Enjoy professional performance at home with the NEW Concertone 20/20 Recorder (20 to 20,000 cycles usable frequency response) Perfection is demanded from a recorder by radio station and sound studio engineers. You needn't settle for less. The new Concertone 20/20 recorder meets all the exacting requirements of a professional recorder at a price within your pocketbook. For the sound enthusiast and music lover who demand the ultimate in sound reproduction, Berlant Associates have produced a recorder of utmost dependability, simplicity and performance ... in a two -case portable package to fit nicely into your home audio system and your budget, too. $595 Is the user's net fair traded price <strong>Com</strong>plete with carrying cases The NEW CONCERTONE 20/20 has all these outstanding features: Provision for five heads (thee are standard). Additional amplifier makes both monaural and binaural recordings possible. Three motors for minimum wow and flutter. Two -speed capacitor induction motor for direct drive. Shaded pole motors for take -up and supply. Unified Control.. . one simple convenient error -proof lever system. A -B Test Fader ... monitors between incoming signal and playback without transients or clicks. Built -in two -channel mixer ... line signal can be mixed with mike input to put both on tape simultaneously. Tastefully styled to complement the decor of !tour home. Write for Free Brochure Dept. JY-4 4917 W. Jefferson Blvd. Los Angeles 16, Calif. Audio Itivision of American Electronics, Inc. MANUFACTURERS OF BERLANT STUDIO RECORDER AND ACCESSORIES "Just Like Being There"
These reports may not be quoted or reproduced, in part or in whole, in any form whatsoever, without written permission from the publisher. Because of space limitations we normally attempt to report only on products of wide general interest. Thus, omission does not, per se, signify condemnation, although reports are seldom made on equipment that is obviously not reasonably high in fidelity. - Each report is sent to the manufacturer before publication; he is free to correct the specifications paragraph, to add a comment at the end, or to request that the report be deferred (pending changes in his product) or not published at all. He is not permitted, however, to amend or alter the report. Webster 97 -0 Preamp and 96 -10 Amplifier SPECIFICATIONS (furnished by manufacturer): separate preamplifier -equalizer- control unit and power amplifier. 97-0 PREAMP - Inputs: four high -level inputs, marked Tuner, TV, Tape, and Xtal; low -level inputs marked Mag and Mic. Controls: selector switch for six inputs; turnover (O, AES. 500, LP, 800); rolloff (0, 4, 8, 12, 16 db at 10,000 cycles); treble (t 15 db, 10,000 cycles); bass (t 15 db, 50 cycles); concentric individual volume and loudness controls; AC power on -off toggle switch; high -frequency range filter (5,000 cycles, 7,000 cycles, flat). Input level -set controls furnished for all six inputs. Outputs: two, both at low impedance; one to amplifier, the other, not affected by volume, loudness, filter, or tone controls, to tape recorder. Switched AC power outlet. Response: t I db, 20 to 20,000 cycles. Output: 2 volts. Dimensions: 143( in. wide by 10 deep by 4 3/8 high, overall. Tubas: 12AY7, 2- 12AÚ7, 12AX7, 6X4. Price: $129.50. 96 -10 AMPLIFIER - Inputs: one, at high impedance (0.5 megohm). Controls: input level control. Speaker terminals: 4, 8, 16 ohms. Rated power: 10 watts. Response: at one watt, within 0.3 db, 20 to 40,000 cycles, down 2 db at 100,000 cycles; at 10 watts, within 0.5 db, 20 to 22,000 cycles. Narnienk distortion: 3 watts, 50 cycles, 0.3 %; 10 watts, 50 cycles, 0.75%; 10 watts, 30 cycles, 1.5%. Noise: 80 db below 10 watts. Dimensions: 12 in. long by 7 1/8 wide by 6 1/8 high, overall. Tubes: 2 -655, 6S37, 2.6V6GT, 5Y3GT. Price: ,$89.50. Manufacturer: Webster Electric <strong>Com</strong>pany, Racine, Wis. This amplifying system from Webster Electric was obviously designed and built to the highest commercial standards; all control facilities of real value have been included, and provision made for a multiplicity of input sources. There is even that rarity, two distinct input channels suitable for magnetic cartridges. Electrical performance and mechanical construction are exceptionally good. Curiously, though, the preamplifier in particular has much more ear- than eye- appeal, and the input and output screw -terminal connections are anything but easy to work with. These deficiencies are only so annoying because of the equipment's superiority in other respects. The preamplifier has three standard high -level input channels, labeled Tuner, Tape, and TV. Another high -level channel, for crystal, ceramic, and other constant - amplitude cartridges, is affected by the vari- it should be. There are two low -level input channels labeled Mag and Mic. They are identical except for input loading resistors; the termination for the Mag channel is loo,000 ohms and that for the Mic channel is s able equalization controls - as megohm. Both channels are affected by the equalizer controls; consequently, each con- AuUsT,.1955__ trol has a flat position. By changing a terminating resistor you can have two microphone channels or two magnetic phono channels, as you prefer. Easier yet, use external load resistors of the recommended values to get two phono channels. Preamplifier noise level was very low and gain extremely high. On the front panel are six small holes, and behind them are screwdriver -adjusted input level -set controls, one for each channel. Incidentally, the instructions contain some good advice concerning these adjustments. Keep them turned down as far as possible, and the main preamplifier volume control as far up as possible, in order to achieve minimum distortion. This applies equally to any similar equipment. The selector switch is the first main control on the front panel. Next are individual turnover and rolloff equalization trots. Response in their center positions was almost perfectly flat, and the maximum boost and droop of each met specifications well within the error tolerance of our test equipment. Further -and most important - they caused absolutely no discernible ringing on transients. Then, to the right, are concentric volume and loudness controls. We have commented before that this seems, to us, most sensible of the many possible arrangements for loudness compensa- tion. Acording to our checks, maximum compensation at 5o cycles was 12.5 db; at 10,000 cycles, 3 db. Less compensation than most loudness controls furnish but, in our opinion, entirely adequate. In the upper right -hand corner is the AC power switch and, in the lower right -hand corner, a pilot light. Between them is the filter switch, with a flat position and two others labeled 5 kc and 7 kc, corresponding The Webster 97 -o preamp- control gets blue ribbons for flexibility and overall quality. controls. Turnovers available are flat, old AES, Soo (RIAA), old LP, and Soo (old RCA). Rolloff control positions are marked according to decibels attenuation at to,000 cycles: o, 4, 8, 12, and 16. Curves for both controls are well- chosen and our workbench checks showed them to be right on the nose. Next along are treble and bass tone con- to the points at which sharp high- frequency cutoffs begin. We found that the actual frequencies at which cutoff began in our test unit were 3,900 and 6,8oc cycles. Although cutoff was very sharp - 18 db per octave - ringing caused by the control teas insignificant. There are two outputs and both are at low impedance. One is for connection to 71
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