HDTenEightyP/NetNews huggingface dataset:
From: nau@ssesco.com (William Nau)
Subject: Re: cd player recommendations?
Organization: SSESCO
Date: Mon, 12 Oct 1992 12:51:10 GMT

In article <1b9flnINNfkv@usenet.INS.CWRU.Edu>, smv3@po.CWRU.Edu (Sean M. Vadas) writes:
|> 
|> In a previous article, nau@ssesco.com (William Nau) says:
|> 
|> >In article <1b2uh1INN6a1@usenet.INS.CWRU.Edu>, smv3@po.CWRU.Edu (Sean M. Vadas) writes:
|> >|> 
|> >|> 
|> >|> I am wondering if anyone could recommend a good cd player.
|> >|> I'm interested in updating my old Sony carousel which was
|> >|> junk.  I have a Denon receiver, a Nakamichi cassete deck, and
|> >|> Pinnacle speakers.  What would you suggest?
|> >|> 
|> >
|> >I would suggest that you give us a price range.
|> >
|> 
|> $300 - $500 range.
|> Thanks

You just made it easy.  If you're looking for something that is well
featured, I'd look toward Denon.  However, if you simply want the most
musical CD player that can be had for that kind of money, Rotel is the
clear choice.  They have a model (985 or something like that) for $450
that blows the socks off everyone else in the price range.
Xref: sparky rec.audio.pro:1943 rec.folk-dancing:1874
From: pgroblic@revpjg.gmr.com (Peter Groblicki)
Newsgroups: rec.audio.pro,rec.folk-dancing
Subject: Variable speed tape players
Date: 13 Oct 92 15:40:27 GMT
Reply-To: pgroblic@revpjg.gmr.com
Followup-To: rec.audio.pro
Organization: GM Research and Environmental Staff

I'm looking for a variable speed tape player for a friend's dance group.  Saturday,
we were reducing the speed of a dance by 20%, so we need more than the +/- 6% pitch
control seen on some decks.  I've heard a lot of negative comments about the
reliability of Marantz.

In the most recent catalog from Supreme Audio (a firm dedicated to dance audio
equipment, 1-800-445-7398), they list a Rolls RS72CD dual cassette deck with +-20%
speed control and a lot of other useful features.  At $320, it is priced comparably
to the Marantz.  It is claimed to be of "Professional quality and commercial grade
design".  I have never heard of this firm.  If anyone out there owns one, can they 
comment on it?  Anyone know anything about the firm?

I'd appreciate any other recommendations for decks to look at.

Thanks  -- Pete
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Demise of a Pro Audio Magazine....
Date: 8 Oct 92 18:01:57 GMT
Article-I.D.: gold.5400
Organization: Grass Valley Group, Grass Valley, CA

I received my copy of R-E-P yesterday.  The editorial noted that by the
time I received the mag it would be offically dead.......

I quickly went and found the first copy that I ever got.

Volume 1 number 2  June/July 1970

It was a useful periodical.  Recording Engineer/Producer  1970-1992

-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.
From: jhenders@jonh.wimsey.bc.ca (John Henders)
Newsgroups: rec.audio.pro
Distribution: world
Organization:  One of these days for sure
X-News: HERMES MMAIL 1.04 Rev. Sep  5 1992
Subject: Re: Carver????
	<H.ea.p4AJwfn4Y7M@jonh.wimsey.bc.ca> <Bw2Bqz.2tB@news.larc.nasa.gov>
	<1992Oct13.155858.8120@ac.dal.ca>
Date: Wed, 14 Oct 1992 22:56:24 -0700

In <1992Oct13.155858.8120@ac.dal.ca> cullen@ac.dal.ca writes:

> I believe that the only way to use carver amps is to use ungodly 
>gauge wire in the electrical system supplying them.

>In other words, don't wire fifty feet from the panel with 14/2, 
>and call it a fifteen amp circuit for carver amps. This is code use 
>but the Carvers put a drain on the circuit during transients and cause a
>voltage drop in the wire. 

>I saw a show recently (Blue Rodeo) which was exclusively Carver.
>The distro used 000 from disconnect to panel, and 8/4 swo from panel to
>amp rack. The production company, BCB, was using a Clair S4-S2 rig and
>there was no lack of bottom end.

     So then the question becomes whether it is more cost effective,
especially in a lasge production company, to have these huge power
cables, or to use lighter gauge 220v twistlock to the power racks along 
with Crest or similar amps.  The racks filled with Carvers will be
considerably lighter, but the tubs of heavy guage hookup cable, and the
cost to have more roadies for setup and teardown, plus the wiring cost,
and the weight for trucking would tend to make the weight saving for the
Carvers a negligable factor. 
     Also, Carver PM1.5's don't have a reputation for reliability in the
long rum. I've talked to one of the techs at JSI, the sound  company
that does Brian Adam's tours, as well as the recent INXS  tour, and they
have ( had ) a bunch of 1.5's. The tech claimed they had to make aboud
35 modifications to the amplifier in oredr to trust  it for longg tours.
     All in all, you've got to determine the usage to decide if an amp
is applicable to the job.

     On a related note, and to start more discussion, I participated  in
an interesting test last year, when a local PA company was decideing
what amps to use for their new monitor system. We had a scope, a dummy
load resistor, and aa signal generator. We had a QSC ( MX1500 I think. a
Crest, and a Crown MacroTech. The QSC shoed clipping at about 80% before
it's rated output, the Crown, about 10%, and the Crest, 110%.
     For economic reasons the company went with the MacroTech's.  Can
any techy oriented person point out any flaws in this methodof testing,
outside of the obvious question of " how did they sound?" That test was
also done, and we all agreed the QSC was not as pleasant as either the
Crown or the Crest, of whick it was a toss up.

 
-- 

 "If Rush fans were braindead, why are there so   Bruce Bufalini
 many people posting to alt.music.rush?"              PSU
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Altec 811-B horns
Date: 13 Oct 92 20:31:45 GMT
Article-I.D.: gold.5415
Organization: Grass Valley Group, Grass Valley, CA

In article <18054@ucdavis.ucdavis.edu> matthews@eecs.ucdavis.edu 
(Thomas W. Matthews) writes:
>Does anyone know where I can obtain frequency response and polar plots for
>Altec 811-B horns?  I've got a pair I'd like to use in a PA system, but they
>sound to me like they've got quite a boost around 1 KHz (I haven't used any
>test equip.  yet so that's just a guess).  Also, are diaphragms for these
>horns still available? 


I can't remember the 811-b specifically but I have used several Altec
horn drivers.  If my assumprions are correct this is a multi cell horn
with a bolt on driver, something like an 802?

At any rate the normal crossover frequency used for these type of
horns is 500 Hz.  The sound that you hear is the "effects" of the
horn, it's loading and subsequent distortions.

I suggest the you cross over the horn higher, 2Khz that frequency will
reduce most of the "honky" sound of the horn.  Be aware also that
the the unit will start to run out of gas above about 12 kHz....
I once did a side by side comparison of an Altec horn/driver to the
Peavey 22A driver on a Peavey horn and the Peavey confortably out
performed the Altec in volume and quality.

I can't say for sure if replacement diaphrams are available but if you
find them pick up a handfull.

A better choice would be to replace the driver with a newer design.
The Peavey Titanium drivers are good sounding for their low price.
They come in 1" throat screw on (model 22T)  and 2" bolt on (model 44T
I think).  Both drivers use a 2" diaphram that is field replaceable.
-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.
Newsgroups: rec.audio.pro
From: smills@news.weeg.uiowa.edu (MuffinHead)
Subject: Re: PAs
Organization: University of Iowa, Iowa City, IA, USA
Date: Wed, 14 Oct 1992 07:11:07 GMT

braunste@fjord.ATMOS.ColoState.Edu (lance the braunstein) writes:

>our band's been having trouble with vocals both live and during recording  
>(we do everything ambiently).  can anyone recommend a moderately priced PA  
>that can get pretty loud?

   Trouble in what way? Cracks and pops? Distortion? Clipping? What kind of
board are you using now? Fill us in or everybody's gonna ignore the question.
From: cms2839@ultb.isc.rit.edu (a.stranger)
Newsgroups: rec.audio.pro
Subject: Opinions sought about books on film posting
Date: 16 Oct 92 00:59:09 GMT
Organization: Minimalist Music for Hyperactive Children (MMHC)
Originator: cms2839@ultb


				i'm looking for a book on film posting .
mix bookshelf lists :

o  Mechanics of Sound Recording, by Tony Zanza
o  The Technique of Audio Post-Production in Video and Film, by Tim
Amyes
o  Audio Design: Sound Recording Techniques for Film and Video, by Tony
Zanza, which purports to focus more on aesthetics than tech.

				can anyone out there either recommend
one of these or suggest another ( with a source ) ?

-- 
       @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
       @       "Imagination keeps the shadows away  -  Xymox       @
       @~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~@
       @ a.stranger - CMS2839@ritvax.isc.rit.edu - PGP key on req. @
From: ireland@iccgcc.decnet.ab.com
Newsgroups: rec.audio.pro
Subject: RE:MODERN RECORDING
Date: 9 Oct 92 15:17:40 EST

Modern Recording and Music bought the weenie about 5 years or so ago. They
recommended subscribing toDB, but it just wasn't the same...
Newsgroups: rec.audio.pro
From: tommy@macpost.vanderbilt.edu (Tommy Williams)
Subject: Inexpensive 4-track recorders
Followup-To: rec.audio.pro
Organization: Vanderbilt School of Medicine
Date: Thu, 15 Oct 1992 14:36:54 GMT

A friend of mine is looking for a good, inexpensive (less than $1200 -
$1500) 4-track recorder. I have experience with consumer audio gear, but
not a lot of professional stuff.

We live in Nashville, and the classifieds are **full** of good used stuff,
but I just don't know what to look for.

If anyone can help, I'll post a summary of the replies I get.

Thanks a lot.


--Tommy Williams        tommy@macpost.vanderbilt.edu

  The Virgil Project
  Vanderbilt University School of Medicine
  (615) 343-0343
From: pierson@cimcad.enet.dec.com (Dave Pierson)
Newsgroups: rec.audio.pro
Subject: Re: help on locating obscure battery
Date: 8 Oct 92 22:59:36 GMT
Article-I.D.: engage.1992Oct8.220512.4609
Organization: Digital Equipment Corporation

In article <1992Oct7.155917.24953@nntp.uoregon.edu>,
jrusby@darkwing.uoregon.edu (Jim T. Rusby) writes, in part:

>I'm trying to locate a source of batteries for an old but serviceable
>wireless mic.  The battery is an Eveready E289  12.6 volt mercury battery.
>It is about the same size and shape as a C cell, with clips on each end
>similar to the clips found on the standard 9 volt battery.

	Newark Electronics, nationwide electronic components distributor, show
	Duracell, TR 289, 12.6V, 1" dia, 2.4" l, NEDA 1810M, $17.30.  (!!).

	three offices in Oregon: Portland & Eugene.  I suspect most of the
	larger distributors (Allied, etc) would have it.  Newark was the first
	catalog I came to.  The NEDA number is a quasi crossreference.

thanks
dave pierson			|the facts, as accurately as i can manage,
Digital Equipment Corporation	|the opinions, my own.
146 Main St			|I am the NRA.
Maynard, Mass		01754	pierson@msd27.enet.dec.com
"He has read everything, and, to his credit, written nothing."  A J Raffles
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: 24 db crossovers
Date: 13 Oct 92 20:14:32 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <boing.718595329@mcl> boing@mcl.ucsb.edu (Geff Hanoian) writes:

>	Can anyone please tell me how to build 24 db / octave crossovers.
>	I'm a college student and I can't afford to pay a dealer $400 for
>	things.  I want a 3 Khz high pass at 24 db and a separate 3 khz
>	low pass.


Your posting doesn't indicate if you want a pasive or active
crossover.  The price you quite would _imply_ an active crossover.

If you are looking for an active crossover try the back pages of
Speaker Builder.  They have kits for sale.

If this is for a pro application I suggest the Rane AC22,  two way
adjustable.  I think it can be had for less than $400 but not much
less.

If you decide to do a kit and use it in a "pro" application, do
yourself a favor and put the whole thing in a nice rack mountable
box......

-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.
Xref: sparky rec.audio.pro:1937 rec.music.synth:16407
From: jrusby@darkwing.uoregon.edu (Jim T. Rusby)
Subject: Re: Variable speed tape players
Organization: University of Oregon Network Services
Date: Tue, 13 Oct 92 18:51:09 GMT

In article <91592@rphroy.ph.gmr.com> pgroblic@revpjg.gmr.com writes:
>I'm looking for a variable speed tape player for a friend's dance group.  Saturday,
>we were reducing the speed of a dance by 20%, so we need more than the +/- 6% pitch
>control seen on some decks.  I've heard a lot of negative comments about the
>reliability of Marantz.
>
>In the most recent catalog from Supreme Audio (a firm dedicated to dance audio
>equipment, 1-800-445-7398), they list a Rolls RS72CD dual cassette deck with +-20%

I wear two hats here, one as audio engineer for the school of music-the
other as technical director for the UO Dance Dept.

Once you begin reducing tape pitch by more than about 12%, you begin hearing
all the irregularities of the equipment used to make the tape in the first
place.  We ran Marantz decks for years till I replaced them with Tascam
112 B's, and the difference is noticeable until you start radically
dropping the pitch.  Any wow or flutter in the original recording chain
will become more prevalent as you slow down the playback.

In our program, pitch reduction is generally not done when working with
students who are majoring in dance.  We do have a few classes that are
held for the general campus community in which pitch reduction is
necessary for teaching purposes.

The company you reference, Supreme Audio, is a great source of
user-friendly(ha)  dance products.  If you want a box that allows you to
slow down the pitch as a teaching aid then I have no hesitation about
their line.  If you want something that still sounds good after you slow
it WAY down the answer is : dont slow it down.  

Other than the recording quality,  the other contributors to better
playback at slow speeds is the use of a direct drive electronically
controlled pitch adjustment.  The belts in the Marantz tend to contribute
flutter at the lower speeds, whereas the Tascams are quite stable.

Contact me by e-mail if I  can help further.
jr

Newsgroups: rec.audio.pro
From: mpdavis@unccsun.uncc.edu (Michael Parker Davis)
Subject: HELP ME pick an inexpensive amp!!
Organization: University of NC at Charlotte
Date: Mon, 12 Oct 1992 19:27:11 GMT

I need a very inexpensive, yet fairly well "specced" integrated amp.

I will be driving 3 way bass reflex yamaha speakers for monitoring
recording.  This is a low volume job where accuracy is important.

my needs are
        40-60 W RMS per channel
        quiet (>90db signal to noise)
        low tendancy to failure...................$125 or less (new)

past choice was 
 TEAC XA400 40WPC RMS intgtd amp  $99 J&R music world  (now discontinued)
From: jonesr@iccgcc.decnet.ab.com
Newsgroups: rec.audio.pro
Subject: Review of Sabine FBX900
Date: 7 Oct 92 17:03:26 EST

	Since last spring we have been using a Sabine FBX900 Feedback
Exterminator in our 500 seat auditorium. I thought there might be some
interest in just how well it works.
	This has been used with floor mics such as the AT871 and the PCC160,
as well as with Sennheiser MKE2 on wireless transmitters. We typically get
low frequency feedback from the floor mics and high frequency feedback from
the body mics.
	It is placed between the board and the amplifiers. It examines
the input signal for what might be considered feedback. If it sees a signal
which fits the profile, it generates a very narrow notch at the relevant
frequency. When I played music, there were audible changes to certain types of
music, and the LEDs on the front of the box indicated it was very, very busy.
	When I processed the vocals separately, bypassing the FBX900 for
the music, everything sounded fine. I was able to get levels at least 10dB
higher before there was even a trace of ringing. I feel that it adds a little
bit of noise to the signal being processed, but it is very hard to hear because
it is beneath the background noise when we have a full house. In other venues
this may present a problem.
	When I deliberately attempt to cause feedback, I hear a little bit
of ringing, which disappears in about a quarter second.
	If you have an opportunity to evaluate one of these in your facility,
give it a try. You may be surprised by how well it works. I know we were.

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

	Casey Jones
	Sound Designer				
	Main Stage & Studio Theatre		Test Engineer
	Beck Center for the Cultural Arts	Allen Bradley Company
	17801 Detroit Avenue			8440 Darrow Road
	Lakewood, Ohio 44107			Twinsburg, Ohio 44087-2310
	(216) 521-2540				(216) 487-6492

	E-mail address:  jonesr@astro.cs.hh.ab.com

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
From: grego@bit.UUCP (Greg Sanguinetti)
Newsgroups: rec.audio.pro
Subject: Re: Carver????
Keywords: amps
Date: 13 Oct 92 14:56:16 GMT
Article-I.D.: bit.443
Reply-To: grego@bit.UUCP (Grego Sanguinetti)
Organization: BIT  Portland, OR

In article <1992Oct12.045423.7707@yenta.alb.nm.us> bo@yenta.alb.nm.us (Bo Farley) writes:
>I have an opportunity to pick up some Carver PM 2.0 amps REAL cheap. 
>Can anyone out there give me any specs on these doods. What is there rated

Don't have the specs handy, but I wouldn't count on them handling 2 ohms
on a rated basis. Also they seem to be aggressively rated on power.

>are they reliable?
seem to be.

>I'm really a Crown/Crest man but the deal i real good and my monitors could
>really stand to be Bi-amped!!!!   Thanx in advance!  Bo Farley

They are (in general) not as good as Crown/Crest at bass channels but are
nice amps for midrange and up. If it's a REAL good deal then go for it
but not for bass drivers.

-grego
-- 
---------------------------------------------------------------------------
Grego Sanguinetti, Bipolar Integrated Technology | Water, water everywhere,
grego@bit.uucp or grego%bit%ogi.cse.edu          | but I'd rather drink
or bit!grego@ogi.cse.edu or ...!ogicse!bit!grego | beer.
From: znpt01@trc.amoco.com (Norman P. Tracy)
Newsgroups: rec.audio.pro
Subject: Re: Monitors for small control rooms
Date: 9 Oct 92 14:55:45 GMT
Organization: Amoco Production Company, Tulsa Research
Originator: znpt01@gpss43


What follows is a file I keep for a FAQ on rec.audio.  It occured
to me that it might be of interest to rec.audio.pro given that
the AE-1 started as a pro monitor.

A common interest of this group seems to be high value most bang
for the buck components. Witness the often asked questions like
"whats the best $300 speaker" and continual interest in mail order
and direct sellers like CSW.  Well I am here to tell you about a exciting
new speaker that I believe represents a breakthrough in high end
sound at mid-fi prices.

Its (drum roll please) the NEAR - 10M loudspeaker system.  A
small 2-way with a big sound. What makes the 10M unique at its $400
a pair price point is the use of metal cone drivers for both the woofer
and tweeter. It uses a 5.5" woofer and  1 " tweeter in a 11x7x9 inch mini
sized ported enclosure. The $400 version is painted black, wood finish
is $100 extra.  Frequency response is given as 65 Hz to 22 KHz plus &minus
2.5 db..  Efficiency is 88 db/watt/meter, minimum amp power is 20 watts.

Enough specs its the sound that blew me away, and from a system that
costs 16% of what I spent for my B&W 802s!   I value a open dynamic un-boxie
sound and the NEAR - 10M delivered this in large doses.  When the dealer
first hooked them up I asked if another pair of speakers behind them
was also playing because the sound was completely detached from the
boxs.   A wealth of musical detail was presented with out any sign of being
too bright or cone breakup.  Very impressive bass from such a small box,
the metal woofer must maintain piston like motion much better than the
typical paper or plastic cone.  Like the other metal cone speakers I have
heard the dynamics are very good, the music sounds uncompressed
compared to other $400 speakers.

My message is this is a price/performance breakthrough from a small
American company that deserves to be shouted from the rooftops! Look
at it this way, here is a list of small 2-way all metal cone speakers:
Acoustic Energy AE-1    $2,800 pr.
Monitor Audio 10   $3,000 pr.
NEAR - 10M  $300 pr.

The factory address for NEAR is:
New England Audio Resource
679 Lisbon Road, Lisbon Falls, ME 04252
(800) 552-5517

No, I do not know where you can get them mail order.

Support your local dealers!

Norman Tracy (znpt01@trc.amoco.com)
From: kls30@cd.amdahl.com (Kent L. Shephard)
Newsgroups: rec.audio.pro
Subject: Re: The Emperor's new A/D converter
Date: 16 Oct 92 15:38:05 GMT
Distribution: rec
Organization: Amdahl Corporation, Sunnyvale CA

You can get a Crystal Semiconductor evaluation boar with 18 bit A/D, AES/EBU, 
S/PDIF, and optical out for $395 all tou need to supply in a pwere supply
and case.  This is a true 18bit converter so linearity at 16 bit is great.
For the price you can't beat it.

I saw it at the AES.  They also have a 20bit D/A board with all three types
of output for the same price.
-- 
/*  These are only my opinions.  Whose else could/would take credit? */
From: muller@world.std.com (James L Muller)
Newsgroups: rec.audio.pro
Subject: Re: L-C-R Panning Survey
Date: 7 Oct 92 14:47:44 GMT
Article-I.D.: world.BvrAFL.4rz
Organization: The World Public Access UNIX, Brookline, MA

In <5387@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
>Please excuse me for correcting you in public.  I would have prefered
>via direct Email.  I hope that you don't mind too much......

No problem, but I think you may have been reading too much into my posting.

>I guess I am missing the rest of the post because I didn't read
>anything that Dave said the proposed the L-C-R as any king of solution
>for any problem.

He didn't say it would solve any problems.  I was trying to think out loud
(or on keys) as to what it might do for you, what might be easier and what
might be worse.  The "solutions" were to my own conjectured problems.

As for missing the proposition "if you had it..." I took that to mean if
the technology existed or was available on an off-the-shelf affordable
mixer.  Clearly that would be useless without spending more money.

The original posting was more or less a call for opinions of desirability.
Perhaps the poster is thinking of marketing it???


-- 
Jim Muller  muller@world.std.com
Newsgroups: rec.audio.pro
From: ritc0003@student.tc.umn.edu (Kent C. Ritchie)
Subject: Threshold Pro Gear?!?!
Organization: University of Minnesota
Date: Thu, 8 Oct 1992 14:44:32 GMT


The other day someone was telling me he had seen Threshold Pro gear in use
by a local Pro sound company.  He said the amplifiers were pro Threshold
amps.  I suggested they might simply be consumer amps.  From what I have
heard they are incredible amps and should be able to handle pro use.  (I
once saw a band using an Adcom 555 for a monitor amp!)  He insisted that
they weren't consumer grade.  So my question =>  Has anyone seen these
before?  If so, where do you get them?  I would guess they are custom
made.  I am not anywhere near an expert, but I try and keep up on what's
new and have never heard of Threshold pro amplifiers for the road.


Kent