J. Gordon Holt

Shure's new "Supertrack" V-15 Type II pickup was designed as an answer to all those high-powered discs whose excessive modulations make them shatter all over the place on lesser pickups, But just in case anyone didn't happen to own any of these difficult discs, Shure decided to issue one of these, too. The result is a collection of some of the meanest modulations ever gathered together in one place.

The first "pop" recording we've ever reviewed in Stereophile may set a precedent for future reviews if there are others that sound like this. To this untutored ear, the material is rock out of raga, but it is beautifully done and, except for the larger-than-life singer, the sound is almost shockingly good. No filthy fuzzed-up guitars here, and the pickup of the double-bass simply has to be heard to be believed. Get it, at least as a demo.

Ever wonder just how much sound quality is lost by recording stuff on tape before making a disc? Here's your answer. This program of soft rock and cool jazz arrangements was recorded straight from studio to disc, and the sound is incredible! Suddenly, a veil that we never realized was there has been lifted, and we had the feeling we were listening to a direct-wire transmission rather than to a recording. We're not at all sure we will ever feel quite the same again about any. other recording, such is the dramatic difference in transparency and cleanness.

Astounding performances! Every piece here was commissioned by the King's Singers, those six English gentlemen whose vocal artistry surely has never been surpassed. The works here are by Peter Dickinson, Malcolm Williamson (recently appointed by HRH Elizabeth II to the post of Master of the Queen's Musick, succeeding the late Sir Arthur Bliss), Richard Rodney Bennett, Krzystof Penderecki, and Paul Patterson.

Potentially the best news for perfectionists in years is the announcement of the first stereophonic direct-to-disc recording (in the US, at least) of a major symphony orchestra. Advent records of Cleveland, in collaboration with Discwasher, Inc. of Columbia, MO put four complete and usable runsthrough onto two sets of lacquers. The program was a collection of potboilers—what Sir Thomas Beecham used to call "lollypops"—much of it musically rather trivial, but all ideally suited for demonstrating what a no-holds barred recording can do in terms of sonics: works with bass drum, percussion, deep double-bass material, rich string sonorities" and so on.

This is to-date the best direct-to-disc recording I have heard. For once I can't complain about the high end being shrill or hard. The balances are excellent and the performances superior, with each member of the group getting his chance to show off. Marshal Royal's saxophone solos must be heard to be believed, Everyone present is obviously having a good time making music, which is the way it always ought to be but often isn't.