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As a mate for its Model 35D power amplifier (see HIGH FIDELITY, August 1965) or indeed for any high quality power amp, C/M Laboratories has brought out the CC-1, a deluxe, high performing solid-state preamp-control unit. Performance is on a par with the best and the CC-1 has some interesting features found, as a rule, only on studio equipment.

This high order of performance and versatility is combined with fairly simple operation; the owner may feel like a pro when using the CC-1 but he doesn't have to be one to get the most from it.

A study of the front panel tells much of the story. To begin with there are seven push-buttons for selecting program sources: phono 1, phono 2, tape head, tape (amp or line output), tuner, auxiliary, and power off/on. Pressing any one of the first six buttons automatically selects the signal and turns on the associated equipment (tuner, turntable, or tape deck as the case may be) at the same time, assuming of course its own line cord is connected to any of the three switched outlets on the rear of the CC-1. Pressing the last button in this row shuts everything off.

By pressing two or more buttons simultaneously, you can deliberately mix input signals for special effects when tape recording or for sending two completely independent programs (each in mono) out of the CC-1 for listening to in different rooms at the same time.

Another row of five push-buttons - for left, right, stereo, reverse, and blend - controls the mode of operation. These too may be used in combinations
for special effects: for instance, if the stereo and blend buttons are used, a separate blend control then can be used to help fill the "hole in the middle" on some stereo programs.

The CC-1 also has a separate output jack at the rear for feeding an independent mono amplifier for center-fill (or mono in another room) which is controlled by the blend knob. These, and other variations of control functions, are explained in detail in the owner's manual.
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• Anmerkung : Diese Mono-Ausgänge waren von Anfang an Unsinn, weil auf Mono geschaltete Stereo-LPs ganz merkwürdige Auslöschungen und/oder Überhöhungen durch die Phasenverschiebungen bei der Abtastung erzeugten. Stereo-Platten auf Mono klang teilweise schlimm. Das war also reine Featureritis.

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Besides the push-buttons and the blend control, the CC-1 has a tape monitor switch, a scratch filter, completely independent treble and bass tone controls for each channel, a left-to-right balance control, a level control, and a loudness contour control. The tone controls are stepped types, and are completely out of the circuit at their indicated flat positions, a design feature that makes for minimal phase shift and the lowest possible distortion.

Six pairs of stereo input jacks at the rear correspond to the selector buttons on the front. The phono 1 and 2 jacks are for low and high output magnetic cartridges respectively. In addition to these jacks, there is a four-pin lock-in type receptacle that serves as an additional high-level input (and low voltage power source) for accessories such as a microphone preamp or mixer, or remote turntable or tape deck.

The CC-1 has dual sets of output jacks for left, right, and center (A plus B) signals so that two independent stereo, plus two more mono, amplifiers and speaker systems can all be driven at once if desired. There also are jacks for feeding a tape recorder; four AC outlets (one unswitched, three switched); a fuse-holder; the line cord; and a system grounding post.

As we noted on the C/M 35D basic amplifier, construction, wiring, and the parts used all are of a high order, the sort usually found on professional and military-grade equipment.

Performance tests at CBS Labs easily confirm the superior performance of the CC-1.

At rated output of 2 volts, distortion was just barely measurable over most of the audio band. Frequency response was literally a straight line out to 40 kHz; it was down by only 1.25 dB at 100 kHz. Other characteristics were consistently excellent including both the RIAA (disc) and NAB (tape head) equalization. Square-wave response was fine, with only moderate tilt and flat tops at the low end, and very fast rise-time at the high end - indicating full steady bass and excellent transient behavior.

The CC-1 is without doubt a topnotch audio "front end" that offers an enviable combination of virtues: superb performance, enormous versatility, and the assurance of long trouble-free service. It is very well worth considering as the nerve-center of an elaborate, state-of-the-art type of installation.
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