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Full text of “Audio Magazine (May )” – MOST POPULAR MANGA

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We have, I suppose, three topics. How has it been done, who has done it and where do wo go from here. How can be divided into two par Is. Let us look at the background first. The real key to the advance in performance is the development of suitable transistors at a suitable price.

The audio frequency transistor as we knew it only a few years ago just would not allow us to get high quality’ the diff used-base power tran- sistors with common emitter cut-off fre- quencies around one megacycle make the whole feedback problem almost child’s play. Indeed, it is only necessary to get power transistors which have a common- emitter cut-off frequency of ,.

Added to this we have an attitude of mind. The circuits which are now being used are complex and represent a level which I do not think we have had pre- viously in the domestic field : indeed, they appear to be more complex than the submarine repeater which I saw in devel- opment just a week ago.

To some extent this reflects limitations in the devices themselves and it also, I suspect, reflects a determination on the part of the de- signers to achieve the wanted perform- ance in spite of the devices.

Transistors introduce quite a few new problems and some advantages, The low impedance of transistor circuits is a mixed blessing. As we shall see, it en- ables us to get rid of the output trans- former. In return we find that we must use electrolytic capacitors : the last time I was told they were completely reliable nowadays I showed the salesman a Claim Form awaiting my signature from an engineer who was shot by one exploding. Tt is true that the catastrophic failures I have met have all been on high voltage types.

Variation of basic circuit used in particular amplifier, Knight KN Complementary symmetry is another advantage which the transistor designer has at his service. Combinations of n-p-n and p-n-p transistors have an extra de- gree df freedom which is especially use- fill in the later stages of an amplifier where impedances are getting lower and where we must make the transition from single-ended to push-pull.

The resulting configurations have no tube equivalents. Noise, we might expect to be rather worse with transistor amplifiers: after all, one can get heater hum, unweighted, down below Johnson noise. It is easier to smooth high -voltage low-current sup- plies than low-voltage high-current, while transistors still make some noise of their owu. The figures given for noise are thoroughly satisfactory, however.

Microphony just docs not come into the picture any more and I feel that we shall see this affecting future designs. Self -heating is. One manufacturer claims that bis watt stereo pair dissipates only 2 watts when quiescent compared with J.

At full load, of course, the input power and the dissipation rise, but the total power is only 00 watts and the power wasted is mainly wasted at the output transistors.

Thus not only is there much less heat but the heat, is generated at a small man her of points and can be car- ried away by air flow without warming up the other components. The over-all result is that a complete stereo amplifier system takes up no more ppaee than a single-channel tube preamplifier.

The present state of design indicates that t he sho king-down process has hardly begun. New designs will move towards a common pattern: if I knew what that would be I should be in business. The first common feature we can see as prob- able in the future is the bridge output circuit. In Fig. There arc several practical forms, which is why such a bare abstract form is shown as a begin- ning.

It is safe to assume that there are no CI ass- A circuits in the mail to confuse the issue and we shall assume that we will always be dealing with Class B. I refuse to distinguish these subtle varia- tions around the cut-oft: point. From some points of view the simplest form of Pitj. Considering one half cycle T Z, 2 and and Z s are cut off so that the circuit be- comes just the speaker coil in series with two transistors as shown in Fig. In this arrangement the peak voltages across the speech coil is equal to the supply voltage minus twice the transistor saturation voltage: the peak voltage across any transistor is the sup- ply voltage.

Half the power is in 7? L j and half is in li L2. Since X should not move wc tie it firmly down. Some designers use a capacitor, which can be returned to either side of the supply line: others split the supply and return X to the center point.

If a single capaci- tor is used; there is some danger that the difference in quiescent currents in the two transistors may cause the steady value of the potential at X to drift away from the half-supply-voltage point. The full benefit of the bridge of half- bridge OTL structures is obtained if there is no driver transformer.

We find that it is here that complication really begins. One transistor in each arm of the bridge, or one transistor in the half- bridgOj can be driven by a p-n-p unit acting as an emitter follower: some de- signers will obviously choose to form a Darlington pair.

The cascode circuit, grounded-emitter grounded-base amplifier gives low internal impedance. Output circuit of Omega amplifier. It is in the provision of drive to these two stages that we see the most interesting variations. The variation shown in Fig. The output stage looks pretty odd at first but each side of the half -bridge is in fact a cascodc circuit, a common- emitter stage driving a common-base stage.

This has low internal feedback and enables a high supply voltage to be used. The textbook drawing of the cas- code is shown, with its simple skeleton, in A and B of Fig. In the circuit of Fig. A feature of the caseode circuit is that with the high voltage, some BO volts cen- tered on ground, it becomes worthwhile to provide a supply which is virtually a twin supply. If the output stage is fully driven tli ere should be 40 volts peak across the speaker.

The circuit shown in Fig. A large rectifier and a resistor added in the battery lead would let you keep the bat- tery floating if you wanted to be sure of continuous working through a power failure. The third of the American circuits is shown in Fig. This is a full bridge and each of the power transistors has its own directly coupled driver.

The fonr power transistors are connected in a basic symmetrical bridge configuration. This allows the maximum peak -to -peak voltage appearing across the load speaker to approach twice the d. The use of four power transistors — rather than two — has the added advantage of lower power dissi- pation in each unit. The power transis- tors which constitute the four active arms of the bridge are driven in pairs.

When transistor 1 is conducting, tran- sistor 4 conducts and transistors 2 and 3 do not conduct. Similarly, when 2 and 3 conduct, 1 arid 4 do not. Associated with each of the power transistors is a driver transistor. Power transistors 2 and 4 are driven by emitter-follower p-n-p units in phase opposition.

Their input signal is derived from a conventional transistor phase-splitter circuit. Power transistors 1 and 3 are driven by n-p-n units con- nected as common-emitter amplifiers. We’re amazed briefly, then accept the situation and hurry on with our own business. Only in our leisure moments do we find time to wonder how something has come about, and wonder about the motivations and trials of the people involved, and perhaps about what really went on behind the scenes.

In , just sixteen short years after Alexander G, Bell’s historic “Mr. Wat- son, come here, I want you,” the first intelligible telephonic transmission, Bell demonstrated a binaural telephone. This was one of the scientific attractions at the world’s Columbian Exposition in Chicago. Two telephones were set up in one room, and the listener, in an adjoin- ing room, clamped a receiver to each of his ears. He could tell the position from which a person in the first room was speaking.

Oscar was in a small glass booth with a dosed curtain between him and the thirty or forty people facing him. Each one held a pair of receivers clamped to his two ears. Each listener sensed that someone was moving around behind him, pouring water into a glass, or jangling keys, or dropping things on the floor, or whispering into one or the other of his ears.

It took a strong-willed person not to look behind himself! Then the curtain opened to reveal a well-dressed Oscar standing with his back to the listeners, and a real, live man walking around in- side the glass enclosure performing those many sound tricks once again. The year after Mr. Bell transmitted that first speech, Mr. The tones of the Multiplex are far more faithful to the original rendition of voice or instrument than those of any other talking machine.

This fact is due to greater discrimination in the p r o c ess of re eo r d i n g, re n der e d Fig. Facsimile of ad for the first known three-track reproducer. Can anybody think hi-fi stereo prices are high today? Yet this machine was certainly the forerunner of quite an industry. Of course, the objective of all develop- ments along these lines has been to achieve naturalness and realism in the re- production of music and sennd. Photo cour- tesy Dr. Dut- ton r EMI, Ltd.

Your author has a tape dub from a Columbia record, made in You are assured of as perfect a record ou each side of the disc as you ever bought before under any name at any price, Perfect in surface, perfect in tone, and extraordinary in durability, the Columbia process of re- cording produces a naturalness and roundness and perfection of tone that is positively uneqnaled in any other.

The singer’s voice as recorded in the Colum- bia Laboratory is the living voice of the artist: clear, flawless, and natural. And from the simple brassy notes of the bugle to the dclieate tone shading of the violin, Columbia recording of instrumental music is marvclously true. Engineers are naturally curious, and keep disproving such statements — and then propounding other statements just as final.

For ex- ample, J. Maxfield and H. Harri- son, of Western Electric, in an avtiele 2 published in , dismissed the dual channel or binaural method as impracti- cal. This was the beginning of the scientific approach to recording, dis- placing the empirical methods which had been in use since Edison’s time. For orchestral pickup, one- nondircetional mike was placed out in the auditorium at a point where the sound intensity of the direct sound was approximately equal to the intensity of the reverberant sound.

The other, or ac- cent mike was placed close to the orches- tra. This one preferably had a unidirec- tional response pattern and was used to pick up the weaker instrument sounds while minimizing the reverberant pick-up. Mathematical formulae were developed to calculate the correct positioning of the mikes in the room. This technique was used with great success on the Tele- phone Hour radio broadcasts during the 1.

EMI in Eng- land were deep in work leading to stereo sound reproduction. In the U. This was in April, More will be said about this later. And in England, on December 14, , A. This patent number , twenty -two pages long, was issued June 14, Dutton, of EMI, has kindly furnished the pictures Figs. Dutton tells 1 what happened next. The frequency range was limited both by the cutter and the reproducer heads, and it was very soon found that reproduction quality could not be sacrificed in noise, distor- tion, or frequency range in order to ob- tain a stereo system.

In other words, a stereo reproduction can only be effective if each channel is operating under very- high-quality conditions. These experiments were reported in five articles published in the Bell Laboratories Record during and They were later re- printed 5 by Audio in because of the great public interest in stereo which had by that time developed. Leopold Stokowski, Director of the Philadelphia Orchestra, had been in- terested in the possibilities of electrical systems for the production of exceptional Fig.

It worked but was ahead of ils time in relation to the recording techniques then used, Photo cour- tesy Dr. Dut- ton, EMI, Ltd. Even to- day, ill most 30 years later, the charac- teristics of this system are enviable. Let’s look at the requirements for such a situ- ation. It generates frequencies from 35 to cps. Its sound power, integrated over 0. This transmission system, over-all from microphone, through a score of tele- phone repeaters; power amplifier and out of the loudspeakers, had a signal – feo-noise ratio of better than SO db!

It had an over-all acoustically equalized frequency response from 35 to 1C0O0 cps: the instruments sounded natural, without frequency distortion. And it had an acoustic power-handling capability of 20 watts: a bang on the tympani didn’t fall apart upon reproduction.

The illusion was satd to have been astonish- ingly natural and lifelike. But this event was an instantaneous reproduction of sound. Recordings with such faithful- ness, be they tape or disc, are still not commercially possible. Richard Ranger. He sent it to Minnesota Mining and Manufacturing Co.

He felt this oxide coating would be an improvement over the few German samples and others that were then avail- able. Cumras said to be careful of that pound of oxide, it was all he bad, and it had taken a month to make it. A day or so later, a -pound bag of the stuff was delivered to an astonished Cumras. Your author learned later how 3M chemists produced so much so rapidly, It seems that 3M used iron oxide to color the mix for composition roof shingles, one of their big products.

Miiny sacks of this lay for years in a ware- house. Somebody remembered it, checked it chen ically, and discovered that it was similar to Camras’ precious pound. Since then, your author has often speculated on whether there may be a correlation between the saving- of these unusable bags of iron and the “Scotch Brand” name on the tape subsequently made therefrom.

In G, Armour Research Founda- tion, Chicago, had a two-track tape re- corder which, under Marvin Camras’ direction, was used particularly for bi- naural recording, although they also tried stereo reproduction with speakers. Camras, in a recent letter to the author, goes on to say : “We were impressed with the fact that in listening to our binaural recordings one could pick out the wanted sound ai;d reject the undesircd voices, reverbera- tions, etc.

Wc made known our results zo licensees, and about this time Ray Zcmicr wrote an article expounding the merits of binaural recording. A paper entitled a. Western Electric 6’B Cardioid Micro- phones were used i’or pick-up.

When we had collected a sufficient variety of gocd recordings wc sponsored a “debut f in a downtown hotel, jointly with the Chienpo Musical College, A RF. Our program included orches- tral nvjsie Prokoflief’s “Classical Sym- phony” , voeal selections from Gershwin, and choral music. Wc got some nice write-ups in the press, but since no equip- ment was available on the market, there was not mueh that the average hi-fi listener could do about it.

As far as I know, nothing was ever done. I’ll bet they are now kicking themselves about that one. The musicians were especially im- pressed with binaural playback. One con- ductor remarked that impossible as it might seem the reproduced sound was even more plcasaut than direct listening.

These uses, supposedly, would make it easier to analyze the sounds in the peace and quiet of the lab rather than while bounding around in the back seat during a wild ride over rough road. He thought it would be a good oppoitunity to meet many more potential customers in the automotive field. He said, as added in- ducement, that the Ethyl Corporation gasol i n e add i ti ve cocktail h ou r was worth attending if nothing else.

A s y j np os i urn o n uoi s e r cdue tio n in automobiles was held one warm summer morning of the convention. About forty men from the various facets of the auto- motive industry were seated in a circle outside under the trees. They repre- sented tire manufacturers, muffler peo- ple, body builders auto , and automo- bile acousticians.

The cicadas were buzzing in the trees. Wind noises, eoo ling- fan noises, tire whine, and methods of reducing these, were discussed. Then the trap was sprung. Dave Apps of General Motors turned to your author and said, “We’ve been buying 1 recorders from you for some time now and using them to record all of these noises for analysis- Now, tell me, why is it that when wc record the noise made by an automobile being driven over a cobblestone road, and then repro- duce it in the lab over the finest quality speaker we can get, it doesn’t sound like a ear going over cobblestones.

It sounds like pebbles rattling in an old tin can. Then several others com- plained about how unnatural the var- ious noises sounded when reproduced, but how good music sounded when made on the same machine. For a moment this was a stopper, and time for thought was 27 www.

Why, indeed? And experiments with having a secretary transcribe very successfully a heated conference replete with more than one person talking at a time from a binaural recording. If this is true, the human thus has a natural built-in discriminator.

A few minutes later, Larry Ball Chrysler said, “Well, what’s the an- swer H A very short time course in the theory and practice of binaural listening fol- lowed, with a recall of Camras’ two -track ma chine, Could Magnceord build such a machine? It could, and did. General Motors later tried it out. The heads were “staggered,” using two half-track heads, one for the inner track, one for the outer, in two separate head boxes. This was the quicker way to build such a machine without crosstalk.

This later led to another problem : stag- gered or stacked heads? It would have taken too much time to figure out how to shield one head from the other in the same housing. Shortly after the delivery of the first few binaural Magnecordcrs to the auto- motive industry, the author left that company, later to join Ampeb During the spring of Later that sum- mer, lie took the apparatus up to Inter- loehen, Michigan, to Dr.

Joseph Maddy’s Summer Music Camp where he recorded the orchestra and other groups binaur- al ly. He confirmed the findings of earlier researchers that for binaural listening headphones over the ears the micro- phones, spaced the ear distance apart, yielded the best results.

This ear-spaced technique was later to trap many who wished to listen over loudspeakers. Shortly after Gene Carrington re- turned from Intcrioehen, he stopped the writer while he was strolling through the Allied store. Gene’s activities had been secret up to then. Since custo- mers might be disturbed by a loud- speaker in the store area, he was using headphones. The recording was a good monaural pickup.

Then, in 10 or lo seconds, he flipped s switch. A shiver ran up the writer’s back, and the Enz? He’d flipped from one track feeding both phones to the two separate tracks feeding the separate phones. For all of his theoretical knowledge, he had never really had an opportunity to hear such a recording before. Magnceord gave countless demonstra- tions of C aldington’s recordings at many trade shows during the next year. Then Ched Smiley of Livingston Electronics, New Jersey, picked up the challenge and made the first two-track staggered commercially available binaural releases on tape.

Some of the more affluent citi- zens of the land responded by purchas- ing both machines and tapes. But the going was rough, the musical groups weren’t equivalent to orchestras lc? This was not the single – groove complex sy s tem a s now usee and as first done by Blmnlein of England, but a two-channel system with one channel recorded on the outer half of the disc and the other concentrically recorded on the inner half. The two pickup heads were mounted several iiu-hes apar t on a common arm and em- ployed a micrometer screw adjustment between them.

For ex- ample, take the case with the two mikes spaced thusJy in the center of a stage and the two loudspeakers used to re- produce the resultant recording spaced near the two sides of the stage. When- ever a person moved slowly from one side to the other in front of the two mikes, upou playback lie would seem instead to leap from one side of the stage to the other. To gain experience, the author, by then with A in p ex, took a AT ode 1 4.

Incidentally, John Philip Sousa left his entire library to this band. Various microphone types, both direc- tional and non-directional, and various spaeings, close and spread, near and far, were tried, including a two-channel or stereophonic “Max field double mike pick-up.

Various reproducing speaker arrangements were likewise tried in the large halls where the recordings were made and in small rooms. The early work of Bell Labs was re- called again. The school song r Hail to the Orange, sung by the band I played an unexpected role a few years later. Wolfgang Kuhn now at. Stan- ford University the professor of music who was head of musical recording for University of Ulinois, and others on the school faculty aided in the experiments and criticized the results musically.

The most interesting result was an invitation to return a couple of months later to record stercophonieally not bi nan rally the University Symphony and Chorus under Dr.

Leopold Stokowski as guest conductor. Magnceord had asked per- mission to record the concert, which the university gave them. Stokowski had graciously said he would stop at any point during the rehearsal that we wished and repeat sections, or hold until we were ready. He knew the recording problems; he’d been making Victor rec- ords since before We were de- lighted with his offer of cooperation.

The monaural tapes for broadcast were to be made during the dress re- hearsal, the stereo tapes during the ac- tual performance. But when Stokowski conducts, he im- merses himself in the music and forgets all else around him. The crew making the monaural recording missed a cue at one point; Stoky got going before the recorder did and he kept going while the mixer engineer in the side balcony waved frantically for him to stop, per agree- ment.

But the music went on. It was suggested that the mixer might attract Stokowslcf s attention by whistling. After all, it was a rehearsal ami the recording was no good without a clean start So with fingers in mouth, a piercing “scrceeee” cut through the auditorium. Stokowski froze with his baton midway through an upbeat, then collapsed back- wards in a slump on ids high stool.

He put Ins face in his hands for a few mo- ments, then turned to the balcony and said in a very clear voice, “I told you to stop me, but did you have to be so vio- lent about it?

Byrns Orchestra binaural recording session, , for CapiJol records. Note the “blockhead” with two mikes on the left. Through the eo operation of R. Ueekc, Director of Development Engineering for Capitol ReeoralSj a three-track demonstration tape was made up consisting of the Southern Pacific train coming into, stop- ping, and leaving the Glendale station; Lawrence Welles orchestra playing its theme song – , the Santa Monica Sym- phony, and George Wright on the Wur- litzer pipe organ.

Ed Uceke has this to say about those days almost 10 years ago: il ln inquiring into our early history of stereophonic recording, I find tliat we really came in by the back door. You will note the influence of the XL S. Naval Electronic Laboratories research using two 2 microphones spaced at the ears would be in a human head with hat tor’s block to simulate the hoad. The demonstration of localization using head- phones was spectacular and we were all quite thrilled.

Because of the way in which stereophonic reproduction had been handled in motion pictures, there was a strong inference that three-track record- ing would be necessary or at least highly desirable for loudspeaker reproduction. This was delivered to us on January 6th of but was not immediately used for stereophonic recording. Its first ap- plication was to record vocal, chorus, and orchestras at the original session which was later to be mixed to obtain the best balance of sound for a monophonie rec- ord.

One of our first sessions was with Gordon Mel? W i dc sere e n “CinemaScope” was about to be released in an effort to stimulate an industry beset by competition from home TV. Al- though much work had been done from ti me to tim e w i th i nu 1 ti -tr a ck optical film recording since the late twenties, culminating with the Disney road show release of ‘”Fantasia” in the late thirties, it took this demonstration of three-track magnetic tape to convince Hollywood that magnetic sound tracks on film, in- stead oi: optical, might be practical for general theater release.

So the first releases of “CinemaSoope” were made with four magnetic stripes on the film, two on each side of the sprocket holes on each side of the film.

Three stripes were wide and used for the three speaker channels behind the screen. The fourth was narrow and used for the “surround” speakers out in the audito- rium to create special effects. A few months after the Audio Fair demonstration, a phone call from Hollywood inquired as to whether Ampex was interested in providing some special recording equipment for a Mr.

He would be up to visit the plant. Anderson and sev- eral others showed a few days later. When they were sure that the plant was interested, had the capability, and that no one could overhear the conference, Mr. Under the direction of Walter Selstcd, formerly with Ampex as Director of Research, the company built a special 7- track system for him. This was the start of the Todd- AO system. Six speakers were arranged physically in the room and the six musical instruments would normally be arranged.

The jazz Fig. Closeup of the “tailors dum- my” shown in Fig. Rehearsal for “Soundorama” stereo recording concert of the Philadelphia Orchestra, February, 1 , Eugene Ormandy conducting. Note two-channel stereo mike placement. The center mike was used for monophonic “protection” recording. The loudspeakers were later shifted to center of orchestra in two groups of three each, middle right and left, for better stereo reproduction in hall. Adrian Siegal, photographer.

In , John Leslie, formerly with Ampex as Chief Engineer for Profes- sional Recorders, and the author, for- merly Marketing Manager for the same, decided to see what might be done to build an inexpensive two-track playback tape machine, one which might possibly fit the home pocketbook. It was figured that many people who bought tape recorders nsed them at first to make recordings, but soon used them only for playing the tapes they’d made and only occasionally thereafter used the recorder as a recorder.

By this time, a compact ex tended- range speaker-am- plifier had been placed in production and a small tape deck, the Model , was available. All that was needed was a two -track playback -only amplifier to feed two speakers, plus an inexpensive I two-track in-line head. We had to repackage the and multiply it by two. The inexpensive two -track in-line head caused some problems.

Although the project wasn’t exactly authorized, management was forgiving when they heard the system as it played Sail to the Orange by the Illinois Band, and the Symphony Orchestra stereo tapes re- corded in Arthur Fiedler of the Boston Pops Orchestra, who conducts the San Francisco Orchestra during the summer season, was the first outsider to hear the new system. He was tremen- dously impressed, and felt that this was the next big step in home music. But all concerned recognized that it would take one of the big recording companies to push this technique into the home.

Very quietly and without any fanfare, one of the companies bad been making 30′ some stereo masters experimentally. These subse- quently became the first stereo releases for Victor. The decision to record all masters, using the three-track technique instead of the original two-track, as in the first experiments was mine. Button reports that in’ April, , EMI first ma rke t e d s ter eoso nic tapes in England for a home user. Note the English spelling. And for some time the English releases far exceeded those in the U, S.

A demonstra- tion tape had been assembled from a great number of tape dubs from old rec- ords, starting with the sounds of IS 9 9 and progressing up through the years to the LP disc— all played through only one of the two speakers, of course. Then a tape master of the LP just played with no “ticks and pops” was followed by a spine-tingling passage from RCA Victor’s new stereo release, “Zarathus- tra.

Some were impressed with the commercial pos- sibilities. They weren’t about to kill themselves financially again as they al- most had with us. And some of them, on hearing the stereo tape, just plain denied that stereo was physically possible, even after hearing it! VM Corporation made stereo conversions for their tape re- corders in so that people could hear the new tape s.

The “stagger c d” vs. Bill Miltenburg reports on the next steps taken by Victor. At the time of the order it was my im- pression they were the first of this type produced by Ampex and I believe you were deeply involved in these discussions.

Two of these machines were delivered to Republic Studios in Hollywood for use on the Jaseha Hcifctz sessions with the H ollywo o d Stud i o orch e a t r a. You may recall the urgeuey of the situation, and the subsequent arrival of two of your engineers to Attempt the alignment and re-checkout of the machines. This is difficult to pin down because m a ny p eople have cla i me d they were working on the project duriug this period.

To say that thoy were less than enthusiastic is the understatement of the year. They finally agreed to consider the idea, although they cautioned me not to expect too much.

Of course liCAV management gave me little encouragement. Hue to the urgency and pres- sure, plus a guarantee, they began work on the project. During this period I learned A. We were also working on the car- t ridge during this period. Ou- th e-sp o t two- eh a n n e 1 s terc o r ec o rd i n gs were to be made and reproduced imme- diately thereafter over speakers mounted on the stage to show how faithfully the full sound of the orchestra could be re- produced with modern recording and reproducing equipment;.

This concert was the best attended of any during the entire Philadelphia season. During the concert, the orches- tra played the Toccata and were to fake the playing of the Fugue as it started, with the previously recorded section segued in at the star: of it. Ormandy, always a delight lo work with, led into the Fugue and kept on conducting. The start button was pushed and the music came out. In about ten bars, the orchestra quit faking and laid down their instruments. The music kept playing.

Three Altec theater speaker systems were buried — almost out of sight — in the midst of the orches- tra. During rehearsals a sound-level meter was used in several parts of the hall to set the speaker acoustic level zo match that of the orchestra. The acoustic frequency response of the system was carefully checked and appropriate equal- izers were inserted to correct the over-all response to better than 12, cps.

The usual tape hiss often noticeable on other systems was inaudible to all save those in the first few front rows, largely be- cause of the optimum equalization pos- sible at 30 ips. The hall was virtually a sellout and again the best attended performance of the entire symphony season. Jorda stepped out of the wings and onto the podium. The baton was raised. The tape machine, mounted in a rack, right stage in full view of the audience, was started as though to record the performance.

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