May 1957 Radio & TV News
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Wharfdale is a brand well known to stereo
hobbyists and professionals for more than half a century - particularly in
Works was founded by British entrepreneur Gilbert Briggs in 1933, and still
sells speakers under the name "Wharfdale." As a pioneer in high fidelity sound reproduction,
Mr. Briggs was highly sought as an author by electronics and audio media. In May
1957, he wrote this article for Radio & TV News magazine. Studies of
the audio response of the human ear and the physics of the space where speakers
and listeners would be were undertaken as the electronics age progressed in the
post-war years and consumers began seeking more than simply noise emanating from
All About Audio and Hi-Fi
Editor's Note: We take great pleasure in welcoming to these pages one whose wide
experience and knowledge truly entitle him to be called a "noted authority" in the
hi-fi field, Mr. G. A. Briggs' pre-eminence stems not from a theoretical, ivory-tower
approach to the subject, but rather it is the result of endless experimentation,
a well-developed sense of inquiry, and a serious (although good-humored) interest
in good audio reproduction. Besides all this, Mr. Briggs has the peculiar ability
to tell of his experiences in a crystal-clear, personal, down-to-earth manner that
is a pleasure to read.
G. A. Briggs is managing director of the Wharfedale Wireless Works Ltd., England,
which is engaged in making loudspeakers. Mr. Briggs started constructing acoustic
phonographs, radios, and loudspeakers as a hobby around 1930. He started making
speakers commercially in 1933. He has also dabbled in pianos and during the course
of the last 25 years he has had forty different instruments in his home. Mr. Briggs
is the author of the best-seller, "Loudspeakers," which is now in its fourth edition,
as well as the popular "Sound Reproduction," "Pianos, Pianists, and Sonics," and
"High Fidelity - the Why and How for Amateurs." Also, during the last three years,
he has conducted nine lecture-demonstrations on sound reproduction in Canada, England,
and in Carnegie Hall, New York.
We feel quite sure all our readers will derive both pleasure and profit from
Mr. Briggs' series, "All About Audio and Hi-Fi," which begins in this issue.
By G. A. Briggs
Managing Director Wharfedale Wireless Works Ltd.
Part 1. An informative and interesting series that will discuss high fidelity
reproduction from the listener's point of view. Opening article describes the main
qualities of the human ear as they are related to sound reproduction.
As the year 1956 was drawing to its quasi-peaceful close, I was very pleased
to receive from the editors of this magazine an invitation to contribute a series
of articles on audio topics, now generally designated as hi-fi. Because I am constantly
making tests and experiments, it is very useful to have an incentive to place the
results on record whilst they are fresh in the mind. In these experiments I have
the valuable cooperation of our technical director, Mr. R. E. Cooke, B.Sc. (Eng.),
who joined my firm some two years ago after spending a few years in the Designs
Department of the BBC where he was engaged on problems connected with sound recording
Another reason for satisfaction is that I believe that any interchange of experience
and opinion between our two countries is a good thing in the present state of the
world, apart from the obvious fact that we can learn a lot from each other. (For
instance, although we are fond of saying that you cannot make tea, I have developed
the habit of using tea bags at home as a result of visits to America, and I should
hate to go back to the messy business of loose tea leaves.)
Fig. 1 - Photograph of the main items of test equipment
used in tests forming the basis of this series of articles, Mr. R. E. Cooke is recording
American radio and audio magazines are read with avidity over here, and it would
be a good thing if British journals could include more contributions from American
writers, although the usual rates of pay are rather thin; translated into dollars
they would just about keep a moderate smoker in cigarettes.
On the more technical side we have nothing in this country to compare with some
of your fine technical magazines, and, when it comes to test reports on instruments
and equipment, your consumer testing organization reports are unique for candor
and thoroughness, (Your greyhounds are halfway round the track before ours have
realized that the traps are open and the hares are off!)
To conclude this preamble, I would like to stress the point that music and its
reproduction are intended for man's delight, and my main reason for writing on the
subject is that I enjoy doing so, Let us therefore approach all problems in a gay
rather than a somber mood,
Scope of Articles
The title, "All About Audio and Hi-Fi," may be rather ambiguous. It does not
mean that I am going to tell you all there is to know about it. (I do not know it
all, nor do I think I know!) It simply means that I have a roving commission to
deal with all or any aspects of the subject, I sometimes think that the term "high
fidelity" has just about reached the limit set by the large notice which appears
on the front door of a dance hall on Broadway, which reads: "Most Exclusive Place
in Town - Everybody Welcome." It is now quite usual to see portable radio sets and
record players advertised in England as "hi-fi"; but despite this the term means
something when properly applied, and it is very difficult to replace by a better
As the main basis of this and subsequent articles will be actual tests and experiments,
a brief outline of the instruments available will not be out of place, although
I always believe that the skill and judgment of the investigators mean more than
the cost of the equipment employed.
Photographs of the Wharfedale laboratory are reproduced in Figs. 1 and 2.
In Fig. 1 the main item is, of course, our Mr. Cooke, but other items worthy
of note are, from left to right, automatic response curve recorder, a.f. oscillator,
microscope, stroboscope, vacuum-tube voltmeters, sound level meter, phase-angle
and impedance meter, oscilloscope with camera, etc.
Fig. 2 - Another part of the lab showing some speakers used
for comparative tests.
In Fig. 2 the corner enclosure on the left is built of bricks, and to the
left of that is an artificial reverberation device of Danish design. Moving to the
right (no doubt wisely) we see a small RJ cabinet followed by a larger enclosure
with special acoustic filter, to which we shall probably refer again in a later
article. Sitting atop this cabinet is a 3" tweeter with volume control, and on the
windowsill is a Janszen electrostatic speaker. Then we have a sand-filled baffle
accommodating three speakers, with an exploded view of a Klipschorn. on the extreme
right. (The fact that three out of the six speakers shown are of American design
does at least indicate that we are broadminded!)
When listening to loudspeakers in unusual rooms, allowance must be made for differences
compared to furnished rooms in which domestic speakers are normally used. For instance,
the laboratory in question has a longer reverberation time and sounds much brighter
than an ordinary room. Some beneficial acoustic treatment has been applied; perforated
Celotex tiles absorb excessive high frequencies over part of the walls, and half
a dozen acoustic absorbers, designed by R. E. Cooke, each 5 ft. x 2 ft., operate
in the range 100 to 8000 cps. (One of these can be seen in each photograph.) These
units combine the functions of a Helmholtz resonator, stagger-tuned over the frequency
range 700-1300 cps, and a membrane absorber. Nevertheless, I still prefer to make
a final loudspeaker test at home, when domestic types are involved.
Room effects obviously play havoc with any loudspeaker response, although they
do not invalidate the merits of level response as a starting point.
In view of the importance of listening tests, we cannot do better than devote
the remainder of this article to an elementary study of the function of the human
ear as related to the problems of sound reproduction.
Its main qualities could, I think, be classified very simply as follows: (1)
Sensitivity, or general acuity of hearing; (2) Response, or variation of acuity
with frequency; (3) Tonal discrimination and power to assess volume levels accurately;
(4) Sense of pitch; (5) Musical reaction and talent; and (6) Uniformity of qualities
1 and 2 between left and right ear.
For our purpose, the most important is No.3, tonal discrimination, but we will
deal with the others first.
Qualities 4 and 5: It is obvious that any of the six qualities could be possessed
to an exceptional degree by one person, with only fair or even poor ability in the
others, although it is reasonable to assume that Nos. 4 and 5 usually go together.
(It is difficult to imagine that even an ultra-modern composer cannot hit the right
note - or at least the one he wants.)
Fig. 3 - Results of hearing tests made by M. G. Scroggie
on persons of normal hearing between the ages of 5 and 55. Curves have been compensated
for Fletcher-Munsen threshold levels. (Curves redrawn from "Wireless World")
Fig. 4 - Response curves of the 3·inch speaker used in the
But experience shows that professional musicians are often poor judges of quality
No.3, and may be defective in qualities 1 and 2. (Beethoven was deaf for many years.)
The reason for No. 3 failure is that the musician usually spends so much time near
to the source of sound. I remember at rehearsals in the Royal Festival Hall, the
organist Ralph Downes always maintained that we were reproducing the organ too loudly
when he came into the body of the hall to listen. Similarly, a member of an orchestra
hears something quite different from the conglomeration of direct and reflected
sound heard by members of the audience. Volume level has a lot to do with it; I
always maintain that the art of attaining realistic reproduction starts with setting
the volume control correctly. The slightest touch up or down can make all the difference.
The organist, when playing on a console placed near the pipes, hears less than his
audience, but a member of an orchestra hears more, so the training for No.3 is poor
in both cases.
It is also difficult for very musical people to ignore the music and performance,
and concentrate on quality of reproduction. Many hi-fi fans err in the opposite
Qualities 1 and 2: At the outset, we must be careful not to attach too much importance
to acuity of hearing. We have already agreed that it has little to do with musical
ability, and it is fairly easy to prove that sensitive ears are not necessarily
discriminating ears, any more than a man with good eyesight is ipso facto an artist
or a good judge of line and color.
But a reasonably good range of hearing is obviously required before any reliable
assessment of tonal quality can be made. This was brought home to me recently during
a rehearsal for a record concert, the items for which had been chosen by a talented
musician and composer, who was apparently stone deaf above 5000 cycles and so remained
quite oblivious to surface hiss, plops, and screaming highs which came from some
It is well known that hearing at high frequencies falls off with advancing years,
but constant use of the ears in listening tests delays the decay.
The September, 1956 issue of Wireless World contained an interesting article
on age, hearing, and hi-fi, entitled "Too Old at -?" by M. G. Scroggie, who said
that those of us who are not so young as we were may be wondering why we should
spend a lot of money on equipment for reproducing frequencies we cannot hear. Some
measurements made on a few individuals by Mr. Scroggie are reproduced in Fig. 3,
the numbers against the curves indicating the ages of the people tested. Frequencies
below 1000 cps are omitted because no significant differences occur.
After studying these curves, we decided to make a few tests ourselves on members
of our staff, but whereas Mr. Scroggie used moving-coil headphones, we used moving-coil
speakers, and this may account for the fact that our results showed much better
standards of hearing at the high frequencies than did those of Mr. Scroggie and
previous investigators. (After all, it is more natural to listen with two ears open
to the air than with clamped-on headphones.)
A 3-inch unit with aluminum voice coil and light Bakelized cone was used as the
sound generator. Although not flat, the response goes up to 20,000 cps (see Fig. 4)
and the unit should be at least as good as a headphone. I was astonished that all
those tested - ages between 20 and 46 - could actually hear 18,000 cycles (usually
with a boost of 50 db or more) as I am stone deaf in that region.
Now there are three people whose hearing and tonal judgment I have always rated
very highly when assessing speaker performance. They are (1) my daughter, age 22;
(2) our works manager, Mr. E. R. Broadley, age 46; and (3) myself. Please do not
take the inclusion of myself as a sign of arrogance or conceit. We all think that
what we hear is right because we never hear anything else.
As a matter of interest, response curves of these three subjects, prepared by
Mr. Cooke, are shown in Fig. 5.
As already mentioned, Mr. Scrog-coil and light bakelized cone was used
phones, no doubt in a very quiet room, and in such circumstances the threshold-level
Fletcher-Munson curve gives appropriate compensation.
Fig. 5 - Hearing curves taken with speaker held a few inches
away from the right ear. Curves are corrected for loudness contour and are smoothed
below 3000 cycles. Curve (A) is for Miss Briggs. age 22; curve (B) is for G. A.
Briggs. age 66; and curve (C) is for E. R. Broadley, age 46. See text.
Our experiments were made without headphones in a laboratory where slight background
noise may be expected to produce some degree of masking at low intensities. The
results have therefore been compensated by the Jensen threshold curve for a critical
listener in low noise level. (Jensen Technical Monograph No.3, page 5, Fig. 5.)
These tests show that it is possible for a young person of 22 to hear perfectly
up to 14,000 cycles and quite well up to 18,000 cycles, Our sales director, Mr.
Escott, age 31, and Mr. Cooke, age 32, kept within 15 db of this standard up to
the 18,000 cycles limit imposed. Although I can actually hear 14,000 cycles, I was
shocked to learn that I am some 90 db down at this frequency. The most interesting
ears belong to Mr. Broadley, whose acuity is below mine up to about 10,000 cycles,
but then remains very even up to 18,000 cycles, in spite of his 46 years. He has
been making and testing loudspeakers along with me some 25 years, and I rate his
judgment of performance very highly.
The general conclusion, as a result of these tests, is that loss of hearing with
advancing years is frequently not as bad as has so often been assumed, and the faculty
of hearing - in common with many other human accomplishments - is preserved by regular
exercise or practice (like playing the piano or knitting).
It is a pity that deficiencies in hearing cannot be adjusted by "spectacles"
which are so easy to prescribe for the eyes. Deaf aids are little better than resorting
to any port in a storm.
Quality No.6: Few people hear equally with both ears, but I believe the natural
tendency is to adjust the balance by turning the weaker ear towards the source of
sound, so that quite wide variations could exist in one pair of ears without disqualifying
the owner from a shrewd exercise of tonal judgment.
Quality No.3: As with the gift of perfect pitch, the main basis of tonal discrimination
is memory, coupled with the ability to hear and recognize resonances, harmonics,
transients, and all the other qualities which go to make up a musical picture, plus
a sensitive reaction to any form of distortion. An appreciation of music and regular
concert-going to keep the ears fresh are obvious advantages. Anybody who unwittingly
plays records too loudly or too softly is disqualified from the start, and it does
not matter whether his amplifier is 10 watts or 100 watts. The "larger than life"
platoon cannot be admitted into this select company.
Again in common with the gift of pitch, you either have tonal judgment or you
have it not, and it is easily recognized in listeners when demonstrating sound equipment
to various people, in spite of enormous variations in preference and taste. A spark
of the talent - and talent it undoubtedly is - can develop into a flame by regular
I suppose the most skilled in the art are recording engineers who almost daily
compare live with recorded speech and music and can recognize on a monitor speaker
which piano out of a half a dozen studio models is being played. My complaint is
that recording engineers hardly ever write about their activities (probably due
to hush-hush policy) so views on the subject are left to be aired by semi-skilled
but interested parties like your humble servant.
The most difficult application of tonal judgment - after recognizing that something
is wrong - is the ability to recognize where the trouble originates. Poor recording,
bad studio acoustics, line distortion, antenna or reception faults on FM, pickup
distortion, amplifier faults, speaker trouble, listening room coloration, wrong
setting of playback characteristics, wrong volume levels; these and many other sources
of error need watching before final performance can be fairly judged.
For instance, the quality from FM at its best is so good that any shortcomings
in the quality of program material are ruthlessly exposed on wide-range reproducers.
A poor record via FM may sound as though the loudspeaker is out of center, and may
actually sound better on a small speaker in a resonant cabinet than on a hi-fi system.
So we will conclude this article by stating that tonal discrimination is the
most vital quality of the ear in audio activities, and that it involves placing
a source of distortion quite as much as noticing it. In short, do not always blame
In our next article, we will have a look at room effects.
(To be continued)
Posted October 23, 2021
(updated from original post on 12/1/2014)