HDTenEightyP/NetNews huggingface dataset:
From: ST801804@BROWNVM.brown.edu
Newsgroups: rec.audio.high-end
Subject: Corey's Buffered Preamp
Date: 4 Sep 92 14:08:04 GMT
Organization: University of Wisconsin - Milwaukee
Originator: tjk@csd4.csd.uwm.edu


Has anyone had any experience with the buffered preamp outlined in
Stereophile a while back using the BUF-03 buffers?  What's the
approximate total costs?

Specifically, I'm interested in knowing whether it's worth the effort:
is it better than something like a PS audio preamp? Is it expensive?
I've basically got no electrical construction expereince behind me, so
I'm sure it will be a considerable hassle to build the power supply
outlined in stereophile.

thanks,
steve
Newsgroups: rec.audio.high-end
From: mcvey@mprgate.mpr.ca (Iain McVey)
Subject: Re: TAS article on CD audio
Originator: tjk@csd4.csd.uwm.edu
Organization: MPR Teltech Ltd., Burnaby, B.C., Canada
Date: Thu, 27 Aug 1992 13:01:40 GMT
  (5.65c/IDA-1.3.5 for uunet!rec-audio-high-end); Wed, 26 Aug 1992 10: 23:08 -0700

In article <9208251632.AA06731@sonny.proteon.com> jas@proteon.com (John A. Shriver) writes:
>Yes, but that TAS article (by someone from a Canadian magazine) is
>well below the typical editorial standards of TAS.  It is surely going
>to be used by the "digital is perfect" crowd as another example of
>"what idiots these subjectivists are".  It is really sad to see an
>atricle in TAS with such butchered technical content.
>
>First of all, [skipped]
>
>Second, [skipped]
>
>He's just piecing together tidbits of knowledge he's picked up from
>various people in the industry, but his synthesis is totally faulty
>due to a lack of understanding of the underlying system.

Is there a good reference for the standard that is readily available and
for a decent price?  Unlike the CCITT red books.  =8^)

I would seriously like to know about the protocols involved and steps
involved in CD music storage.

- Iain -
-- 
Iain McVey (mcvey@mpr.ca)    | Kodachrome, gives us those nice, bright colours,
Software Designer            | Gives the greens of summers,
MPR Teltech Ltd.             | Makes you think all the world's a sunny day.
8999 Nelson Way, Burnaby, BC | - Paul Simon
From: cj414491@LANCE.ColoState.Edu (Corey D. Jackson)
Newsgroups: rec.audio.high-end
Subject: Re: Tube sources
Date: 4 Sep 92 14:07:05 GMT
Distribution: usa
Organization: Colorado State U. Engineering College
Originator: tjk@csd4.csd.uwm.edu

In article <1992Aug31.135044.10787@ncsu.edu> kester@mat.mte.ncsu.edu (Dan Kester) writes:
>Having recently bought a hybrid-tube preamp (Counterpoint SA-1000 with 3 tubes)
>I have started to pay attention to ads for tubes.  What I'm wondering is how
>different are the different tubes?  What is a good source of tubes that netters
>have been satisfied with?  The tubes in the preamps are 6DJ8 and 12AX7.  

Yes, I also am new in the tube area.  I have a DYNA PAS preamp which I am 
told needs new tubes.  "Golden Dragons" or something were specifically 
mentioned.  How do I make these decisions and where would I order from?

Thanks in advance!

___________________________________________________________________ 
Corey D. Jackson        My employer doesn't pay me enough to think!
(303) 493-4972                   cj414491@Longs.LANCE.ColoState.Edu
Newsgroups: rec.audio.high-end
From: motoyama@harl.hitachi (Hiroshi Motoyama)
Subject: Re: Direct drive ELS
Originator: tjk@csd4.csd.uwm.edu
Cc: motoyama@harlgw92.harl.hitachi.co.jp
Organization: Advanced Research Laboratory, Hitachi, Ltd
Date: Wed, 2 Sep 1992 12:55:02 GMT
Return-Path: <motoyama@harlgw92.harl.hitachi.co.jp>


In article <199208301330.AA10016@world.std.com> DPierce@world.std.com writes:

   >> Developing a new tube!

I wrote my article just as an individual amateur. So, all the words written
there have nothing to do with my employer, HITACHI Ltd. 

   >Does Mr. Motoyama and his employer of record have a hidden agenda here? 
   >If so, would Mr. Motoyama come clean on it?

So, these questions make no sense.

   > > I am convinced that it is worth while developing tubes of
   > > this type. 
   >
   > Again, are you convinced it's worth while, or his there more of a 
   >  commercial interest here 

I answer to the first part of the question; Are you convinced it's worth
while? .... Yes, I am.

The last part of the question; Is there more of a commercial interest here?
makes no sense because of the same reason, I write again,

I wrote my article just as an individual amateur. So, all the words written
there have nothing to do with my employer, HITACHI Ltd.

   >|                Dick Pierce                |
   >|    Loudspeaker and Software Consulting    |
   >| 17 Sartelle Street   Pepperell, MA  01463 |
   >|       (508) 433-9183 (Voice and FAX)      |

By the way, dose Mr. Dick Pierce wrote his articles on loudspeakers secretly
motivated by commercial interest as a "Loudspeaker and Software Consulting"
professional?  

In fact, I do not think so. Mr. Dick Pierce is just talking on his favorite
topics. The reason why I ask this question is to show it's rhetorical power
to suggest the possibility in that he may have hidden commercial motivation,
no matter how he denies it. Wores than that, a person can ask questions of
this type paying nothing, without any cost, without any responsibility, 
without any evidence; it's just a question, if no, please say no.

I hope this newsgroup be a most comfortable as well as serious space to 
change our experience for any individual who wants to inprove the sound.

--
Hiroshi Motoyama                |   e-mail:  motoyama@harl.hitachi.co.jp
Advanced Research Laboratory    |   tel:     +81-492-96-6072 ext. 6233   
Hitachi Ltd.                    |   Sorry for reading such broken English,
Hatoyamamachi, Saitama, Japan   |   the commonest one in the World, though.

Newsgroups: rec.audio.high-end
From: biesel@javelin.sim.es.com (Heiner Biesel)
Subject: Re: Carver preamp/tuner, good or bad?
Originator: tjk@csd4.csd.uwm.edu
Organization: Evans & Sutherland Computer Corporation
Date: Thu, 27 Aug 1992 13:01:30 GMT

exulme@exu.ericsson.se (Michael Englund, T-TDT, x0996) writes:

...[ ]...

>However, I don't know much about Carver and I'm  worried about all that
>hype in his ads. I'm an EE engineer and I don't understand half of the
>terms used in the ads, like Sonic Holography!! Magnetic Field
>Amplification! Soft Equalization etc. etc.  This really makes me
>worried, did I miss some Eletronic revolution or something, or are the
>use of these terms just an attempt to sell an inferior product.  The
>cabinets also appear somewhat plastic to me.

>The question: is Carver a High end product, or would I be just as well
>off bying that Oshimmurayaki brand at Sears :-) (Note: I have nothing
>against japanese products, have a few good ones myself)

You'll probably get conflicting advice on this. Some audiophiles consider
Carver stuff to be dreck. Personally, I like his stuff enough to have
bought both a power amp and a pre-amp.

Carver equipment usually has a gimmick or two, rather than a purist
gold-plated-everything approach. The power amps have the advantage of
lots of power at low cost, low weight, and very little heat dissipation.
The Magnetic Field Amplifier is an amplifier whose supply voltage tracks
the signal level, requiring much smaller transformers in the power supply.
The crowd that worships at the altar of The Great Toroidal Transformer
considers that to be heresy, and will tell you so.

The Sonic Holography system is a means of injecting delayed out-of-phase
signals into the front channels to provide a wider sound stage. It's
a little tricky to set up properly, since speaker placement is critical
for it, but when everything works it's quite effective.

In general, Carver equipment works well, has no vices, and is a good
value for the money. Let your ears be your judge.

Regards,
       H. Biesel.

Newsgroups: rec.audio.high-end
From: Claude Lapointe <lapoint@adm.brl.mil>
Subject: Re: CD players, are they all the same ?
Originator: tjk@csd4.csd.uwm.edu
Source-Info:  From (or Sender) name not authenticated.
Organization: Ballistic Research Lab (BRL), APG, MD.
Date: Tue, 1 Sep 1992 12:53:56 GMT



I recently bought a complete system including Thiel 3.5's. Total cost
about $8K, retail.

I was dealing with a small, high class audio place which operates
mostly by appointment, and playing a passage of Saint-Saen's 5th
(the organ symphony) over and over again on a Cal Audio Labs
machine while intending to buy an NAD.

The owner kept telling me I ought not to count on different CD machines
sounding the same, and should audition the NAD. Almost as an afterthought,
and mostly to humor him, I auditioned the NAD. Good thing my son (age 28)
was with me to corroborate results - otherwise, I might not have believed
my own ears.

We couldn't believe the difference. The music seemed to lose everything
that made it GORGEOUS, luxurious, wonderful. We played, over and over
again, the first part of that passage (band 2 or 4, I forget which),
then switched machines and repeated. We repeated that cycle several
times.

I don't know what the music was losing, and had I not heard the Cal Audio
machine, I might have been satisfied with the NAD, but having heard both,
the NAD machine is just plain unsatisfactory.

The difference was so great I decided not to buy other NAD stuff - if
they could botch the CD machine, they could probably botch other stuff.

Yes, there was a cost penalty in buying other-than-NAD.

Cal Audio makes 2 models one about $950, the other about twice that.
I got the cheaper one and love it.


   pre-amp:    B&K MC101, Sonata series
   amp:        B&K EX442
   tuner:      B&K TS108
   CD machine: Cal Audio Labs ICON II
   turntable:  AR's better table, with emerald bearings, available through
               a one time event - the shop's owner knows people at AR,
               and when they recently discovered several of these tables
               in their warehouse, he bought them all at a super price.

Newsgroups: rec.audio.high-end
From: tomb@hplsla.lsid.hp.com (Tom Bruhns)
Subject: Re: Driving ELS Directly
Originator: tjk@csd4.csd.uwm.edu
Organization: HP Lake Stevens, WA
Date: Thu, 3 Sep 1992 12:59:58 GMT

motoyama@harl.hitachi (Hiroshi Motoyama) writes:

(comments about electrostatic speakers and coupling transformers 
abbreviated...)

>of the transformers which is usually very low, say, 0.1 ohm. When bass drams 
>attack, amplifiers should manipulate the current as big as 100A.
Why would you want to drive the DC resistance?  Decouple it.

>Typical capacitance of ELS is 3nF
...
>Here is the spec for an amplifier that drives ELS directly:
>
>   * output signal should be taken in balanced way
>   * output signal voltage      5kV rms (between hot and cold)
>   * output signal current      10mA rms (between hot and cold)
>   * output impedance           less than 10kohms (between hot and cold)

If you want to look at worst-case for transformer coupling, you better
look at similar worst-case for "direct" coupling.  5kV/10mA is about
500k ohms.  But 3nF is below that for any frequencies above 100Hz.  Expect
an amp at 5kV at 3nF at 10kHz, I think.

Anyway, how will you "direct" couple?  I recall an article in TAA using
813's with resistive loads.  Kinda power hungry.  If you use a center-
tapped choke instead, you have exactly the same problem as you did
with the low DC resistance of the transformer...assuming you try to
drive it down to DC.  (Dick Pierce already posted plenty about that...)


Newsgroups: rec.audio.high-end
From: brian@comp.vuw.ac.nz (Brian Boutel)
Subject: Re: What ever happened with Stereophile?
Originator: tjk@csd4.csd.uwm.edu
Organization: Dept. of Comp. Sci., Victoria Uni. of Wellington, New Zealand.
Date: Thu, 3 Sep 1992 13:04:47 GMT
	(5.61/UUNET-internet-primary) id AB14657; Wed, 2 Sep 92 17: 23:14 -0400
  (5.65cVUW/3.5 for rec-audio-high-end@uunet.uu.net); Thu, 3 Sep 1992 09: 23:00 +1200


In article <PHILG.92Sep1185725@zug.ai.mit.edu>, philg@zurich.ai.mit.edu (Philip Greenspun) writes:
|> 
|> 
|> In article <zarthac.715206560@camelot> zarthac@camelot.bradley.edu (Matthew Simmons) writes:
|> 
|>    I keep hearing references to some kind of Armor-All incident.... What happened?
|>    (I must have missed that/those issue(s)....
|> 
|> They told people to Armor-All their records and they in turned out
|> that the stuff ate away at the plastic or gummed up the stylus or
|> something.  Anyway, it was all kind of disturbing because the
|> Armor-All proved nearly impossible to remove.
|> 

As I remember it was about CDs, not vinyl records. It was alleged that it
improved the sound. I never heard any difference, even in a direct comparison
between two copies of the same disc, one treated and one not.

There was a later report that it had been tried a few years previously, and the
treated CDs began to rot after a while. So the advice to use the stuff was
withdrawn, just in case.

On vinyl records it's a different story. One of the British Mags suggested that
Armor-All was good for record cleaning. I tried it on some very noisy records
that were almost unplayable, so I didn't care if they were ruined. The Armor-All
loosens the muck stuck in the groove, and playing the record will transfer the
gunge to the stylus, which can then be cleaned. Removing the Armor-All is the
next problem. I found that a spray glass cleaner (brand names vary, but mine was
called something like "Spray and Wipe") did the trick, followed by a water rinse
if necessary. It worked, and I was able to resurrect some otherwise dead records,
but I wouldn't take the risk for cleaning on a regular basis.

--brian


-- 
Internet: brian@comp.vuw.ac.nz
Postal: Brian Boutel, Computer Science Dept, Victoria University of Wellington,
        PO Box 600, Wellington, New Zealand
Phone: +64 4 471-5328   Fax: +64 4 495-5232

Newsgroups: rec.audio.high-end
From: tjk@csd4.csd.uwm.edu (Thomas Krueger)
Subject: Replacing Fuses
Originator: tjk@csd4.csd.uwm.edu
Organization: College of Engineering Electronics Shop, UW Milwaukee
Date: Wed, 2 Sep 1992 13:02:33 GMT

By now you've seen a couple advocates and a lot of people saying it's stupid
and dangerous to put larger fuses in place of smaller ones.

They're right, it's stupid.

The benefit you get is not from putting a *larger* fuse in, just putting a 
*new* fuse in. Or, if you don't want to buy new fuses, clean the end-caps
off with a ScotchBrite (tm 3M) pad.

Don't put larger values in. The size of wire in a 10A fuse is not
significantly larger than in a 1A fuse, and you could kill someone when your
amplifier starts on fire.

							- Tom
-- 

Thomas Krueger                       UW-Milwaukee Engineering Electronics Shop
tjk@csd4.csd.uwm.edu                                         +1 (414) 229-5172
    Moderator: rec.audio.high-end, Info-Fortune, and Mystery mailing lists
From: jdhill@star-trek.bbn.com (Jack D. Hill)
Newsgroups: rec.audio.high-end
Subject: Oregon Triode Society
Date: 2 Sep 92 12:51:11 GMT
Reply-To: jdhill@BBN.COM (Jack D. Hill)
Organization: Bolt Beranek and Newman Inc., Cambridge MA
Originator: tjk@csd4.csd.uwm.edu


	I would like to make a pitch for an interesting magazine that was
brought to my attention - Positive Feedback. Positive Feedback is a publication
of the Oregon Triode Society. The OTS was formed 3 years ago by a handful of
audiophiles and has grown to 180 strong. They hope to continue growing and if
the quality of their magazine is any indication, they should do very well
indeed.
	For those put off by the name of the group (i.e. Triode), they do not
deal strictly in tubes. In fact, based upon the one issue I've seen, about
20-30% of the articles are about tube equipment. The rest covered recordings
(both classical and jazz), various digital topics, equipment comparisons and
reviews, technical articles, audio industry news, tips and tweaks, and some
hilarious cartoons by one Bruce Walker.
	Membership entitles you to one year's subscription (6 issues) to
Positive Feedback as well as attendance and participation in the OTS. Price is
$15 US, $30 Canada and $40 outside of the USA.

OREGON TRIODE SOCIETY
4106 N.E. Glisan
Portland, OR  97232
(503) 235-9068
From: philg@zurich.ai.mit.edu (Philip Greenspun)
Newsgroups: rec.audio.high-end
Subject: Re: TAS article on CD audio
Date: 2 Sep 92 12:53:25 GMT
Reply-To: philg@martigny.ai.mit.edu
Organization: M.I.T. Artificial Intelligence Lab.
Originator: tjk@csd4.csd.uwm.edu


In article <1992Aug26.172251.1333@mprgate.mpr.ca> mcvey@mprgate.mpr.ca (Iain McVey) writes:

   Is there a good reference for the standard that is readily available and
   for a decent price?  Unlike the CCITT red books.  =8^)

Since Americans are assumed to be either geniuses or idiots by people
writing about audio, there is no good American book on this subject.
However, The Art of Digital Audio by Watkinson (1988 or so, Focal
Press) in the best British tradition explains all kinds of digital
kludges very clearly, yet precisely enough that one could engineer
equipment from it (I have and they worked!).

Highlights of the book include the following:

1) how the CD pits really works (no they don't "scatter the light" as
Audio magazine would have you believe)

2) detailed description of the indexing system on CDs

3) AES/EBU digital audio transmission, including the big hairy control
word that contains SCMS data (although the book predates SCMS, so
you'll have to order the 100 page digital audio bill from Congress to
figure out what happens today).

4) pretty good section on error control

Focal Press is in Stoneham, MA.

Philip Greenspun
MIT Department of Electrical Engineering
From: philg@zurich.ai.mit.edu (Philip Greenspun)
Newsgroups: rec.audio.high-end
Subject: Re: What ever happened with Stereophile?
Date: 2 Sep 92 12:54:32 GMT
Reply-To: philg@martigny.ai.mit.edu
Organization: M.I.T. Artificial Intelligence Lab.
Originator: tjk@csd4.csd.uwm.edu



In article <zarthac.715206560@camelot> zarthac@camelot.bradley.edu (Matthew Simmons) writes:

   I keep hearing references to some kind of Armor-All incident.... What happened?
   (I must have missed that/those issue(s)....

They told people to Armor-All their records and they in turned out
that the stuff ate away at the plastic or gummed up the stylus or
something.  Anyway, it was all kind of disturbing because the
Armor-All proved nearly impossible to remove.

I'm not sure if it was Stereophile or Absolute Sound, by the way, but
I am sure that some authority first said to put it on all of your
records and then said to put it on none.

Personally, I never tried it.  Well, actually I DID try it, but I
didn't inhale.

Philip Greenspun
MIT Department of EE
Newsgroups: rec.audio.high-end
From: AA10000 Wally Knapp  Computer Services  x4461 <AA10%CATCC.BITNET@VTVM2.CC.VT.EDU>
Subject: Studio Monitors
Originator: tjk@csd4.csd.uwm.edu
Organization: University of Wisconsin - Milwaukee
Date: Tue, 1 Sep 1992 12:54:33 GMT
   Mon, 31 Aug 92 12: 40:09 EDT

I found Dan Levitins's discussion of studio monitors to be
very enlightening.  A few weeks ago, my family and I visited
MGM and Universal Studios in Florida and during the tours of the
various sound stages, the Auratones were on every desk's bridge!
I think I also saw a number of the new TAD nearfield monitors.

My question to Dan is how does a studio wire up these many sets of
speakers? Does each have its own amp?  Is there some kind of
passive switching setup available that takes into account the various
efficiency ratings of the speakers?  I would like to install
similar sets of speakers but am at a loss how to handle the
linkage of them to the same program source.  Thanks for some info.

Regards,  Wally Knapp

+++----------------------------------------+++-----------------------+++
| Wallace C Knapp CSP Dir Computer Services |  BITNET    AA10000@CATCC |
| Catonsville Community College             |  Telephone  301-455-4460 |
| 800 S Rolling Road                        |                    -4461 |
| Baltimore Md  21228                       |  Bldg H       Room 239 A |
+++----------------------------------------+++-----------------------+++
From: johno@sdd.hp.com (John Ongtooguk)
Newsgroups: rec.audio.high-end
Subject: Re: Follow up on power conditioners, fuses, and such.
Date: 2 Sep 92 12:51:38 GMT
Organization: Hewlett-Packard, San Diego Division
Originator: tjk@csd4.csd.uwm.edu

In article <Aug.31.11.17.32.1992.23841@gandalf.rutgers.edu>, tcheung@gandalf.rutgers.edu (Tak Cheung) writes:
|> ....... 
|> So, knowing full well that this is risky business about changing fuses
|> in the equipment, I tried it anyway.
|> ....... 
|> (2) Replacing original fuses with much higher amp ratings, such as 
|> replacing the 1A fuse in my Classe' preamp with a 8A one improves the
|> BASS and DEPTH perception ... 
|> ....... 
|>     These results are absolutely mind boggling, I mean just the fuses.

   I've always thought it a bit strange that people would use 'garden
   hose' speaker cables while running it thru some little tiny fuses.
   My speaker cable runs directly from the power amp PCB to the speakers,
   with no fuses, but it does make me nervous sometimes to think what
   could happen. In any case I noticed better bass; tighter, fuller, and
   all, and overall sounds better. I've always assumed that it was due to   
   improved damping, but it's just a guess. My  modest system partially 
   consists of Spicas, a NYAL Moscode 150, and cheap Kimber cable.    
       
   You may also want to look at the wiring running from your connectors
   to your equipment boards....sometimes you may find that your $300+
   interconnect also effectively consists of a fair amount of hookup
   wire, perhaps at a nickel a foot. My interconnect runs from board
   to board with no connectors.      

   John Ongtooguk (johno@sdd.hp.com)
Newsgroups: rec.audio.high-end
From: peterca@ento.csiro.au
Subject: valve/tube biasing
Originator: tjk@csd4.csd.uwm.edu
Organization: University of Wisconsin - Milwaukee
Date: Thu, 27 Aug 1992 13:03:33 GMT

Since I last asked about this I have collected a few more schematics and
designs and note that various methods are used to apply a bias voltage to
the output valves of a power amp.  The methods vary and some include an
adjustment for each valve.  Some apply the same voltage to each valve
whereas others adjust each for equal bias voltage.  Others appear to
provide a bias voltage adjustment which results in equal current through
each valve.  Of course ideally each valve has identical properties but
obviously this is not always true.  Is it more important to adjust the bias
voltage for equal current or the current for equal bias voltage? 

----------------------------------------
Peter Campbell
C/O Div. Entomology, C.S.I.R.O.
Box 1700 Canberra A.C.T. 2601
Australia  (peterca@ento.csiro.au)
Ph.61-6-2464158 (w), 61-6-2516213 (h)
----------------------------------------


Newsgroups: rec.audio.high-end