HDTenEightyP/NetNews huggingface dataset:
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re: Definitive Tech Phone number
Keywords: need it
Date: 12 Nov 92 00:51:18 GMT
Reply-To: lstowell@pyrnova.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corp., Mountain View, CA

In article <1992Nov11.213652.17829@b8.b8.ingr.com> mark@spike.b8.ingr.com (Mark Lanier) writes:
>
>I can't seem to locate anyone in my area that sell Def Tech speakers. If 
 
    What's your "area"?   Post that and someone might know of a
    dealer.  e.g. in this area, Sound Goods carries them.
From: "herb chong" <herb.chong@channel1.com>
Newsgroups: rec.audio
Subject: denon vs sony
Date: 10 Nov 92 14:53:07 EST
Reply-To: "herb chong" <herb.chong@channel1.com>
Distribution: rec
Organization: Channel 1 Communications

JJ>It'all a matter of personal taste. Both Sony and Denon make fine sound
JJ>players except perhaps for the cheaper models. I own a Denon tape deck
JJ>Sony CD player. When I bought my Sony CDP-508-ESD 3 years ago, I compa
JJ>with the Denon DCD-1520, both plugged into a good system. The differen
JJ>very minimal, so I chose the Sony unit for the features. My personal o
JJ>at the time was that the Denon unit sounded more neutral. I have not h
JJ>chance to compare new products from both manufacturers since, but the 
JJ>difference is probably even smaller now.

i was choosing between a Denon DCD-1520 and a Sony 770ES?, the top of the 
line Sony ES single disk player at the time, and i felt the Denon sounded 
better. with transients, the Sony was a bit more harsh. i have been able 
to compare my 1520 against a highly modified Phillips 760? and the 
Phillips was had a cleaner and more extended low end but the Denon was 
smoother in the midrange and highs. BTW, the Yamaha CD-1000 is identical 
to the Denon DCD-1520 except for the logo.

Herb...

---
  WinQwk 2.0 a#314  Dr. Dos, May I introduce you to Ms. Windows?
--
Channel 1 (R)   Cambridge, MA
From: jliao@mensa.usc.edu (Jason Liao)
Newsgroups: rec.audio
Subject: Re: portable CD player and new Sony ESP
Date: 13 Nov 1992 00:07:53 -0800
Organization: University of Southern California, Los Angeles, CA
Distribution: na
NNTP-Posting-Host: mensa.usc.edu

I bought the Sony Discman D-515 a few weeks ago.  I believe it's listed
for $500 in U.S.  This unit come with ESP(Electronic Shock Protection)
that prevent mistracking for short interval.  I believe this is the
same method used in their new MD technology.  When the ESP mode is on it
spin the cd faster than normal and put those extra data in its 3 seconds
memory.  I found ESP mode is quick effective.  I almost have to purpose
tab it or shake it for more than 2 seconds for mistracking to occur.

Turning the ESP mode on/off does not affect the sonic quality, but ESP
mode on will drain your battery 25% faster since the disc is spinning
faster.  Sony's rechargable battery will last for about 2.5 hours w/o
ESP mode on, and 2 hours w/ ESP. Alkaline battery last 50% longer.

It come with DSP to boost bass or trenble for better listening in noisy 
area.  It is very well built, the whole thing is build with metal,
very sleek looking.  One of the best I've seem.

When I hook it up with my home system, I found the sonic quality is 
better than my Onkyo.  Images are more defined and percise.  I have
listen to other Sony home CD player and concluded that SONY's DAC
sound is kind of muddy but this 1 bit dac in D-515 gave me different
impression.  Although the sound stage is somewhat more restricted
compare to Onkyo cd player.

Overall I am very impress with it.  This is probably the only portable
cd player I can bare with.  There is probably two other cd player that
utilize technology similar to the Sony ESP.  Sanyo came out with one that 
look like a Sony ESP.  I read it in HiFi Choice(British mag).
And Fisher(or kenwood) suppose to come out with one, too.

Jason
Newsgroups: rec.audio
From: narten@csc.albany.edu (Thomas Narten)
Subject: Re: A Timer/Recorder for AM/FM Radio?
Organization: State University of New York at Albany
Date: 7 Nov 92 11:35:58

In article <1de0v3INNpiq@hpscdf.scd.hp.com> rkarlqu@scd.hp.com (Richard Karlquist) writes:

>      3.  Buy a cassette deck with IR remote control and use a universal
> remote with timer to activate it.  See the recent posting on rec.audio
> about this topic.

Memorex sells a programmable, universal remote with a timer on it
called the "CP8 Universal Remote".  They may be the only ones making
such a device; none of the 1/2 dozen stereo stores in the area had
ever heard of such a device (Radio shack used to sell one, but
discontinued it 6 months ago).  Cruchfield sells it for $90 (plus $2
or $3 handling), as does J&R Music for $80 + $5 shipping/handling.
The better deal depends on which one you avoid paying state sales tax
on by being out of state.

It's a pretty sophisticated remote, capable of programming up to 8
different devices, even more if you overload one "device" by having
some of the buttons control the receiver and others the tape player.

This is the most flexible solution for recording off the radio,
assuming your remote can turn on your receiver, tune into a specific
stations, etc.
-- 
Thomas Narten
narten@cs.albany.edu
Newsgroups: rec.audio
From: sbradley@scic.intel.com (Seth Bradley)
Subject: Re: HSU subs
Organization: Intel Corporation
Date: Sat, 7 Nov 1992 05:28:59 GMT

In article <1992Nov7.003741.5653@ampex.com> dna@ampex.com (David Altekruse) writes:
>To configure the Hsu 10" subwoofer pair similar to the Velodyne 15"
>F1500 subwoofer costs more like $1600.  Plus shipping.  No discounts.  Mail
>order direct only.  No auditing in a store.  On the other hand, there are 
>lots of Velodyne dealers in this area and some of them sell offer discounts 
>on Velodynes.  So I would expect to pay rather less than the $1500 list for 
>the F1500.

I would just like to mention for someone looking for bass on the cheap
there are less expensive ways to go than you mentioned using the Hsu.
One can buy a cheap high power amp used for around $200 easily.
The active crossover isn't necessary.  So long as you can live with
a fixed frequency, the low pass doesn't represent any real loss with
the Hsu.  And the high pass in the Velodyne is just an RC circuit,
easily duplicated by putting an appropriate series capacitor in-line
with the main amp's input.  The Hsu can still save substantial money
(especially if you already have a sub amp laying around, which lots
of audio hoobyists do).  Will the Hsu perform as well as the Velodyne?
Probably not in some cases, though the difference is not as great as
some would suggest, and theoretically stereo subs are better than mono
(I built my mono sub in pre-CD days).  Can you save a fair amount of
money over the Velodyne?  Most definitely.
-- 
Seth J. Bradley, Senior System Administrator, Intel SCIC
Internet: sbradley@scic.intel.com   UUCP: uunet!scic.intel.com!sbradley
----------------------------------------
"A system admin's life is a sorry one.  The only advantage he has over
Emergency Room doctors is that malpractice suits are rare.  On the other
hand, ER doctors never have to deal with patients installing new versions
of their own innards!"  -Michael O'Brien
Newsgroups: rec.audio
From: schuster@shell.portal.com (Michael Alan Schuster)
Subject: So? Anyone have dcc yet?
Organization: Portal Communications Company
Date: Wed, 11 Nov 1992 23:57:07 GMT

So, dcc is supposed to be on sale.
Stereo Review's evaluation of the Philips unit found it to sound good, but
have a klunky tape transport and to be prone to head clogs due to
shed oxide from analog cassettes. Anyone tested a prduction version?


--
_______________________________Mike Schuster________________________________
The Portal (R) System: schuster@shell.portal.com | MCI Mail,GEnie: MSCHUSTER
NY Pub. Access UNIX/Internet: schuster@panix.com | 70346.1745@CompuServe.COM
From: sss@castle.ed.ac.uk (S S Sturrock)
Newsgroups: rec.audio
Subject: Re: DA conversion
Keywords: PCM, PDM.
Date: 5 Nov 92 10:59:51 GMT
Organization: Edinburgh University

In article <1992Nov5.014422.21674@leland.Stanford.EDU> ianchan@leland.Stanford.EDU (Ian Hin Yun Chan) writes:
>When PDM (bitstream) came out a number of years ago, I thought it solved
>everything that PCM suffered from, but I still see a lot of DACs out there
>with regular muti-bit conversion. Why is everybody hanging on? Is there
>some deficiency in PDM that I don't know about? In particular, what are
>the relative strengths and weakness of the two DAC systems (dynamics,
>smoothness, "natural-ness," detail, bass/treble, etc...)?

This is really a difficult question, I am sure Max will agree with me here
though that the sound of a player is far more dependant on the analogue
design than whatever system is used to do the DA conversion.  *HOWEVER*, it
is possible that although bitstreamers sound smoother they do tend to sound
less exciting.  This is not necessarily because of the conversion used,
more likely the situation in which the conversion is used, bitstreamers
until recently tended to sit in the budget market.  I have heard some more
expensive bitstream machines and they work rather well but then again, so
do multibit machines at that price.  Simply, just don't worry about what
conversion is used, judge the machine on it's sonic merits.  I have a multi
bit machine and a bitstream one and the multibit sounds different and in
many cases I like it's sound more than the bitstream.  However, the
bitstream sounds easier on the ear with some particularly nasty discs.

As an afterthought, I better say that even one of the old 14 bit Philips
machines (although that is a misnomer) sounds very good because it was a
well made machine, the DA technology has less bearing on the sound than the
care that went into building the thing.  Until recently Meridian we still
using the 14 bit chipset for their very well regarded machines.


-- 
Shane Sturrock, Biocomputing Research Unit, Darwin Building, Mayfield Road,
University of Edinburgh, Scotland, Commonwealth of Independant Kingdoms.  :-)

Civilisation is a Haggis Supper with salt and sauce and a bottle of Irn Bru.
Newsgroups: rec.audio,rec.audio.pro
From: bill@bilver.uucp (Bill Vermillion)
Subject: Re: DAT recorders with mike input
Organization: W. J. Vermillion - Winter Park, FL
Date: Tue, 10 Nov 1992 15:43:09 GMT

In article <1992Nov9.230607.14987@ultb.isc.rit.edu> cms2839@ultb.isc.rit.edu (a.stranger) writes:

>In article <1992Nov7.205538.876@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:

>>There is no DAT on the market with built-in phantom powering.  There
>>are plenty of portables (Tascam P20, Dony D10 Pro, etc) that'll take
>>mic levels, but if you want to run phantom, spend the extra $50 for a
>>phantom supply.
>
>				fostex's pro model ( model number
>escapes me at the moment , but i have it at home , if anyone's
>interested ) provides both 48V phantom and 12V T powering . it is
>currently shipping and available .         ^^^^^

It shows that I have been out of the business awhile.  What is T
powering?

An old-time engineer I met many years ago (he died in the early 70's) 
used to really marvelled about the advances in the business.  His first
condensor microphones were powered by individual power supplies that
were a bit smaller than a couple of shoe boxes.

That didn't bother him.  His first location recordings he made with a
12 foot accoustic horn - and the cutting turntable was powered by
sandbags hung from the rafters on the stages he used.  He used to do
this in the 1925 era in the Atlanta area.

We really have it pretty easy today by those standards.

-- 
Bill Vermillion - bill@bilver.oau.org  bill.vermillion@oau.org
                - bill@bilver.uucp 
                - ..!{peora|tous|tarpit}!bilver!bill

Newsgroups: rec.audio,rec.audio.high.end
From: moskowit@tronsbox.xei.com (Len Moskowitz)
Subject: Re: INFO ON SONY CASSETTE TYPE METAL SR NEEDED
Organization: Xanadu Enterprises Inc.
Date: Tue, 10 Nov 1992 14:14:33 GMT

James Keivom writes:

>I use Sony Metal-SR tapes for recording off CD.  Would anyone
>have any comments on this brand of tape.  I'm beginning to 
>think that there are problems with it such as with handling
>highs.  Could anyone recommend another brand?    

In Audio's tape review a few years back, Sony SR tapes were rated
second or third out of a very large number (50+) formulations.  I've
used it for a few years with my WM-D6C Pro Walkman to do live taping.
As cassettes go, SR is very good for its price.

Uncle's Stereo (in NYC) sells the SR-100 tapes (100 minutes) for
$1.89 (per their NY Times ad).

-- 
---

Len Moskowitz
moskowit@panix.com (preferred address)
moskowit@tronsbox.xei.com (alternate address)
Newsgroups: rec.audio
From: bill@bilver.uucp (Bill Vermillion)
Subject: Re: Are Record Club CD's The Same Quality? 
Organization: W. J. Vermillion - Winter Park, FL
Date: Fri, 13 Nov 1992 13:57:50 GMT

In article <1992Nov12.194424.6231@kadsma.kodak.com> wb@tornado.kodak.com (wb@tornado.kodak.com) writes:

>In the case of say, Columbia House, any CD that is NOT a Columbia-owned (that's
>CBS, folks!), the master used to make the disc distributed by Columbia House
>is not the original master. It is a copy most likely an Analog copy! I was told
>this by the owner of a very large Record/CD store in town here.


Ohh!  The OWNER of the record store - the one who has to compete with
CH - would have the definitive answer?   I'd hardly called than an
unbiased opinion!

And it woould take more work (read time & money) to master a CD from an
analog source than it would a copy of the digital master.   I really
suspect your sources is trying to get you to buy from him and not CH.


-- 
Bill Vermillion - bill@bilver.oau.org  bill.vermillion@oau.org
                - bill@bilver.uucp 
                - ..!{peora|tous|tarpit}!bilver!bill

Newsgroups: rec.audio
From: whs70@dancer.uucp (22501-sohl)
Subject: Re: Defeating SCMS
Organization: Bellcore, Livingston, NJ
Date: Tue, 10 Nov 92 14:24:10 GMT

In article <BxHtIC.4yD@watserv1.uwaterloo.ca> bmaraldo@watserv1.uwaterloo.ca (Commander Brett Maraldo) writes:
>In article <1992Nov9.153209.13425@bilver.uucp> bill@bilver.uucp (Bill Vermillion) writes:
>>>In article <1dkkpiINNgua@usenet.INS.CWRU.Edu> jwk3@po.CWRU.Edu (John W.  
>>>Kale) writes:
>>>> 	Do DAT decks place SCMS codes on recordings made from the
>>>> analog inputs?
>>>.
>>(Yes,) They do place an SCMS code on things made from analog.
>
>	Wait a minute.  If I copy a CD onto DAT analogue out to in, how
>is it that a SCMS code is written to the DAT?  Surely you aren't saying that
>the code is written via the analogue ins.  This would mean that a pulse of
>analogue encoded data is sent into the machine to tell it to write SCMS.
>You would hear it.  Perhaps what you mean is that whenever you record at
>44.1kHz that the DAT recorder itself writes the SCMS code onto the media.

That's correct.  The writing of the SCMS code occurs whenever you record
using the analog inputs.  The implementation of the SCMS works on the
assumption that any analog input is equivalent to an SCMS code that indicates
a first generation DAT tape can be made and it is thus encoded that way.
You can (as has been described) then make a DAT copy of the "first 
generation" DAT tape on a direct digital-digital basis,  BUT the copy
will then be encoded with a "second generation" SCMS code which inhibits
further direct digital copying from that second generation encoded tape.

Bottom line here is that the consumer DAT analog inputs don't care
if you are recording your child's grade school band recital or an
anaolg input from a commercial CD or phonograph record.  The DAT
consumer deck analog inputs presume you will be generating illicit,
illegal copying.

>Now, I thought that the SCMS standard was only for digital 44.1kHz recordings.
>As an example, if I record some original music in my studio onto a consumer
>DAT machine via analogue in's at 44.1kHz, you are saying that SCMS will be
>written?  This would be weird to me.

May seem weird, but you can thank the recording industry and your
respective congress-critters for it.

Standard Disclaimer- Any opinions, etc. are mine and NOT my employer's.
-----------------------------------------------------------------------
Note - If email replying to me with an automatic addressing process
bounces, manually address the resend using one of the addresses below.
-----------------------------------------------------------------------
Bill Sohl (K2UNK) BELLCORE (Bell Communications Research, Inc.)
Morristown, NJ             email via UUCP      bcr!dancer!whs70
201-829-2879 Weekdays      email via Internet  whs70@dancer.cc.bellcore.com
From: markw@hpcss01.cup.hp.com (Mark Williams)
Date: Thu, 12 Nov 1992 01:14:49 GMT
Subject: Re: Question on choke-input filters.
Organization: Hewlett Packard, Cupertino
Newsgroups: rec.audio

The older editions of the Radio Amateur's Handbook contained lots of data
on tube design and power supplies.  Get hold of one before 1965 or so.  There
is a wealth of practical data in those old books.

Choke input filters are a little easier on the transformer and rectifier
because lower peak currents occur.  This is pretty irrelevant at low power
levels -- silicon rectifiers are very robust and there is series resistance in
the transformer secondary which limits peak currents.  If you want to cut down
the output voltage from the peaks you see in a cap-input filter, a choke
input will work, just be sure to have a minimum current draw of 50-100 MA,
rule of thumb.  The old swinging chokes had current ratings as a guide.  In any
case safety demands a bleeder on a high voltage supply like this.

The only source of chokes these days is the surplus market, unless you
wind your own (hams used to).  Old military surplus stuff, which was really
built to last, shows up at Fair Radio Sales, Meshna, Haltek and other surplus
joints.  

I don't know why you care about regulation, a two stage LC filter should
be fine, but to be truly obsessive use a regulated HV supply.  You can find
these on the surplus market or build your own, using Zeners in series and a
high-voltage pass transistor.  If you want to be truly archaic, use a power
triode.  Again, the older ARRL Handbooks have details.  
Newsgroups: rec.audio
From: jleung@ux4.cso.uiuc.edu (A St. Xavier alum)
Subject: Re: AV Receiver < $700 reccomendation
Organization: University of Illinois at Urbana
Date: Wed, 11 Nov 1992 20:48:50 GMT
Keywords: Receiver AV

mlm2@crux1.cit.cornell.edu (Mark Lee Margolis) writes:

>Can someone recommend to me a good AV receiver under $700.
>I was looking at some Sony ES models, Pioneer, Denon, Onkyo,
>Technics, Carver, Harmon Kardon, and JVC. Which ones should I
>totally avoid? Does Pioneer make decent receivers? How about Sony ES,
>JVC (the 905VTN), etc. Please let me know.

>- Mark

If you are concenerd mainly w/ audio, and dont care for prologic and
whatnot, go for NAD.  Get the most you can afford.  Many NAD amps
have 6db worth of headroom extension, and can maintain that extension
for 200ms at a time..more than enough time to handle the peaks in
music.  For referece, i have an NAD 3240PE integrated amp rated
at 40 watts/channel, and my roomate has a pioneer VSXD601 receiver
rate at 110 watts/channel, and we both agree that the NAD smashes
the pioneer in its musicality and its cleaness at insanely
loud volume levels  (Imagine both amps, a pioneer 18 disc changer,
a pioneer 6 tape changer, a Sony X111ES cd player, a Denon DRS810 cassete
deck, and FOUR Advent Legacy II speakers in ONE 9ft by 12ft dorm room, 
and you get really loud)







>:write


Newsgroups: rec.audio
From: st1p3@elroy.uh.edu (Carse, John D.)
Subject: Looking for good graphic equalizer for home stereo
News-Software: VAX/VMS VNEWS 1.41    
Reply-To: peterc@cubetech.com
Organization: University of Houston
Date: Sat, 7 Nov 1992 22:15:00 GMT

I am posting this for a friend and I am trying to conquer this
beast of a news program, so please bear with me.

PLEASE mail all responses directly to "peterc@cubetech.com".
No bang addresses please (ie: not "cubetech.com!peterc")

[inserted letter]
I'm trying to find a really good graphic equalizer for my stereo.
I want one with a bunch (> 12 if possible) of bands, but the number
of channels is really unimportant (left-right settings aren't
entirely necessary, but not a problem either)

It has to have a really cool-looking spectrum analyzer display on
it (gadget-lover that I am!) and look really cool in general.

It also has to perform well.

The problem is, I can't seem to find any really powerful equalizers
out there.  Lotsa concert-hall generators, but no really good
equalizers.  I know AudioSource makes a few really nice equalizers.
Or at least they look nice.  Does anyone here know anything about
them?  Or do you have any favorites?

So, in summary, here's what I want (and please give me details on
mfr, price, features, availability, etc.):

1) Cool multicolor spectrum display
2) 12 bands or more per channel (2 channels preferable)
3) Looks really cool :)
4) Digital effects are a nice plus (concert hall, etc.) but
   definitely not as important as #1-3...

Adv(thanks)ance!
From: philg@zurich.ai.mit.edu (Philip Greenspun)
Newsgroups: rec.audio
Subject: Re: DCC, MD Limitations
Date: 11 Nov 92 17:43:29
Organization: M.I.T. Artificial Intelligence Lab.
Reply-To: philg@martigny.ai.mit.edu
NNTP-Posting-Host: zug.ai.mit.edu
In-reply-to: Brian T Cheek's message of Tue, 10 Nov 1992 21:41:42 -0500 

In article <of07=ae00WAuMm90Qm@andrew.cmu.edu> Brian T Cheek <bc2y+@andrew.cmu.edu> writes:

   How can people tell the difference between real pianos and sampled ones?
   Real piano strings resonate the other ones.  (Hard to hear, but you
   don't want to throw them away, now.

A cool thing to do with a piano is to lift the loud pedal (which lifts
the dampers) and sing into the open piano.  It will sing back for a
long time.  This leads us to some conclusions:

1) keep your Steinway and your electrostatics in separate rooms

2) piano samplers won't feel anyone for a long time

--

      -- Philip Greenspun

-------------------------------------------------------------
MIT Department of Electrical Engineering and Computer Science
545 Technology Square, Rm 433, Cambridge, MA 02139
(617) 253-8574
Newsgroups: rec.audio