Pioneer Electronics of Canada, Inc.
Remote Control Part Number List
Model AVIC-505 AVX-P7000CD A-X1010V A-X1010V(BK) A-X900 A-X909V A-X909V(BK) BSS-C1 C-72 C-90 C-90(BK) C-900/S C-91 CCS-310 CCS-530 CCS-550 CD-FM7 CD-P70FM CD-P75FM CD-R60 CD-R600 CD-R66 CD-SR70 CD-SR77 CDX-FM121 CDX-FM1227S CDX-FM1235S CDX-FM1237S CDX-FM1239S CDX-FM1257 CDX-FM128 CDX-FM38 CDX-FM61 CDX-FM623S CDX-FM627S CDX-FM629S CDX-FM63 CDX-FM65 CDX-FM657 CDX-FM67 CJ-V55 CLD-1010 CLD-1010(BK) CLD-1030 CLD-1070 CLD-1080 CLD-1090 CLD-1091 CLD-1100 CLD-1580K CLD-2070 CLD-2080 CLD-2090 CLD-3030 CLD-3070 CLD-3080 CLD-3090 Part Number CXB2174 CXB2657 AXD1003 AXD1003 ?? AXD1003 AXD1003 MWK1011 AXD1171 AXD1027 AXD1027 AXD1027 AXD1063 AXD1138 AXD1196 ?? CXA5564 CXA6570 CXB2969 CXA9436 PCDR600 CXB1160 CZX3174 CZX3216 CXA5863 CXA7036 CXB2054 CXB2053 CXB2052 CXB3261 CXA7036 CXA4840 CXA5863 CXA7558 CXA7036 CXA9460 CXA7558 CXA7030 CXB3261 CXA7036 DXR1007 VXX1040 VXX1040 VXX1122 VXX1249 VXX1383 VXX1530 VXX1530 VXX-080 VXX1442 VXX1254 VXX1418 VXX1536 VXX1133 VXX1244 VXX1351 VXX1538 Description REMOTE CONTROL UNIT*BATT LID CZN7543 REMOTE CONTROL (COMES WITH AVM-P7000) REMOTE CONTROL UNIT**BATT LID:AZN1051 REMOTE CONTROL UNIT**BATT LID:AZN1051 REMOTE CONSOLE,IS FURNISHED W/F-X700 IF USED REMOTE CONTROL UNIT**BATT LID:AZN1051 REMOTE CONTROL UNIT**BATT LID:AZN1051 REMOTE CONTROL UNIT REMOTE CONSOLE UNIT(CU-C001),BATT LID=AZH1035 REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT**BATT LID:N/A REMOTE CONSOLE UNIT REMOTE CONSOLE UNIT***IN XS-P510M REMOTE CONSOLE UNIT SEE GR-P720 REMOTE CONSOLE UNIT,**BATT LID=CNS2197 REMOTE CONTROL UNIT,BATT LID:CNS2850 REMOTE CONTROL UNIT*BATT LID:CNS2850 REMOTE CONTROL UNIT,BATT LID:CNS3477 REMOTE CONTROL UNIT (SAME AS DEH-P8000R) REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL CMPLETE UNIT REMOTE CONTROL,BATT LID:CNS2850 REMOTE CONTROL UNIT*BATT LID:CNS3383 REMOTE CONTROL UNIT*BATT LID:CNS4139 REMOTE CONTROL UNIT*BATT LID:CNS4139 REMOTE CONTROL UNIT*BATT LID:CNS4139 REMOTE CONTROL UNIT*BAT LID:CNS4948 REMOTE CONTROL UNIT**BAT LID:CNS3383 REMOTE CONSOLE UNIT REMOTE CONTROL UNIT REMOTE CONTROL/DISPLAY ASSY REMOTE CONTROL UNIT*BATT LID:CNS3383 REMOTE CONTROL UNIT*BATT LID:CNS3383 REMOTE CONTROL/DISPLAY ASSY REMOTE CONTROL UNIT**BATT LID:CNS3383 REMOTE CONTROL UNIT*BAT LID:CNS4948 REMOTE CONTROL UNIT**BATT LID:CNS3571 REMOTE CONSOLE UNIT,BATT LID=N/A REMOTE CONSOLE UNIT,BATT LID=VNK-548 REMOTE CONSOLE UNIT REMOTE CONSOLE UNIT,BATT LID=PNW1153 REMOTE CONSOLE UNIT,BATT LID=VNL1293 REMOTE CONSOLE UNIT,BATT LID=VNK1293 REMOTE CONSOLE UNIT,BATT LID=VNK1806 REMOTE CONSOLE UNIT,BATT LID=VNK1806 REMOTE CONSOLE UNIT REMOTE CONSOLE UNIT**BATT LID:VNK1923 REMOTE CONSOLE UNIT,BATT LID=VNK1133 REMOTE CONSOLE UNIT,VNK1293 REMOTE CONSOLE UNIT,VNK1806 REMOTE CONSOLE UNIT,BATT LID=VNK1133 REMOTE CONSOLE UNIT,BATT LID,VNK1133 REMOTE CONSOLE UNIT,VNK1364 REMOTE CONSOLE UNIT,VNK1806

April 30/2001

Model CLD-52 CLD-59 CLD-79 CLD-900 CLD-900 CLD-909 CLD-909(BK) CLD-91 CLD-92 CLD-95 CLD-97 CLD-980 CLD-99 CLD-990 CLD-A100 CLD-D406 CLD-D501 CLD-D502 CLD-D503 CLD-D504 CLD-D505 CLD-D604 CLD-D605 CLD-D606 CLD-D701 CLD-D702 CLD-D703 CLD-D704 CLD-E2000 CLD-E2200LB CLD-M301 CLD-M401 CLD-M403 CLD-M90 CLD-S104 CLD-S105 CLD-S201 CLD-S303 CLD-S304 CLD-V101 CLD-V180 CLD-V190 CLD-V191 CLD-V2400 CLD-V2600 CLD-V2800 CLD-V303T CLD-V500 CLD-V5000 CLD-V510 CLD-V700 CLD-V710 CLD-V720 CLD-V730 CLD-V740 CLD-V750 CLD-V760 CLD-V820 CLD-V830 CLD-V840

Description REMOTE CONSOLE UNIT REMOTE CONSOLE UNIT:LID AZN2256 REMOTE CONTROL UNIT REMOTE CONSOLE UNIT REMOTE CONTROL UNIT{INCORRECT CU-RX303 IN IM} REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT*BATT LID:AZA7281 REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT LID:AZA7204 REMOTE CONTROL REMOTE CONTROL REMOTE CONTROL UNIT**BATT LID:XZN3065 REMOTE CONTROL UNIT *******BAT.LID AZA7204 REMOTE CONTROL UNIT**BAT LID:AZN2256 REMOTE CONTROL,BATT LID:AZN2256 REMOTE CONTROL UNIT**BATT LID:N/A REMOTE CONSOLE UNIT REMOTE CONSOLE UNIT,BATT LID=AZN1846 REMOTE CONSOLE UNIT REMOTE CONTROL(OPTION DID NOT COME WITH) REMOTE CONTROL**BATT LID:CNS2850 REMOTE CONTROL UNIT**BATT LID:CNS3091 REMOTE CONTROL UNIT,BATT LID:CNS3365 REMOTE C0NTROL UNIT**BATT LID:CNS3383 REMOTE CONTROL UNIT**BATT LID:CNS3091 REMOTE CONTROL UNIT,BATT LID:CNS3383 REMOTE CONTROL UNIT,BATT LID:CNS3383 REMOTE CONTROL UNIT**BAT LID:CNS3091 REMOTE CONTROL UNIT*BATT LID:CNS4139 REMOTE CONTROL UNIT*BATT LID:CNS4139 REMOTE CONTROL UNIT*BATT LID:CNS4453 REMOTE CONTROL UNIT,BATT LID:CNS3365 REMOTE CONTROL UNIT REMOTE CONTROL UNIT*BATT LID:CNS4139 REMOTE CONTROL UNIT,BATT LID:CNS3383 REMOTE CONTROL UNIT*BATT LID:CNS4406 REMOTE CONTROL UNIT*BATT LID:CNS4406 REMOTE CONTROL UNIT REMOTE CONTROL FULL SET REMOTE CONTROL UNIT**BAT LID:CZN6410 REMOTE CONTROL UNIT*BATT LID:CNS4406 REMOTE CONSOLE UNIT**BATT LID:CNS2197 REMOTE CONSOLE UNIT**BATT LID:CNS2197 REMOTE CONSOLE UNIT REMOTE CONSOLE UNIT**BATT LID:CNS2197
Model DEH-M990DSP DEH-P3100 DEH-P400 DEH-P4000 DEH-P41 DEH-P410 DEH-P4100 DEH-P545-W DEH-P56 DEH-P600 DEH-P6000 DEH-P6200 DEH-P625 DEH-P645 DEH-P646 DEH-P7000R DEH-P700R DEH-P705 DEH-P715 DEH-P720 DEH-P7200 DEH-P725 DEH-P725-W DEH-P735 DEH-P736 DEH-P75DH DEH-P76DH DEH-P76DH DEH-P77DH DEH-P8000R DEH-P815 DEH-P8200R DEH-P825 DEH-P8250 DEH-P835R DEH-P835R-W DEH-P85DHR DEH-P86DHR DEH-P86DHR DEH-P900R DEH-P9200R DEH-P920R DEH-P946 DEQ-7550 DEX-77 DEX-M400 DEX-M88 DEX-P1 DEX-P78 DEX-P88 DEX-P98R DEX-P99 DV-05 DV-09 DV-333 DV-414 DV-434 DV-500 DV-505 DV-525
Part Number CXA5202 CXB4285 CXB3455 CXB3455 CXB4285 CXB4285 CXB4285 CXB1225 CXB1225 CXB3455 CD-R600 CXB4285 CD-R57 CXB1225 CXB1225 CXB3455 CXB3875 CXA5961 CXA7765 CXB4285 OPTIONAL CXA8688 CXA8774 CXB1160 CXB1160 CXB1160 CXB3488 CZX3231 CXB4285 CXB3875 CXA7610 CXB3875 CXA7610 CXB3875 CXB1159 CXB1163 CXB1160 CXB3488 CZX3231 CXB3875 CXB3875 CXB3875 CXB2655 CXA4690 CXA1610 CXA3703 CXA3573 CXB2764 CXB1160 CXA8688 CXB1159 CXA7610 VXX2602 VXX2532 VXX2702 VXX2599 VXX2703 VXX2398 VXX2540 VXX2643
Description REMOTE CONSOLE UNIT***BATT LID:CNS2432 REMOTE CONTROL UNIT,BATT LID=CNS4948 REMOTE CONTROL UNIT*BAT LID:CNS4948 REMOTE CONTROL UNIT*BAT LID:CNS4948 REMOTE CONTROL UNIT,BATT LID-CNS4948 REMOTE CONTROL UNIT,BATT LID=CNS4948 REMOTE CONTROL UNIT,BATT LID=CNS4948 REMOTE CONTROL UNIT*BAT LID:CNS4139 REMOTE CONTROL (OPTIONAL) REMOTE CONTROL UNIT*BAT LID:CNS4948 REMOTE CONTROL,OPTIONAL SALES ITEM. REMOTE CONTROL UNIT,BATT LID=CNS4948 REMOTE CONTROL, OPTIONAL FROM SALES DEPT. REMOTE CONTROL UNIT*BAT LIF:CNS4139 REMOTE CONTROL UNIT*BATT LID:CNS4139 REMOTE CONTROL UNIT*BAT LID:CNS4948 REMOTE CONTROL UNIT**BAT LID:CNS5032 REMOTE CONTROL UNIT**BATT LID:CNS2850 REMOTE CONTROL UNIT REMOTE CONTROL UNIT,BATT LID=CNS4948 REMOTE CONTROL (CAN USE DEH-P6200 REMOTE) REMOTE CONTROL UNIT,BATT LID:CNS3477 REMOTE CONTROL UNIT,BATT LID:CNS3477 REMOTE CONTROL UNIT*BATT LID:CNS4406 REMOTE CONTROL UNIT*BATT LID:CNS4406 REMOTE CONTROL UNIT*BATT LID:CNS4406 REMOTE CONTROL FULL SET REMOTE CINTROL UNIT**BAT LID:CZN6510 REMOTE CONTROL UNIT,BATT LID=CNS4948 REMOTE CONTROL UNIT,BATT LID=CNS5032 REMOTE CONTROL UNIT**BATT LID:CNS3477 REMOTE CONTROL UNIT,BATT LID=CNS5032 REMOTE CONTROL UNIT,BATT LID:CNS3477 REMOTE CONTROL UNIT,BATT LID=CNS5032 REMOTE CONTROL ASSY*BATT LID:CNS4406 REMOTE CONTROL UNIT*BATT LID:CNS4453 REMOTE CONTROL UNIT*BATT LID:CNC4406 REMOTE CONTROL FULL SET REMOTE CONTROL UNIT**BAT LID:CZN6410 REMOTE CONTROL UNIT,BATT LID=CNS5032 REMOTE CONTROL UNIT,BATT LID=CNS5032 REMOTE CONTROL UNIT,BATT LID=CNS5032 REMOTE CONTROL UNIT*BAT LID:CNS5032 REMOTE CONSOLE UNIT*BATT LID:CNS2432 REMOTE CONSOLE UNIT REMOTE CONSOLE UNIT**BATT LID:CNS1962 REMOTE CONSOLE UNIT*BAT LID:CNS1962 REMOTE CONTROL UNIT*BAT LID:CNS5032 REMOTE CONTROL UNIT**BATT LID:CNS4406 REMOTE CONTROL UNIT,BATT LID:CNS3477 REMOTE CONTROL UNIT**BATT LID:CNS4406 REMOTE CONTROL UNIT,BATT LID:CNS3477 REMOTE CONTROL UNIT**BAT LID:VNK4335 REMOTE CONTROL UNIT*BAT LID:DNK2286 REMOTE CONTROL UNIT REMOTE CONTROL UNIT*BATT LID:AZA7204 REMOTE CONTROL UNIT REMOTE CONTROL UNIT**BATT LID:VNK3864 REMOTE CONTROL UNIT*BAT LID:VNK3703 REMOTE CONTROL**BATT-LID**AZA7204

Model DV-606D DV-626D DV-C302D DV-C503 DVD-V550 DVD-V555 DVD-V7200 DV-K101 DVL-700 DVL-90 DVL-909 DVL-91 DVL-919 DVL-V888 DXR1036 FEX-95 FH-M75 FH-P404 FH-P700 FH-P85 FH-P95 F-X700 GEX-90 GR-777 GR-P720 HTV-2 HTV-C1 HTV-C2 HTZ-C7 JT-216 KEH-8150QR KEH-M5000QR KEH-M7000QR KEH-M7000QR KEH-M8250 KEH-M8500/US KEH-M8500-W KEH-M8550 KEH-P505 KEH-P515 KEH-P525 KEH-P5400 KEH-P5600 KEH-P5700 KEH-P580 KEH-P590 KEH-P606 KEH-P616 KEH-P6200 KEH-P6200-W KEH-P6400 KEH-P6600 KEH-P6600-W KEH-P690 KEH-P7000 KEH-P7200 KEH-P7400-W KEH-P7650 KEH-P770 KEH-P780
Part Number VXX2572 VXX2627 VXX2647 VXX2705 VXX2642 VXX2616 VXX2553 VXX2576 VXX2399 VXX2399 VXX2549 VXX2562 VXX2609 VXX2537 CU-V113A CD-S9 CXA4747 CXB3456 CXB1156 CXA8589 CXA6267 AXD-004 CD-R90 AXD1049 AXD1244 AXD7160 AXD7157 AXD7160 AXD7189 ? CXA3283 CXA2958 CXA2860 CXA3090 CXA4106 CXA5371 CXA6039 CXA4026 CXA9327 CXB1146 CXB1157 CXA9327 CXB1146 CXB1146 CXB3454 CXA7762 CXA9149 CXB1146 CXA7761 CXA7935 CXA9148 CXB1146 CXB1162 CXB4286 CXA5857 CXA7611 CXA7935 CXB1157 CXA5856 CXB3456
Description REMOTE CONTROL UNIT*BAT LID:VNK3864 REMOTE CONTSOLE UNIT,BATT LID=VNK4423 REMOTE CONTROL UNIT**BATT LID:AZA7204 REMOTE CONTROL UNIT**BATT LID:AZA7204 REMOTE CONTROL UNIT REMOTE CONTROL**BATT LID**VNK3703 REMOTE CONTROL UNIT*BATT LID:DNK2926 REMOTE CONTROL UNIT*BAT LID:VNK3703 REMOTE CONTROL UNIT**BATT LID:VNK3864 REMOTE CONTROL UNIT**BATT LID:VNK3864 REMOTE CONTROL UNIT*BATT LID:VNK3703 REMOTE CONTROL UNIT**BATT LID:DNK2286 REMOTE CONTROL UNIT**BAT LID:VNK3703 REMOTE CONTROL UNIT*BAT LID:VNK3703 REMOTE CONTROL UNIT REMOTE CONSOLE UNIT******SALES PRODUCT REMOTE CONSOLE UNIT**BATT LID:CNS2224 REMOTE CONTROL UNIT*BAT LID:CNS4948 REMOTE CONTROL UNIT*BATT LID:CNS4406 REMOTE CONTROL UNIT,BATT LID:CNS3798 REMOTE CONTOL UNIT**BATT LID:CNS6292 REMOTE CONTROL UNIT REMOTE CONSOLE UNIT,***SOLED AT STORE (SALES) REMOTE CONTROL UNIT**BATT LID:AZN1463 REMOTE CONSOLE UNIT,BATT LID=N/A REMOTE CONTROL UNIT REMOTE CONTROL UNIT*BAT LID:RZN1156 REMOTE CONTROL UNIT*BATT LID:AZN2256 REMOTE CONTROL UNIT**BAT LID:103RRC14701R REMOTE CONSOLE UNIT,SALES ITEM***DISCON'T REMOTE CONSOLE UNIT**BATT LID:CZN3224 REMOTE CONSOLE UNIT**BATT LID:CZN3224 REMOTE CONTROL UNIT-CA MODEL*BATT LID:CZN3224 REMOTE CONTROL UNIT-UC MODEL*BATT LID:CZN3224 REMOTE CONSOLE UNIT**BATT LID:CNS2224 REMOTE CONTROL UNIT REMOTE CONSOLE UNIT***BATT LID:CNS2870 REMOTE CONTROL ASSY REMOTE CONTROL UNIT**BATT LID:CNS4139 REMOTE CONTROL UNIT*BATT LID:CNS4139 REMOTE CONTROL UNIT**BATT LID:CNS4406 REMOTE CONTROL UNIT**BATT LID:CNS4139 REMOTE CONTROL UNIT*BATT LID:CNS4139 REMOTE CONTROL UNIT**BATT LID: REMOTE CONTROL UNIT*BAT LID:CNS4948 REMOTE CONTROL UNIT,BATT LID:CNS3383 REMOTE CONTROL UNIT*BATT LID:CNS4050 REMOTE CONTROL UNIT*BAT LID:CNS4139 REMOTE CONTROL UNIT,BATT LID:CNS3383 REMOTE CONTROL UNIT,BATT LID:CNS3628 REMOTE CONTROL UNIT*BATT LID:CNS4050 REMOTE CONTROL UNIT*BAT LID:CNS4139 REMOTE CONTROL UNIT*BAT LID:CNS4453 REMOTE CONTROL UNIT,BATT LID=CNS4948 REMOTE CONTROL UNIT**BATT LID:CNS2850 REMOTE CONTROL UNIT**BATT LID:CNS3477 REMOTE CONTROL UNIT**BATT LID:CNS3628 REMOTE CONTROL UNIT*BATT LID:CNS4406 REMOTE CONTROL UNIT,BATT LID:CNS2850 REMOTE CONTROL UNIT*BAT LID:CNS4948

Model VSX-4800 VSX-49 VSX-4900S VSX-4950S VSX-5000(BK) VSX-504S VSX-505S VSX-511S VSX-512S VSX-52 VSX-53 VSX-5300 VSX-5300S VSX-5400 VSX-5500S VSX-5600 VSX-5700S VSX-59 VSX-604S VSX-605S VSX-7300 VSX-7300S VSX-7500S VSX-79 VSX-9300S VSX-95 VSX-9500S VSX-97 VSX-9700S VSX-99 VSX-9900S VSX-D1S VSX-D1SII VSX-D1SII VSX-D209 VSX-D2S VSX-D307 VSX-D308 VSX-D3S VSX-D407 VSX-D409 VSX-D457 VSX-D458 VSX-D488 VSX-D498 VSX-D506S VSX-D507S VSX-D508 VSX-D509S VSX-D513S VSX-D557 VSX-D557 VSX-D601 VSX-D602S VSX-D606S VSX-D607S VSX-D608 VSX-D613S VSX-D701S VSX-D702S
Part Number AXD1205 AXD7044 AXD1206 AXD1206 AXD1007 AXD7045 AXD7082 AXD1270 AXD1270 AXD1270 AXD1393 AXD1056 AXD1055 AXD1101 AXD1100 AXD1151 AXD1149 AXD7044 AXD7044 AXD7081 AXD1056 AXD1055 AXD1100 AXD7055 AXD1055 AXD1223 AXD1100 AXD1349 AXD1139 AXD7055 AXD1207 AXD1167 AXD1291 CU-VSX053 AXD7245 AXD1348 AXD7161 AXD7206 AXD7055 AXD7155 AXD7246 AXD7156 AXD7207 AXD7211 AXD7226 AXD7124 AXD7158 AXD7178 AXD7248 AXD1384 AXD7166 CU-VSX135-1 AXD1288 AXD1268 AXD7106 AXD7153 AXD7178 AXD1393 AXD1268 AXD1268
Description REMOTE CONSOLE UNIT===>CHANGED TO. REMOTE CONTROL UNIT**BATT LID:AZN7187 REMOTE CONSOLE UNIT,BATT LID=AZN2091 REMOTE CONSOLE UNIT,BATT LID=AZN2091 REMOTE CONTROL UNIT**BATT LID:AZH1017 REMOTE CONTROL UNIT**BATT LID:AZN2256 REMOTE CONTROL UNIT,BATT LID:AZN7327 REMOTE CONSOLE UNIT REMOTE CONSOLE UNIT,BATT COVER:AZN2091 REMOTE CONSOLE UNIT REMOTE CONTROL UNIT,BATT LID:AZN2091 REMOTE CONTROL UNIT**BATT LID:N/A REMOTE CONTROL UNIT**BATT LID:AZH1035 REMOTE CONSOLE UNIT,BATT LID=N/A REMOTE CONSOLE UNIT,BATT LID=AZH1035 REMOTE CONSOLE UNIT,BATT LID=AZN1811 REMOTE CONSOLE UNIT,BATT LID=AZH1035 REMOTE CONTROL UNIT**BATT LID:AZN7187 REMOTE CONTROL UNIT**BATT LID:AZN7187 REMOTE CONTROL UNIT,BATT LID:AZN7187 REMOTE CONTROL UNIT**BATT LID:N/A REMOTE CONTROL UNIT**BATT LID:AZH1035 REMOTE CONSOLE UNIT,BATT LID=AZH1035 REMOTE CONTROL UNIT**BATT LID:AZN7187 REMOTE CONTROL UNIT**BATT LID:AZH1035 REMOTE CONSOLE UNIT,BATT LID=AZN2091 REMOTE CONSOLE UNIT,BATT LID=AZH1035 REMOTE CONSOLE UNIT**BATT LID:AZN2091 REMOTE CONSOLE UNIT,BATT LID=AZH1035 REMOTE CONTROL UNIT**BATT LID:AZN7187 REMOTE CONSOLE UNIT,BATT LID-AZN2091 REMOTE CONSOLE UNIT,BATT LID=AZH1035 REMOTE CONSOLE UNIT REMOTE CONTROL UNIT REMOTE CONTROL UNIT (BAT LID:RZN1156) REMOTE CONSOLE UNIT**BATT LID:AZN2091 REMOTE CONTROL UNIT*BATT LID:RZN1156 REMOTE CONTROL UNIT REMOTE CONTROL UNIT**BATT LID:AZN7187 REMOTE CONTROL UNIT*BATT LID:RZN1156 REMOTE CONTROL UNIT (BAT LAD:AZA7378) REMOTE CONTROL UNIT*BATT LID:RZN1156 REMOTE CONTROL UNIT**BAT LID:RZN1156 REMOTE CONTROL UNIT**BAT LID:AZN7327 REMOTE CONTROL UNIT***BATT LID:RZN1156 REMOTE CONTROL UNIT*BATT LID:AZN7327 REMOTE CONTROL UNIT*BATT LID:AZN7327 REMOTE CONTROL UNIT (BATT LID:AZN7327) REMOTE CONTROL UNIT (BAT LID:AZN7826) REMOTE CONTROL UNIT,BATT LID:AZN2256 REMOTE CONTROL UNIT***** NOT PACKAGED ****** REMOTE CONTROL UNIT**BAT CU-VSX135-LID REMOTE CONSOLE UNIT,BATT LID=AZN2091 REMOTE CONSOLE UNIT REMOTE CONTROL UNIT*BATT LID:AZN7327 REMOTE CONTROL UNIT*BATT LID:AZN7327 REMOTE CONTROL UNIT**BAT LID:AZN7327 REMOTE CONTROL UNIT,BATT LID:AZN2091 REMOTE CONTROL UNIT,BATT LID=AZN2091 REMOTE CONSOLE UNIT

The Publication of the Boston Audio Society
Editorial Office: 2 Eden Street, Chelsea, MA 02150 Subscription Office: P.O. Box 211, Boston, MA 02126 Editor: Poh Ser Hsu Publisher: David R. Moran Staff: Carl Deneke, E. Brad Meyer, Stephen H. Owades

Volume 17 Number 3

Open Forum... 2 Waveform Artifacts in CD Playback.. 2 A Small Correction... 2 M-S Microphone Clarifications..2 More About Absolute Polarity... 2 January 1989 BAS Meeting... 3 Open Forum... 3 Meeting Feature: CES Reports..4 June 1989 BAS Meeting... 10 Open Forum...10 Meeting Feature: CES Reports.. 11
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The BAS Speaker (ISSN 0195-0908) is published bimonthly by the Boston Audio Society.
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Vol. 17, Num. 3 November 1989 OCRed from printed copy - errors possible.

The BAS Speaker

Open Forum
Waveform Artifacts in CD Playback
It appears a malfunctioning CD or laserdisc player can exhibit order-of-magnitude changes in distortion with just a few hertz change. Recently I discovered that one channel of my Pioneer CLD 3030 laserdisc player produced a sputtering sound when playing low-level hiss. A check with the CBS test CD ("fade to noise, with dither" track which uses a 997Hz sine wave) showed audible distortion below -60dB, the distortion rising as the tone diminishes. Checking with the Pierre Verany disc, which uses a 1,000Hz test tone, did not reveal any distortion at -70dB. The cleanliness of the waveform was confirmed on an oscilloscope. The Denon Audio Technical CD, which uses 1,001Hz, produced distortion at and below -60dB as well. [This disc and the companion HFN/RR one have bass-bumpy pink noise.pub.] Obviously the digital era has a few traps for the unwary. David Hadaway (New Hampshire) The reasons for this phenomenon are very interesting, and worthy of explanation. The compact disc format (and the digital audio carrier on laserdisc) samples the audio signal exactly 44,100 times a second. A digitallygenerated pure 1,000Hz tone goes through 10 complete cycles in 1/100 of a second, during which the A-to-D converter has taken 441 voltage samples. (Dividing 44,100 and 1,000 by their common factors yields 441 and 10.) Every 1/100 of a second, the incoming signal and the sampling clock are back in phase with each other. As a result, only 441 unique samples are taken of a 1,000Hz pure tone, so at most 441 of the 65,536 available values for a sample (16 bits per sample yields 216 possible values) are represented. This doesn't exercise the system very well, and errors in the D-to-A conversion process may well not be revealed by such a tonefewer than 2/3 of 1% of the 16-bit codes are used. On the other hand, the only common factor of 1,001 and 44,100 is 7, so it takes 1/7 of a second, 6,300 samples, and 143 cycles to bring a pure 1,001Hz tone back into alignment with a 44,100Hz sampling rate. We therefore see about 10% of the possible digital codes with a 1001Hz tone. Even better is 997Hz: since 997 is a prime number, it will take one full second, or 44,100 samples (using 2/3 of the possible codes), to bring the tone and the sampling rate back to the starting point. Best of all would be a non-integer tone frequency, which could use all 65,536 sample values. A test tone from an analog source, which will have minute inaccuracies in frequency and/or level, would also use a larger number of sample values. But the very "perfection" of digitally-generated test tones can make them less than perfect for distortion testing. Stephen H. Owades (Massachusetts)

page 2

A Small Correction
There was a small error in Poh Ser Hsu's Bass Notes list of recommended discs in the last issue of the Speaker. The disc containing the 3-meter Japanese drum is the Japan [not Japanese] Audio Society CD called Impact, CD-2, not Impact 2, CD-3. David Hadaway (New Hampshire)
M-S Microphone Clarifications
I think Carl Deneke, in covering Keith Johnson's talk (vol. 17 no. 1), slipped a little in transcribing his notes. First off, the "MX" microphone (p. 8) should probably be "M-S." The statement about matrixing in the next sentence is confused; in the M-S system, the outputs of the forward-facing cardioid and lateral figure-8 are matrixed, to produce the left and right channels. The output of the cardioid ("M" for "mid") mike is a mono signal, and the amount of "S" (side) info mixed in at the matrix governs the degree of stereo difference. In essence, this is a sum-and-difference matrix like that used in FM stereo. This system is also, therefore, an exception to the statement that, with single-point mikes, "the important center information is off the microphone axis." Ivan Berger (New York)

More About Absolute Polarity
In the Speaker's volume 17 number 1, Clark Johnsen defended his book The Wood Effect, which I had reviewed in a negative manner (vol. 16 no. 5). I think there are several important points to be added to the discussion. The first has to do with a detailed study of the audibility of various phase effects as reported by Stan Lipshitz and co-workers in the Journal of the Audio Engineering Society (vol. 30 no. 9). Johnsen cites a statement on page 583 of this report as evidence for the audibility of absolute polarity. He certainly is correct that absolute polarity has sometimes been (barely) audible in doubleblind tests. But Johnson failed to mention another critical point. The Summary section of the Lipshitz et al report (on page 593) says that the audibility of polarity changes in music played over loudspeakers is only "extremely subtle." This evaluation is confirmed in an exchange of comments between me and Lipshitz et al published in the J.A.E.S. vol. 31 no. 6, in which we all agreed that for music on loudspeakers absolute polarity is (1) not strongly audible to most people, (2) not usually audible above 500Hz (more so below), (3) possibly not as audible over loudspeakers which are comparatively free of asymmetry effects (such as second harmonic distortion). In these letters I said that all kinds of phase effects were "of negligible importance," and Lipshitz et al said at the very end, "We are basically in agreement with Dr. Shanefield."
The BAS Speaker volume 17 number 3
Further evidence in support of all this is an article in the Stereophile (vol. 4 no. 8), in which there was no audibility of polarity during blind tests done with the use of low-distortion loudspeakers and yet there was good audibility when cheaper, asymmetrical distortion speakers were used. Stereophile's overall conclusion was that absolute phase is of "virtually no significance." On the other hand, Johnsen has sent me photocopies of several rather glowing letters from readers of his book. And there was a very favorable review in the latest issue of Speaker Builder magazine (4/89), in which the reviewer said that absolute polarity now ranks in his mind among the most important audio considerations he has ever been made aware of. [Also a typically weird favorable one in Audiopub.] How should we add this up? Is is just a matter of prejudice, pro and con? There is a principle in science which can be stated, "Once you see evidence of an additional factor which might really be causing the observed results, you should never ignore it in further studies. Instead, it must be carefully eliminated." In this case the "possible additional factor" could be asymmetry in the loudspeaker, or it could be delusion on the part of the investigator. Both have been mentioned in studies of this kind, and both must be eliminated in future experimental procedures or else the results might be mistakenly interpreted. The scientific investigator should report what was done about this when giving conclusionsotherwise we should all doubt the results. For some strange reason, audio science is particularly prone to delusion. People get turned on to all sorts of new pseudo-scientific effects which become "the most important new thing in audio," but disappear like witches at dawn when subjected to double-blind testing. I have believed in several of these witches myself before doing blind testing, and it doesn't surprise me that Clark Johnsen's book has made many converts. During the 18th century, a group of educated and apparently dependable people once testified that an old lady of the town flew into church through an open window, uttered a blasphemy, and flew out again. Is the importance of absolute polarity a real glitch in present-day audio, or just a witch? What I suggested in my exchange of letters with Johnsen is that he do some blind tests and tell us about the results. These don't have to be done with DPDT switchesjust have a disinterested person unhook the wires and hook them up again with reversed polarity. The listening comparisons don't have to be done fastdo them at the leisure of the listener, without a lot of people present who might make for a tense situation, and without a lot of random number generators and digital readouts. Toss a coin about 30 times to generate some test sequences, and also to see how some truly random results would have looked for comparison with the test results. Only the disinterested person changing the wiring knows which polarity is which (and not even he or she, necessarily). Then there can be no excuses

about audible switch effects, psychological tensions, etc. (But on the other hand, there can be no excuses from people like me about "witch" effects.) By the way, people who don't hear the effect do not need to do blind experiments, according to the way I see the logic. Only people who claim to hear something need the blindness, to be sure it's not imagination. (If you don't hear it, how can it be imagination? Of course, you might be somehow suppressing your normal perceptions, but a blind test wouldn't help that.) Also, the burden of proof is only on the people who claim that some new phenomenon is important, not on us doubters. This is because (among other reasons) a new feature such as special wiring will always entail additional costs in dollars, time, and potential reliability problems. I have done single-blind tests on absolute polarity, a long time ago and once again after reading Johnson's book. I recently tried it on some Japanese LPs, played over Magnepan MG-II speakers. The MG-II ought to have considerable second harmonic distortion, since the stator magnets are on only one side of the diaphragm, not symmetrically arranged. I heard a tiny bit of difference here and there when the polarity was changed, but I never could decide which was "more realistic" or "better." Also, I couldn't hear any consistent polarity differences between the alternate bands of Japanese records, which Johnsen says are strongly audible. But whether I can hear such things doesn't count much toward proving the point. I'm just one person with one playback system. What it would take to prove the point either way is a series of foolproof tests, the results of which are essentially repeatable by several independent test groups. Nothing short of this should be believed. The points that would need to be proven in unequivocal fashion are that absolute polarity is repeatedly audible and that getting it right constitutes a definite improvement. Actually, I hope several such groups of people will do some foolproof tests and show us that absolute polarity really is important after all. And I hope I'm one of the first people to read about it and adjust my playback system, or practice listening, or whatever I have to do to take advantage of it. Then I can feel superior to the myriad audiophiles who aren't hip. But until this happens, we should all conclude that the whole business is a tempest in a teapot. Dan Shanefield.(New Jersey)

January 1989 BAS Meeting

Open Forum The January 1989 BAS meeting began with Poh Ser Hsu reporting that he achieved surprisingly good results using a pair of $15 Radio Shack flat-shape (PZM) mikes to

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tape a Ben Zander rehearsal in Brown Hall. Due to the small size of the hall, the orchestra was on the main floor, facing the long wall. The mikes were taped to the wall about 5 feet up and 10 feet apart. This gave reasonable sound while the usual quick-and-dirty setup of a Sony Walkman Pro and its stereo mikes gave terrible sound. In industry news, Kyocera is stopping US distribution and audio manufacturing. This would include the KLH and Yashica brand names, and they are looking for a buyer for the KLH name. The general feeling was that Kyocera made good products but priced them about 50% above the competition [good OEM vendorpub.]. Steve Owades attended the Yankee Dental Conference and found Tek Scan (made in Cambridge) interesting. This is a $3,500 device that measures and displays as a 3D image the pressures between teeth. It uses a thin plastic film ($5) with conductive grids screened on each side at right angles to each other. It is designed to let a dentist tell when a filling or crown is too high. There was some discussion of the BAS Speaker. We are trying to do our best to get it out not too late. There are audio societies that meet at a Chinese restaurant or at an audiophile's house, but the majority of our members do not attend meetings and their sole contact is through the Speaker. It is also the way we attract guests. It would be helpful for members to contribute their observations and articles. The Atlanta Audio Society has a monthly newsletter/publication. Membership is $25/year. For more information, write to the AAS, P.O. Box 361, Marietta, GA 30061. We have a chronic problem getting officers, editors, and meeting summary writers. Martin Polon, who has been involved with getting officers for the local AES chapter, noted that it required more of a KGB squad (with silenced 9mms) than a press gang to get people in audio to give their time. Al Foster noted that John Atkinson (of Stereophile) liked Mark Fishman's (our former editor) writing style, which was described as a refreshing and new style [he means technically competent, in contrast with most other audio publications] which makes the Speaker outstanding. Brad Meyer had some feedback from the Philips recording team who had been guests at a BAS meeting (vol. 15 no. 11/12). They were tremendously pleased with the report and thought that it both thorough and accurate. They photocopied it and sent it throughout the Philips plant. In news of former BAS Speaker contributors, George Androvette is now writing a column in the San Francisco area. This is another in the list of BAS contributors who have started with contributions to the Speaker and have moved on to greater fame (and fortune). Steve Owades commented that he had been asked for a reprint of an article that first appeared in the Speaker because we had been cited as a reference in the Journal of

the Audio Engineering Society.

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As for the Speaker running late, John Allen noted that the November 1988 issue of the AES had the report of the Beranek tour of Symphony Hall that occurred in December of 1987; delays occur even with well regarded, serious, professionally staffed publications. In this case, there were delays getting photographs, getting the tapes transcribed, and waiting for appropriate space in the Journal. Also, the issue had a November cover date but arrived in mid-January 1989. The local AES meeting generally draw 20 to 30 people, which is roughly the size of BAS meetings. The AES Journal generally has very few local meeting summaries, but we will be printing some summaries of Boston Section AES meetings in the Speaker. We hope this will continue to strengthen the close connection between the BAS and AES. The general conclusion from all of this is that we are in about the same boat as everyone else. As always, your ideasand helpwould be appreciated. Meeting Feature: CES Reports The report on the Winter CES, in Las Vegas, was given jointly by Brad Meyer, Ira Leonard, and AI Foster. A major reform was in the way attendance was calculated, because exhibitors pay based on the attendance. Last year the show traffic was light but the organizers announced the biggest year ever. This was accomplished by counting all the applications for badges. Last year if a dealer applied for 10 badges (badges were free), then all 10 counted toward the attendance no matter how many attended. This year it was hard to get a badge and you could not get more than one. The badges had a moldedin color code for exhibitor, dealer, or press (so that you could not change class) and multiple affiliations were not possible. Brad was representing both the Boston Phoenix and High Fidelity and felt his reception by some manufacturers would be different depending on which was on his badge, but he could not get both. However, his original badge identified his magazine as "High Infidelity Magazine." (They did let him replace it.) With these corrections the attendance was given as 70,000. (In recent years attendance has been given as about 100,000.) This was an apparent shortfall of 30,000 people, yet this was a bigger show than Chicago.

Speakers

This year many speakers are aimed at the video market and at small apartments as 3-piece systems. These speakers are small and the woofer is generally separate from the midrange/tweeter module. About half the speaker-design activity was in these areas. Yamaha had a 7"x12"x9" box called the AST, which stands for Active-Servo Technology. This is a small 2way vented speaker with amplifier and a plug-in cartridge for equalization of these specific speakers, which extends response flat to 28Hz. There is also a cartridge without equalization for use with normal loudspeakers. [Yamaha bought this technology from Audio Pro of Switzerland; it uses negative-impedance drive to imThe BAS Speaker volume 17 number 3

ate 119dB at 18Hz at 1 meter, which seems implausible. Sensitivity was rated at 92dB @2.83V @1 meter. It passed Brad's Hindemith testit is loud, low and clean. Snell are still developing this speaker but it seemed to be a good one and worth listening to the final version. Epicure loudspeaker are now part of Harman International. Howard Jacks (former owner of Precision Loudspeakers) is their designer. They are no longer north of Boston. 3A Acoustics had their Reference 2000 at $20,000/pair, which use a ribbon plus 2 woofers in the base. These did not sound worth the price, but their smaller speakers, which are called the Master 5 or the Mini ($2,000/pair), did sound better. Brian Cheney had his VMPS Supertower 3. Clark Johnsen was there. At $4,695/pair the Supertower 3's had a big, low end that could go quite loud, and good imaging. They have the same upward tilted mid-bass that all of his speakers have, which gives a mellow sound. This model had a harshness in the 5 to 6kHz band, which still needs some work. Fried had the model R4 ($1,050/pair) that was a remarkably nice speaker if listened to toed-in but colored if listened to straight on. Snell had the latest incarnation of their model K. The sound is too thin and not warm enough but they will probably be popular. ReVox demonstrated their Duetto. The speaker is triangular in cross-section and placed on the floor firing sideways to the audience. The soundstage was big, pleasant and room-filling but not very specific or localized and the high end was rolled off. Each speaker unit had 6 drivers in 2 chambers. There was also a subwoofer. These are available in white lacquer for ceiling mounting. They will cost $800 to $1,100 depending on finish. A notable part of the demonstration was Swiss chocolates. More speaker designers are going to a general treble rolloff or elevated bottom end to compensate for CDs' relatively hot high end. There are also changes in the mid bass to upper bass balance, as CDs do not have the warmth of LPs. Dr. Roger West's Sound Lab electrostatics now sound a little more forward and punchy. He feels that absolute polarity is important and liked Clark Johnsen's book on the Wood effect. Dr. West has added a wooden panel to the side of the speakers that improved their sound. Al Foster thought that the A1 was the finest speaker he had heard while the A3 sounded bass-heavy. West previously had, in effect, closed off the end of the room with speakers, putting the main speakers on each side and filling the center (between the left and right panels) with the woofer panel. The panels nearly reached the ceiling. This went very low but was still not very loud. Dolby surround systems have a center channel for dialog so, as noted, there are more 3-channel systems. This gives more, realistic dialogue because the speech seems to come from the TV image, but still allows the main page 6

Carver sold as many Silver 7 tube amplifiers as he could make at $10,000/pair (although he made them originally just to show how ridiculous high-end tube equipment was). He now has the Silver 71', which is a transistor version with supposedly the same sound, at $1,000/channel. The transfer functions were designed to be identical to the Silver 7, in much the same way that the 1.0T has the same transfer function as a Conradpage 7
Johnson tube amp. The Silver 7T delivers 550W into 8 ohms and 900W into 4 ohms. This amp looks very much like the Silver 7; it even has a round meter on the front. Apparently Carver drew the prototype meter face, then cut it out and pasted it on, so it looks very 1950s-ish.
DATs, CD Players, and Recordable CDs
In DAT news, Nakamichi USA will officially import their model 1000 in March. This recorder will cost $10,000 (that's ten thousand dollars, not a misprint) and will be based on two separate chassis (which will be different from the $3,000 Sony). A single control unit can interface with two tape units. It will feature rapid tape loading and the head and drum assemblies are visible from the front. It is also the first with real-time off-tape monitoring. It has both balanced and unbalanced inputs and outputs. The consumer version has a wireless remote and the professional version a wired remote. It can record at 32kHz, 44.1kHz, and 48kHz (i.e., it will record at the CD sampling rate). Apparently, in discussions with the RIAA, the use of the copy-prohibit bit to prevent recording was not sufficient to prevent RIAA objections, so when the NAK 1000 records from a CD which has the anti-copy bit set a light goes on showing that the anti-copy bit is set, and then the R-DAT proceeds to record, ignoring the flag. In the NAK 1000, the time code (in minutes and seconds) is on the tape as part of the audio bit stream, not in the control track on the edge, as with other machines. This method is not susceptible to tape edge creases but you have to start from the beginning of the tape to have the time code accurate. This machine cannot read the regular DAT time code because it has a double-speed fast-wind mode. Fostex had a system that put the SMPTE time code on the tape and had an AES paper about the process and equipment. It is implemented in software so the encoding can be reset to match any new standard. A wide variety of DATs will be available from DAT USA International. Being a small American company, they think the RIAA will not sue them. They offer a comprehensive service contract: if they cannot fix a broken DAT in the US, they will air-freight the unit to Japan for service, which will take a maximum of 2 to 3 weeks. This sparked some discussion of buying a service contract from what is essentially a small independent dealer who could go under at any time. The RIAA's only hope is to sue a large Japanese company and tie up their entire stock in a California warehouse for 5 years as the legal battles go on. At the moment there is nothing illegal about selling or buying any DAT recorder, it is only the fear of the RIAA's lawyers that is stopping importation. RIAA is not threatening professional DAT. DAT USA also won the all-time alienate-the-press award. They had a press conference at which they stopped press members from eating breakfast until after the briefing, which was in full view throughout.

Color LCD TVs are beginning to appear at $500 to $600. Generally, the Sony Trinitrons looked better than any of the IDTVs. Reference Recordings has a reference video disc. Mostly made on D1 digital video recorder so the signal has not passed through any NTSC limiting, it has all kinds of tests encoded in various ways. For example, one section has both analog and digital audio carrying different information so you can test the two processes separately. A further test has CX encoding turned on and off in the middle to show how bad the CX noise reduction is, the sound being less vivid and focused when CX is used. It also has normal video tests, such as color bars, and resolution charts. It may be possible for the BAS to get a bulk order for about $50 each (list is $60). Reference Recordings were using the Lexicon decoder for the audio surround sound. There was one section that has bass signals in the 10 to 100Hz band and the highs go up to 20kHz. Ira Leonard reported that the Philips laser disc (and CD) player had the S video connector. This player also uses a comb filter in the laser player (rather than the monitor) to eliminate horizontal jitter because the filter can synch to the motor. The overall effect is to achieve cleaner color transitions. Pioneer will probably have a similar system in a year. Shoreline Video has a player with both an S-VHS connector and a time-base corrector for $1,299. This helps picture quality, especially with projectors and big screens. For $3,000 they have a box with two of the timebase correctors. Other external boxes will be available for various other kinds of processing and special effects.

Miscellaneous Items

ICT digital radio was not at the show. However, Digital Radio Laboratories had a 16-channel digital radio with CD quality, which is transmitted over a single 6MHz TV channel. They use a lot of data compression and like a 2400bps modem, do not just send one bit at a time. The signal sounded OK in preliminary tests. The signal would be transmitted over a single cable cannel, thereby avoiding the FCC regulations. There will also be provisions for text outputs to a TV set. The decoder could be either bought ($180) or rented (about $6/month). At night, users could record an entire CD for $7, which seems high, and there is no direct digital output. They intend to use the upper (normally unused) channels of a cable system. The Casio exhibit area was characterized as being slightly smaller than Somerville (a large city near Boston). There were lots of hand-held computers, all designed for tiny fingers. Any company that does not have one now will by the end of this year. For example, Psion had a hand held computer with 1 meg of memory, due at the end of the year. If you don't have screwdrivers for fingers, you can transfer to DOS or Mac computers.

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In small sound systems, Fisher had a boom box that sounded good. There was a considerable media presence. CNN had 2 crews as did USA Today. The television program West 57th Street had a 7 member crew to do a spot solely on VCRs. Sony had a nice exhibit, which was hidden away from the main area. They had their electronic still video camera, but this still was not a major exhibit. Mitsubishi, Zenith, and RCA were all not there; Bose, as usual, did not attend. If a company is not interested in new dealers or interested in promoting new business connections, the cost of exhibiting is excessive, typically $50,000 to $100,000. Some displays cost much more; Nintendo was said to have spent $2,000,000. Jim Kogen of Shure said their share of the market was holding steady at 30% to 40% and that they were making money in cartridges. They see the future as video-withaudio becoming the market as opposed to the separate audio and separate video markets. Essentially, you will have a media room combining both audio and video. Steve Owades commented that with their new magazine Perfect Vision, Harry Pearson and The Absolute Sound have lost their understanding of video as well as audio. They just don't seem to get technical things. Pioneer had a marine line of loudspeakers, car speakers tailored for boats. A lot of the car-speaker people had laser-disc players. They also had installed TV sets in the back of car seats. One installation had a radar detector that cuts off the audio if radar is detected. VTL (which stands for Vacuum Tube Logic) had the best-looking tube amp. This was a huge 1,000-watt mono unit.
Some thoughts on Las Vegas

June 1989 BAS Meeting

Open Forum The June 1989 meeting was called to order at 6:27 by David Moran. The first major announcement was of the death, after 40 years, of High Fidelity. Diamandis Communications, the parent group of Stereo Review and Audio, bought the logo and subscription lists of High Fidelity (and Modern Photography) and had shut both magazines down. This will give Stereo Review another 150,000 names they don't already have. (It seems odd they should want them, because when their circulation gets too large their rates rise too far for their advertisers; I am told they have shed readers intentionally before.EBM) High Fidelity subscribers will get subscriptions to Stereo Review or an extension of any existing one. During the meeting announcing the move to High Fidelity's staff, the locks in the building were all changed, making it impossible for Ranada, Riggs and company to retrieve the substantial amounts of personal stuff (equipment, CDs, copies of reports and reviews ready for publication). (This property was seized by ABC who, someone said, would probably either auction it off or make it into a giant System of the Month for Stereo Review.) High Fidelity had been losing money, but one member who follows the business reported that in the month before, people trying to buy the magazine were told it was not for sale, and that it was profitable. Riggs has accepted a position as editor at large for Stereo Review. We also heard about the birth of a new magazine tentatively called Audio/Video Reports, to be put out bimonthly by CurtCo Publishing, the folks who bring you Car Audio and Audio-Video Interiors. According to a message from Peter Mitchell via Brad Meyer, there will be 10 test reports in each issue, half audio and half video, most or all written by David Ranada. The magazine will furnish him with a test lab in the New York area. The main subject will be equipment, not recordings; Peter will be doing a technical column about how things work, to be called either Technicalities or Shop Talk (0, while Larry Klein will do "his classic Q&A column." Bill Burton will most likely be the editor. Members were apprised of the current Globe jazz festival. It's more accessible this year, including some free concerts which were announced. Tower Records meanwhile had a sale on jazz recordings. John Allen has completed the installation of an HPS4000 system at the General Cinema in Framingham at Shoppers' World. Output of the system is around 500 acoustic watts; they opened with Indiana Jones, soon to change to Batman. The main systems are 4-way versions of the Klipsch T-MCMs with lower and upper midranges; there are two extra woofers. This has further reduced the intermodulation (between, say, 500 and 5kHz). The surrounds are John's SR-70 design; amps are BGW, and the Dolby SR-equipped optical playback system is the best now available. This system will be the

the show they had two booths, one for the Partner line and one upstairs for a new line, called Spirit. AR intends to start building its own drivers again, and maybe electronics too, in Canton, Mass. They showed a new power amplifier that can be operated in class A mode (at 20W/ch) or class AB (200W/ch), which will sell in the $1,000 range, and a couple of different versions of the ADSP time-domain equalizer/analyzer (both for commercial use). The new Spirit speakers have a small footprint, dual-density baffle boards, and a front panel that is decoupled from the rest of the box by a polymer insert. All have sealed woofer boxes, with a grille cover in the form of a cloth-only sock with a drawstring, like a fitted sheet. Prices begin at $289/pair. Apogee showed their Stage One speakers, 36" tall, for under $2,000 a pair, claimed to achieve 107dB peaks at 4 meters with a 50W/ch amp. The Celestion 3 is that company's new small speaker for $250/pair; reports were that it does not have great bass but Ira Leonard likes its clean, open midrange and top. (Ira, accustomed to Quads, is presumably fussy about these things.EBM) [I found the top end to be too sizzly.ed.] (Measured okay, not greatpub.) The Celestion's banana plugs have, as usual, a non-standard spacing, apparently not from British cussedness after all but in compliance with some European safety regulation. (These speakers were reviewed in the June '89 Stereo Review, if that helps you at all.) Ira bought a pair at the show, for a special show price, prompting a discussion of the ethics of the deals available to attendees. Brad Meyer (author of a BAS article some years ago called "The Sleaze Factor") pointed out that anyone who gets a better price than that available to a regular customer should say so in anything he or she writes about the product. The Ohm Coherent Audio Monitors with their rotating tweeters have a new "sub-bass activator" circuit that rolls off below the cutoff and boosts the region just above it. Boston Acoustics has a new powered woofer with a 33Hz cutoff. The top of its range is 95Hz, with a 24dB/octave crossover, making it a good match for many small speakers. Price is $600 including a built-in 100W amp with electronic crossover and summing network; it can be fed either from a line-level or power amp output. Both ends of the vent in the box are flared for lower distortion; there is a single 10" driver with a 44-oz magnet and ventilated pole piece. Allison has updated the Mini 2, now called the MS205. It's a three-piece system with new tweeters. The woofer goes down to 55Hz; of course it's in a sealed box. All three pieces cost $499, or you can buy the woofer separately for about $280. David Moran was in the process of reviewing Allison's new AL-125 for CD Review, formerly Digital Audio. The intended room loading is different from preceding Allisons; the new series is meant to sit well away from both side and rear walls, the type of placement long favored by audiophiles for best imaging and detail but one which often involves some sacrifice of lower midrange/upper bass smoothness and power. It is a

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prototype.) Al did like the new $5,000 Acoustat 66 speaker with electronic directional control. (It had a remarkable focus, and very airy and effortlessI felt, as best as one can judge under such circumstances, that it was the best at the show.Ed) Infinity's new Modulus system costs $1,000/pair, has a separate $300 pedestal or $125 wall bracket. There is a subwoofer available too. Magnepan's new all-ribbon three way $9,000 speaker, resembling the Apogee in some ways, didn't sound that good yet but reportedly will be improved. The Wilson WAAM is up to Series Six, and the price is up to $88,000, so it wins the stratosphere award once again. Matsushita's futuristic exhibit contained a theater featuring bizarre-looking trombone-like horns with plastic fire-hydrant subwoofers. The bigger of these woofers has 92dB sensitivity, is meant for discos, and supposedly goes down to 25Hz. The mid/tweeters are folded horn two-driver systems, and the midrange has two horns of different lengths loading the back of the same driver. Their AFP (audio flat panel) video screen has flat speaker modules with mid/tweeter columns at the edges and woofers radiating through screen. The sound from this system, according to Ira, Al and Mark, was "horrible." Their consensus about the KEF UniQ coaxial drivers (thanks to new, more powerful magnets [ Neodymiumed.], the coaxially mounted tweeters are tiny enough not to obstruct the woofer) are an interesting design idea, not yet well implemented. Vandersteen Ilci ("i" for improved) sounded good to our panel; TAS also likes it a lot. Snell, which sports a new logo, showed the type E-III, which costs $980/pair and sounded good; their new J-III is $680. Bozak's driver designs have been sold to NEAR, which stands for New England Audio Resource. Their new outdoor speakers are weatherproof like the old Bards but have a new cabinet of epoxy-covered wood and sound better than the old aluminum model. Peter Mitchell raved about the new ATC SCM50A, especially for its heightened portrayal of ambience; Al agrees about the ambience but suspects a high-frequency peak or some other aberration is responsible. In a welcome gesture of support for the arts, Michael Koss arranged to record the Milwaukee Symphony performing Dvorak's 6th and 8th symphonies, plus some modern works. The Paganini Trio played at the biannual Koss dinner. Koss has announced an unconditional lifetime guarantee for all headphones produced after July 1. They have a new transmitter for IR headphones that is more powerful with a better radiation pattern (something the old system needed; let's hope the transceiver system is quieter too.EBM). The panel pointed out that IR transmitters are visible through a CCD video camera, a useful trick if you need to know how brightly they shine and where. Harman Kardon/JBL, America's second-largest speaker company, are going factory-direct to dealers. This saves money (about 7%) but slows dealer distribution and tends to force dealers either to lose sales or to

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shown in a display that kept crowds at least three feet away. One of the new 40" rear-screen LCD projectors weighs under 100 pounds, and is 16" deep; the light source can be external, solving the cooling problem. The picture is not yet as good as conventional sets, but the technology is promising. E. Brad Meyer (Massachusetts)

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