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“From the firsU we were impressed... ”

STEREO REVIEW’S Julian Hirsch reports on the Dah)quist DQM-9 Studio Monitor

"... by the effortless q unii ty of its sound with any type of program materiał. This is one of those speakers which we could listew to indefinitely without the urge to switch to something else.

The DQM-9 is the new and cffieient rcfcrence loudspeaker from Dahlquist. Its cxclusive dynamie tracking gives it the ultra-wide dynamie rangę and high SPI .-ability which make the DQM-9 a powerful statement-of-the-art of studio monitors.

But power isn’t everything—the DQM-9 is also sen sit i ve to music*s most delicate nuances. As Julian Hirsch descrihes it,

. .nu uncommonly smooth and easy sound ing speaker. . . compar-ahle to the best we have heard in its balance and orerall musicality. Its sound eertainly would do i ust ice to the finest honie system. . . ”

If you'd like to learn morę about this impressive loudspeaker, plcase write:

601 OKI Wilkts Pach. Hauppaujsc. NY I1788

(Continued Irom page 4)

thesongs by uminorihird Nobodyat ihal iimc sccmed lo objęci.

Now Mr. Smith wntes th.it I transposc somc songs down iwo steps. which simply is noi true. In thiscomplete rccordingof Poulenc songs my tessilura goes from Iow Ci to ihc high I sharp cxactly what it has always been

Do you realizc that your rcview might discouragc musie sociciies from engaging mc¹ Mow unfair'

(.er.tni Snu/ay Sl. Paul. Minn

Mr. Smith replies: I ant at present aw.i\ from my materiał: I may hase erred and pul in "iwo steps" for a step and a half. I doubt. however. that this would discouragc musie sociciies from engaging a major Poulcnc specialist' As for the question of tranpositions in generał, that is a thorny subject; I mcrely wished to point out that Mr. Souzay had madę them.

Sorting Out Sonics

Asa longtimc supporterof Ambisonic rccord-ing technology (and as an avid recordist w ho has madę scseral Ambisonic recordings). I was pleascd to sec AS mcnlioned in High Fidei.ity News (July|. Unfortunately. your blurb misrepresents the system. Ambisonics is not a "rmitation" of anything. let alonc quad-riphomesi It uses a mono componcnt. plus three directional signals to speetfy left/right. front/biick. and up/down. The “dccodcr" proeesses thcsc signals lo provide a psychoa-cousticalk correct presentation. Thiscontrasts drastically w uh both matrix and "discretc" quadnphonics. wherc the speaker signals arc directly transmitted. and sound sourccs arc positioncd by simplc amplitudę panning. Since amplitudę panning cannot providc correct imaging at the sides and rcar. sounds tend to be unstablc and jurnp to the nearest speaker. This results in a gross distortion of acoustical ambicncc and pronouneed listener fatigue.

Ambisonics iscompletely frcc from thcsc problcnts. Imaging is accuratc. crisp. and rca-sonably slabie ovcr a broad listening arca. Hall acoustics arc produccd as they sounded at the microphone position. not as if you were sittmg twenty rows back (a problem that plagues even regular stereo). Audicnce sounds arc rcproduccd at spccihc points in the acous-tic space. not as a vague blob of sound against a background of billów ing reserb.

Ambisonics does eserything that “quad“ was supposed to do. but never did. My own recordings and listening expcncnces conhrm the claim: “For those who havc had the cxpe-ricnce of the svstem. stereo w ill no longcr suf-fice."

William Sommerwerck

Suitland. Md.

C orrection: The illustration of the rack system that appeared on page 46 of our Nosember issuc was donc by Mikę Quon. Mr. Quon’s credit was inadscrtenlly omitted.

Reprmtcd wiih perir i vsi«Ml (rom the August, l^łtl issuc uf SfFRFO Rl V'IFW maga/inc Copyright /.if( l)j\i> 1’uhlishmgCompany Alt rights resersed.

letters shoutdhe udJreised to The Hditor. High Tnie lin-. K5 7,h Art.. V ł . V ). ino IV. 4 U letters tire suhject to editing for hrtviiv and littrilY.

ClrcU 17 on Raadar-Sarvlca Card

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