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Stereo short for stereophonic is the greatest
advance in the quality of recorded sound since
Thomas Edison invented the phonograph. And
within the next nine months, more stereo equip
ment and records will be sold than the high-fidelity
industry has moved in its first five years.
So new that it is often confused with high fidelity,
stereo is actually two-eared sound, giving both
depth and direction when played through separate
amplifiers and speakers. Each of these speaker
systems is aimed at one ear of the listener, and the
two systems, at intervals of six to ten feet, provide
the depth and direction of this new sound.
The excitement generated internationally by
stereo has stunned the recording industry. Record
manufacturers were speechless when they recently
received orders for stereo disks, running the gamut
from jazz to classics, from Hong Kong and Lebanon.
They were amazed because there is no stereo equip
ment available in either area.
Here at home, stereo record players still are not
an exciting
newworld
of sound
G
4
Stereophonic re
cording enables yes
to hear the great
works of music at
their best.
by Norman S. Wtiser
available everywhere, yet the demand has been so
great for the new sound that every major manufac
turer has started regular monthly releases of
albums by recording artists, and more records are
being sold than there are sets in operation.
Pricing of the new equipment is planned to reach
the largest number of buyers in the shortest possible
time. From a low of $39.95 for portables, sets will
range to $2,000 for elaborate cabinets, multiple op
eration units with AM-FM tuners, and tape players
that also operate on the stereo principle.
For the millions of people who bought phono
graphs in the past few years, and find reproduction
satisfactory, manufacturers have developed conver
sion kits for moderate-priced switchover to the new
sound. The prices of these kits will start at about
$21, and range up to $200, exclusive of the cartridge.
Basically, the conversion means a change in the
cartridge and a second speaker and amplifier.
Credit for introducing stereo sound should be
given to the motion-picture industry in its constant
striving to bring the unexpected to the nation's
theater-goers. One of the most sensational stereo
demonstrations was achieved by the late Mike Todd
in "Around the World in 80 Days." The sound of a
train rounding a bend, its familiar clack-clack con
tinuing around the theater as the action on the
screen changed to a different sight, left the audi
ences with their mouths agape.
A visit to a recording studio makes the stereo
story come to life in its simplest form. Let's visit a
recording session in Chicago where Ralph Marterie's
band is going to cut a stereophonic album. More
than 20 musicians are seated in position, and to the
trained eye the different placement of the micro
phones is immediately noticeable. Instead of being
in front of the band, one extra-sensitive mike is to
the right, another to the left.
As the band goes into the theme from the motion
picture, "Houseboat," each microphone picks up the
music differently. The sound on the right, featuring
the saxes, trombones, and trumpets will be louder to
the right-hand microphone. The left-hand mike will
pick up the rhythm section piano, drums, bass, and
guitar more clearly. Each microphone is con
nected to a separate amplifier that amplifies the
sound and records it simultaneously on the top and
bottom tracks of a master tape. The stereo records
are eventually made from these tapes.
When the final chorus of the song has been com
pleted, we listen to the playback and note that the
instruments close to the right-hand microphone are
heard from the speaker on our right. The same
separation happens to the rhythm section, which is
predominantly heard from the left-hand speaker. In
this two-eared reception the music is heard with a
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