The front panel sports three types of operating controls, grouped according to function. At the left is a row of push buttons for input signal selection - similar to those found on C/M's earlier preamp/ control unit. Across the center are five large knobs for mode, bass, treble, channel balance, and volume. The bass and treble controls operate on both channels simultaneously. Under this group a hinged metal plate drops to reveal six rocker switches for tape monitor, high and low filters, bass and treble in or out, loudness contour, and a stereo headphone jack.

The power switch, another rocker, is located just to the right of the hinged plate. Two pilot lamps are used: a red one lights up when the power is on; a green one comes on when any of the other rocker switches is used. The idea is to keep out of sight those controls least often used, and yet to signal you when one or more of them is on.
Input jacks in the rear correspond to the pushbutton signal selectors, and there is a pair of jacks for tape feed to a recorder. The speaker connectors, on a barrier strip, are rated for 4 to 16 ohms impedance. Four AC outlets - three switched, one un-switched -are provided for operating other gear.

In tests at CBS Labs the CC-50S met or exceeded all of its specifications. Power output was clean and high across the audio band; distortion for the most part remained just about at the residual level of the measuring instruments. Frequency response, virtually a flat line to 20,000 Hz, was down only 4 dB at 100,000 Hz. Exemplary square-wave response, for both low and high test signals, indicated firm solid bass and very clean transients. Equalization for both magnetic pickups and tape heads was highly accurate.

The tone controls had somewhat greater range than most amplifiers; in contrast, the loudness contour compensation was moderate but it proved enough for our tastes. Rumble and scratch filters seemed mild and probably wouldn't do too much for a really noisy turntable or terribly beat-up records-but who'd expect such items to be used with an amplifier of this caliber? Indeed, to really appreciate the CC-50S, you should drive high quality speakers with it and feed good program material into it. The result will be as good as you can get from an integrated amplifier these days.

A word on the signal-to-noise figures reported here. These measurements were made at mid-frequencies, which is customary. However, the manufacturer's published specification for S/N is referenced to the low frequencies, which he feels is a more significant area to clock this behavior. This explains the difference: actually, S/N in the CC-50S is a function of the frequency at which it is measured. And at 50 Hz, the S/N is 68 dB. C/M claims 70 dB, but who's quibbling?

Equipment reports are based on laboratory measurements and controlled listening tests. Unless otherwise noted, test data and measurements are obtained by CBS Laboratories, Stamford, Connecticut, a division of Columbia Broadcasting System, Inc., one of the nation's leading research organizations. The choice of equipment to be tested rests with the editors of HIGH FIDELITY. Manufacturers are not permitted to read reports in advance of publication, and no report, or portion thereof, may be reproduced for any purpose or in any form without written permission of the publisher. All reports should be construed as applying to the specific samples tested; neither HIGH FIDELITY nor CBS Laboratories assumes responsibility for product performance or quality.

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