The Right Rig for Your Room

Opposite: Just for the L of it, treat yourself to this sumptuous stereo rig. From top to bottom: a stereo graphic equalizer that helps compensate for aural tone-quality discrepancies resulting from poor room acoustics, etc., by MXR, $200; Model CT-F1000 cassette deck featuring Dolby circuitry, by Pioneer, $600; Sansui's 6060 receiver that puts out 40 watts per channel, $420; Model 981 multiple-play manual turntable, which operates on a belt-drive system that provides damping between motor and platter to help eliminate wow and flutter, by B.I.C., $210; and twin Bose 601 Direct/Reflecting speakers with six drivers (four tweeters and two woofers) in each enclosure, $558 the pair.

Below: This inexpensive yet highly efficient hookup will turn a solemn study into a first-rate music hall. It's all done with Sony's HMK-419 compact unit that contains a three-speed BSR auto/manual turntable that is equipped with a Sony magnetic cartridge, an FM stereo AM receiver with tuning meter, a front-loading cassette recorder with one-button recording system, plus a pair of SS-420 Sensi-Bass speakers that provide a rich bass sound, thanks to their 6 1/2" passive radiators, all for $450, including a hinged smoked-plastic dust cover. And for silent listening, we recommend Sennheiser's HD 400 headphones, as they're tough, lightweight, handsome and they treat your cars to great sound, $33.

Rooms were Invented, any devoted hi-fi nut will tell you, to house stereo sound systems. Whatever other functions a room has, it happens to be the place to install and to enjoy lows, middles and highs (sonic, that is). Architecture exists for the sake of acoustics; decor, for decibels.

Well, not so fast. Leaving aside for the moment such considerations as whether a five-foot-high speaker looks better against a particular part of a wall than an armoire loaded with your collection of porcelain statuettes (even though that may be the best spot for it to do its tonal thing), or why what might otherwise be a good location for your favorite lounging chair may not be so great for the sound because in that location it blocks the treble dispersion, the fact is that there are rooms, and rooms. They vary in size, shape, proportion and acoustical character; and the variations, strictly speaking, are well-nigh infinite.

Now think of the possible combinations of available audio components to make up a "system," and you come up with a number that also staggers the imagination.

Below: Top sound gear for the lair of your manor includes (top to bottom): dual LS-407A three-way speakers that utilize a lumber-core baffle board for greater sound-propagation velocity, by Kenwood, $360 a pair; Model 201A cassette deck equipped with a Dolby B noise-reduction system, by Advent, $400; Pioneer's SX-650 AM/FM stereo receiver, which puts out 35 watts per channel and features two tuning meters, about $300; plus Philips GA312 electronically controlled manual turntable (33-1/3 and 45 rpm), which electronically eliminates groove jumping and side thrust, $180.

Opposite: For those with lofty ambitions and a well-padded wallet, you can go all out with (top to bottom): Tympani-ID cabinetless loud-speaker in a folding-screen design, by Magnepan, $1395 per pair; Model TCD-330 cassette deck, a three-head, three-motor machine, by Tandberg, $1000; Yamaha's ultrasensitive CT-7000B FM tuner, $1250; Model RT-707 open-reel tape deck, by Pioneer, $575; PRO/4 Triple A headphones, by Koss, $70; Marantz' Model 3600 preamp, $500; Model 2600 amplifier, by SAE, $1350; and a Harman Kardon ST-7 turntable, $460.

So, is an attempt to suggest stereo setups for only four rooms--which we are doing here--sheer nonsense, consummate chutzpah, a reversal of reality? Not at all. Understanding the limits and capabilities of various kinds of rooms and kinds of sound systems, it is perfectly possible to come up with some generalized guidelines for fitting the one to the other. Note that the key word is suggest. The line-up of stereo systems that follows is not a prescription (take only so much of this for a specific purpose and over a given time). Rather, it provides an idea of the type of stereo setup that can be assembled from among representative components to fit comfortably (from a physical as well as an acoustical standpoint) into a representative-size room in terms of the realistic capabilities of both.

In playing this game of matching rooms and systems, we followed some ground rules, based on a few well-chosen generalities from the often fuzzy science of acoustics, and also on the more pragmatic considerations of what's going on in the realm of stereo equipment. Since you're going to play with us, you should be let in on those rules:

The first already has been stated: The system must fit the room in terms of the capabilities of both; it must also fit the inclinations and tastes of the person likely to be the denizen of that room.

Second: A small room does not necessarily limit acoustical quality, though, admittedly, a larger room allows more freedom in system design.

Third: Inevitably, newer products are to be considered, though audio savvy and experience tell us that new is not always synonymous with best. So a few of the components suggested here may be all of a few years old but still very much a meaningful part of the hi-fi scene. Without getting stuffy about it, we can say that our criteria were proved performance and reputed reliability.

Fourth: Ancillary devices--such as time-delay, reverb, noise-reduction--are not in any of the line-ups, since they are, to audio fare, more exotic seasonings than basic courses. They can be added if desired, but they do not really relate to the thrust of this project. The one possible exception is a graphic equalizer, which could be employed to advantage in one of the rooms, as described further along.

Finally: All our projected systems are strictly stereo. At this time in the development of the home audio field, any excursions into four (or more) channels of sound must be taken at your own peril. No one knows what the future of four-channel sound will be, what forms it may take or whether, indeed, it has a future as a significant consumer item. Be that as it may, if we can believe any of the warring factions in the quadraphonic arena, conversion to and compatibility with four-channel systems are feasible (when and if) in terms of the kind of setups described here.

So let's have a look. . . .

Den or Study--Inexpensive

For a no-fuss, economy system that not only will be acoustically at home in a small-to-average-size room but also won't make you feel like apologizing when you turn it on, one of the recent compacts or modular stereo outfits is a good bet. Sony, with a good track record in this area, has a new compact that includes FM stereo and AM receiver, plus record changer, plus cassette recorder in one module (model HMK-419). The two speakers (SS-420) are separately housed in cabinets with matching wood finish.

Specifications for the receiver indicate the kind of performance long considered adequate for home hi-fi sound: 15 watts power per channel from 50 hertz to 20,000 hertz with no more than two percent total harmonic distortion. At a one watt output level (which is closer to the realistic demands likely to be made of this set), the response goes down to 40 hertz at the low end and well beyond 20,000 hertz into the extreme highs--so there is bass heft as well as extended highs. FM performance is ample for normally strong local stations. Tuning meter, separate bass and treble tone controls, channel balance control, stereo indicator light, headphone output jack and the normal inputs and outputs one would expect are all supplied.

The built-in cassette recorder lacks Dolby, but it has all the requisite controls for recording and for playback. It records, of course, from the receiver or the record player and--with its microphone inputs--you also can record live. In our view, the inclusion of a cassette recorder rather than a cartridge (eight-track) model is a distinct advantage for the owner.

Sitting atop the module is the BSR changer, a three-speed model that can be used manually or as an automatic, in which case you can stack up to five records. The arm is fitted with a magnetic pickup (diamond stylus, of course), and a hinged smoked-plastic cover fits across the full width of the module.

Each of the SS-420 speaker systems contains a six-and-a-half-inch woofer and a two-inch tweeter. The woofer's response is aided by a "passive radiator"--a separate six-and-a-half-inch cone that has no voice coil but that is energized, as required, by the pulsations from the active woofer.

All of this lists for about $450 and, in terms of matched component performance, plus features and options and sheer convenience, it seems hard to beat for the price. Headphone fanciers might consider adding to this setup either one of Sony's own low-priced models or a recent lightweight entry that provides remarkably good sound, the $33 Sennheiser HD 400.

Installing this system involves little more than removing the three pieces from their cartons and making some rudimentary connections. Everything is small enough and not so heavy as to preclude experimenting with placement for best sonic results. The speakers will work well when reasonably separated and located against either a short or a long wall.

Same-Size Room--More Expensive System

You can up the stakes (and the sound level) in a similarly proportioned room with a full-fledged component system that contains more options and refinements, not to mention the potential for wider-range response and higher power output. This kind of system, listing for about three times the cost of the previous compact, remains surprisingly compact itself, despite its enhanced performance capability. It is built around the Pioneer SX-650 receiver, which generally boasts specifications not normally expected in a unit in its price class ($300). Among them: 35 watts (minimum RMS) power per channel from 20 hertz to 20,000 hertz, with no more than .3 percent total harmonic distortion. FM sensitivity at 1.9 microvolts crowds equipment costing considerably more. The SX-650 has two tuning meters, plus all the expected controls and features, including a speaker selector and two tape monitors.

Suitable speakers for this receiver are legion; one model worth considering is the Kenwood LS-407A, newest in this firm's LS series, compact and yet efficient and big-sounding, thanks to the portaided woofer, a large-magnet and light-mass midrange cone and the dome-shaped tweeter that helps disperse the highs over a wide angle, and costs $360 per pair.

The Philips GA312 turntable brings the professional touch of an electronically controlled manual within reasonable dimensions and reasonable cost ($180). Styling is sleek and contemporary; performance, unimpeachable. As it is fitted with a well-balanced and antiskating compensated tonearm, you can use just about any pickup; likely candidates would be the Shure M91ED (about $65) and the costlier and smoother-sounding Shure V15 Type III (about $90). Operation is fun: feather-touch controls, accurate cuing device, fine-speed adjustments--the works.

Adding tape to this basic system is also a matter of preference. One new unit that makes good sense is the Advent 201A, the third-generation version of that company's 200, which was the original cassette deck to include both a Dolby B noise-reduction system and the option for using chrome tape. At $400, the Advent 201A does not offer some of the fillips of costlier units, but in terms of audio performance, it is right up there.

For listening to all this privately, consider the AKG K-240 headphones ($75), a relatively lightweight model that drapes over your head and ears quite comfortably, presents the full range of sound, from deep bass to sparkling highs, and still lets you hear the phone ring, since it does not block out all external sounds. The sensitivity of the AKG K-240 is suited to plugging into both a receiver and the output of a tape deck.

Putting this line-up of components to work takes more effort and time than you'd expend on a compact, but the chore shouldn't be outside the normal savvy of anyone who can read and follow the simple instructions that come with each component. Speaker placement follows the old rule about adequate separation for stereo spread, but not so much separation as to create a sonic "hole in the middle." The other units may be placed wherever convenient, as long as the turntable is not too close to either speaker system.

The L-Shaped Room

In this kind of room, good stereo coverage presents something of a problem, since there always is a sizable area that is acoustically out of balance with everything else. Both the lows and the highs can become lopsided vis-à-vis channel (continued on page 263) Right Rig (continued from page 148) balance, and sound dispersion becomes a prime consideration. One company that probably has concerned itself more with this problem than any other is Bose, whose latest speaker system--the model 601--achieves a spacious stereo effect by the use of "cross-firing" tweeters hidden behind the grille cloth. Because of this technique, plus the disarmingly conventional appearance of the system (it looks like, but is not, a conventional box), the 601 can be plunked down in difficult rooms and come up with very convincing sound. The low end has not been slighted, either, and the 601 makes it all the way down the scale. A stereo pair costs $558.

The 601s will respond to a wide range of driving power; one receiver that seems apt is the Sansui 6060 ($420), with an output per channel of 40 watts across the 20-hertz to 20,000-hertz band and with not more than .4 percent distortion. The Sansui has all the normal accouterments and its FM section is rated at 1.9 microvolts sensitivity, more than ample for most of the stations you'll tune to.

In this kind of system, you might want the finesse and low noise of an. electronically controlled turntable with a sophisticated arm, plus the option of automatic record handling. The new B.I.C. model 981 fills the bill. It uses a low-speed motor (300 rpm), as opposed to the 1800-rpm motors usually found in changers, which means less speed reduction in transferring motor action to turntable rotation. The belt drive helps isolate the platter for very low rumble and very low wow and flutter. Both of its speeds (33 1/3 and 45 rpm) are adjustable with the aid of a built-in light that strikes etched markings on the outer rim of the platter. The 981 may be used as a single-play manual, as a single-play automatic or as a stack-and-play automatic (up to six records). Its list price is $210.

Any pickup will work in the 981's arm; one model that merits your aural attention is the Audio-Technica AT13Ea ($65). Others might be the Stanton 681 Triple-E ($90) or the top of the Empire 2000 series--the 2000Z ($100).

A likely tape facility to add to this system would be one of the better cassette recorders. The new Pioneer CT-F1000 ($600) has impressive specifications and is loaded with features, including a threehead arrangement that permits monitoring tapes as you record them. It also has an unusual pitch control (on playback) that lets you adjust tape speed over a range of plus or minus six percent. Bias and equalization are separately adjustable and the inputs permit mixing of microphone and line sources.

If you hanker for headphones to use with this system, the choice is wide, indeed. The Superex PRO series is a fine choice for the listener who doesn't mind some 16 ounces of wrap-around that completely block out room sounds. The latest version lists for about $65. A lower-priced and lighter-weight Superex, the model CL-1, goes for about ten dollars less and sounds almost as good.

Admittedly, finding a final resting place for all this hardware in this kind of room may not be easy, even with the versatile Bose speakers. If, after you have tired of experimenting with shoving speaker A here and speaker B there, you still perceive stereo imbalance, you may resort to an electronic trick once used only by professionals but lately finding favor among more and more homebodies--and that is to press into service a stereo equalizer. This device offers precise control over specific frequency bands and can do a good deal to improve the sound, from compensating for program quirks to taming room acoustics. You can spend a small fortune on some of these units, but one that seems a natural for home use is the MXR. It provides, on each stereo channel, ten bands of adjustments, with center frequencies from 31 hertz to 16,000 hertz. All you do is slide the appropriate lever up or down until you get the kind of sound you want. The MXR adds about $200 to the cost of the system, but in many rooms, it may be the only way to realize the full potential of the rest of that system.

The Loft(Y) System

We now enter the realm of the all-out enthusiast whose room approaches the size of a small recital hall, for whom it is a temple of tone, a sanctum of sonics, and who couldn't care less how much it costs to re-create his inner vision of stereo reality. There is space and it must be filled with clean, wide-range sound. Both high volume and high definition are wanted.

One way to get them is to use conventional speakers in multiple arrays, stacked and/or spread about the place. Another way (and both approaches have their partisans) is to choose the kind of speaker that produces a broad sound front with fairly high efficiency and crystal clarity. One such is the Magneplanar offered by Audio Research. It looks like an electrostatic (a large floor-standing screen) but actually consists of a Mylar diaphragm stretched over numerous bar magnets arranged to provide woofer/tweeter coverage. The Tympani-ID goes for $1395 per stereo pair and can handle up to 300 watts per channel.

To properly feed this pair of monsters takes a diet of hearty wattage, and this factor inclines us to a separate power amplifier, such as the SAE model 2600, which pumps out well in excess of 300 watts across the complete audio band at less than .05 percent distortion and without caring whether its recipient has an impedance of four or of eight ohms. It lists for $1350.

To control this awesome combination takes a reliable and sensitive preamplifier. You can go one route and buy a very elaborate model or take off in the opposite direction and get an extremely simplified type. We have opted here for a middle-of-the-road approach that is still consistent with the quality level of the other equipment and the likely inclinations of the system owner. The Marantz 3600 covers the audio range with even lower distortion than the power amp (only .02 percent) and it has all the inputs, outputs, controls and features you could want outside a professional recording studio. It lists for $500.

A fitting FM tuner to mate with this line-up is the Yamaha CT-7000B. At its price of $1250, it may raise some eyebrows (all that to listen to off-the-air stuff?); but in terms of the arcane technicana that make for really top FM performance, this unit is second to none. Usable sensitivity, combined with superb noise rejection, rock-bottom-low distortion, great tuning ease and a lot more make this unit ideal for listening or as a source for off-the-air tape-recording.

With a system of this sonic capability, you logically want a record player of equally estimable caliber. Enter the ST-7 from Harman Kardon, which has as low a rumble as any but which also boasts true tangent tracking--the arm moves the pickup in a straight-line radius across the record, eliminating tracking error and obviating the need for antiskating and permitting the pickup to track at the lowest possible vertical tracking force. With base and hinged cover, it sells for $460. Any state-of-the-art pickup can be used: Some likely candidates would be the Sonus Blue ($125) or one of the top Ortofon models--the $90 M20E Super (a magnetic) or the $140 MC 20 (a moving-coil type that should be used with Ortofon's $200 MCA 76 "pre-preamplifier"). There is one school of thought that urges having at least two pickups on hand, each installed in its own arm--the consensus is that magnetics are better for full orchestral music, while the moving-coil types present a bit more detail for smaller ensemble close-ups--but on this bit of esoterica, we pass.

At the upper end of the quality-tape-recorder field, there are both open-reel and cassette models to interface with this sound system. A brand-new offering in the former format is Pioneer's model RT-707, whose features and performance specifications seem to strike a nice balance between what the advanced home-sound enthusiast and the studio pro might want. Its four heads permit off-the-tape monitoring while recording, plus reverse playback without compromising the forward-play head. A two-speed model (7 1/2 and 3 3/4 ips), it has three motors and more features and options than can be described here, but among them are pitch control (you can vary playback speed by six percent faster or slower), separate bias and equalization selectors, fast buttoning (directly changing transport action without first pressing the stop key). The RT-707 is priced at $575.

In the creme de la creme cassette class, there's the recent Tandberg model TCD-330. This three-head, three-motor machine also permits fast button operation and boasts its own built-in alignment system (complete with generator). Dolby and tape selection are provided. Performance is second to none for the cassette format. This kind of quality in a relatively small package costs, and the TCD-330 carries a list price of $1000.

The acoustic grandeur of the loft-size room notwithstanding, there will be times when you might want the privacy of headphone listening or may be monitoring a recording (there's room in this place for a real-live combo). A reliable old stand-by is the Koss PRO/4, which, in its latest incarnation as the PRO/4 Triple A ($70), remains one of the smoothest-sounding headsets you can wrap around your head.

After buying this loft(y) system, you may not have enough bread left to buy furniture, but that's your headache. At least the sound won't give you one.