A1 - Joy Spring. Four Brothers - J. Giuffre A2. Altman A3. Cherokee - R. Noble A4. My Foolish Heart - N. Young B1. Brubeck B2. I Remember Clifford - B. Golson B3. Mayberry R. Hagen B4. Take Five - P. Street Scene A2. Pavanne A3. I'm On My Way A4. If I Had You A5. Four-Twenty, A. Willow Weep for Me B1.
The Wedding of the Painted Doll B2. Sunrise Serenade B3. Call of the Birdwatchers B4. Meditation (From Thais) - Mantovani And His Orchestra - Concert Encores (Vinyl Lullaby B5. On the Wing B6. Heap Big Chief, A2. Hawaiian Calypso, A3. Bob's Blues, A4. Whistlin' Dixie, A5. Get Happy, A6. Time for the Kids. Anitra's Dance, B3. Freeway Jam, B4. The Continental, B5. Willow Weep for Me A1. Heap Big Chief.
Muzzy Marcellino - Heap Big Chief. Wives And Lovers A2. Indian Nuts A4. Manhattan A5. The Valley Whistler B2. Deep Purple B3. In Victoires de la musique rewarded him with "best album" and "best artist", and between and he released three new albums. His health deteriorated afterwhen he underwent a heart operation. Inhis condition left him unable to appear at the Festival du Verbe at Toulouse. From to he devoted himself more to concerts and festivals, apart from an album in aid of children suffering from AIDS.
Having undergone further surgery in earlyhe died of cancer in March, at the age of Post by Romain » Sat Feb 16, pm Next song. He is known for having composed and written the hit Cache cache party, released in In the early 90s, he composed several songs for his then girlfriend, Nina Morato.
Post by Romain » Mon Feb 18, am Next song. Satie was a colourful figure in the early 20th-century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, Surrealism, repetitive music, and the Theatre of the Absurd.
Later, he also referred to himself as a "phonometrician" meaning "someone who measures sounds"preferring this designation to that of "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in In addition to his body of music, Satie was "a thinker with a gift of eloquence" who left a remarkable set of writings, having contributed work for a range of publications, from the dadaist to the American culture chronicle Vanity Fair.
The works are for the most part in free time lacking time signatures or bar divisions and highly experimental with form, rhythm and chordal structure.
The form as well as the term was invented by Satie. Satie's coining of the word gnossienne was one of the rare occasions when a composer used a new term to indicate a new "type" of composition. Satie used many novel names for his compositions vexations, croquis et agaceries and so on. Gnossienne, was a word that did not exist before Satie used it as a title for a composition. The word appears to derive from gnosis. Satie was involved in gnostic sects and movements at the time that he began to compose the Gnossiennes.
However, some published versions claim that the word derives from Cretan "knossos" or "gnossus"; this interpretation supports the theory linking the Gnossiennes to the myth of Theseus, Ariadne and the Minotaur. Several archeological sites relating to that theme were famously excavated around the time that Satie composed the Gnossiennes.
It is not certain that this qualification comes from Satie himself — the sarabande and the Gymnopaedia were at least historically known as dances. These Three Gnossiennes were composed around and first published in A revision prior to publication in is not unlikely; the 2nd Gnossienne may even have been composed in that year it has "April " as date on the manuscript. The piano solo versions of the first three Gnossiennes are without time signatures or bar lines, which is known as free time.
These Gnossiennes were first published in Le Figaro musical No. The first grouped publication, numbered as known henceforth, followed in By this time Satie had indicated as composition date for all three. The first Gnossienne was dedicated to Alexis Roland-Manuel in the reprint. The facsimile print of the 2nd Gnossienne contained a dedication to Antoine de La Rochefoucauld, not repeated in the print. By the second publication of the first set of three Gnossiennes, Satie had broken already for a long time with all Rosicrucian type of endeavours.
A sketch containing only two incomplete bars, dated aroundshows Satie beginning to orchestrate the 3rd Gnossienne. The first and third Gnossiennes share a similar chordal structures, rhythm and share reference to each other's thematic material. The Gnossiennes Nos. None of these appear to have been numbered, nor even titled as "Gnossienne" by Satie himself.
The sequence of these three Gnossiennes in the publication by Robert Caby does not correspond with the chronological order of composition. It is extremely unlikely that Satie would have seen these compositions as three members of a single set. Post by Romain » Wed Feb 20, pm Next song. When his parents divorced in the early s, he went to live with his mother in New York, allowing him to broaden his musical horizon and discover American music.
After returning to France to live with his father, he entered a TV talent show but was unsuccessful. Refusing to let him live the life of a "vagabond", his parents pressured him into studying medicine. The latter introduced him to producer Patrick Legrand brother of composer Michel Legrandto whom he showed some lyrics he had written. InJean-Jacques, now using the stage name Nicolas Peyrac, released his first two singles, but to limited or no success.
Within a few months, he became part of the most talented musicians of his generation. Continuing the success, Nicolas released several albums, and was supporting act for stars like Serge Lama, Marie-Paule Belle et Dalida. He also regularly headlined, taking him all the way to Japan. At the end of the eighties, Nicolas faced a relational crisis and professional difficulties, and he fell into a severe depression, abandoning the music scene and failing to finish his novel and songs he was writing.
Last edited by Romain on Thu Mar 04, am, edited 2 times in total. Post by Romain » Mon Feb 25, pm Next song. It landed them a deal with legendary indie pop label Elefant, which released their debut album, Meadow Lane Park, in Inhe started work on Le SuperHomard as a solo venture but soon teamed with his drumming brother, Oliver, and vocalist Pandora Burgess for the project's first record, 's MapleKey EP, which was released by labels in Japan, the U.
Vaillant utilized a combination of guitars and drum machines, vintage synths, and loping bass lines to craft music that showed the influence of classic songwriters like Burt Bacharach, the sonic skills of Brian Wilson, and the post-modern approach of craftspeople like Broadcast and the High Llamas.
Vaillant assembled a live band and played shows starting in After signing with Spanish label Elefant, Vaillant began work on a full-length album with the help of vocalist Julie Big. Recording after hours at the record shop where he worked, Vaillant crafted a sound that was lusher and more intricately arranged than MapleKey, while still following the same musical signposts. With songs written, played, and produced by Christophe Vaillant, then sung by Julie Big in breathlessly soft tones, the album is a gentle musical hug that plays on nostalgic strings, but also adds something special -- and perhaps left over from his days playing power pop in the Strawberry Smell -- to the template.
Despite their rounded edges and pillowy production, the songs on the album have hooks sharp enough to draw blood. Up-tempo tracks like "Paper Girl" or the title track have a snappy strut that's almost gleeful, the bouncy mid-tempo songs have a sweet, ambling appeal -- especially the lovely "Springtime," which feels like the soundtrack for snow melting and buds appearing on trees -- and the ballads have a pocket Bacharach feel about them that's quite alluring.
The combination of the strings, vintage synths, burbling bass lines, and Big's aching vocal on "Door After Door" and "Refuel" show that the band really have a grip on how to construct a ballad for maximum sonic and emotional impact. Vaillant's skills as an arranger are evident throughout as he fills the mixes with just the right synth sound, stately piano run, clunky drum machine, or swooping organ line.
It's about as lush as one could imagine, but also has a nice homemade feel, which isn't surprising considering he made the record after hours at the record shop where he works. Meadow Lane Park is unlikely to make anyone forget High Llamas or the Cardigans -- another fine band they are reminiscent of -- but any song here would sound drop-dead perfect next to them on a play list or mixtape.
That's heady praise, but Le SuperHomard earn it. Post by Romain » Wed Feb 27, am Next song. Album: La femme RYM: 3. Her experiences of hardship in the war had influenced her politics and sowed the seeds for the great liberation she flaunted after the war, becoming the pinup for the so-called bohemian scene. Her singing style shared the dramatic enunciation of Jacques Brel and the droll delivery of Georges Brassens, her contemporaries in quite different musical scenes, while showcasing a sensuality all her own.
Innow massively famous from high-profile television appearances and her earlier recordings, she released her song "Deshabillez-Moi," which was an openly sexual piece and marked a change from the intellectual, literary slant she had always put on her songs.
She married him in Gainsbourg et Les Autres! Induring her sold-out "Thank You" tour across Europe she had a stroke and had to cancel her remaining dates in order to recover. Inat the age of 91, she began recording again. Post by Romain » Fri Mar 01, am Next song. Prix is one of the rootsmen of Martinique. His pioneer efforts were in the melding of zouk sounds with a rural musical tradition called chouval bwa.
As a songwriter he has lent his efforts to a variety of projects, reaching a pinnacle with an extremely funky cut called "Amazon" that appeared on Joelle Ursull's Black French album. Mi Se Sa, re-issued on Mango Records, is the most electric and not the most indicative of the total recorded output of St. Prix, even though it's likely to be the easiest to find. Chouval Bwa: Chouval bwa is a kind of folk music originated on the slave plantations of Martinique. There are two versions, traditional and modern.
The tibwa rhythm plays a basic pattern and the drum comes to mark the highlights and introduce percussion improvisations.
It is organized in a certain way, the first entry of the singer lavwa and choir lavwa Deye or "answer". Finally, the dancers take the stage. The "answer" plays opposite the singer, the audience can also participate. Characteristics: The belair percussionist is typically the leader of the chouval bwa orchestra. Call-and-response singing completes the ensemble.
The lead singer chooses the sequence of dances through his or her selection of songs, each of which goes with a specific dance. Post by Romain » Sun Mar 03, pm Next song. Bimbo Jet was a French euro disco group led by Claude Morgan and Laurent Rossi, that gained international fame during the summers of and with the song "El Bimbo".
The song, in a tango arrangement, was also heard in four of the seven Police Academy films starting from the first film up until Police Academy 4: Citizens on Patrol as the tango song in The Blue Oyster gay bar scenes.
The song "El Bimbo" is used as a theme song for a Soviet-made anti-war short film named "Polygon" directed by Anatoly Petrov and written by Sever Gansovsky.
The lyrics for "El Bimbo" were written by Hal Shaper. Controversially "El Bimbo" is heavily similar to the track "Tanha Shodam" from Afghan singer Ahmad Zahir, which according to some sources has been dated frommaking "El Bimbo" a cover of that song if the year is accurate.
It sold 1. The group had another hit in mid, particularly in France, with "La Balanga. Post by Romain » Tue Mar 05, pm Next song.
Jacques' father was both a railroad worker and a music enthusiast who supported his son's love of performing from a young age. Jacques' interests turned toward jazz, and he began singing at the cinemas and on radio competitions while still a boy. By his early teens, he had quit school and gotten work as a stunt man, earning small contracts at first, but soon performing full-time. His film work had him rubbing shoulders with people like Sidney Bechet and film composer Henri Crolla, who taught him guitar.
By the mid-'60s, he had made a name for himself, and was offered his first opportunity to record. Higelin continued to turn even more attention toward music, using the medium to express his leftist political ideals.
The early '70s found Higelin as a beloved native son of the Parisian artistic underground. In he released his first solo record, Jacques "Crabouif" Higelin, comprised entirely of his own compositions.
The LP was reissued by RCA and then a hunt commenced to find the two brothers who had long ago retreated to the remote confines of their relatives in Brazil.
They were found working on a Brazil ranch and then hustled back to the U. Randy Starr of the Islanders. It would be their only charting single. They would release four more records during before calling it a day. He elected to depart and embark on his own in Mancini would land a position at Universal Studios in California where he composed and often played music for over motion pictures.
Now talk about exotica! Number 31 — The cocktail crowd bought Mancini long plays in abundance. Manovani charted nearly 50 long plays during his productive career. He started up his band in after moving to Mexico where he signed an RCA Victor recording contract. The tune perched in the number one position for two and half months. Side Note: Underwater! The genesis of these events makes an interesting story. For many years, French pride has suffered from the lack of a really representative orchestra situation -a that can be attributed mainly to the unfortunate working conditions imposed on the country's orchestral players.
Badly underpaid and subjected to impossible schedules, they have had to take on moonlighting jobs in theatre pits, movie and broadcasting studios, etc. Only the French musician's proverbial facility at sight reading, his unfailing virtuosity, and his vivacity of mind prevented the total collapse of orchestral performances hastily and insufficiently rehearsed. To remedy this state of affairs the idea of creating a state -subsidized orchestra on an internationally competitive level had for some time been a part of Gaullist prestige policy.
That it came to life is owing to Marcel Landowski, France's Continued on page The frequency response curve of the new Stanton erence to approve test pressings.
They must hear exactly Calibration Standard is virtually a straight line from what has been cut into the grooves. No more. No less. But you don't have to be a professional to hear the That's a guarantee.
Output must be 0. The im- mum. The is completely new, from its slim -line config- Each includes hand -entered specifications that uration to the incredibly low -mass moving sys- verify that your matches the original laboratory stand- tem.
Nothing less would meet the needs of the professional For free literature, write to Stanton Mag- studio engineers who use Stanton cartridges as their ref- netics, Inc. The provisions for full -time employ and salaries in ac- From some quarters the orchestra has cord might be taken for granted in the been the object of considerable opposi- United State but in France they are un- tion. A majority of the critics, for exam- precedented. Moreover, each program is. WAITING ple, were indifferent or even frankly negative before the new ensemble had even been heard -an unreasonable atti- tude but one that might be explained as to be given a LP) of seven full rehearsals, held over a period of a week and followed the next week by five public concerts, either in Paris or in the a natural reaction to some pretty ill - provinces.
Thus, only two different pro- judged, self- congratulatory propaganda grams will be played every month, but on the government's part. The main rea- it is expected that each will be heard by. The Orchestre de Paris appears as a 10, to 15, people. At the exclusive privilege of representing seventy -six Munch is France's greatest France's orchestral culture abroad. This living conductor, and it is said that he monopoly has now of course come to an considers the new orchestra a little like end.
As for the other numerous perhaps his own child. Collaborating with him too numerous Paris orchestras, the tra- will be a second "permanent conductor," ditional "Associations" Lamoureux, Co- the increasingly well -known young mae- lonne, Pasdeloup will be at a distinct stro Serge Baudo, and Jean- Pierre Jac - disadvantage LP) their inability to match quillat, a onetime percussionist and now. In fact, the most celebrated of the Associ- ations. Certainly, there is much to be expected from France's youngest orches- servatoire, founded by Habeneck intra -and can say now that at the four- 1.
Indeed, I had. Fi- not heard orchestral playing of such cleanness and poise for many years in this country; and the discipline and morale, more often than not the weak nally, the hiring of musicians who are not spot in French musical life, were quite A transistorized version of the French citizens including the concert- staggering. The two move- Personnel. Most orchestra's strengths: the warmth of the output for headphones or sim- of the personnel was chosen by open strings was as impressive as the virtuosity ilar ohm or higher impe- competition the jury being presided of the woodwinds, and the brass was dance loads Infinitesimal over by Munch himself with some sur- powerful and brilliant.
And what a joy distortion and noise Mod- prising results ensuing. Appointed first to hear an orchestra playing perfectly ular design for easy kit assem- cellist, for instance, was a little -known in tune four full minutes were spent in bly Matches the FM -3 tuner. The waiting list is already thousands long, so there will the north. Please be pa- of French music. Meanwhile, with Munch, of course. A good deal of me as unusually strong, very good but the PAS -3X will give compar- able noise -free, distortionless Among members of the orchestra with contemporary music will also be re- corded.
These and some other players will be permitted Beethoven's Mis. Shouldn't they be played that way? Elpa thinks so. The better high fidelity records of ioday were meant to Every record in the stact is tracked for minimum distor- be played with the stylus mountec a' a - 5' vertical track- tio 'i. And minimum record wear. Meditation (From Thais) - Mantovani And His Orchestra - Concert Encores (Vinyl in multiple or in ing angle.
Any recording engi -eer will tell you that. The PE has a lot of other things going for it, too. But until now the only way ycu cocld be sure a re :- Like an automatic anti -skating device.
An automatic record scanner. A four -speed setting Now that's OK for a disc jockey. He just sits there control with pitch control. But what abort And we could go on. But what's the sense of that the rest of us? What about the man who warts transcrip- when you can just as easily see and play the PE for. If you don't know who or where he is in your neigh- For him, Perpetuum -Ebner and Elpa invented the borhood and wish fwrther information, just drop us a line.
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The World's Best - loved Music J. Complete performance of Bizet's Magnificen: n hi: liletirre, Tos- e music he plays. This one col - sumptuous masterpiece features Leon - Rubinstein's playing of Chopin has canini's Beethoven prfosmarwes are ection offers all five of the world's tyne Price as Carmen, Franco Corelli been a revelation. TF is one de uxe al- most beloved violin concertos - as Don Jose, Mirella Frani as Micaela, master here offers all the Waltzes, all the Ballades, the two great Sonatas, bum holds al nine symphonies, ircluding Eroica, 'act3-al,and choral, Brahms, Beethoven, Mendelssohn, Robert Merrill as Escanillo, with von Tchaikovsky, and Prokofieff.
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No risk. A00 r. ISI e. Allo CI. ATla a. Scar ant. New works have been commissioned from such composers as Who Jolivet, Messiaen, and Dutilleux. The orchestra's first tour abroad will take it to the Soviet Union this April.
The pro- grams for the tour will naturally include a number of Munch's celebrated sym- phonic specialities Berlioz, Ravel, Rous- sel, Honegger, etc. By the time the tour takes place Otto Klemperer: thirty-five years for rethinking Bach. Only once before had he conducted the B LP) in Berlin inwhen, following the - conventions of the time, he used a large chorus and orchestra.
That experi- You can hear the difference! He sound! See Your Dealer for the Otto Klemperer has now completed his square his artistic conscience -and no musical conscience today has such un- biggest project in the recording studio flinching integrity as Klemperer's.
Matthew Pas- So it is that after thirty -five years of sion six years ago. Mounts to he completed the B minor Mass exactly it. Then, his energy still un- limited the orchestra to thirty -five. As depleted, he capped this achievement the Times critic said of the live per- with two concert performances of the formance, "It is a salutary thought that work -at the Royal Festival Hall with historical purism and hard musical the same performers who had appeared thinking should have led to the same in the recording: soloists Agnes Giebel, conclusions.
But it is interesting to witness ceremonial performance of this very work how an apparently infirm conductor who under Giulini at the Edinburgh Festival shambles on to the stage and then flaps Model 65 -7 last summer. The parts HF sessions, where, in this of all Bach's limited band of strings, or ask one of Bedford, Ohio works, the chorus is dominant. Inour first advertisement for the AR -3 stated, it has the most musically natural sound that we were able to create in a speaker, without compromise.
Hirsch -Houck Laboratories, for example, agreed that "the sounds produced by this speaker are probably more true to the original program than those of any other commercially manufactured speaker system we have heard. However, technical development at Acoustic Research, as at many companies in the high fidelity industry, is a never -ending search for improvement. After much effort we have found a way to better the performance of the AR The new speaker system, the AR -3a, has even less distortion, more uniform dispersion of sound and still greater power handling capability.
The improvement can be heard readily by most listeners; it has been brought about by the use of newly designed mid -range and high- frequency units, and a new crossover network. Only the woofer and the cabinet of the AR -3 are retained in the new system. Conversely, Marriner welcomed corporate discussion of the in.
Sounds of History Mass were over in two to two and a half hours instead of the regulation three, and This Stravinsky session was in fact a departure from normal St. Martin's Aca- Listen to Franklin Roosevelt, only the occasional enforced repetition demy practice. Significant presented a problem. Even after all his years of recording for EMI with the Phil - harmonia and New Philharmonia, Klem- group has concentrated on baroque mu- sic, but during two festivals this year at Cheltenham and at Dartington Sum- - moments in history become even more perer has an aversion to repeated takes, mer School -it did Pulcinella and Apollo.
Suvi Raj Grubb, who has been in- would make an excellent coupling. Other ses- links them in context to handle such difficulties, goes along sions in the series have included works and chronology. Bach, Arne, and Boccherini. Elgar's works for string orchestra -the Raj Grubb is lucky in that Klemperer, Introduction and Allegro, Serenade, -foot reel of blank like Karajan, has an unerring memory Elegy, and Sospiri. The schedule called for nine sessions to cover Patti Page, Andre the last three Beethoven concertos, with Previn, Vic Damone, an attempt on one of the first two if The Sofiensaal presented an appearance Andre Kostelanetz, time permitted.
As it turned out, the its regular audiences would never rec- Ray Conniff, nine sessions produced not merely the ognize. At one end of the hall, a huge Dave Brubeck, expected three works but six -all five scaffolding had been erected, with a concertos and the Choral Fantasia as steep flight of stairs on both sides pro- Buddy well. And all this, twenty -two sessions viding access to seven rows of benches.
Not bad going even for State Opera Chorus in full strength, plus a much younger man. The Vienna Philharmonic Marriner in the Nonbaroque. The Acade- had also taken up position -no fewer my of St. Martin's in the Fields under than sixteen first violinists forming the director Neville Marriner is again busy at spearhead, with percussion to the right, work for Argo. Marriner still leads the brass to the left. At the opening A full 30 minutes feet of role in the orchestra's self -administration measure I thought the sheer force of magnificently recorded music to -and then exploits his gifts more posi- sound to be heard in the hall must be tively in his work with the Academy at its maximum.
The roster of players launched into "Dies irae, dies ilia. Marriner is a recording manager's had no recording of Verdi's Requiem in dream, because he understands technical its catalogue. Kings - way Hall lies directly over a subway Continued on page One of the most important specifications of an amplifier is its power output. In view of this, consumers might expect this measurement to be presented clearly and accurately in amplifier advertising.
This has not been the case. In recent years, a variety of vague or irrelevant terms has been used by manufacturers to describe power output: music power, solid -state power, stereo power, audio power, transient power, transistor power, IHF power and others. The list includes terms invented by manufacturers and applied to their products alone, as well as standards of measurement known only to advertising copy writers. Acoustic Research uses the definition of a watt given in physics texts: work done at the rate of 0.
We know of no "transient watt" or "music watt" which science recognizes. AR amplifiers are rated exactly as we measure them, with both channels continuously delivering at least the rated power without exceeding our harmonic distortion limit of 0. The laws of physics and the nature of music require that power measurements, if they are to be meaningful be made with a steady, un- interrupted tone, similar to the purest sound of a pipe organ.
AR amplifiers must deliver their rated power at all frequencies to which the ear responds, not just at 1, Hz, where most amplifiers can deliver much more power than at the extremes of the range of hearing. Distortion measurements are made through the AR amplifier's phonograph input because music must go through the amplifier this way -even though performance might be better without the preamplifier in the circuit.
It is for these reasons that the power output rating of the AR amplifier is true for any kind of musical tone, not just those easy for an amplifier to reproduce.
The AR amplifier is covered by a guarantee unmatched in the industry. If an AR amplifier fails to operate as advertised within 2 years of its purchase date, AR provides parts, labor, freight to and from the factory or nearest authorized service station, and a carton if necessary -all with no charge for factory defects.
A Sound Continued from page Investment in a New York performance under BernsteinLuciano Pavarotti the tenor in a London performance led by Soltiand that increasingly indispensable bass, Martti Talvela. The B FM Receiver. For real music to The score contains quite a number of your ears. Every touch of sound from FM, problems with regard to balance and definition.
Solti wanted to achieve the tape or record player, arrives with effect of spaciousness without sacrificing clarity. Take No. Between - Culsllaw's Auf Wiedersehen.
Certainly the pro- here by courtesy of his new employers, fessional touch. Professional sound engi- the BBC. See your Altec dealer. Not that the association has been invariably smooth -which Cul- shaw's recent book, Ring Resounding, makes quite clear. As he said to me during our last conversation in the Sofiensaal, "I've been quite frank about things -and I think it was just this honest frankness which contributed to our com- mon success during all these years.
High Fidelity, February Published monthly by Billboard Publica- tions. Member Audit Bureau of Circulations. Editorial con- tributions will be welcomed. Payment for articles accepted will be arranged prior to publication.
Unsolicited manuscripts should he accompanied by return postage. Subscriptions should be addressed to High Fidelity. National and other editions published monthly: In the U. A division of. Ling Altec, Inc. Manchester Ave. When an AR turntable is packed at the factory it is, literally, slightly used. It has been run in for 48 hours, and then given a final workout in one of AR's test noms. The tests, which include measurements of rumble, wow, flutter, speed accuracy, and speed -egulation, are made on every AR turntable.
Any turntable that doesn't meet NAB specifications for professional broadcast equipment is rejected. A day rarely goes by without.
AR's quality control borders on the fanatical. It is one reason the AR turntable has been rated number one by so many equipment reviews and comparison surveys, in a field of competing units costing up to twice as much.
Extended retroactively from one year to three on December 1, From it has emerged a new awareness, evidenced in scientific papers and discussions by some of the men who worked on these projects, of a possible new role for electronics in achieving new levels of communica- tion -not merely in getting a message across more clearly, but in tapping new depths of understanding of the material to be communicated and at the same time evolving a consistent body of theory to guide future work.
Two complete selections from each of Enoch one paper delivered at the recent New York convention of the American Light's first six Project 3 stereo albums. Hear Engineering Society called a "new discipline" -that is, a formal branch Academy Award winning "Born Free," the incom- parable Tony Mottola on guitar and the Kissin' of knowledge based on systematic research.
Hear the magic sound of Peter Matz, Bobby Hackett and his un- past decade has greatly expanded. It now includes creative and informa- believable horn, the danceable music of the True tional concerns in addition to the purely technical matters that have Blues and more songs with the Kissin' Cousins. The be the exclusive province of the educator.
As authority for this concept, Riverside Singers Madrigals, Villancicos, and the paper cites-as you might expect-the writings of Marshall McLuhan. Part Songs. And others. Pre- sumably the fields to be embraced include cinematography, optics, audio, X EACH general acoustics, architecture, interior design, lighting, traffic flow, and maybe a few more. The pinnacle of this approach surely must be Labyrinth. The whole thus could "produce an emotional im- Please send me full information on current and pact which leads visitors to discover something about themselves.
A -2 age shot around the world and six -channel audio; multiple screens and Handling and shipping included high fidelity surround -sound.
And this, we are told, is only the beginning. Project 3 - Avenue of The Americas, N. Urbie Green and Enoch Light plus twenty of the world's greatest trombonists create a unique stereo recording.
Upcobebptil: overdubbing, no tape tricks, no shortcuts of any Wire Akre Wir Weer kind. This is the way 21 trombones really sound Bill :Bin. Listen to Project Total Sound Stereo S Snai.
PHONE: And most professional audiophiles do just that! You'll hear the difference in an instant! These developments, while not always tangible in terms of products you buy and use in your home music system, nevertheless influence what you will be hearing, or how you will be hearing it, in the future.
Dolby himself, a youngish engineer who manned his own exhibit and periodically demonstrated it to all comers. No fewer than twenty-nine organizations throughout the world now are using "the Dolby" for recording, broadcasting, or just experimenting, we learned.
The KLH tape recorder -first announced consumer product using it- still is under development. It will, in any event, incorpo- rate a simplified "Dolby" -that is, one frequency band to eliminate tape hiss, instead of the professional model's Twenty-four-channel "Recorder" and mixer by Ampex.
Balance and and decks undergo some really significant improve- blending can be worked out by the engineer and re- ments? Developed from the Ampex video tape transport, the Our system won't eliminate the surface noise on old new AG- has a small brother that handles up discs but at least it will prevent that noise from being to 16 channels at once.
In case you're thinking of increased during the remaking. Kogen, and Kenneth E.
Sticky Fingers (Vocal Version) - Coolio - County Line / Sticky Fingers (CD), Intruder 4 - Namlook* - Namlook III (CD, Album), Revolution Calling - Queensrÿche - Operation: Mindcrime (Vinyl, LP), Entre Amigos - Various - Venezuela En 2 Guitarras (Vinyl, LP), Rivers Invitation, Keepers Of The Garden - The Kovenant - SETI (CD, Album), Tuxedo Junction - The Modernaires - The Modernaires Sing The Great Glenn Miller Instrumentals / We R, La Bertazzina - The London Early Music Group, James Tyler - La Mantovana - Aire E Danze Italiane Del, Black On Blonde, Blue Monday (Club 69 Mix) - Orgy - Candyass / Blue Monday Remix (CD, Album), Te Siento Y Te Lloro - Various - Super Bachatazos 2000 (CD), Joy Division - Permanent: Joy Division 1995 (CD)