Meas-
Charles McShane, Acoustic Research,
Inc., Cambridge, Massachusetts
Monday & Tuesday
Wednesday & Thursday
--
Monday thru Thursday, April 28 thru May 1, 1969
1:00 P.M. - 9-00 P.M.
1:00 P.M. - 5:00 P.M.
Loudspeaker Voice Coils - John King, Cleveland
Electronics, Cleveland, Ohio
-
Design Parameters of A Dual Woofer Speaker
System Edward M. Long, Ampex Corporation, Elk
Grove Village, Illinois
-
An Improved Theatre Type Loudspeaker System
John K. Hilliard, LTV Research Center, Anaheim,
California
Recent Developments in High Frequency Drivers
and Horns for Auditorium Sound Reinforcement
- William L. Hayes, Altec Lansing, Anaheim, Cali-
fornia
AUDIO SYSTEMS
THE PAPERS
Monday, April 28, 8:00 P.M.
AMPLIFIERS AND AUDIO CIRCUITS A &M Studios, Sunset Blvd. & La Brea, Hollywood, Cal.
Monday, April 28, 10:00 A.1\1 . Chairman: JACK PURCELL
Aviation Room Purcell Noppe £r Associates, Inc., Reseda,
Chairman: PAUL SPRANGER California
Altec Lansing, Anaheim, California
Directional Communications Receiver for Un-
Design Considerations of Low Noise Audio Input
Circuitry - A. Douglas Smith, Shure Brothers, Inc.,
A
-
derwater Swimmers Guy V. Love, Emil L. Torick,
Benjamin B. Bauer, CBS Laboratories, Stamford,
Evanston, Illinois Connecticut
A Recording Console for the Needs of Tomorrow
Robert A. Bushnell & J. Jerrold Ferree, Bushnell Elec-
-
tronics Corp., Van Nuys, California and United Record-
ing Corp., Hollywood, California
A
Peak Reading Meters -
Comparison of the Performance of V. U. and
Richard D. M. Negus,
Capitol Records, Inc., Los Angeles, California
-
A Description and Tour of the New A &M Studios
Howard Holzer, HAECO, Larry Levine, A &M
Records and Jerry Christoff, Paul F. Vaneklasen &
Associates
ACOUSTICS & HEARING

Tuesday, April 29, 9:30 A.M.
Aviation Room
Chairman: MARK B. GARDNER
Bell Telephone Laboratories, Inc., Murray
Hill, New Jersey
wood Bowl Used In 1936 -

An Experimental Sound System for the Holly-
Arthur R. Soffel, LTV
Research Center, Anaheim, California
let's shed a little Tight on
-
Talking and Listening in Verbal Communication
Importance of Specifying Parametric Values
Mark B. Gardner, Bell Telephone Laboratories, Inc.,
-
VARACOUSTICS Murray Hill, N.J.
When the lights are turned down, VARA-

Sound Reproduction in the Home -
Olson, RCA Laboratories, Princeton, New Jersey
Harry F.
COUSTICS takes the limelight. Sound becomes
all important for the participation and satisfaction
of the audience.
Acoustics of Multipurpose Auditoriums Vern-
O. Knudsen, University of California at Los Angeles,
For only a portion of the cost of the electrical sys- Los Angeles, California
tem, you can afford VARACOUSTICS, DuKane's
The Ear As An Instrument for Determining the
new Sound Control Process designed for use in
auditoriums, churches and meeting rooms. Com-
bine it with our Medallion electro- acoustic equip-
Quality of Musical Tones -
Harvey Fletcher,
Brigham Young University, Provo, Utah
ment for guaranteed results.
With this technique, the individual acoustic char-
acteristics of the room are analyzed, charted, and
Tuesday, April. 29 -
1:30 P.M. -- Meeting of
USASI -S4 Standards Committee on Sound Re-
then equalized, becoming an integral part of the cording. See Hotel Bulletin Board for room
sound system design and circuitry. number.
The result is as much gain (volume) as you can
use, plus greatly improved intelligibility -no ring-
ing, no feedback, no dead spots -just natural, MUSIC AND SPEECH
pleasing audio and an equal partnership with
good lighting.
Tuesday, April 29, 1:30 P.M.
Aviation Room
Your DuKane Distributor, a specialist in the appli-
cation of this new process, has the training, test Chairman: JAMES CAMPBELL
equipment, and interest to make Varacoustics University of California, San Diego, La Jolla,
work and succeed for you. California
New Music Buildings -The Sonic Environment
Gerald Strang, California State College at Long Beach,
-
Department of Music, Long Beach, California
Loudness Meter -
R. A. Hackley, H. F. Olson and
D. S. McCoy, RCA Laboratories, Princeton. New Jersey
-
Some Recent Developments in Computer -Gen-
erated Tone Qualities J. C. Risset, Bell Telephone
Laboratories, Inc., Murray Hill, New Jersey
Write for more information
DUKANE CORPORATION
A
-
Music Department, Born: 1 July 1966; Died:
James L. Campbell, Department of Music,
University of California, San Diego, La Jolla, California
COMMUNICATIONS SYSTEMS DIVISION
DEPT. DB -49 ST. CHARLES ILLINOIS 60174
04
m
W
NOISE Powerful
Tuesday, April 29, 7:30 P.M.
Aviation Room
Chairman: KARL S. PEARSONS
Values from
Bolt Beranek and Newman, Inc., Van Nuys,
California HEATH
Transportation Noise Source - Richard C. Potter,
Wyle Laboratories, El Segundo, California
Plumbing Noise Control -
Ronald McKay, Bolt
Beranek and Newman, Inc., Van Nuys, California
ence Level (SIL) -

Updating and Interpreting the Speech Interfer-
John C. Webster, U. S. Navy
Electronics Laboratory, San Diego, California
Human Phase Sensitivity to Impulsive Signals
Sanford Fidel!, Bolt Beranek and Newman, Inc., Van
- Kit IP -17
Nuys, California $59.95"

Wired IPW -17
Exposure to Noise -
Procedures for Evaluating Damage Risk from
Karl D. Kryter, Stanford Re-
search Institute, Menlo Park, California
Heathkit IP -17 Variable Regulated High Voltage Power
Supply will deliver 0 to 400 VDC with better than 1% regulation
$89.95"
Evaluation of Ear Protection Devices

Parnell, PNP Associates, Reseda, California
- John E.
at current loads up to 100 mA, 0 to -100 V bias at 1 mA max., and
both 6 and 12 VAC at 4 A and 2 A respectively or any combination
to a maximum of 25 VA load. Separate panel meters monitor
B+ output voltage and current. High voltage and bias may be
switched "off" with heater voltage still "on" for maximum ef-
ficiency in testing and for safety. Ripple is less than 10 mV.
DISC RECORDING
Wednesday, April 30, 9:30 A.M.
Aviation Room
Chairman: FRANK E. PONTIUS
Westrex, Hollywood, California
A Tape -to -Disc Mastering System Featuring
Unique Control and Monitoring Facilities Jack -
K. Williams, Pacific Recorders and Engineering, Solano
Beach, California
A New and Improved Solid State Driving System Kit IP -27
heads -
for the Westrex 3D & HAECO SC -1 Stereo Cutter -
California
Howard S. Holzer, HAECO, Van Nuys,
$76.95*
Wired IPW -27
$119.95*
age for Disc Recording -
The First All Solid State Stereo Recording Pack-
Stephen F. Temmer,
Gotham Audio Corp., New York, New York
Heathkit I P -27 Solid -State Regulated Low Voltage Power
Supply features Zener reference voltage, immunity to transients
and protection against short circuit and overload. The IP -27 will
supply 0.5 to 50 V with better than 15 mV regulation under
-
Performance Characteristics of the Commercial
Stereo Disc John M. Eargle, RCA Record Division,
New York, New York
current loads ranging from 0 to 1.5 A. Current can be limited
from 30 to 100% on each of four ranges from 50 mA to 1.5 A
as a safety factor. Panel meter shows output voltage or current.
Ripple is less than 150 microvolts.
The Dynamic Range of Disc Records -
Daniel W.
Gravereaux and Benjamin B. Bauer, CBS Laboratories,
Stamford, Connecticut Heathkit IP -18 Low Cost
Automatic Record Pressing -
William S. Bachman,
Columbia Records, Milford, Connecticut
Solid -State 1 -15 VDC Power
Supply is ideal for working with
transistor circuitry. Current limit-
ing is adjustable from 10 to 500
mA, line regulation is less than
50 mV and ripple is less than
TAPE RECORDING 5 mV.
Kit IP -18
Wednesday, April 30, 1:30 P.M. $19.95e

Aviation Room HEATH COMPANY, Dept. 74 -4
Benton Harbor, Michigan 49u[G
Chairman: KEITH O. JOHNSON Please send my FREE 1969 Heathkit Catalog.
Gauss Electronphysics, Inc., Santa Monica, . Enclosed is $ plus shipping.
California Please send model (s)
-
A Simple Tailoring Machine for Philips Cassettes
James B. Wood, General Recorded Tape, Inc.,
Sunnyvale, California
Name
Address
Cuy State Zip

Prices 3 specifications subject to change without notice.
1
.Mall order prices; F.O.B. factory. TE-19] J W
Magnetic Tape Testing and Interpretation
Klaus E. Naumann, BASF Computron, Inc., Bedford,
- Chairman: BERNARD KATZ
B &K Instruments, Inc., Cleveland, Ohio
Massachusetts
Reliability in Production Testing of Loudspeaker
on a Magnetic Tape Record -
The Measurement of Medium -Wavelength Flux
John G. McKnight,
Components and Systems -
Donald S. Schroeder
and Edward M. Long, Ampex Corporation, Elk Grove
Ampex C & E Products Div., Los Gatos, California Village, Illinois
A Simplified
AC Biased
-
Hysteresis -Loop Model of the
Magnetic Recording Process Zoltan - Automated Frequency Response Measurement
Allen E. Byers, United Recording Electronics Indus-
-
Vajda, Hungarian Radio & Television. At present, tries, North Hollywood, California
Dept. of Electrical Engineering, University of Minne-
sota, Minneapolis, Minnesota
Heads -
Crosstalk Measurements on Magnetic Recording
Robert E. Barbour, Nortronics Co., Inc.,
An Examination of Dropouts Occurring in the
Magnetic Recording and Reproduction Process
William Van Keuren, Jet Propulsion Laboratories,
- Minneapolis, Minnesota
Real Time Spectrum Analysis - David Rose,
California Institute of Technology, Pasadena, California Hewlett-Packard, Palo Alto, California
Design Improvements Applied to the Fairbanks

Acousta -Voicing -
Real Time Spectrum Analysis as a Tool in
Don Davis, Altec Lansing, Ana-
Time Alteration Device for Recorded Sound and
Uses of the Time Alteration Technique
Graham, Discerned Sound, Hollywood, California
-Wayne heim, California
The Seven Deadly Sins of Instrumentation - E.
John Wootten, B&K Instruments, Inc., Cleveland,
Ohio
SIGNAL PROCESSING
Instrumentation Techniques Used for Perform-
Thursday, May 1, 9:30 A.M.
Aviation Room
ance Evaluation of Hearing Aids -
Erwin Weiss.
Beltone Electronics Corp., Chicago, Illinois
Chairman: WILLIAM G. DILLEY
Spectra Sonics, Ogden, Utah
A series of five separate panel discussions designed to
Protectors -
On the Objective Testing of Circumaural Hearing
R. H. Campbell, David Clark Company,
Inc., Worcester, Massachusetts
broadly encompass the signal processing chain from
microphone to tape machine. Individual sessions, com-
posed of both manufacturers and recording engineers
will conduct panel discussions followed by audience/
panel participation. SOUND REINFORCEMENT
MICROPHONE: David Roone, Metromedia Pro- Thursday, May 1, 7:30 P.M.
ducers Corp., Los Angeles, California, Thomas May, Aviation Room
Columbia Records, Hollywood, California, L. R. Bur-
roughs, Electro- Voice, Inc., Buchanan, Michigan. Chairman: CHARLES F. SWISHER
Christopher Jaffe & Associates, Inc., San
EQUALIZATION /FILTERING: Lawrence Levine, Francisco, California
A & M Records, Hollywood, California, H. Philip
Iehle, Atlantic Records, New York, New York, John
P. Jarvis, Universal Audio Division of UREI, North
A Sound
ference Rooms -
Reinforcement System for Multiple Con-
Melvin S. Draper, The Boeing
Company -Space Division, Huntsville, Alabama
Hollywood, California.
COMPRESSION /LIMITING: Richard Welch, Bon-
neville International, Salt Lake City, Utah, DeWitt F. ment Systems
heim, California
-
Location of Loudspeakers in Sound Reinforce-
Don Davis, Altec Lansing, Ana-
Morris, United Recording Division of UREI, Holly-
wood, California, Charles F. Swisher, Christopher
Jaffe & Associates, Inc., San Francisco, California
REVERBERATION/ECHO: John Neal, Western
A New
Theatrical Productions -
Music and Sound Effects System for
Dan Dugan, American
Conservatory Theatre, San Francisco, California
Records Division of UREI, Hollywood, California, Comparison of Room -Loudspeaker Response in
Richard Stumpf, Universal Studios, Universal City,
California, Stephen F. Temmer, Gotham Audio
Corporation, New York, New York.
in an Anechoic Environment
William Raventos,
-
Well- Behaved Reverberant Rooms to the Response
James Long and
Electro- Voice, Inc., Buchanan,
TAPE MACHINE: Thomas Hidley, T. T. G., Inc., Michigan
Hollywood, California, Hamilton Brosious, Scully
Recording Instruments Corp., Bridgeport, Connecticut,
C. Dale Manquen, 3M Company, Camarillo, Cali-
-
Design Innovations in a Modem Portable Sound
Reinforcement System Stephen W. Desper, Beach
Boy Entertainment Enterprises, and Robert L. Ben-
fornia, Leon A. Wortman, Ampex Corporation, nett, Quad -Eight Sound Corporation, Hollywood,
Redwood City, California. California
INSTRUMENTATION
Thursday, May 1, 1:30 P.M.
All American Stadium -
Sound Amplification System for the San Diego
Wilfred A. Malmlund and
David L. Klepper, Bolt Beranek and Newman Inc.,
Aviation Room Van Nuys, California
Now Proc ucts anc Sorvicos
ECHO MIXER, EQUALIZER SUPER -POWER AMPLIFIER INSTRUMENT MODULES
*
(if
1 _.,
110
li)
/0".
E 1_
#
4140
.
'Phis combination of a stereo echo

mixer, model EM -7 and an accessory
. .
four -channel equalizer, model EQ -7

allow complete processing of the audio Field engineers should be interested
input signals. Both echo and low and Named the DC300, this stereo ampli- in these new miniature instrument
high equalization may be added to fier will produce 300 watts sustained modules. Model 5246A is an audio dis-
create special effects. This is ideal for a power from each channel at 4 ohms. tortion analyzer. Distortion can be
broadcast station seeking to create its With 70% efficiency at full power, there measured at eight frequendes, including
own identifiable sound. The EM -7 han- is little heat produced. The specifica- those required in FCC proof-of -per-
dles up to eight inputs, four line and tions that follow are all based on con- formance reports. Resolution is 0.1%
four mic. They are switch -selectable tinuous commercial service: True direct - full scale with line level input. Model
from the front panel. The inputs are coupled design; i.m. distortion under 514A is similar but an audio oscillator
assigned to four mixing channels where 0.05% from 1 /100 of a watt to 300 module is included. Model 5146A equips
the processed signal may be forwarded watts, harmonic distortion under 0.02 %; an engineer with a compact hand -carry
to either or both output channels. Mix- phase error less the 10° at 10 kHz; out- unit for measurement of gain, loss, re-
ers may be stacked for greater input put ±50 V or 35 V r.m.s.; 300 watt sus- sponse, impedance, distortion, and noise.
capability. The EQ -7 plugs directly into tained power from d.c. to 20,000 Hz;
the mixer to permit the addition of up
to 15 dB of boost or cut at 20 Hz and
s/n is 100 dB; guaranteed short- and
mismatch -proof, no thumps at turn on.
Price: 5246A -
Mfr: Waveforms, div. of U.R.E.I.
$500; 5146A
-
$700
20 kHz on four channels independently The amplifier is considered suitable as

and simultaneously. Amplification with- a driver for any kind of transducer
in the unit makes up for the equalizer needing high power at low distortion.
insertion loss. Mfr: Crown International
Mfr: Gately Electronics Price: $685
Circle 32 on Reader Service Card Circle 55 on Reader Service Card PORTABLE MIC MIXER
TRANSCRIPTION EQUALIZER
__-'
400.414-.
Dependable passive equalization is Model M67 is designed for studio and

offered with these new broadcast equal- remote location as a single, complete,
izers for the newer high -impedance compact console-or as an add -on mixer
stereo cartridges. The model 808-A has for expanding existing facilities. It pro-
a dual channel input with a single chan- vides four low- impedance balanced mic
nel output. The 810 -A is a complete inputs and one line output. There is also
two- channel stereo unit. Either one pro- a mic -level output. The built -in vu
vides four equalization curves. The out- meter is illuminated and calibrated for
put of these devices can be connected to +4 and +10 dBm out. Extremely low
standard low-level mic inputs on the noise is claimed, along with r.f. rejection;
console, eliminating the need for addi- wide, flat frequency response; head-
tional preamplification. Input is 47,000 n phone monitoring provision; and low -
with 50 -, 150 -, or 250 -n balanced or un- cut filters on each input position. Power
balanced output at a level of -61 dBm may be had from a.c. or battery. There
with 5 mV input at 1 kHz. is an automatic switchover to battery
Price: 808 -A
810 -A
--
Mfr: Gray Research
$69.75;
$97.50
if the a.c. should fail.
Mfr: Shure Bros., Inc.
Price: $147.00. battery supply- $12.60
Circle 33 on Reader Service Card w
Circle 58 on Reader Service Card 1.11
MICROVOLTER MODULAR CONSOLE
EXPAND
YOUR STUDIO
CAPABILITIES
Are you using an 8 -Track
recorder in a "less -than- The model 1346 audio -frequency
8- track'' studio? microvolter will convert almost any
sine- or square -wave, noise, tone-burst,
(an you monitor your 8- or other generator for operation as a
track machine effectively calibrated -output source. In conjunc- Operational amplifiers are used to
without tying up console tion with an appropriate oscillator it offer custom sophisticated features in
can function as a source for any a.c. this modular console. The AM 1648 has
inputs?
waveform from 0.1 p.V to 10 V with a up to 16 inputs and 4 program channels
Are you wasting valuable spectrum up to 100 kHz. A meter indi- and provides complete simultaneous
studio time repatching cates the output of a continuous atten- stereo mixing including 4 individual pan
during a session? uator, which is applied to a 20 dB-per- puts. As a mix-down console, the system
step output attenuator. A total of 140 provides individual pan pots for each
(an you add echo to your of the 16 inputs. The system can be
dB attenuation is provided by the two
monitor system while controls. The unit is not line operated, assembled in modular fashion. You can
making a "dry" master? permitting it to float in a test setup as start with 12 input modules and expand
may be necessary to sum the output of later to 16 with plut -in simplicity. Each
Does your cue system input contains a slider control, 6 fre-
the microvolter with another signal. An
lack versatility? quency-reciprocal equalizations, mic/
on/off switch permits the output to be
Are you passing up op- reduced to zero without disturbing line selection, individual pan pot, il-
other controls or shorting the output; luminated push buttons, and a solo
portunities to do remote
output impedance remains at 600 a feature that never interrupts recording
sessions because of bulky, circuits.
cumbersome, inflexible
Mfr: General Radio Corporation
Price: $250 Mfr: Langevin
equipment? Circle 54 on Reader Service Card Circle 57 on Reader Service Card
Would
in only SEVEN
EIGHT equalizers
inches of
i
rack space give your
studio a needed boost?
If your recording facilities are less -
than ideal, we have o solution.
Let an INTERFACE MODULE solve
your problem quickly and inex-
pensively.
INTERFACE MODULES provide
PORTABLE TAPE RECORDER
needed functions in convenient
ent
groups of eight. Mix eight inputs
to Mono. Add eight microphone/ The new model 770 is an a.c./d.c.
line level inputs to your system.
Generate a two -track (stereo) prod-
seven -inch reel, portable stereo tape
uct during the original session. recorder with several special features.
Build an entire console!
Foremost is Sony's SNR noise -reduction
MENT -
MAXIMIZE YOUR INVEST-
INCREASE YOUR
STUDIO EFFICIENCY
system which provides noise -free play-
back of all recorded tapes by automatic-
ally reducing the gain of the playback
Interface Modules will be on amplifier during quiet passages. Other
display at the Melcor Booth at features include a ServoControl motor
the Spring A.E.S. Convention. with built-in vari-speed tuning, built -in
rechargeable nicad battery pack, and
4ment our present facility with
re INTERFACE MODULES three speeds. Meters are provided for
modulation measurement, a scrape -
flutter filter is included, and low -im-
pedance mic inputs use Cannon con-
nectors. Mic and line mixing can be
done. There are two forms, the 770 -2 per cent at this speed, signal -to -noise is
58 dB (two track) and 56 dB (four -
has four heads-two -track erase, record
and playback, plus a four-track play- track). With the noise -reduction system M
Suburban Sou nd back deck. The 770-4 is equipped with switched in these figures become 64 dB
M
Incorporated four track play /record /erase and an and 62 dB respectively. Weight is 24
4858 CORDELL AVENUE extra two -track play head. Important pounds.
v BETHESDA, MD. 20014 specifications are a 20- 22,000 Hz over- Mfr: Superscope Inc.
301 -656 -0571 all response at the highest speed of 7% Price: $750
in. /sec. \Vow and flutter is under 0.09 Circle 36 on Reader Service Card
MIXING NETWORK REVERBERATION
GO 8-TRACK
CONVERT
In a relatively compact unit, a me-

YOUR EXISTING
A new 16- channel mixing network
packed on a single plug-in card is now
available. The model 692MNNl, pro- -
ized output amplifier
power supply
-
chanical delay line, exciter, and equal-
including a
is offered. The model
AMPEX 300 OR
vides a mix for up to 16 inputs into one CV 571 has continuously variable re- MR70 to
bus without gain loss. The card con- verberation time by means of a damping 8-TRACK, 1"
sists of a passive mixing network fol- device, adjustable from the front panel.
lowed by the amplifier that makes up The delay line is carefully isolated OPERATION!
the lost gain and provides an additional against mechanical vibrations and sev-
gain of up to 20 dB. It accepts any eral units can be mounted, one above Join the growing
source impedance of 600 ß or lower and the other, in a standard 19 -inch rack.
the number of inputs does not affect Input is 500 it balanced or unbalanced; number of studios
the output level. The card provides an input level is +6 dBm with no overload with 8 -track capabili-
interchannel separation of 70 dB or before +15 dBm; output is 50 n bal- ty. Convert your exist-
better. Since no inductive components anced or unbalanced at a level of +6 ing Ampex 300 or
are used, the card can be mounted near dBm into a load of 300 it; s/n is approxi- MR70 tape transport
comparatively strong magnetic fields. mately 60 dB; and reverb time is ad-
justable from 0 to 3 seconds. to 8 -track operation.
Mfr: Fairchild Recording Equipment
Corp. Mfr: Sennheiser Electronic Corp.
Price: $85 Price: $455 CONVERSION INCLUDES:
Circle 56 on Reader Service Card Circle 59 on Reader Service Card Complete overhaul of your
tape transport
New bearings, new 1" tape
guides, new 1" rotating com-
ponents
Custom head assembly
FLUTTER ANALYZERS
Newly designed electronics
package w /separate power
Three new solid state units are offered, ing between 300 Hz and 3150 Hz to
supply, built -in remote "Sync',
of which two are flutter meters and the accommodate both international and
Weston meters, and silicon
third is a precision wave analyzer able U.S. frequency standards. Flutter be-
solid state plug -in amplifier
to determine the frequency of the of- tween 1 Hz and 315 Hz is metered. The
cards.
fending flutter. Both of the flutter ME -301 wave analyzer provides pre-
cision continuous tuning between 1 Hz
for drift -
meters have separate meter indications
the deviation from correct
speed, and flutter content in percentage.
and 330 Hz making possible exact
diagnosis of the source of flutter. Filter
Handsome
Walnut
new
finish-other
on special order.
console in
colors
Both instruments have a self- contained steepness of more than 40 dB /octave, Playback noise better than
3150 Hz oscillator which permits the self-contained amplifier for loss -free 61 dB below tape ZERO. Har-
recording of the test signal as well as operation, and means for self-calibration monic distortion on complete
calibration of the metering section. are features of this unit. record -play cycle less than
Both weighted and unweighted meas- 1%.
urements can be made. Any input level Mfr: ivoelke, dist. by Gotham Audio
Trade -in allowance for your
above 30 mV can be used without the
need for level adjustment. The model
Corp.
Price: .11E -104 --
$365
old electronics, heads, Sync
panel and console
ME -102b unit has a relay that prevents
erroneous readings from insufficient in-
put signal level. It also provides switch-
ME-102b
ME -301 -
$460
$780
CONTACT US TODAY
040
Suburban Sound
Incorporated
4858 CORDELL AVENUE
BETHESDA, MD. 20014
301 -656-0571
How To General Audio
The db PRACTICAL PA GUIDEBOOK: HOW

TO INSTALL, OPERATE AND SERVICE
PUBLIC ADDRESS SYSTEMS
by Norman H. Crowhurst. 1967. This book
THE TECHNIQUE OF
THE SOUND STUDIO
by Alec Nisbett. This is a handbook on radio
and recording techniques, but the principles
gives all the basics needed to become a suc- described are equally applicable to film and
Bookcase cessful PA operator, in any situation where

the reinforcement, relay, or distribution of
sound can provide a service. It shows how to
properly install, operate and service public
television sound It describes how the high-
est standards may be achieved not only in
the elaborately equipped studio but also
with simple equipment out on location. 264
address systems. All aspects of the subject, pages; 60 diagrams; glossary; indexed; 5%
from survey to the selection of appropriate x 8 %; clothbound.
equipment, to installation, to routine opera- $10.50 ($11.95 in Canada)
As a service to our readers we are pleased tion and the maintenance of a finished sys- Circle 1 on Coupon Below
to offer these books from prominent tech- tem, are covered. Attention is given to solv-
nical publishers. All prices listed are the ing problems encountered in providing suc-
publishers' net. Shipping charges are cessful service. The book's systematic and
included. practical approach makes it highly useful to
Use the coupon at the bottom of the page radio -TV -ervicemen, hobbyists, and PA DESIGN OF LOW -NOISE
or give the complete title, author and coupon equipment manufacturers. 136 pages; 6 x 9; TRANSISTOR INPUT CIRCUITS
number. Be sure to indicate quantity on the illus, softbound.
special instructions line if more than one
by Wiliam A. Rheinfelder. 1964. Written
$3.95 ($4.60 in Canada) for students as well as circuit design engi-
copy of a title is wanted. Full payment must Circle 15 on Coupon Below
neers interested in low -noise circuit design.
accompany your order. We cannot ship
Throughout, the book gives a multitude of
c.o.d. Checks or money orders should be
time -saving graphs and design curves for the
made payable to Sagamore Publishing Com-
practical circuit designer. Simple derivations
pany, Inc. Because of the time required to
of all important formulas are also presented
process orders, allow several weeks for the
CLOSED -CIRCUIT to help the reader obtain a deeper insight
receipt of books.
TELEVISION HANDBOOK
NEW! into the fundamentals of practical low -noise
by Leon Wortman. Gives comprehensive design. 128 pages; 6 x 9; illus.; clothbound.
detailed information about the field in an $5.50 ($6.50 in Canada)
easy -to- understand presentation. Its par- Circle 14 on Coupon Below
Broadcasting ticularly suited to those who plan to use,
install, and service cctv. Covers the subject
RADIO BROADCASTING
from the simple single -camera system to the
edited by Robert L. Hilliard. Each of the five
most exotic systems. 288 pages; 51/2 x 81/2,
chapters has been written by a prominent
clothbound.
educator with an extensive background of
$7.95 ($9.50 in Canada)
Electronics and Mathematics
practical experience in commercial and edu-
cational broadcasting The areas covered in- Circle 18 on Coupon Below
ELECTRONICS MATH SIMPLIFIED
clude: management and programming, oper- by Alan Andrews. For the engineer, student,
ating and studio facilities, producing and di- or technician who requires a knowledge of
recting, writing, performing. For those of you mathematics as it pertains to electronics.
who want to, or must, operate on both sides Covers the subject in a logical, clear, and
of the control room, this is virtually required Electronic Music NEWT concise manner, using dozens of examples
reading. 190 pages, 63 x 9 %; indexed; related specifically to electronics. Particu-
ELECTRONIC MUSICAL INSTRUMENTS
clothbound. larly suited for use as a textbook in any
$6.95 ($8.35 in Cenada) by Richard H. Dorf. Now in its third edition
and sixth printing since its first appearance school or other training program involving
Circle 2 on Coupon Below
in 1954, this is considered the authority on the study of electronics, the book has been
electronic organs. This edition is completely especially prepared to coincide with studies
rewritten to explain everything technical leading to 2nd- and 1st -class FCC Radiotele-
Reference about today's organs. The book is of special phone licenses. (2 vols. in slipcase)
New 17th Edition of the famous value to organ designers and service tech- $7.95 ($9.95 in Canada)
nicians as well as electronics- minded hobby- Circle 11 on Coupon Below
RADIO HANDBOOK
Tells how to design, build and operate the ists and prospective organ purchasers. Of
latest types of amateur transmitters, receiv- special value are the author's many practical
ers, transceivers, amplifiers and test equip- comments and expressions of opinion based
ment. Provides extensive, simplified theory on his years of musical, engineering, and
on practically every phase of radio. Broad management experience with electronic MATHEMATICS FOR ELECTRONICS
coverage; all original data, up to date, com- musical instruments. 393 pages; 239 dia- ENGINEERS a TECHNICIANS
plete. 847 pages. grams and photographs. by Norman H. Crowhurst. This book is writ-
$12.95 ($15.50 in Canada) $10.00 ($11.95 in Canada) ten to help the advanced technician and the
Circle 10 on Coupon Below Circle 19 on Coupon Below engineer bridge the gap between "book
learning" and practical experience. It is not
r- 1 about mathematics but about how to use
Sagamore Publishing Company, Inc. mathematics in electronics. A unique pro-
980 Old Country Road, Plainview, N.Y. 11803 grammed method shows not only how to ap-
Please send me the books I have circled below. My full remittance in the amount ply textbook math towards the solution of
of $ is enclosed. N.Y. State residents add 5% sales tax. any electronics problem but also teaches how
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 to think in the best way for solving them.
23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 Much emphasis is placed on correcting mis-
conceptions commonly held by technicians.
Name The book begins with Ohm's and Kirchhoff's
laws and goes on to selective networks,
Street Address properties of coils and transformers, feedback
circuits, etc. 256 pages; 53 x 8% (hard-
City State Zip bound).
Special Instructions $6.95 ($8.35 in Canada)
m J Circle 4 on Coupon Below
HANDBOOK OF ELECTRONIC TABLES
k FORMULAS, (3rd Edition)
A one -stop source for all charts, tables, for-
mulas, laws, symbols, and standards used in
electronics. Devotes complete sections to
items of interest to service technicians and to
CbssiFied
circuit design data. Includes a 8 -page, full -
color fold -out chart showing latest FCC allo-
cations for the entire frequency spectrum.
232 pages; 5 x 834; hardbound
Closing date is the fifteenth of the second
$5.50 ($6.60 in Canada) month preceding the date of issue. Send SOLID STATE VOLUME LEVEL INDI-
Circle 8 on Coupon Below CATOR -Daven TR -924C. Accurately meas-
copy to:
Classified Ad Dept. ures sound levels for use in broadcasting,
Test and Maintenance

db
-
soundrecording, etc. Regular price: $690.00
Sale Price: $350.00. Red Arrow Elec-
tronic Sales Company, 1215 Summit Avenue,
INTERMODULATION AND 980 Old Country Road
Union City, N.J. 07087
HARMONIC DISTORTION Plainview, New York 11803
HANDBOOK
by Howard M. Tremaine. A complete refer-
ence guidebook on audio signal intermodu-
Rates are 50c a word for commercial adver-
tisements. Non -commercial and employment
offered or wanted placements are accepted
BERLANT
heads - 20 STEREO RECORDER. Five
two erase, two -track record and
play, four -track play. Machine is clean, never
tation and harmonic distortion. 172 pages; at 25c per word. used for studio operation. Some head wear.
53 x 83i, softbound. Original instructions included. 71/2 and 15
$4.45 ($5.45 in Canada) in. /sec. In original portable cases. Price in-
Circle 9 on Coupon Below cludes shipment anywhere in continental
U.S. Asking $375. Box C -3, db Magazine,
EMPLOYMENT 980 Old Country Road, Plainview, N.Y.
Circuitry and Components 11803
PROFESSIONAL RECORDING PERSON-
PASSIVE AUDIO NETWORK DESIGN NEL SPECIALISTS. A selective service for AUDIO EQUIPMENT for churches, schools
by Howard M. Tremaine. A complete and employers and job seekers: engineers, tape recording studios, radio and t.v. stations.
comprehensive guide to the design, con- editors, production and studio mgrs, traffic New and used. Trade -ins accepted. AM-
struction, and testing of all types of attenu- assts, etc. Call us today! Smith's Personnel BOGEN, ELECTRO- VOICE, SHURE,
PEX,
ators, equalizers, and wave filters for the Service, 1457 Broadway, N.Y.C. 10036. SCULLY, and many others. Free lists.
practicing audio technician or engineer. This Alayne Spertell 212 WI 7 -3806. Boynton Studio, 118DB Brook St., Scarsdale,
authoritative text is one of the few written N. Y. 10583.
on the subject, and requires only nominal
mathematical background Written in easy-
to- understand language, the content presents AGGRESSIVE MANUFACTURING REP-
SCULLY TAPE RECORDERS - one to
twenty -four track. Two, four, and eight
RESENTATIVES wanted for GROWING
the basic design, construction, and testing
considerations without the confusion often
associated with passive networks. 288 pages;
PROFESSIONAL AUDIO LINE. Mid -west
and Eastern United States. Contact: Market-
ing Manager, U.R.E.I., 11922 Valerio St.,
SCULLY LATHES -
track models in stock for immediate delivery.
Previously owned and
rebuilt. Variable or automatic pitch. Com-
534 x 83*,: softbound.
$5.50 ($6.45 in Canada)
North Hollywood, Calif. 91605
MIXING CONSOLES -
plete cutting systems with Westrex heads.
Custom designed
using Wiegand Audio Lab modules. From
TRANSISTORS FOR AUDIO
EXPERIENCED ELECTRONICS ENGINEER. $7,000.00. Wiegand Audio Laboratories,
For senior position with company manufac- 3402 Windsor Road, Wall, New Jersey
FREQUENCY (AUDIO- FREQUENCY turing wide -range of high -performance mag-
AMPLIFICATION) 07719. Phone: 201 681 -6443.
netic -tape recording equipment. Some back-
by Guy Fontaine. 1967. This systematic and ground with tape systems in the audio or
detailed treatment of the application of tran- instrumentation field is required. Write in EDUCATION
sistors in audio- frequency amplifiers shows confidence to Box A4, db Magazine, 980
how the published transistor characteristics Old Country Road, Plainview, New York EARN YOUR ELECTRONICS ENGINEER-
are related to the principles of design. To as- 11803
ING degree, mostly by correspondence.
sure clarity, the figures are rendered in sev- G.I. Bill approved. Credit allowed for previ-
eral colors and placed opposite the related ous training and experience. Free Catalog.
text. Simple equations reinforce the lucid ap- LEADING MANUFACTURER OF PRO- Write: Dept. E -3, Grantham School of Elec-
proach. An ideal textbook or reference on the FESSIONAL sound equipment has opening tronics, 1505 N. Western, Hollywood,
subject for engineers and advanced techni- for experienced, imaginative senior audio
project engineer. BSEE or MSEE required. California 90027.
cians. 384 pages; 536 x 8; illus.; clothbound.
$7.95 ($9.55 in Canada) Minimum five years experience. Excellent
Circle 12 on Coupon Below fringe benefits. For confidential interview, SERVICES
call or write Mr. Heinz, Bogen Communica-
ACOUSTICAL
AND MEASUREMENTS
TESTS
by Don Davis. Provides a solid understand-

tions Division, Lear Siegler, Inc., P.O. Box
500, Paramus, New Jersey 07652. Tel:
(201) 343 -5700. - new or used -
WHATEVER YOUR EQUIPMENT NEEDS
check us first. Trade your
used equipment for new. Write for our
ing of the entire subject of acoustical meas- complete listings. Broadcast Equipment d
urements; based on actual field test work, FOR SALE Supply Co., Box 3141, Bristol, Tenn. 37620.
using commercial equipment. Contains prac-
tical, time -saving solutions to actual problems
encountered in the field; minimum math is re-
quired for understanding. The author is an
SOLID -STATE 50 WATT RMS plug -in d.c.
thru 25 kc operational power amplifier kit,
model 440K. Price $30.00. Send for free
CUSTOM STYLUS
re- building,
-cartridge re- tipping,
replacements. International
expert in this field, and an authority on audi- catalog and 50 operational amplifier appli- Audio Stylus Corp., 111 -D Lake Ave.,
torium acoustics. An invaluable book for cations to: Opamp Labs. 172 So. Alta Tuckahoe, New York, 10707 (Telephone:
phone company special service engineers, Vista Blvd., Los Angeles, California 90036. (914) SP9 -1497.
plant maintenance engineers, communica-
tions engineers, noise control specialists, ar- DON'T BE AN AUDIO DROPOUT! See
chitectural engineers, broadcast engineers AUDIO AND VIDEO JACK PANELS and BROADCAST EQUIPMENT REBUILDERS
and technicians, hi -fi fans and students. 192
patch 500 -500 ohm repeat coils.
cords.
New and used. Send for list. Gulf Electro for your tape cartridge rewinding needs.
pages; 535 x 8%; hardbound. Sales, 6325 Beverly Hill, Houston, Texas Route 8, Box 718, Fayetteville, N.C. 28304.
$6.95 ($8.35 in Canada) 77027 (919) 425-7332.
Pcopc, PHcos1 aopcnings
Add to your calendar the dates of
July 14th to the 18th for the third
annual Brigham Young Audio /Re-
cording Seminar to be held at the
Brigham Young University campus
in Provo, Utah. There will be lectures,
discussions, demonstrations, and an
equipment exhibition. Reservations
should be made by contacting Dean
Vanuitert, 140 Herald R. Clark Build-
ing, Brigham Young University, Provo,
Utah 84601. Call (801) 374-1211, ext
Vink 3761.
Pieter C. Vink has been elected
president and chief executive officer of Stevenson
North American Philips Corpora-
tion. He succeeds Pieter van den Berg Craig Stevenson has been appointed
who has been elected chairman of the marketing manager of the professional
board of directors. Mr. Vink had been audio division of Harman -Kardon,
president of the former North Ameri- Inc. In an announcement by the firm's
can Philips Company, Inc., which president, Walter Goodman, Mr.
was merged with Consolidated Elec- Stevenson's background in c.a.t.v. sys-
tronics Industries Corp., to form the tem operation, plus lengthy field experi-
new corporate structure. ence as a technical representative were
described as reasons for his appoint-
ment. Mr. Goodman continued: "Craig
(Stevenson) has worked closely with
sound contractors which gives him a
Walker clear understanding of their particular
Mervin Kronfeld has been appointed
general sales manager for Nortronics requirements." Mr. Stevenson comes to
Saul A. Walker and Donald L.
Company, Inc. Before assuming his
new position, he was director of inter-
Richter have been appointed to senior
executive positions at Automated
H -K from Jerrold Electronics Cor-
poration where he served in the ca-
pacity of assistant manager of the
a
national marketing, in which capacity Processes, Inc., manufacturers of pro-
he recently established sales offices company's operations division.
fessional audio systems and components.
serving all of Northern Europe. He pre- Mr. Walker has been named vice presi-
viously has set up a regional office for dent and director of engineering. He
the New York metropolitan area after previously held a similar position at
joining the company in 1967. Three Digital Electronics Inc. Mr. Richter,
other men have been promoted at Nor -
tronics. Len Unger is now a staff indus-
trial engineer, Willy Schrepfer is pilot
production engineer, and Kenneth
Faulkner becomes a procurement en-
gineer. Nortronics is the United States'
largest manufacturer of magnetic audio
tape heads.
Joseph Rabushka became the na- Wagner

tional sales director of Rectilinear
Research Corp. as of November 1 of Richter Veteran radio and television per-
last year. Mr. Rabushka has had wide sonality Jack Wagner has been named
experience as a retailer having managed
both Harmony House and Thalia in
appointed sales manager for audio sys-
tems, was formerly with Melcor, Inc.
executive producer -a and r for the
newly formed recording division of
New York. Mr. Rabushka will work and RCA's Victor Record Division. Superscope Inc., according to an an-
with Martin Gersten, general man- He is the inventor of RCA's Gruve- nouncement by Superscope president
ager and technical director of the com- guard record, and holds additional Joseph S. Tushinsky. The company,
pany since September of 1967. Before patents pertaining to dynamic equaliza- exclusive distributors of Sony tape re-
coming to Rectilinear, Mr. Gersten tion systems. Both men are residents of corders and related equipment, recently
owned and operated a sound-recording Long Island, New York. Automated announced the formation of a recording
studio and was chief engineer of WNCN Processes is located in Farmingdale, division to produce commercial record-
radio in New York. New York, also on Long Island. ings.
The Altec monitor/playback
speaker has a new big brother:
the 9845 Senior.
When we introduced our Model of these lower frequencies. The pounds. The smaller 9844A con-
844A, (now recoded as Model high frequency reproduction to tinues to be available where
9844A), Compact Monitor /Play- 22,000 Hz is achieved with the space is a problem.
back Speaker System about a use of a larger, heavier magnet, We think it's the finest Moni-
decade ago, broadcast, record- compression type driver. To tor /Playback system available.
ing, television and radio engi- substantially extend the bass As a critical audio engineer, you
neers quickly adopted it as the end response, our engineers will agree.
standard of excellence and com- have designed a larger enclo- Get the whole story by asking
parison. sure of 13 -ply wood (9" wider, for data sheet AL -1756 on the
Now, we've created the 9845 4" higher and 81/2" longer than Senior Monitor /Playback
Senior Monitor /Playback the 844A) and have chosen a Speaker System. Write Altec
Speaker System. The critical single Altec 416 type 15" bass Lansing, 1515 South Manchester
lower mid range has been sig- transducer to provide optimum Avenue. Anaheim, Calif. 92803.
nificantly improved by the use lateral dispersion to match high A Division of
of a new 500 Hz cast aluminum frequency horn at cross over ALTEE
LANSING Ling Altec, Inc.
sectoral horn to provide control frequency. Total weight is 130
VI SIT ALTEC LANSING AT THE AUDIO ENGINEERING SOCIET SHOW AT THE HOLLYWOOD ROOSEVELT HOTEL IN HOLLYWOOD, CALIF. APRIL 28-MAY 1
The industry needs one more module ours!
° GAIN°
it
240 2 10
120 1.2 T
80 .8 5
If you want total control
and the ability to give your clients
the really wild sounds they want -
the choice of Components is obvious. +
HZ KHZ KHZ
Datamix Systems and Components are

in the studios that make money!!
Expensive?
You better believe it.
Datamix Systems and Components, 250 West 78th Street

New York, N.Y. 10024, Telephone 212 - 799 -5581

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What are some of the features of the MD-Range Audio Mixing Desk?

What are some of the features of the MD-Range Audio Mixing Desk?

THE SOUND ENGINEERING MAGAZINE

APRIL 1969 75c

YIOOt ñ K IttOx Alm

Circle 10 on Reader Service Card

Abort Test Records

A Protected Power Supply

the Walter Jung and Richard Groom 26

Cover The Audio Engineer's Handbook

program transmitted on f.m. simul-

we're heading West

Last month, I discussed the positive reached epidemic proportions, no inven-

NOW THESE INSTRUMENTS MAY BE ORDERED ON A DIRECT

BSC Sales Co., 78 Wellington Road, Garden City, N.Y. 11530

MODEL QUANTITY MODEL QUANTITY

IHAVE ENCLOSED $ AS PAYMENT FOR THESE UNITS. I UNDERSTAND

you never ran out of that the successful performance of a

Company CIRCULATION DEPARTMENT

What do Neumann microphones

with this... and this... irt

PROFESSIONAL eral Council for Science and Technology

8101 Tenth Avenue North A o

Circle 18 on Reader Service Card

Circle 25 on Reader Service Card

Yet it's priced from less than $3,000!

control, straightline master level control and

Circle 24 on Reader Service Card

seen others' articles on the subject, too.

everyone could now figure it out for 6 mmenaaamemai

reM-o-Mut turntables by KOSS

Export Cable: Stereofone

Circle 23 on Reader Service Card

nitely than with the speaker's imped-

ilorowitz, Director of Classical Artists

DOLBY LABORATORIES INC.

buy one its impedance at about 110 Hz) and OC

recording ance. FIGURE 2 represents the area of

anyone else. Be sure not vices -

ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141

200V. makes matching of the two transistors far less critical.

Neve designed and

Designed, built and installed by Rupert Neve & Co.. Ltd.,

The many and varied professional test records are

RECORDS ARE MADE AND PLAYED primarily for a vast

1 Arnold Schwartz is president of Micro- Point, Inc., manufac-

MOTION OF GROOVE BOTTOM MOTION OF GROOVE BOTTOM

(A) LEFT CHANNEL MODULATION (BILATERAL MODULATION (CI VERTICAL MODULATION

DISC RECORDING FUNDAMENTALS

vpeak = 2=fapeak vpeak = peak velocity

This confirms the earlier statement that static and dynamic

Listed below are the tests available on test records which

and the broadcaster.

3. Crosstalk Figure 3. A diagram of the modulation velocity of a disc.

In thisrevealing paper, the author describes two

The authors describe a practical power supply

ACOMMON PROBLEM associated with audio power