THE B.A.S. SPEAKER
Editorial Board: James Brinton, Peter Mitchell Coordinating Editor: Alan Southwick Production Manager: Robert Borden Copy Editor: Joyce Brinton Staff: Richard AkeII, Stuart Isveck, Lawrence Kaufman, Donald North, John Schlafer, Peter Watters THE BOSTON AUDIO SOCIETY P.O. BOX 7 BOSTON, MASSACHUSETTS 02215
VOLUME 3, NUMBER 6 MARCH 1975
THE BOSTON AUDIO SOCIETY DOES NOT ENDORSE OR CRITICIZE PRODUCTS, DEALERS, OR SERVICES. OPINIONS EXPRESSED HEREIN REFLECT THE VIEWS OF THEIR AUTHORS AND ARE FOR THE INFORMATION OF THE MEMBERS.

In This Issue

This is very much a hardware issue; nearly everything reflects it, from the meeting report on Koss headphones and electrostatic speakers to the publications. The long-awaited report on the QDC-1 phono cartridge appears this month, and with it an interesting companion piece. During the concentrated listening triggered by the QDC-1 comparisons, some members found themselves reevaluating old favorites; you'll be interested in the results of a runoff between the ADC-XLM and the Shure V-15 Type III. There's interesting, if brief, mention of tonearm damping again, this time as applied to a popular record changersome of the problems are different. And on the topic of tonearms, one of our out-of-state members weighs in with a pointed indictment of some of the most misleading advertising in recent years. See the letters column for this and for short notes on a modification to the Citation XI preamp and a multiple speaker installation in Kansas City. There are short reports on two cheap products, one of which costs a lot more than it should a so-called reverb amp. The other may be one of the few real bargains abouta $25 FM converter for your AM car radio that works well beyond its price category. Finally, there's a brief review of an excellent book on audio; one filled with fact instead of pseudo-science and hype, Slot's Audio Quality. As might have been expected, it didn't sell too well, and thus wound up on the remainder tables. Thus, it is available cheap. This Month's Publications Dan Shanefield may go further toward the ultimate in A-B testing than most of us. In this second article on the subject, he deals with comparisons of high-fidelity equipment with live performers. The conclusions he draws as to the state of the hi-fi art are reassuring. Also, there are diagrams for some of the A-B switching gear needed for such experiments. Shanefield is collecting a complete chain of components recommended by the Absolute Sound and plans to find out whether there is much difference between it and the equipment already in his system. As he finds out, we'll pass the word along. This month's second publication is by Al Southwick and in it he makes a case for the 814 microphone. I suspect the pun is intended. But those of you who have or plan to buy 814 or 814C mike capsules through the BAS will want to read this short paper on turning it into a rugged, goodlooking, go-anywhere mike, complete with phantom powering. Jim Brinton
Copyright 1975 The Boston Audio Society
Vol. 3, Num. 6 March 1975 OCRed from printed copy - errors possible.

The BAS Speaker

Equipment for Sale Burwen DNF-1201 noise reduction unit, $200. Call David Kunz (617)481-1219. The QDC-1 Phonograph Cartridge After a long delay, we finally are able to give some answers to the questions we raised several months ago about the Micro-Acoustics QDC-1. Unfortunately for those of you who may have purchased one in the enthusiasm that greeted the QDC, the recommendation is largely negative. At least half a dozen of us have auditioned and objectively tested more than ten QDC-1's and, to one degree or another, each unit failed to live up to expectations. The strength of the expectations is illustrated by the fact that some of us tried as many as three QDC-1's before finally giving up. Since this stance is negative, it is appropriate to say something about the sort of tests we conducted. The objective tests were run using CBS, Shure, and other test records, and in each case a cartridge of a different brand was tested just before or after the QDC to assure us that our test setup was functioning correctly. The record-playing systems used varied from a modified AR turntable equipped with twin SME arms, to Technics, Connoisseur, Philips, Braun, and Thorens tables. Other tonearms ranged from the highly sophisticated Decca to the AR. Listening and A-B tests were conducted with a wide variety of program material and electronicstoo long a list to give here. Among the speakers used were KLH-9's and AR-LST-1's. Whatever the hardware, however, the results were mixed at best. Early Results During the initial burst of enthusiasm for the QDC-1, several of us purchased samples and after listening, put them through some objective tests. Afterward, we found it hard to account for the disparities; objective tests seemed to indicate that the QDC-1 would be a poor-sounding cartridge. Very careful listening bore this outbut not to the extent indicated by the measurements. For example, one early production unit had a 3.5-dB response hump at 18 kHz, a 2-dB dip at 8 kHz, and was down 2 dB at 50 Hz. Square waves showed a great deal of undamped ringing, and worse, most of this ringing appeared in the opposite channel, indicating poor transient crosstalk. This was not the worst cartridge measured (others were up 7 and 10 dB at 20 kHz, for example), nor was it the best of the QDC-1's tested, but it was near average for the ten sampled. Compared with the ADC-VLM and Shure V-15 Type III, the QDC-1 came in third. The VLM had excellent square waves, with little ringing, and very little crosstalk, whether steady-state or transient. The Shure rang some but appeared well-damped; there was some rise in its response at very low frequencies, and more crosstalk than the VLM exhibitedespecially at lower frequencies, though nothing like that seen with the QDC-1. Tracking tests made with the 300-Hz band on the CBS STR-110 record produced these results: the Shure easily tracked 18 cm/sec laterally and 12 cm/sec vertically; the ADC began to break up at 15 cm/sec vertically and ran well at 12 cm/sec laterally; the QDC-1 broke up at 9 cm/sec lateral modulation and failed to track at 12 cm/sec vertically. Thus the QDC-1 appeared deficient in low-frequency tracking; this was borne out in listening tests.

ADC-XLM Versus Shure V-15 Type III In "The Audio-Technica Cartridges" (BAS Speaker , April 1974), I concluded that the ADCXLM was in general superior to the AT's and, by implication, to the Shure V-15 Type M- When that article was written the XLM was mounted in a damped Connoisseur BD-2 and the Shure was not. Since that time I have had the opportunity to listen to several Shure and XLM cartridges all properly mounted in damped tonearms, and as a result my opinion has changed. The XLM has more cult appeal than the Shure and attracts that small group of audio perfectionists who are always in pursuit of the best. ADC is always introducing a new improved version, and each requires expensive, low-mass tonearms to function properly. The latter two qualities combine to give the XLM a special attraction to the puristwho often is of the opinion that all good things must be delicate and require sacrifice. The Shure V-15 Type III by contrast is mundane in its appeal. It is a large seller, and requires no special consideration. The manufacturer even claims that it works very well with some of the higher quality automatic record players. Neither of these two descriptions is completely accurate. For best performance the XLM and Shure both require low-mass tonearms, which, it appears, must be damped, the XLM even more so because of its extremely high compliance. In fact, with one sample of the XLM, stylus "bobbing" would not completely disappear no matter what tonearm was used or the amount of damping applied. The testing procedure consisted of blind A-B testing with several groups of audiophiles, two completely different stereo systems, and identical discs. Output from each cartridge also was recorded on individual tracks of a stereo tape recorder and then A-B'ed. The Shure was preferred by each group. It was described as (here we go with the vague terms) smoother, more open, and having far more detail than the XLM- In the bass the Shure was "fatter" or less well-defined, though it did seem to go lower. The XLM often sounded harsh, particularly on flutes, and did not fare well on strings. The Shure sounded slightly more forward and had more "air" around the instruments, although the frequency response of both cartridges was very linear. Both were tested to see what effect varying load capacitance would have on their performance; as expected, the Shure's varied the most but the results were barely audible. Without added capacitance, using the Dual 1218 turntable and the Marantz 7C, the frequency response of the Shure was: +3 dB at 20 kHz, +2.3 dB at 18 kHz, +1 dB at 16 kHz, and flat from 14 kHz to 20 Hz. Adding 300 pF to the left channel and 200 pF to the right channel made the Shure flat to 20 kHz. In the Decca arm no extra capacitance was necessary to achieve flat response to 20 kHz (which indicates that Decca leads have high capacitancea disadvantage for CD-4). The older Shure V-15 Type II tended to alter its frequency response in the more audible region around 5 kHz; the manufacturer claims that the Type III is less sensitive to capacitance effects, and the new cartridge is not affected below 14 kHz. The Shure tracked a hair better than the XLM; however, this was not revealed until the Shure TTR-102 test record Vas used. Band seven of this record contains 400-Hz and 4000-Hz tones recorded with peak velocities of 24 cm/sec. When mistracking occurs, the results are visible on a scope and are very audible. The Shure did not mistrack on band seven, while the XLM did mistrack intermittently. For this report I sampled three different XLM's using four different styli. The oldest sample was about eight months old and the most recent was purchased within the last three months. The newest stylus was so compliant that neither any tonearm nor any amount of damping would produce as stable an oscilloscope trace as any of the three sampled Shure cartridges. In my opinion

Notes on the Thermo Electron 814
If you are using the mike capsule naked rather than installing it in a grounded metal tube or case for shielding, you may find that it picks up radio-frequency interference (RFI) when used in very strong signal areas. A 0.001-F capacitor wired across the signal terminals will eliminate or substantially reduce the RFI. The BAS price for the mike capsule is $27 for the 814 and $32 for the 814C. This includes sales tax and expenses. If you cannot pick up the mike in person, add 50 for shipping. Thermo Electron has published new spec sheets on the 814 and 814C. They indicate that impedance is ohms for both mikes (in contrast to a measured value of 500 ohms for one of my 814's). They also indicate an even steeper high-frequency rise on-axis than formerly, underlining the importance of aiming the mike 60 to 90 degrees away from the sound source (e.g., up toward the ceiling) in order to get a smooth top end in your recordings. Peter Mitchell
The Pioneer Reverberation Amplifier
The combination of heightened interest in delay-generated ambience and the recent emergence of the Pioneer SR-202W Reverberation Amplifier ($139.95)with a front-panel control promising variable "time" out to 2.5 secondsresulted in a very brief test. Hnspection showed that the Pioneer was a spring-based unit similar to the old Fisher Space Expander, with which it was compared. The only real difference was that the Pioneer had a smoother frequency response. The Fisher has several resonances and a tinny sound. The reverberant signal is generated by exciting two springs with slightly different transmission times. The resultant signal has an initial delay to 90% of original amplitude of about 50 milliseconds; decay to 10% of original input level takes about 2.5 seconds. Both units mix the spring-generated reverberant signal with the original, and front-panel controls (including the misleadingly labeled "time" control on the Pioneer) vary the relative amplitude of reverberant and direct signal. Raising the relative amplitude of the reverberant signal does make signals transmitted through the units seem to "last longer," but that business about time should be corrected. Spring-generated reverb isn't unpleasant, but it is only marginally useful. Joel Cohen, Al Foster

Going FM with "Brand X"
Recently on Shop Talk, one of Boston's better known audiophiles commented that his automobile's FM radio was unable to receive WBUR beyond the Route 128 perimeter (about 15 miles from the transmitter). At the time I was listening in Acton, perhaps that far beyond Route 128, through an FM converter attached to my AM car radio. The device is not "high fidelity" but to be able to listen to WBUR, WGBH, WCRB, or WHRB at all is surely better than WEEI"all news, all day." I've had no trouble listening to these stations far to the west of Boston and have always found good stations available most of the way to Tanglewood. If you do not have FM in your car now but do have a built-in AM radio, then I recommend the purchase of such an FM converter. Converters operate on the principle that rather than building a complete FM radio, it is easier and less expensive to build a device that will receive FM, convert that signal to AM, and then play the converted signal through the already available AM radio. The converter is tuned to the FM station desired and its output is received on the AM radio near 1400 kHz. A single IC does most of this conversion job, making the packaging of the complete converter very inexpensive. There are several brands of converters on the market, but I believe there are at most two circuit designs behind the packaging. The converter I have is extremely compact, measuring about 1 by 4 by 5 inches, which makes hiding it from view and theft easy. Installation is simple with only one power wire to solder and two antenna cables to push into appropriate sockets on the rear of the converter and the AM radio. There is no brand name on my unit, only the label "Integrated Circuitry" and there is not even a manufacturer's name, only the warranty address"National Service Department, Cleveland, Ohio." I've seen the unit advertised lately by Zayre for $25 but I believe the same unit appears in the Olson catalog (No. 275, p. 35, Mini, $24.99) and the Lafayette catalog (No. 750, p. 97, Micro-Mini, $29.95). I believe it is also the same converter being offered by WCRB for $26.95 plus postage and tax. The converter suffers from multipath interference in the city, especially near Boston University and when between the tall buildings near the Prudential Center, but for the $30 I paid, I have received three years of trouble-free FM. I don't understand it but many times I have found that the converter can beat the pants off factory installed FM radios in American cars (e.g., Blaupunkt) Harry Zwicker

distortion curves, the ear's masking of IM as a function of SPL, the audibility of pitch deviation, typical pitch error in live music, the perception threshold of wow and flutter, the background noise level in studios and homes, the masking of noise by music, the disturbance of the stereo image by amplitude (i.e., balance), phase shifts, and crosstalk, and the function of time delay in reverberant-field reproduction. Audio Quality is not a how-to-do-it book, nor does it give buying advice. But after you read it two or three times you will have a better understanding of the basic issues in sound reproduction and the basic limitations as well. You may be surprised to find that some of the things you "know" really aren't true, and many popular myths and assumptions are based far more on speculation (or on marketing needs) than on empirical evidence. But you will have to hunt to find the book. It has been discontinued and is officially going out of print. It turned up at Reading International selling for $2 instead of its list price of $6, and their small supply disappeared quickly. Search for it in other stores that carry "remainders" at discount prices. If you find a dozen copies somewhere, grab them; the BAS will buy them for resale to members. Peter Mitchell Letters Transcriptors Vestigal Arm S. P. Lipshitz of the Department of Applied Mathematics of the University of Waterloo, Waterloo, Ontario, has written a scalding letter to The Absolute Sound in which he takes issue with the "Manufacturer's Comment" following the review of the Transcriptors Vestigal (sic) arm. A copy was forwarded to us in early January, and since we have been given permission to reprint it, and since we have read nothing about it in The Absolute Sound, we reproduce it here with only minor cuts. "I am writing in connection with your review of the Transcriptors 'Vestigal' arm on page 47 of Vol. 2, No. 5, and in particular about the comments from David Gammon of Transcriptors Ltd. I also have on hand the Transcriptors advertising brochure describing the Vestigal arm. I do not think I have ever come across such blatantly false and technically inaccurate statements in any advertisement for any high fidelity product. Moreover, these same statements are made by Mr. Gammon in his comment on your review. I would therefore like to analyze in some detail the principle claims made for this arm and the mechanical laws which govern its behaviour. It should be understood that my comments are intended as a criticism, not of the arm's actual performance, but rather of the manufacturer's ridiculous claims for it. "Let us examine matters point by point: "(1) Arm inertia : Consider the distinction between inertia and tracking force which Mr. Gammon is at pains to explain to 'ignorant' American audiophiles in his comments, and which is also elaborated upon in the Transcriptors literature. Although Mr. Gammon is correct that the moment of inertia of a mass about a given axis increases as the square of its distance from the axis, the conclusion which he draws (namely that conventionally pivoted arms like the SME arm, because of their higher moment of inertia, are inherently inferior) is false. Inertia per se is irrelevant, and the only significant figure in regard to an arm's moment of inertia (in that it affects the amount of work the record has to do in moving the arm) is its effective mass at the stylus point. This is its moment of inertia divided by the square of the distance of the stylus from the pivot. So, since the SME arm's pivot-to-stylus distance is 9.375 in. as opposed to the Vestigal's 1.375 in., it can have 46.5 times the Vestigal's moment of inertia and still have the same effective mass.

"The change is very easy to carry out, and my results are quite in accord with Peter Mitchell's observations. The sonic improvement with judicious use of the controls now is downright exciting, and has been achieved at very small cost. I have not found any problems with rumble, hum, or other disturbances using Connoisseur turntable, ADC-XLM cartridge, Dynaco 400 amplifier, and double Advents. "To. other topics. I thought the Shanefield article about A-B testing was greatoriginal, clever, lucid, and profound, all at once. I also liked the comparison of the three high-powered amps, which I thought. well done. "I might say I was not surprised by the results, though I was dismayed to see 'Dynaguard' equated with a fuse. I recently built the 400 and the Dynaguard function, in my opinion, is so needed and so effective, that I would not like to use a high-powered amplifier without it. As I understand it, it passes short-duration peaks that would blow a safe fuse, while for lower level peaks, the permissible duration increases, and there are five choices of maximum output. And as to another facet of the discussion, my unit, at the discount price of the kit, costs 85 per watt, not counting shipping. "The range and depth of your publication continue to be exciting. I should hate to be without it." Bill DeMond (Walla Walla, Washington) Pairing Loudspeakers "Reference to 'the occasional feeling that the speakers (used at the October meeting) were bass heavy may have been caused by the pairing of the loudspeakers for each channel' (BAS Speaker , Nov. 1974) reminds me of favorable comments on double Advents in The Absolute Sound and of a demonstration of a system devised by David Beatty (a long time Kansas City, Missouri Audio dealer). "Possibly the system would not respond well to (laboratory) measurement, but I felt it to be one of the most pleasant sounding I've heard, largely, I think, because the sound didn't seem to come from specific loudspeakers, but from a wide area. It seems to me at this time that two additional Advents will give me the greatest improvement for a reasonable cost that I could possibly get. Possibly The Speaker might include some comments on the pros and cons of four similar speakers for stereo operation. "Finally, the November and December issues. have given me a great deal of information. which I would probably have been unable to get elsewhere. I enjoy reading the material and appreciate the effort of the members who contribute time, work, and real expertise to produce an outstanding publication." O.H. Stewart (Lincoln, Nebraska) (The Beatty system that member Stewart writes of uses four identical speakers, but places them somewhat farther apart than would be the practice here. For example, on a 16- to 24-foot wall, they would be from 5 to 7 feet apart. Each of the two outer speakers is angled toward the center of the room about 20 to 30 degrees, and the inner speakers by about 45 degrees. For use with this array, Beatty sells what appears to be a switched voltage divider to vary the amount of "center fill." It is not clear whether any ambience information is fed to any of the speakers, though from the description in Beatty's literature it seems unlikely. Price for the "Wall of Sound" control is $79, and we would like to hear more from any member who is familiar with it. Members who want more information should write to David Beatty Stereo, 1616 Westport Rd., Kansas City, Missouri 64111. Mention the BAS.Ed.)

In the Literature

Audio Amateur, Issue 3, 1974 (Current) Articles include a patch panel, a suggestion for accurate frequency response measurement with an audio generator, part II on the preamp console, good advice on grounding techniques in multistage audio amplifiers, more on the PAT-4 phono equalization and on the AR arm, a report on an electret microphone kit using the Thermo Electron capsule, the final installment in the "Learning to Use Transistors" column, and the usual gaggle of interesting letters. Also includes a good commentary by Ed Dell on the big American magazines' practice of publishing only favorable equipment reviews. Audio Scene/Canada, Feb. 1975 Damping, Damping Factor, and Damn Nonsense: Argues that since the resistive portion of speaker impedance (about 90% nominal impedance) adds to the amplifier output impedance to determine the actual damping effect, amplifier damping factors over 1.0 are academic with supporting test data. Audio Lab Tests: Includes on-axis and off-axis frequency response curves for the Klipschorn. Putting Together a Sub-Woofer System: A 12-dB-per-octave low-pass filter, a 10-watt amplifier, a 15-inch speaker, and an infinite baffle provide unspecified "earthquake" effects. Electronic Design, Feb. 1, 1975 Program Multichannel Audio Gain: Use of voltage-controlled FET's for keeping tracking errors low without the use of precision matched potentiometers. Includes discussion of other uses of voltage-controlled resistance (e.g., in an expander) and design hints for controlling distortion and dynamic range. (p. 68) Electronic Design, Feb. 15, 1975 Electronic Music Incorporating. IC Technology: A brief review of electronic music consoles and electronic organs. (p. 26) Easy to Build FM Signal Generator: Use of 562 PLL in a 10.7-MHz FM generator for tuner alignment or test. (p. 94) Hi-Fi News and Record Review, Jan. 1975 Equipping an Amateur Hi Fi Workshop, Part I: First part of a series of articles describing the construction of five simple pieces of electronic test equipment, this part being an introduction to the series. The DiscIntroduction and The DiscHistory and Development: A planned three-month study of records by many well known authorities (e.g., Ben Bauer, John Eargle, Duane Cooper). IEEE Transactions on Audio and Electroacoustics, Vol. AU-18, 1970 Transient Distortion in Transistorized Audio Power Amplifiers: One of the earlier references to TIM by M. Otala. (p. 234)

off at 12 dB/octave at each end of its operating range, thus serving as a built-in crossover. Connecting these transformers together with a resistive network results in the constant, low input impedance so dear to today's solid-state amps. Grills have been treated with a conductive compound and grounded to keep electrostatic fields from reaching out into the room to snag unwary dust particles. Although Souther indicated no dust problems have yet been encountered, this failed to alleviate some latent skepticism in those of the audience who have had experience with the KLH-9. Taking a cue from the ESP-9 headphone, Koss uses a self-powering circuit for the polarizing supply, which not only eliminates plug-in-the-wall inconvenience but also cures the annoying fade-away characteristic during soft passages, when little audio charging power is present. When the input to the speaker terminals drops below 1 volt, a (rechargeable) battery is automatically switched into the circuit to maintain the polarizing voltage. This will sustain the voltage for 4 minutes before it is automatically switched off, to allow time for changing records, etc. During times when power is being derived from the audio signal, the battery disconnects and recharges. The Koss Model One should be available for listening in the Boston area within 3 months. It will carry a price tag of $745 each, or, if you prefer unit pricing, $7.45 per pound. If the Model One jeopardizes your bank account (or your back), scaled down three-way and two-way versions are planned for later introduction.John Schlafer

A Publication of the BAS

Son of a Witch-Glitch Switch Dan Shanefield I've been granted more space to give a fuller description of the LAB (Live versus A versus B) test. But before proceeding, I should mention that I'm not an expert in this field, and I don't have the best available equipment to work with. There might be plenty of room for improvement in the test methods described below, and I hope some of the readers will contribute suggestions. My procedure involves the following steps: 1. Using a graphic equalizer, achieve a flat response (frequency versus loudness) for each component being compared (A and B). 2. Then, where the sound within one frequency band is slightly distorted or has poor transient response, decrease its volume until the optimum realism is obtained. By optimum, I mean the best compromise between response flatness and a sort of "mellowness." For example, listen to a cheap speaker in a carefully equalized system. Then try cutting the 7-kHz response by about 4 dB. I'll bet it sounds more realistic. The higher order harmonics, which sound 1,2 particularly unpleasant, might be expected to occur often in the 7-kHz region. (I'm not sure this is the explanation, but cutting this band often does improve the sound.) This effect might occur with good components, too, but just not as much. For the LAB comparison, a live performance (L) in my listening room is tape recorded and then played back through component A, and the live versus recorded sounds are quickly compared. First, the system including A is made very flat (more about that later). Then, if necessary, the graphic equalizer is adjusted to be non-flat until the recording sounds as much like L as possible. After that, the taped performance is played back through B, and is quickly compared to L, with various optimizing adjustments. Then I judge which optimized component, A or B, allows the closest approximation to L. In most cases this is surprisingly reproducible, from person to person and from month to month. The reproducibility arises from the fact that there is something very specific for quick comparison, namely L. 3. The next step is to play a recording of a concert hall performance through A and through B, optimizing further until I hear the best approximation to my memory of the concert hall (C). We could call that the CAB test. The reproducibility is not so good. 4. Finally, each component can be purposely maladjusted from the point of maximum realism to the point of maximum pleasure. This is not necessarily the same as mellowness, for those of us who love breathtaking 40-Hz bass, "presence" at 4 kHz, and sharp attack at 12 kHz. I must admit that I find myself turning up the gain at these frequencies. ("Yuuuch," says the purist. But I'll bet most of you do equally sinful things when nobody else is around! )

Copyright 1975 Daniel Shanefield
Here I find that person-to-person agreement breaks down completely regarding which component is "best." It is very important to recognize this, because it might creep into the tests of those people who don't bother to compare A and B to L. Let's look at some of these steps again. We can dismiss step 4 from further consideration, because it's strictly a matter of personal taste. Working back to step 3, the CAB test, I suggest the following sneaky trick. Tape record a bugle or trumpet in your listening room. Do it twice, with a long pause in between. During the second recording, decrease the volume of the frequency band stretching from 5 kHz to 12 kHz by about 6 dB. Now play back the tape for a friend, at least a month after he or she has heard a live horn performance. Play back the first recording, the flat one, through component A. Conspicuously switch to component B for the second recording, which has secretly been mellowed. Ask your friend, "Which component, A or B, gives the most realistic approximation to your memory of a horn concert?" The answer will usually be, "Of course it's B. The other one was terribly distorted." What I am trying to establish here is that our memories for sounds are not very good. We tend to forget that real violins are scratchy and real horns go "blaaaat." If you're pretty sure your friend won't punch you, follow through with this: repeat the playback, but blow the bugle right after each recording, during the pauses. That'll show 'em whose system is terribly distorted! This implies that the components that some reviewers call "harsh" and "glassy" might really be the accurate ones, and the components that sound good might really be a little bit weak in the treble because of capacitive reactance relationships, etc. I'm suggesting all this as a possible explanation for that basic schism between reviewers. But I can't prove that everybody's memory is poor, or that everybody has an aversion to trumpet treble. It's going to take much more experiment to settle these arguments. Actually, I would love to be able to do some reproducible experiments regarding CAB comparisons, since I usually listen to disc recordings of concerts, and not to tapes of bugles in living rooms. (Note that the LAB test can't directly test discs or phono cartridges.) If we could first do something reproducible with steps 1 and 2, then maybe we would get a good running start on a truer path for future plunges into the darkness of step 3. But I can't rigorously prove that we should ever agree on judgments made about concert hall sounds heard in the living room. (Darkness is darkness is darkness.) It's just a matter of hope. Back to the relatively firm ground of steps 1 and 2. Here it is in more detail. First, you have to set up a pseudo-performer. Place an SPL meter at ear height, where you usually sit in your listening room (see Fig. 1). Using a pink noise record or a pink noise generator, play several frequency bands of pink noise through the system, but use only one speaker, and place it where the live performer will be standing later. (Alternatively, you can play "white" interstation FM noise through a graphic equalizer, one band at a time.) Adjust the volume of the 1000- or 2000-Hz band until the SPL meter reads 80 dB. For the other frequencies, write down the SPL readings for each band, through the range of 40 Hz to 14 kHz or wider. This is the pseudoperformer: a calibrated source. Its overall system response (through the SPL meter) does not have to be flat, as long as it is reproducibly measurable for a few hoursNow set up a stereo tape recorder, with two good mikes. (I use the AKG 202E-1, but of course there are many other good ones.) Place the mikes quite close to the pseudo-performer's speaker (about 2 feet), since mikes seem to have a sort of Fletcher-Munson effect whereby their responses are very sensitive to loudness and distance. Introduce some artificial asymmetry in distance or angle. To minimize microphone-floor interactions, suspend the mikes over heavily stuffed chairs or inside open boxes made of sound absorbing tile (I use Sears 64H 85852 arranged to make a triangular prism). I don't know why a mike should be worse than an ear when it comes to multi-

Fig. 1. Configuration for LAB test path interference with floor reflections, but it seems to be a lot more easily disturbed, 3 especially a cardiod, with its complex little air chambers and vents. Tape record the pseudo-performer's frequency sweep. Now you can dismantle the pseudoperformer. Play back the tape in stereo, through two speakers. I like to mount the speakers where the mikes were. (I think that ought to be the best location, but I'm not sure that it is. ) Monitor the tape playback with the SPL meter. Adjust the graphic equalizer until you get the same readings as you got with the pseudo-performer directly. At this point you have a room-mike-recorder/playback-speaker-room link which is flat. But one potential criticism is that the graphic equalizer's bands are too broad for all the narrow peaks and valleys that are present in the overall response curve. However, this makes surprisingly little difference, as long as the worst groups of peaks are squashed. Theoretically, another potential problem is the fact that while the loudness of room resonances might be compensatable, the transient responses of any resonating system such as the room are almost impossible to damp completely. Amazingly, this also doesn't seem to be an audible problem if you squash those biggest peaks. Because the room enters the system twice, you have to attenuate deeply, and this seems to deaden the bass overhang. In fact, I found that when comparing
to live music, realism is strongly enhanced by adding some Bose-like reflection as in Fig. 1 (dashed line) and also by adding some quad-like sound behind the listener. (Who says phase distortion is bad? From this experiment it actually seems to be good, at least when it is added to an ordinary system.) However, rather than the Bose 901's 8 :1 ratio of reflected to direct sound, I prefer about 1 :2 in this situation. Certainly you already know that not all components can be "flattened." (By the way, I'm assuming that you're not a plug-in freak and that you're willing to match capacitance requirements, etc., to avoid some easily corrected problems. 4 ) Even so, many systems will only give you noise when the 21-Hz or 19,999-Hz responses are boosted. My rules for dealing with this dictate that if component A is unflattenable, like an electrostatic speaker, then component B should be given two chances to compete: (1) flat, and (2) purposely unflattened to match component A's response curve. Try turning a Bose 901 around to face you directly and de-equalize it to match the curve of an electrostatic. Being pretty coherent (with full range cone design and no crossovers), it sounds so much like an electrostatic that you need mighty "fine" (meaning close to 24 carat in the gold trade) ears to tell the difference. And now for the live performance. It is easiest to begin with a piano- Have someone play C 2 loud enough to make the SPL meter read 80 dB, and then start tape recording it. Leave long pauses. Then play back the tape and ask the pianist to play during the pauses, imitating the loudness. Stationing yourself where the SPL meter was, compare L versus A, then L versus B. Which component, A or B, allows the most realistic playback ? This test can be repeated for low and high notes. Semifinalist components get the bugle, violin, and bell, and finalists get the human voice. If necessary, optimize A and B independently for the best realism. Don't be surprised to find that medium-quality components (less than $500 each) can sound very much like live performers in the same room. After all, Harry Olson reported fooling people with L versus A tests using very old technology (1947). 5 He was doing it all out-of-doors, which eliminates most resonances. But Edgar Villchur and others did it in concert halls from 1955 to 1964. 6 And sound reinforcement during concerts fools audiences daily! Suppose you repeat all this, and it ends up being easily reproducible ("true-for-you-too"). Then it remains to be seen whether the over-$ 500 stuff is really better in a rigorous LAB test. There often appears to be a dB-like relationship between quality and price, whereby doubling the price is necessary to produce the minimum audible improvement. Is there a plateau of $500? Julian Hirsch 8 (again) insists that the ESS Model 200 power amp is audibly indistinguishable from much more powerful ones. On the other hand, pages 52 and 54 of Ref. 2 say the same amp is overly "bright" and "edgy." (Such words are rarely used in the shiny mags like Audio , by the way.) If the super-expensive stuff turns out definitely to be more realistic, then we will understand why it ought to win in a CAB test also. But what if it achieves only a draw in the LAB test, and yet it consistently wins in the CAB test? Then there will be something weird going on. Maybe we must do something to change the sound of our listening rooms in order to mimic the memory of the concert hall sounds. For speakers to do thatOK. But for power amplifiers to do that ???

Fig. 2. A-B switch for comparing power amplifiers. (Please note that this is not a W/G switch.) Open circuits at inputs can be prevented with this arrangement. The switches are conveniently obtainable in shielded, silent form by using a Russound TMS-1W or Sony SB-300 tape monitor dubbing box. (The latter is available through Lafayette Radio.) The built-in resistors are each 3.3K, but I suggest bypassing one of them. The lower drawing shows the front panel of a TMS-1 switch box with slide switches in positions correlating to those in the schematic. Not that neither "input 2" nor "output 2" switches are moved. "Input 1" and "input 3" connect and disconnect amp outputs from speakers; "output 1" and "output 3" Connect and disconnect input-load resistors to amps under test.
Fig. 3. A-B switch for comparing preamps. The grounded resistor at "input 1" is not disconnected, as it acts as an input load resistor for the power amp. "Output 2" and "output 3" switches need not be moved during A-B comparison.
Fig. 4. Alternative switching arrangement
A Case for the 814 Alan Southwick A lot of enthusiasm has recently been generated about a small electret condenser microphone made by Thermo Electron Corporation of Waltham, Massachusetts (see "A Quasi-Complementary Discussion of Microphones," by Peter Mitchell in the February 1975 BAS Speaker). Originally designed for an ultrasonic alarm system, this capsule, according to recent studies by the designer, Dr. Freeman Fraim, has a flat frequency response to 30 kHz for random directional incidence angles between 60 and 90 degrees off-axis. Also, the capsule has withstood the rigors of military environmental testing and is impervious to a reasonably wide range of temperature and humidity conditions. What this all adds up to is that for about $45, including capsule, you can have a first-class omnidirectional microphone in a rugged case wired for simplex powering from your microphone preamp. The first step is to decide which capsule to choose for the particular usage you have in mind. The 814 is capable of handling about 120 dB SPL at 3% THD. So if all you plan to record is dualmicrophone, true stereo at 20-plus feet from the nearest instrument, you can chop $5 off the previous figure (quoted for the 814C). If, however, you might be using the mike to "spot" an instrument or performer, spend the extra amount for the 814C, which can withstand rock levels or a jet engine at 145 dB SPL for 3% THD, allowing preservation of fleeting musical peak information. The microphone requires some dc drive voltage for the FET impedance converter. This can be a 9-volt transistor radio battery mounted near the capsule, or if you're already equipped with a few feet of two-conductor shielded microphone cable with Canon XLR type connectors, simply add compatible simplex powering to your microphone preamplifier system. Simplex (or "phantom") powering is a very simple technique for getting supply voltages to transistorized condenser microphones without resorting to multiconductor cable. A schematic diagram of the system powering technique is shown in Fig 1. With a balanced microphone line, the actual signal is floating above ground and the input is quite similar to a differential input with

Fig. 4. Machining modifications to jack end of Switchcraft S3FM Solder the plugs to the assembly as shown in Fig. 3, making sure you get the right connections to the right pins (see the 814 data sheet and Fig. 2) and slide the S3FM paper insulator over the whole assembly. Keep the leads very short. Now check the fit by sliding the assembly gently into the S3FM sleeve from the Canon plug end. If all goes well, the fabricated capsule plug should be flush with the top of the inside shoulder collet of the S3FM sleeve. If it isn't, trim the leads at the Canon plug and resolder until it is just flush.
At this stage, plug the capsule into the sleeved assembly and try the mike out to make sure everything works. The large capacitors may short to the Canon plug. Should raspy noises occur along with audio, the phono lugs are probably not making good contact with the capsule pins. You may be able to adequately crimp the phono lugs using a jeweler's screwdriverif not, unplug the capsule, unsolder the fabricated plug, and make a new one. If the mike works, unplug the capsule, use a little 5-minute epoxy around the machined end of the sleeve, reinsert the capsule, and let the epoxy glue set. Thanks to engineer Alan Woodard of Thermo Electron, I was fortunate enough to run some tests on the capsules, cased microphone, and a comparison professional omni mike (see Fig. 5). The anechoic chambers utilized in the tests are limited to a low frequency of 200 Hz, but the case dimensions will have little or no effect on the low-end response. The top end rises as predicted on-axis and some chamber peaks and dips are noticeable above 15 kHz. The mid-frequency rise of the Sony C-37 is attributable to the interaction of the relatively large case of this particular mike and the disruption of the sound field caused in the small anechoic chamber. When using the 814 for general pickup, try placing it so the capsule is between 60 and 90 degrees off-axis from the sound source, aimed upward for the smoothest top end. On-axis placement will effectively create a much brighter sound including pickup of increased sibilants and rustling noises. Some placement experimentation will help in selecting the most suitable pickup for the particular results desired. Although some problems were encountered in fabrication of the initial assemblies, if done carefully, microphone assembly should take a couple of evening's effort at most once the sleeve is machined. Incidentally, the AKG-C451E windscreen, W-3, is a good fit for this 814 mike and adds extra protection to the capsule from dust and debris, albeit at an additional $6.
Fig. 5. Mike frequency response

Saturday & Sunday July 18-19, 2009
onnoisseurs C Marketplace

Connoisseurs Marketplace

Official program guide
Santa Cruz Avenue, Menlo Park
Presented by the Menlo Park Chamber of Commerce

LINDENWOOD

D S SOL OFFER LE IP ULT S EEK 2 W FERS F D IN SOL IPLE O ULT M

V I N TA G E O A K S

62 De Bell Drive, aTHERTON

OFFERED

140 hanna. menlo park

$3,198,000

$2,470,000

SHARON HEIGHTS

25 sharon court, menlo park

$1,298,000

R E D W O O D C I T Y- AT H E R T O N B O R D E R

CO G MIN SOO N

Despite the continuing challenges the markets present I have a proven commitment to excellence and Truly Remarkable Service. My dedication to integrity, tenacity and my personable style have been successful in meeting my clients individual goals. Specializing in residential sales in Atherton, Menlo Park, Palo Alto, Portola Valley, Redwood City and Woodside.
Nathalie de Saint Andrieu
west oakwood, redwood city

$729,000

(650) 804-9696 Nathalie.SA@camoves.com
Top 1% Coldwell Banker Internaionally
which enables me to provide my clients with a broad range of unique opportunities. Experience the difference, expertise, determination, care and trust can make in your next move.
W W W. N AT H A L I E S A. C O M
built many long term relationships in the real estate industry
right choice for you. My philosophy of quality service has
When buying or selling real estate count on me to be the
2007 Coldwell Banker Real Estate LLC. Coldwell Banker is a registered trademark licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company. Equal Housing Opportunity. Owned and Operated by NRT LLC.
2 Connoisseurs Marketplace 2OO9
YOUR ADVOCATE IN EVERY REAL ESTATE TRANSACTION
Berkeley Avenue Menlo Park Bay Laurel Menlo Park Barry Lane Atherton Woodside Drive Woodside Arbor Road Menlo Park Acacia Drive Burlingame Avy Avenue Menlo Park Woodhill Drive Redwood City E.Floresta Portola Valley Dean Road Woodside Manzanita Way Woodside The Hamilton Palo Alto Brookside Drive Portola Valley Mountain Home Road Woodside Olive Hill Lane Woodside White Oak Lane Menlo Park Gammell Brown Place Santa Clara College Avenue Palo Alto San Mateo Drive Menlo Park Windsor Drive Menlo Park Euclid Avenue Atherton Bay Laurel Drive Menlo Park Lakemead Way Redwood City Cordillaris Road Redwood City Laning Drive Woodside Beach Park Blvd Foster City El Camino Real Atherton Williams Street Palo Alto Annette Lane Los Altos Forest Avenue Palo Alto Oak Grove Menlo Park Santa Cruz Avenue Menlo Park Dry Creek Lane Woodside Chicory Lane San Carlos Portola Green Circle Portola Valley Waverley Street Menlo Park Ben Roe Drive Los Altos Vaquero Court Saratoga Afton Lane Saratoga Violet Lane San Carlos Talia Avenue Santa Clara Quetta Avenue Sunnyvale Politzer Drive Menlo Park Garbarda Way Ladera Olive Street Menlo Park Menalto Menlo Park Mora Drive Los Altos Bowe Avenue Santa Clara Roble Avenue Menlo Park Menlo Place Menlo Park Fremont Street Menlo Park Arbor Road Menlo Park Barry Lane Atherton Woodside Drive Woodside Acacia Drive Burlingame Avy Avenue Menlo Park Woodhill Drive Redwood City E.Floresta Portola Valley Dean Road Woodside Manzanita Way Woodside Brookside Drive Portola Valley Mountain Home Road Woodside Olive Hill Lane Woodside Gammell Brown Place Santa Clara College Avenue Palo Alto San Mateo Drive Menlo Park Windsor Drive Menlo Park Euclid Avenue Atherton Bay Laurel Drive Menlo Park Lakemead Way Redwood City Cordillaris Road Redwood City Laning Drive Woodside Beach Park Blvd Foster City El Camino Real Atherton Williams Street Palo Alto Annette Lane Los Altos Forest Avenue Palo Alto Oak Grove Menlo Park Santa Cruz Avenue Menlo Park Dry Creek Lane Woodside Chicory Lane San Carlos Portola Green Circle Portola Valley Waverley Street Menlo Park Ben Roe Drive Los Altos Vaquero Court Saratoga Afton Lane Saratoga Violet Lane San Carlos Talia Avenue Santa Clara Quetta Avenue Sunnyvale Politzer Drive Menlo ParkGarbarda Way Ladera Olive Street Menlo Park Menalto Menlo Park Mora Drive Los Altos Bowe Avenue Santa Clara Roble Avenue Menlo Park Menlo Place Menlo Park Fremont Street Menlo Park Arbor Road Menlo Park Barry Lane Atherton Woodside Drive Woodside Acacia Drive Burlingame Avy Avenue Menlo Park Woodhill Drive Redwood City E.Floresta Portola Valley Dean Road Woodside Manzanita Way WoodsideBrookside Drive Portola Valley Mountain Home Road Woodside Olive Hill Lane Woodside Gammell Brown Place Santa Clara College Avenue Palo Alto San Mateo Drive Menlo Park Windsor Drive Menlo Park Euclid Drive Woodside Beach Park Blvd Foster City El Camino Real Atherton Williams Street Palo Alto Annette Lane Los Altos Avenue Atherton in Woodside, Portola Valley, Menlo Park, Atherton,Cordillaris Road Redwood City Alto Specializing Bay Laurel Drive Menlo Park Lakemead Way Redwood City Redwood City and Palo Laning

American Laser Centers, Menlo Medical Clinic, Cobalt Power Systems, University Chiropractic, San Mateo Countys H2Ice HydrogenPowered Bus, and Icelandic Glacial Natural Spring Water. Festival-goers can sample and purchase artisan-produced edibles in Connoisseurs Corner, located on Santa Cruz Avenue next to Fremont Park. For home-improvement ideas, check out product displays and chat with representatives from Heavenly Greens, Armstrong Painting, Clear View Screens, Southwest Greens, Cutco Cutlery, Danmer Custom Shutters, Gutter Helmet, Peninsula Window Fashions Gallery, BathFitter and Craftsmens Guild. Festival eateries will be serving up a world of flavorful fare, from Philly cheese steaks to spitroasted gyros, spanakopita, chicken and sausage jambalaya, and spicy crawfish toufe. Try barbecued oysters or Salvadoran pupusas for an international dining experience. Complementing the food will be a selection of wines, margaritas, and micro-brewed beers. Live music comes to Menlo Park with nine
bands playing Latin rock, Motown classics, indie folk, blues, Celtic harp, classic rock n roll, R&B, swing, and Italian mandolin ballads on stage and street. The free Saturday evening headliner concert features Livewire, one a top dance cover band performing hits from the 70s and 80s to the present. It takes place 5-7 p.m. in Fremont Park. The Menlo Park Police and Fire Departments will be setting up community-safety exhibits at the festival. The Police Department tent will offer computer fingerprinting for kids. The Menlo Park Fire Department will set up its emergencypreparedness trailer. Learn about the history of earthquakes and experience a quake the trailer will shake just like the real thing. Both exhibits will be on Chestnut Street.
Sam Adams Summer Ale, Boston Lager, Blue Moon Belgian White Ale, Coors Light California State Automobile Association, El Dorado Ranch, AT&T Yellow Pages, The Margarita King, The San Jose Mercury News, CBS 5 TV, The CW, Channel 44, Comcast, Alice 97.3 FM, KBAY 94.5 FM, KEZR 106.5 FM, KFOX 98.5 FM, Channel 104.9 FM, The Almanac, Palo Alto Weekly, Wave Magazine, Allied Waste Services, The City of Menlo Park, Tyco Electronics, Friends of the Chamber.
Street closures/vehicle parking/ bicycle parking
Santa Cruz Avenue will be closed to vehicular traffic from El Camino Real to Johnson Street for the two-day festival. Parking will be available in the parking plazas adjacent to Santa Cruz Avenue, on side streets surrounding the festival area, and at the Caltrain station on Merrill Street. Bicycle parking racks are available at several locations on Santa Cruz Avenue.
Festival dates/hours/location/ Info-line/Web
The festival takes place July 18-19 from 10 a.m. to 6 p.m. on Santa Cruz Avenue from El Camino Real to Johnson Street in Menlo Park. Admission is free. For festival information, call the Menlo Park Chamber of Commerce at 650-325-2818 or visit www.miramarevents.com. A

Sponsors

Additional sponsors include Lucile Packard Childrens Hospital, Wells Fargo, Provident Credit Union, Laser Eye Center, Maita Distributing
The Menlo Park Chamber of Commerce would like to express its sincere thanks to the hundreds of volunteers who have given so generously of their time and service, and to the following sponsors whose participation has helped make the festival possible.

www.menloparkchamber.com

4 Connoisseurs Marketplace 2OO9
Wells Fargo, Cascadian Farms, Larabar, Menlo Medical Clinic, Provident Credit Union, Lucile Packard Children's Hospital, Cobalt Power Systems, University Chiropractic, Laser Eye Center of Silicon Valley, Armstrong Painting, San Mateo County H2Ice Hydrogen-Powered Bus, Clear View Screens, Heavenly Greens, Maita Distributing, Sam Adams Summer Ale, Sam Adams Boston Lager, Blue Moon Belgian White, Coors Light, Capay Organics, Cutco Cutlery, California State Automobile Association, Danmer Custom Shutters, Gutter Helmet, Peninsula Window Fashions Gallery, BathFitter, Shell Vacations Club, El Dorado Ranch, AT&T Yellow Pages, American Laser Centers, Margarita King, Icelandic Glacial Natural Spring Water, The San Jose Mercury News, CBS 5 TV, The CW, Channel 44, Comcast, Alice 97.3 FM, KBAY 94.5 FM, KEZR 106.5 FM, KFOX 98.5 FM, Channel 104.9 FM, The Almanac, Palo Alto Weekly, Wave Magazine, Allied Waste Services, The City of Menlo Park, Tyco Electronics, Friends of the Chamber.
PROGRAM THANK YOU AD 10 X 6.375
Fine art, one-of-a-kind crafts

Margot Lockwood

OPEN SUNDAY Offered at $1,499,000

presents

Red uce d
1100 Hillview, Menlo Park
rom glass vessels, to wearable art, clothing and jewelry to slate fountains and hand-carved wooden furniture, there is something for every aspect of home, garden and self-decoration at Connoisseurs Marketplace: Metal sculptures, hand-painted tiles, vibrant paintings, one-of-a-kind jewelry, recycled metal work, unique embroidery wall hangings, chic wearables, handmade quilts, hand-thrown ceramic pieces and photography.
Yan Inlows hand-embroidered artwork combines a sense of Japanese style with Chinese embroidery technique. Shirley Robles whimsical ceramic sculptures include frogs, cats, rabbits, suns, moons and faces.

Functional art

Beautiful, heirloom-quality dolls or puppets from Beth Karpas can change into something else, such as Little Bo Peep changing into her sheep. Julia Maes high-quality, hand-crafted wood products bring country charm to the kitchen. Steven Andersen uses clear Western red cedar to create Adirondack chairs, glider benches, tables, chairs, planter boxes, trellises. Hand-carved porcelain vases by Fox and Lois Garney are intricately carved in designs inspired by nature. Catherine Reece decorates her cups, bowls and vases with butterflies, birds, leaves and dragonflies. Possible lease option on this terrific buy. Combo lv/dr w/ built in entertainment center, fireplace and fr drs/windows open to patio and lush private yard. Kitchen w/granite, bay window. Bedroom wing offers 3 BD, 2 BA. 2 car attached garage on 10,800 sq ft lot in central Menlo Park.

Wearable art

Jeweler Marion Hunziker-Larsen combines fiber techniques like micro macram knotting, with semi-precious gemstones, fossils and crystals. Barbara Ramos creates earrings, brooches and necklaces using a combination of fabric painting, collage and other techniques. Diane Wats fun and colorful hand-painted T-shirts capture the personalities of dogs, cats and other animals. Jeannie Haydon creates detailed and textured geometric jewelry.
1099 Haven Ave, Redwood City

Offered at $499,000

Fine art
Michael Leus colorful collection of paintings, lithographs, posters and cards showcase color, from abstracts to cats. For John Gavrilis, the 4x5 view camera is his brush, photographing in large-print style the Grand Canyon and earths natural beauty. Tomas Mayberrys travel images capture everything from elaborately painted doorways of Mexico to the Greek islands Tom Marlatt uses vibrant color and composition in non-object abstract oil paintings. A This wonderful home with lovely roses, landscape and stone patio offers 6+ BD, 2 BA. 2/1 in main house, 4/1 in garage addition and a cottage with full bath. Kitchen has a bay window at dining area. Artistic rod iron fencing frames the parking area with a secrity gate. Short sale must be approved by bank.
Sculpture and mixed media
Justine Tot Tatarskys painted tiles reflect a montage of styles, from cubism to surrealism to folk art. Artist Ilona Hindt from Los Altos creates tiny, whimsical sculptures out of raw unspun wool in a process known as needle felting. Hindts sculptures, from puppies to mermaids, range from 1 1/2 inches to nine inches tall.
365 Coronado, Half Moon Bay

Offered at $989,000

Organic and gourmet artisan food at Connoisseurs Corner
oodies can sample and purchase artisanproduced edibles in Connoisseurs Corner, located on Santa Cruz Avenue next to Fremont Park. Purveyors in Connoisseurs Corner include: Tres Classique: Thirty different infused balsamic vinegars and oils Singing Pig Food Company: wine garlic mustard, pumpkin pie butter, apple pie butter, cherry pie butter, dip mixes, salsas, berry butter Chapparal Gardens: artisan vinegars from they home-grown organic fruits and vegetables on their farm Primos Gourmet Foods: family recipe dips, spices, sauces, garlic mushrooms, stuffed olives,

MISCELLANEOUS

BUTTERFLY GALLERY EARTHSTONES LA LUNA DESIGNS SARENA MANN STUDIOS 569 568/570 652/654 410
PAM BLISS CARDS PROEHL STUDIOS SARKA-TRAGER PHOTOGRAPH TIMELESS IMAGES WORLD PHOTOGRAPHY
631 450/452 427/429 137/138 571/573

CERAMICS

ANNE KLOCKO DESIGNS ART ON TILE BY TOT CISCO COLLECTION CLAY WORKS FOXLO POTTERY HANG UPS UNLIMITED ITSUKO CERAMICS JOHNNYS CERAMICS KLINSKY MC CRACKEN CERAMICS NATURAL FIRE STONEFISH (TROUT) POTTERY VILLAGE CLAYWORKS WILD EARTH SCULPTURE

MIXED MEDIA JEWELRY

511 431/616/643/DE LA NUEZ STUDIOS DOLLY CAHILL JOHNSON FORTUNES GALLERY GOLDENBERG DESIGNS IMAGERY IMAGES KALEIDOSCOPES KAREN HALE MIXED MEDIA PAINTINGS KRISTA SHELDON PAPER AND STONE POSILLICO SURACHAI PROMSUNTISIT, SURACHAI THE KESSINGER COLLECTION WILDE ORIGINALS 426/428 512/575 315/302/554/308/310

PRINTMAKING/GRAPHICS

GABRIELE SCHWIBACH GALLERY LEU LIZ LYONS FRIEDMAN RED WOLF STUDIO TERRY STEINKE 540 635/637 301/524

SCULPTURE

BLACK OAK STUDIOS BRUCE STAMP WOOD SCULPTURE GLASHOFF SCULPTURE JEFF OWEN ARTWORKS SHIRLEY ROBLES CERAMIC SCULPTURES 322/582 561/563 551

COLLAGE

CURTNER, RICHARD

PAINTING

A. STONE ORIGINALS CELEBRATION IN ART D.F.A. STUDIOS DELIA BRADFORD FINE ARTS E J D DESIGNS JOHN MUIR REID STUDIOS JOT ART STUDIO JUTTA MAYRL KAREN WRIGHT WATERCOLORS LAURENKENJI ART DESIGN LYNN JAYE FINE ART MARLATT STUDIOS MASTERSON, LENORE MICHAEL ANTHONYS FINEART MINDY GOLDMAN STUDIOS ORAS ART PETER ELLER, CUSTOM ARTWORKS SHARON MEDLER STUDIO AKHYANA 523/531 323/325 405/421/576/578 537/539 441/128 418/346/348 109
SPECIALTY FOOD/ CONNOISSEURS CORNER
CHAPARRAL GARDENS DESPERATELY SEEKING CHOCOLATE GOURMET TEMPTATIONS J & J PRIMOS GOURMET FOODS SIERRA MADRE PROVISION CO. SINGING PIG FOOD CO. SPICE HOUND TRES CLASSIQUE 127 125

DRAWING/PASTEL

ATTAINING CREATIVITY
BATIK BY AMIT CREATIVE ENDEAVORS CRUISE HATS/MANNING ENTERPRISES DA-LIS OF CALIFORNIA DEES DESIGNS DIANE WAT DESIGN ILONASART INKY BINKY BONKY INLOW, YANYANS DESIGN JANE MOHR DESIGNS JAX HATZ JEWELRY TOTES, ETC JOHN A. CONROY/THREE D L NOEL HOWES L. ONEILL DESIGN LIZZIEBETH DESIGNS ORGANIC ATTIRE PAINT MISBEHAVIN PALA PALA PATTY & COMPANY THE URGE TO ADORN TOTE BELLA VIA RIPATTI DESIGNS WAKA ZEN MODERN DESIGN

NANS GOURMET FOODS/BISTRO BLENDS 115
BUTTONS UP FIDDL WIDDIT JOE & JOY KICK KENNEDY DESIGNS LEARN AND PLAY REALMS OF GOLD, INC. THE WOODSMAN 579

KIDS ACCESSORIES

ONE OF A KIND TIE-DYED CLOTHING 603/605

PERSONAL CARE

BODY SCENTSATIONS PK SONOMA WONDER OIL EMU OIL PRODUCTS 339
ALLEN WOODWORKING HANDCRAFTED HARDWOODS HARDWOOD CREATIONS HUDSON RIVER INLAY JULIA MAE ENTERPRISES 655 630/118/419 623

LEATHER

EUGENE LEATHER WORKS 435 627/629 517/519

PHOTOGRAPHY

BILL KWOK TCHUI CATHERINE ARCHULETA DENNIS BARLOGA PHOTOGRAPHY DENNIS KOHN STUDIOS 312 553/555 613/615 520/522 406/408 504/562/564 438
SCHOLFIELD VALLEY WOOD SPRING GARDEN CEDAR T & T CREATIONS TAKOTA THE VINTAGE REDWOOD CO. THE WOODKINS WILLIAM GRAY DESIGNS WINE BARREL WORKS

447/449

ENSIGN EDITIONS FONAROW PHOTOGRPHY FRED MERTZ PHOTOGRAPHY HEEMSTRA PHOTOGRAPHY MILLE FEUILLE PHOTOGRAPHY
A. CAIN WARM GLASS CARUSO & FOSCHI DESIGNS BLEADON, AARON ZAJDA GLASS STUDIO 602/604
6 Connoisseurs Marketplace 2OO9

Festival Map

Oak Grove Avenue University Drive Crane St. Chestnut St. Oak Grove Avenue TO ATHERTON Maloney Lane
Kids Fun Zone Santa Cruz Avenue

TO 280

102-120 126-138 101-119 125-137 302-326 301-325 F-12 334-350 402-410 412-446 401-409 448-456 447-455 F14 F17 502-526 532-540 531-539 552-582 551-579 612-618

Walkway

El Camino Real

Food Area

602-610 626-644 652-656 651-655 601-645

F6-F11

Organic Alley
337-343 The Almanac 415-443
Chamber Info Booth Lost & Found

F15-16 507-525 F18 F19

Artist Info

Fremont Park

Police/Fire & First Aid

Johnson Alley

TO PALO ALTO

University Dr.

Chestnut St.

Evelyn St.

Crane St.

Music Stage

Menlo Avenue

Doyle St.

Curtis St.

Seating Area

Beverages

Parking

Bike Parking

Restrooms

Food Vendors
AROMA CATERING MAIN STREET FOOD CONCESSIONS
Fried calamari, garlic fries, BBQ oysters, corncakes, Portobello mushroom sandwich, tri tip sandwich, smoked turkey leg & Snapple Gyros, Philly cheesesteaks, falafel, spanakopita Hand-shaken lemonade

B FOOD INTERNATIONAL

Pupusas, fish & chips, garlic fries, fish tacos, Greek gyros, Caesar salad

MENLO PARK LIONS CLUB

Hot dogs, Polish dogs

NEW ORLEANS CATERING

BARRETTS LEMONADE CALIFORNIA GOURMET

F6, F17

Chicken & sausage jambalaya, seafood gumbo, crawfish touffe, blackened shrimp, red beans & rice, Cajun fried shrimp w/fries

SONOMA TERIYAKI

Super chicken & pork kebobs, chicken teriyaki rice bowl, chicken teriyaki sandwich

EAR-GOOD CORN ROAST

F5 F16 Kettle Korn F11 F12 F10
Chicken on a stick, chow mein, rice

SUITCASE RONS KETTLECORN

F13 F19
Roasted corn, baked potatoes, baked yams

KAUAI ABREU OHANA

Kahlua Pork, Hawaiian Teriyaki Beef, Hawaiian-style chicken plate, sandwiches

KURLANDER SOFT SERVE

SWEET DELIGHTS

Frozen yogurt

LOCKEFORD MEAT & SAUSAGE
Gourmet funnel cakes, Belgian fries, hand-dipped corn dog, burgers (veggie, turkey, salmon), deep-fried zucchini, artichokes and fruit flambe
THE TAMALE FACTORY Tacos (beef, chicken asada), tamales (pork, chicken) with rice & beans

Sausage on a roll

2OO9 Connoisseurs Marketplace 7

A musical feast

ine bands take center stage at Connoisseurs Marketplace on Santa Cruz Avenue to deliver favorite sounds all weekend long. Latin rock, Motown classics, indie folk, sultry blues, Celtic harp, classic rock n roll, R&B, swing, and romantic Italian mandolin ballads offer something for all musical tastes. This year Livewire takes over the stage at the free Saturday Evening Headliner Concert, July 18, from 5 to 7 p.m. in Fremont Park. This high-energy, six-piece dance cover band brings a tight set, excellent music selection and showmanship to get everyone onto the dance floor. Showcasing an eclectic mix of the best songs from the 70s and 80s through current rock and dance hits, the band covers a wide range of music, from Journey and The Jackson 5 to Rihanna and The Black Eyed Peas. The Cool Jerks deliver top-shelf Motown, R&B, soul, and swing. Known for energetic vocals, funky dance moves and a cool rhythm and horn section, this dynamic, nine-member band plays a wide range of songs and styles ranging from James Brown, to Kool and the Gang and Elton John. The Cool Jerks bring it home at afootstompin, bootie-shakin, Motown-lovin finale on Sunday. D Fuze brings a funky, Latin flavor to its variety of R&B, hip hop, classic rock, reggae and Latin tunes. Drummer/vocalist Joey Jam lays down the beat, accompanied by Scott Clay on bass and Ken Harril on guitar.
entertainment schedule Fremont Park stage Saturday, July 18 11:30 a.m.-2 p.m. Blue House 2:30-4:30 p.m. D Fuze 5-7 p.m. Livewire Sunday, July 19 11:30 a.m.-1 p.m. Alien Cowboys 1:30-3:30 p.m. Chubbys All-Stars 4-6 p.m. The Cool Jerks Street locations (All day/both days) Aryeh Frankfurter (Crane Street) Dreamroad (Evelyn Street) Heartstrings Music (Maloney Lane)
Folk rock duo Marlies de Veer and Amy Beasley of Blue House
The lovely and talented Francisca Bravo fronts the band, bringing fresh vocals, rap and style to the table. Folk rock duo Marlies de Veer and Amy Beasley of Blue House showcase original tunes as well as favorites from artists like Patsy Cline and No Doubt. The two musician/songwriters have been playing together since high school. Influenced by all shades of instrumental rock, from 50s rocker Duane Eddy to the modern hard rock of Joe Satriani, Alien Cowboys rock the house. The bands rhythm-guitar ace Bruce Stevenson describes their music as Jeff Beck does The Beatles, with a wailing electric guitar taking on the role as lead vocalist. Chubbys All-Stars turns on the classic rock. Comprised of a bunch of old hippies, accord-

ing to band founder Roger Chubby Henson, the band plays original tunes as well as covers of some of the greatest musicians of the 1960s music scene, including Bob Dylan, the Rolling Stones, Traffic, The Grateful Dead, and many more. Street musicians will return to the festival, with veteran harpist Aryeh Frankfurters performing classic Celtic folk songs. The jazzical style of Dreamroad, a lyrical combination of soft jazz and classical music played on flute, keyboard and hammered dulcimer will add to the musical mix. A musical journey to Italy with Heartstrings Music features romantic, easy-listening, Italian melodies with Al Fabrizio on mandolin and Hugo Wainzinger on guitar. A
D Fuze brings a funky, Latin flavor to its variety of R&B, hip hop, classic rock, reggae and Latin tunes.
Menlo Park The Willows Neighborhood

255 Robin Way

OPEN Sun 1:30-4:30

339 Lexington Drive

124 Blackburn
pacious and updated 4 bedroom 2 bath home ideally located on a tree lined street in the heart of the Willows neighborhood. First oor features include a spacious kitchen with granite counter tops, stainless steel appliances, marble replace and hardwood oors.The vaulted ceilings, large windows and oversize master bedroom suite provide a peaceful feeling to the second oor while overlooking the private backyard and hot tub. This is a truly lovely home and community.
ocated on one of the most desirable streets in Willows neighborhood, this is an excellent opportunity to own a home in one of Menlo Parks most sought after locations. Some of the great features of this 3 bedroom, 2 bath home include a spacious living room with vaulted ceilings, wood burning replace, formal dining area and granite counter tops. Menlo Park schools and the great community the Willows is known for.
lassic Willows charm and mature landscaping introduces this nicely updated 3 bedroom, 2 bath home with excellent access to downtown Palo Alto. With outstanding features such as an updated kitchen, granite counters, stainless steel appliances, spacious bedrooms, recessed lighting and a very private backyard, this home provides the perfect setting to unwind after a long day.

Offered at $1,299,000

Pending $899,000

Offered at $1,395,000

Barbara Ellis & Mark Ankenman
bellis@cbnorcal.com | 650-245-0108 | mark.ankenman@cbnorcal.com
Visit the Willows NeighborhoodGreat community, Close to Downtown PA
8 Connoisseurs Marketplace 2OO9

A blast for kids

he Kids Fun Zone at Connoisseurs Marketplace is the hang out for kids. The amusements for youngsters of all ages will include everything from a virtual-reality motion theater and a 24-foot climbing wall to temporary tattoos and choo-choo train rides. Here are some highlights:
Henna artist Satvir will paint tattoos. Mobile Rocks 24-foot climbing wall, color
coded to assist climbers. Y3k Simulators computerized thrill ride combines wind, sound and wild motion synchronized to a large movie screen. Friendly Felipes sand sculptures, where kids scoop different colored sand into plastic, animal-
Kids Fun Zone for youngsters of all ages.
shaped bottles. Make wax-hand art in colorful hues, plus wands and crowns. KC Kidz Events trackless choo-choo; plus get a free train whistle. Classic Amusements The Froghopper, 25-foot-high bounce-drop; helicopter rides; Dr. Seuss-inspired Cat-In-The Hat bounce house, Tsunami Tidal Wave slide and Jurassic Adventure T-Rex Dinosaur obstacle course.
About the Menlo Park Chamber of Commerce
The purpose of the Menlo Park Chamber of Commerce is to create an atmosphere in which business prospers and the community thrives. We help our members connect with others to increase contacts, leads, and sales through mixers and monthly meetings. Our partnership with SCORE gives business people the tools to help a business grow and succeed. Through The Acorn monthly newsletter, the Chamber provides flyer insertion or display advertising. We sponsor the Connoisseurs Marketplace Art and Wine Festival, which highlights the best of Menlo Park and attracts people from all over the Bay Area. The Chamber believes education is an important business tool. Each year a Menlo-Atherton senior is selected to receive the Jerry Jacobs Scholarship, which aids the student with the growing cost of higher education. An ongoing goal is to consistently increase membership so for a strong and unified business voice in the community. Other goals include: finding creative solutions to parking and traffic challenges; partnering with the city to construct and implement an economicdevelopment program; and start early with local schools by fostering a business mentoring program where the next workforce generation can be encouraged and inspired. The Chamber is always looking for new ways to assist members. Todays Web technology is making it easier to communicate with members, coordinate meetings and refer customer traffic to member businesses.

style smoked bratwurst, a garlic-scented porkbeef blend served with onions and sauerkraut on a hoagie. * The Menlo Park Lions Club offers all-beef hot dogs or smoked pork Polish dogs. * Sweet Delights sells hand-dipped corn dogs, and turkey or salmon burgers. For vegetarians, there are Portobello mushroom veggie burgers, deep-fried zucchini and artichoke hearts. Try Belgian fries twice cooked for extra crispiness and served with garlic, jalapeo, cilantro and Parmesan cheese sauce. For sweet-tooths, there are funnel cakes to order, topped with fresh fruit, ice cream and whipped cream. * The Tamale Factory, a new vendor at the festival, showcases classic Mexican fare with subtly spiced pork and chicken tamales and beef or chicken asada tacos with rice and beans. * Main Street Food Concessions makes handmade Salvadoran pupusas, fish tacos, Greek gyros, Caesar salad and garlic fries. * Sonoma Teriyaki cooks up grilled chicken marinated in garlic, ginger and soy sauce; steamed rice with vegetables, vegetarian fried rice, chow mein, or steamed rice with teriyaki vegetables. * Ear-Good Corn cooks up just-roasted corn or piping hot baked potatoes or yams. * Suitcase Rons Kettlecorn offers fresh-popped popcorn. * Barretts has hand-shaken lemonade. * Kurlander Soft Serve offers classics such as chocolate and strawberry and more fanciful pia colada, creamsicle and blue goo. * The Margarita King offers margaritas in many variations. * Beer lovers can try an assortment of brews: Sam Adams Summer Ale, Sam Adams Boston Lager, Blue Moon Belgian White and Coors Light. A
850 CARMEL AVE., LOS ALTOS
Unique, charming 4BR, 3 1/2 BA, 2,822 sf (per county assessor) Tudor style home in desirable North Los Altos. 8 years new. Move right in!

Offered at $1,825,000

3BR/2.5BA Golf Course unit.

LIST PRICE $1,075,000

2061 ASHTON AVE., MENLO PARK
Immaculate 4 BR, 2 BA beautifully remodeled home in the Las Lomitas school district. Convenient to shops and commuting. Move right in!

Offered at $1,240,000

New Listing
3BR/2.5BA Plus Family Room

HOLLY AVE., MENLO PARK

EXCLUSIVE LISTING NOT ON MLS

PENDING SALE

Spacious, lovingly maintained 4 BR, 4 BA home with great bones on gorgeous, private approx. 1/4 acre lot in best location of Central Menlo Park. Move right in or design to create your dream home!
Ready for your cosmetic upgrades.

Offered at $2,055,000

Broker Associate, SRES www.deannatarr.com dtarr@cbnorcal.com

Deanna Tarr

415.999.1232
Cell: 650.464.3581 / ssavides@cashin.com www.StephanieSavides.com
Stephanie Savides Broker Associate/ J.D.
B.A. Stanford University (All-American Tennis Player) Practiced 10 years as Attorney, specializing in Real Estate Oak Knoll Elementary / Hillview Middle School parent Longtime West Menlo Park Homeowner & Lifelong Mid-Peninsula resident
10 Connoisseurs Marketplace 2OO9

New ! price

The Best Pizza West of New York
Ralph Barbieri (KNBR 680)
3388 Saint Michael Dr., Palo Alto

3 bd/2 ba

(with minimum order)

FREE DELIVERY

New Location:
880 SANTA CRUZ AVE, MENLO PARK 650-329-8888
also at: 790 Castro Street, Mountain View 650-961-6666 WWW.AMICIS.COM

Livtewn! o

707 Bryant St., #207 Palo Alto

2+ bd/2 ba

Offered at $895,000

The Art of Being a Woman

Exquisite Lingerie, Sleepwear, and Hosiery from the Finest European Designers Beautifully Fitted

JUST LISTED

255 S. Rengstorff Ave., #43, Mountain View 2 bd/1 ba Offered at $319,000
SOLD AND/OR PENDING SALES
16345 Sanborn Road, Saratoga 710 Seminole Way, Palo Alto 698 Wildwood Lane, Palo Alto 2731 Ross Road, Palo Alto 181 Del Medio Ave., #108, Mountain View 955 Cambridge Ave., Sunnyvale 255 S. Rengstorff Ave., #17, Mountain View 3067 Stelling Dr., Palo Alto 3915 Louis Road, Palo Alto 2251 Barrett Ave., San Jose 809 Auzerais Ave., #435, San Jose
5bd/4.5 ba 3 bd/2 ba 3 bd/2 ba 3 bd/2 ba 1 bd/1 ba 3 bd/2 ba 2 bd/1 ba 3 bd/2 ba 4 bd/2 ba 3 bd/2 ba 3 bd/2 ba
1139 Chestnut St. Downtown Menlo Park 650.325.2965 Mon-Sat 11-6
y a r k i n r e a l t y. c o m
Yarkin Realty 152 Homer Avenue Palo Alto, CA 94301
2OO9 Connoisseurs Marketplace 11

FOR SALE

49 Fairview Avenue, Atherton
Newly constructed 6-bedroom, 7.5-bath home built by the Pinnacle Group; luxury amenities include a home theatre, tness center, steam room, and wine cellar plus pool, spa, and covered lanai; access to excellent Menlo Park schools; co-listed with Melody Mortazavi Offered at $11,995,000 FOR SALE

37 De Bell Drive, Atherton
Newly constructed 5-bedroom, 5.5-bath home plus full guest house features gorgeous hardwood oors, a customized wine cellar, and a beautifully landscaped lot; access to excellent Menlo Park schools Offered at $5,995,000 FOR SALE
980 Berkeley Avenue, Menlo Park
New home with 5 bedrooms, 5.5 bathrooms, and approximately 5,860 square feet of living space in the Menlo Oaks neighborhood; access to excellent local schools Offered at $3,495,000 FOR SALE
279 Camino al Lago, Atherton
Beautiful private setting on approximately 1.38 acres with remodeled, one-level home and pool; 6 bedrooms and 4.5 baths; top-rated Las Lomitas schools Offered at $4,295,000 FOR SALE
202 Sand Hill Circle, Menlo Park
Remodeled 3-bedroom, 2.5-bath townhome with unobstructed view of the 17th hole on the Sharon Heights Golf Course; access to Las Lomitas schools Offered at $1,395,000
600 Hobart Street, Menlo Park
Spacious 6-bedroom, 4.5-bath remodeled and updated home with beautifully landscaped gardens in West Menlo; access to excellent local schools Offered at $2,650,000
To view these properties and others, please visit my website at www.tomlemieux.com
6645 tlemieux@cbnorcal.com tomlemieux.com

DRE# 01066910

Information deemed reliable, but not guaranteed.
Coldwell Banker #1 Agent Team, SF Peninsula 2008 #7 Nationally
12 Connoisseurs Marketplace 2OO9