Professional II chromium -dioxide formula-
tion. The 3 per cent distortion level was
reached at inputs of +7 and +3 dB, respec-
tively, for the two tapes. Referred to the 3 per
cent distortion point, both tapes achieved a
signal-to-noise ratio (unweighted, without
Dolby noise reduction) of 53.5 dB. Switching
in the Dolby system and using the customary
A -weighting curve, the S/N improved to 66
dB for the UD XL -I and 67 dB for the Profes-
sional II, which is fine performance for a deck
in this price class.
Wow and flutter of the CR-4025 measured
0.08 per cent (wrms) and 0.13 per cent with
the DIN peak -reading method. The ballistic
characteristics of the meters, checked with
the prescribed 0.3 -second pulses, correspond-
ed exactly with VU characteristics. A 0 -dB
record level required an input signal of 65 mil-
livolts (mV) at the line -input jacks and 0.14
mV at the microphone inputs. Microphone
7 imate frequency settings. Another slider var-
SAE Model 180 Parametric Equalizer
THE parametric equalizer, originally con-
ceived as a tool for the professional re-
cording engineer, has become one of the sig-
nal -processing accessories available to the
home music listener and amateur recordist as
well. SAE, one of the first companies to offer
parametric equalizers to the consumer mar-
ket, has recently introduced the Model 180, a
lower -cost version of its Model 1800 para-
metric equalizer.
Although a parametric equalizer resembles
a multiband graphic equalizer in many of its
capabilities, there are some basic differences.
An octave -band equalizer consists of a num-
ber of parallel filters (usually ten), each one
octave wide, with means for adjusting the
gain of the signal channel through each filter.
With this arrangement, it is possible to make
substantial corrections in the response of a
speaker, a room, or the program material.
However, a one -octave bandwidth limits a
unit's ability to compensate for sharp, nar-
row -band response peaks or dips. A 1/3 -
octave equalizer is better equipped for this,
but it is very expensive and has perhaps three
times as many controls to adjust. It is almost
impossible to equalize in 1/3 -octave bands
without the aid of instruments such as a pink -
noise generator and a spectrum analyzer.
56
overload occurred with an input level of 25
mV which, while not overly generous, should
be sufficient to handle all but high -output mi-
crophones. While the playback level of the
CR-4025 is not adjustable, adequate volume
was achieved using both 600 -ohm and (nomi-
nally) 8 -ohm impedance headphones. Fast -
forward and rewind times (for a C-60 cas-
sette) were 78 and 81 seconds, respectively,
considerably bettering the 120 -second wind/
rewind specification.
Comment. The Fisher CR-4025 cassette
deck is certainly easy to use, and both its
specifications and measured performance are
entirely competitive with other units in its
price class. The wireless remote -control fea-
ture functioned flawlessly, enabling us to
eliminate commercials, station breaks, and
the like from our armchair while dubbing de-
sired selections from FM broadcasts. The
The answer, in many cases, is the paramet-
ric equalizer. It has a limited number of fre-
quency bands (usually two to four), but the
center frequency of each filter can be set to
any of a wide range of frequencies. In addi-
tion, the bandwidth of each filter is adjustable
over a wide range, varying the width of the
peak or dip in response it produces. Like a
conventional multiband equalizer, a paramet-
ric equalizer is capable of providing a near -
infinite variety of response curves. Since one
does not have the visual aid of a row of slider
control levers whose positions outline an
approximate response curve, a parametric
equalizer must be adjusted by ear, and the
end result is established by the hearing judg-
ment, patience, and skill of the user.
SAE's new Model 180 appears to be a
slightly simplified version of their Model 1800
parametric equalizer. It is almost the same
size and has virtually identical specifications.
The rated output is 2.5 volts, with no more
than 0.02 per cent distortion from 20 to 20,000
Hz and a noise level at least 90 dB below that
output. The basic frequency response of the
unit (controls centered) is within ±0.25 dB
from 20 to 20,000 Hz.
The Model 180 has two frequency bands
per channel, identified as "lo" and "hi." The
quality of the recordings we obtained in this
manner was certainly more than adequate for
our purpose, and the remote control eliminated
the standard mad dash to the pause lever.
The CR-4025 has its limitations, of course.
On very demanding source material (for ex-
ample, direct -to -disc recordings) the slightly
elevated treble response within its range can-
not fully compensate for the loss of the ex-
treme high frequencies that much more ex-
pensive recorders can capture. We missed the
reassurance of a LED indicator reminding us
when the machine was in its RECORD mode,
and we would have liked to have memory re-
wind and automatic stop from the high-speed
modes. But for the market in which it is in-
tended to compete, we can certainly recom-
mend the Fisher CR-4025 as worthy of serious
consideration.
Circle 134 on reader service card
low band covers from 40 to 1,200 Hz, and the
high band from 1,200 to 16,000 Hz. Horizon-
tal sliders adjust the center frequencies of the
filters, and calibrated scales show the approx-
ies the bandwidth of each filter from 0.3 oc-
tave to 3.6 octaves. A gain control above each
group of equalizer controls changes the re-
sponse from boost to cut (as its
ied from +16 dB to -16 dB). At the center (0
dB) position the response is flat. Each stereo
channel also has a master level control, nor-
mally operated at its 0 -dB (minimum attenua-
tion) setting and capable of as much as 70 dB
of attenuation.
The only other operating controls of the
SAE Model 180 are four pushbutton switches.
The Model 180 is normally connected to an
amplifier through its tape-recording and moni-
toring jacks, and these jacks are duplicated in
the rear of the Model 180. A TAPE MONITOR
button on the panel duplicates the function of
the system's main tape -monitoring switch,
which must be set to MONITOR in order to use
the equalizer. A LINE button inserts the equal-
izer in the signal path when it is engaged and
bypasses it when out. The other two buttons
provide the option of equalizing the signal
either before it is fed to the tape recorder or at
the recorder's monitor output.
The SAE Model 180 is finished in black,
matching the appearance of other SAE audio
components. The clearly legible panel mark-
ings are in contrasting white. It has no power
-switch, and so is normally operated from a
switched outlet on the amplifier or receiver. A
pilot light on the Model 180 shows when it is
on, and it has an internal 5- or 6 -second turn -
on delay to prevent starting transients from
reaching the amplifiers or speakers. The SAE
Model 180 is 181/2 inches wide, 4% inches
high, and 311/2 inches deep with its walnut side
panels and weighs 16 pounds. Price: $250.
Laboratory Measurements. With the stand-
ard IHF load of 10,000 ohms in parallel with
1,000 picofarads, the Model 180's output
(Continued on page 58)
STEREO REVIEW