HDTenEightyP/NetNews huggingface dataset:
From: BARRON@RHQVM14.VNET.IBM.COM
Subject: Magnapan 1.5s and Subwoofers
Originator: tjk@csd4.csd.uwm.edu
Reply-To: BARRON@RHQVM14.VNET.IBM.COM
Organization: University of Wisconsin - Milwaukee
Date: Wed, 19 Aug 1992 13:04:57 GMT

 Any experience out there with combining Magnapan 1.5s with a sub?

 Recommended xover freq's & slopes, etc.....Stereo sub v. mono, etc...

 Everytime I compare speakers, I always go back and listen to the maggies, and
 have no doubts about what appeals to me.

 The only lacking quality is low end impact as I use this for a video
 application as well as listening.

 Image as disturbed by a TV is not an issue as I have a projector, and the
 wall behind where the maggies will go has a flat screen on it.  No objects
 appear anywhere in the plane of the speakers.

 It should also be an interesting effect as the maggies reach nearly the
 height of the screen, so the sound will appear to come from the "whole
 picture".  Probably no need for center channel.

 Anyhow, my real question regards what, how, where, when it comes to sub
 integration and Magnapan 1.5s.

 db

 Dave Barron - advantis corporation.

Disclaimer: This posting reflects the poster's views, not those of IBM
News-Software: Usenet 3.0



Newsgroups: rec.audio.high-end
From: "Jay Tobias" <jay_tobias@taligent.com>
Subject: Sony ES Series & Preamps
Originator: tjk@csd4.csd.uwm.edu
Organization: University of Wisconsin - Milwaukee
Date: Thu, 20 Aug 1992 15:17:44 GMT
	for 

                      Sony ES Series & Preamps
I'm wondering what people think about the Sony ES Series.  In particular, I got
a good deal on a Sony ES DAT deck and am considering matching it with the
TA-E2000ESD preamplifier.  Given that this unit retails for $1200, my question
is:  Would I be better off spending that much money on some other brand?  In
other words, are there better values to be had?  Also, what are the feelings
towards the Sony ES line in general with respect to sound quality and
reliability?

I'd also like to add a CD player like the Sony CDP-X229ES, which sounds just
like the CDP-X339ES.  The 339 weighs twice as much but has identical specs
except for 1 dB improvement in the S/N ratio.  What gives?  Why pay so much
more for that?



Newsgroups: rec.audio.high-end
From: att@porthos.cc.bellcore.com (Bob R)
Subject: Re: Speakers, Finally! (Vand. 2ci)
Originator: tjk@csd4.csd.uwm.edu
Organization: nnn
Date: Wed, 19 Aug 1992 13:05:20 GMT
  (5.65c/IDA-1.4.4 for rec-audio-high-end@uunet.uu.net); Tue, 18 Aug 1992 20: 32:40 -0400

In article <1992Aug16.031911.6792@muddcs.claremont.edu>, John Stimson <jstimson@jarthur.Claremont.EDU> writes:
> Since I've been pestering y'all all summer about speakers, I thought I'd
> tell everyone who's interested that today, I purchased a pair of Vandersteen
> 2Cis.  After listening to Thiel CS1.2, CS2.2, Snell K/II and J/III, PSB
> Stratus Gold, Merlin 1+1, Ryan (something expensive), I decided that the
> Vandys were not only by far the best buy (especially used), they are strong
> contenders for the best sounding speakers I've heard.

Congratulations.  When I first connected my 2cis, I found the bass quite ample,
and retired my subwoofer.  However, I discovered recently that they seem VERY
sensitive to out-of-band signals (e.g., extremely low bass) with regard to power
handling.  When I reconnected the subwoofer, crossed over at 32 Hz, I found that
the power handling (and max. loudness) increased dramatically.  The penalty was
slightly muddier bass.  Worth considering if you play them loud enough to activate
the protection circuit (assuming your speakers have it; its activation is
indicated by two LEDs, hidden behind the grille).

Newsgroups: rec.audio.high-end
From: Haakon.Lie@nta.no (Hakon W Lie FDX)
Subject: Philips DSS speakers
Originator: tjk@csd4.csd.uwm.edu
Organization: Norwegian Telecom Research
Date: Sun, 23 Aug 1992 13:54:18 GMT
          Sat, 22 Aug 1992 22: 42:54 +0200
          for <rec-audio-high-end@nac.no>); Sat, 22 Aug 1992 22: 40:39 +0200

While everyone talks about Philips DCC, I have not seen much bandwidth
wasted on DSS. DSS is (supposedly) a new speaker with a digital
interface, D/A converter and power amplifier. DSS can be used with a
CD player with a digital output (EBU), or with an optional control
unit which includes A/D converters for analog sources.

DSS will be introduced in Norway in a couple of weeks which means that
they probably are on the market in central Europe. According to
the Philips sales rep the prices will be (roughly translated) $1100
per speaker and $700 for the control unit.

This system seems to bring digital technology one step closer to the
ear. I know it has been done before (by Meridian, at least), but
Philips is probably one of very few companies that can set a standard
in this area. 

To me, the concept sounds right. Except, I haven't heard the speakers.
If you have, please share your opinion. I would also be interested in
information about the digital interface and the likelihood of seeing
components from other vendors supporting it.

Thanks,

-h&kon


Newsgroups: rec.audio.high-end
From: hera!gfl@uunet.UU.NET (22402-lenahan)
Subject: Re: Vandersteen 2, 2ci and 2ce
Originator: tjk@csd4.csd.uwm.edu
Organization: Bellcore, Livingston, NJ
Date: Wed, 12 Aug 1992 13:07:17 GMT

> Also, I am familiar with the 2ci's and am planning on buying a used pair in
> the coming months. My question is what can people tell me about the effective
> differences between the 2, 2ci and 2ce models? Are the audible improvements
> such that I really should go for the latest model, or does the model 2 (or any
> other earlier one) sound pretty much the same as its younger (and more
> expensive siblings)?

The 2c and 2ci are quite similar, despite the "cachet" of the "i' model.
The 2cio is somewhat less warm, and correspondingly more analytical.
Whether this is better is a matter of taste.  I've owned 2's, 2bs, 2cs,
and heard the 2cis many times.  I feel there is a greater difference
between old and new 2cs than between 2cs and 2cis.

The 2ce is a very different speaker, sort of 1/2 way to a model 3.
It incorporates a stand (really sits on floor) and supposedly
has much better HF extension.  Its also costlier by several
hundred dollars.

Listen to the 2ces before you proceed, and don't be too
concerned with the 2c / 2ci differences.

Just my opinion, after owning almost all the above at one time
or another.

Grant


Newsgroups: rec.audio.high-end
From: jim@csc.albany.edu (SCHLEMMER JAMES A)
Subject: Need advice on a/d/s
Originator: tjk@csd4.csd.uwm.edu
Organization: State University of New York at Albany
Date: Thu, 20 Aug 1992 15:11:02 GMT
	id <AA15676@sarah.albany.edu>; Wed, 19 Aug 92 09: 13:40 EDT


Hi all.  I tried posting this in rec.audio with no luck so I thought I'd
try here since I guess a/d/s is high-endish.  I'm interested in an a/d/s 
cassette deck model C3.  I have a spec sheet on it but have some lingering 
questions.  First, does anyone know if this deck has HX Pro?  I can't seem 
to find it on the spec sheet.  Also, this deck has a couple of unusual 
features which I was looking for opinions on:

o the cassette "drawer" similar to that of a CD 
o the 2 speed (regular 1 7/8 ips and 3.75 ips) recording capability
o its 20 lb. weight (i.e. where does it come from)

Also,

o approximate model year
o general performance

Thanks alot for any info.

Jim
From: timl@maxwell.concordia.ca (Tim Lapin)
Newsgroups: rec.audio.high-end
Subject: Re: variable output vs. preamp
Date: 14 Aug 92 13:19:36 GMT
Organization: Concordia University, Montreal, Quebec, Canada
          13 Aug 92 22: 37 GMT
Originator: tjk@csd4.csd.uwm.edu


Reading the various articles on the subject in both rec.audio and this group
reminds me of a similar dilemma that I was faced with.

In January I bought a Sony laserdisk/combi player.  As I had, once again, run
out of inputs on my NAD 7240 receiver (sigh), I also purchased a Yamaha AVS
700 AV selector box.

The box is, in effect, a preamp.  It allows for selection of inputs, re-directs
output for recording or display AND has a variable out with an attenuator
control.

Well, I tried the variable out and found it simply did not drive the amplifier
section of the NAD at all well.  It seemed to peak well before the amp's
capability.  End of experiment and back to the NAD built-in preamp.

I now use the fixed output leads and plug them into the VIDEO inputs on the
NAD!!!  Works just fine, thank you very much.  As this is a line level to line
level link, I don't think I lose that much.  I am wary of using the Yamaha's
phono inputs, though.  Any thoughts here?

Clearly this shows that not all preamps and selector boxes are made equal.  It
may also show that equipment matching is just as important as the individual
components themselves.  I would need other boxes to test this out though.  Has
anybody done such a test?

In the final analysis, perhaps this reveals a split between the needs of a
videophile (editing, source re-direction, multiple I/O, etc..), and the
audiophile (high quality sound, careful balancing of source to speakers, a
minimum of stages,...).  Would anyone care to share their thoughts on the
matter?

-- 
Tim Lapin
Computing Services     Concordia University     Mtl, Que, Canada    H3G 1R8
timl@maxwell.concordia.ca    Tel:  (514) 848-7639      FAX:  (514) 848-7622
Newsgroups: rec.audio.high-end
From: v035550@stortek.com (Steve Monroe)
Subject: Rudy Van Gelder: Digital vs Analog
Originator: tjk@csd4.csd.uwm.edu
Organization: Storage Technology Corp.  Louisville, CO
Date: Wed, 19 Aug 1992 13:03:03 GMT

I noticed this on rec.music.makers, and thought this would 
be the ideal group to post this to:



Source: Mosaic Records brochure number 9,
interview with Rudy Van Gelder, quoted from a NPR interview:
(Van Gelder was a prcticing optometrist in the late 40s when he set up his
first, modest recording studio in the living room of his parents' home in
Hackensack, New Jersy. In that room he would go on to record most of the
major East Coast jazz artists of the 1950s, 
including virtually every session for
Blue Note and Prestige Records as well as many classical dates for Vox and
other labels.)

[the interview starts with some history, and a number of quotes about
why Van Gelder believes in two-track recording, using no headphones,
no dubbing. Just straight recording the music.]

``If I'm going to do a session and I can choose what I want to choose,
I will choose a digital recorder. There's just no question about it.
[...]
Digital recording has been totally reliable for me. It finally does what
a tape machine should do -- really, just store what you're putting into it.
No analog machine ever made could do that correctly. None. Not even the best,
the most expensive, could ever do what a properly designed two-track digital
machine will do. We're talking about clarity of sound, clean sound, wide
range, beautiful, no noise problems.
	To me it's made working a pleasure. It's like starting all over
again and being excited about things, like being able to play back a great
sound to the group right after they've played it, and they can 
hear it right then. Everybody knows it's good. Before they go home.''

This from a guy who has been uniformly praised for making
beautifully sounding recordings.


sjm(v035550@stortek.com)
-- 
"Learn tunes: Learn melodies: all bassists need to 
 become more melody conscious."    -Jaco Pastorius

Newsgroups: rec.audio.high-end
From: michael squires <mikes@moose.cs.indiana.edu>
Subject: Re: Speakers for < $500
Summary: How about used? 
Originator: tjk@csd4.csd.uwm.edu
Keywords: saving money
Organization: Indiana University, Bloomington
Date: Thu, 20 Aug 1992 15:19:07 GMT

>
>On 10 August, vogelv@spot.Colorado.EDU (VOGEL VINCENT PHILIP) wrote:
>
>>I am looking for the best speakers I can get for under $500.

In this price range I would personally look at the used market.  High
end speakers tend to be steeply discounted on resale, with a few 
exceptions.

I don't know if it is still publishing, but there was a magazine of classified
published out of Reston, VA, that had quite a bit of used equipment in this
range - ah yes, Audiomart.

[and to stem the inevitable flood of "how do I subscribe" messages, you have
to be sponsored by someone who already gets it. -tjk]

-- 

Mike Squires (mikes@iuvax.cs.indiana.edu)     812 855 3974 (w) 812 333 6564 (h)
mikes@iuvax.cs.indiana.edu          546 N Park Ridge Rd., Bloomington, IN 47408

Newsgroups: rec.audio.high-end
From: mailrus!ulowell!aspen.ulowell.edu!freedmanm@uunet.UU.NET
Subject: Re: Phase Technology Speakers
Originator: tjk@csd4.csd.uwm.edu
Organization: University of Lowell
Date: Fri, 21 Aug 1992 13:10:24 GMT
	(queueing-rmail) id 164202.26134; Thu, 20 Aug 1992 16: 42:02 EDT
  (5.65c+/IDA-1.4.4 for uunet!rec-audio-high-end); Thu, 20 Aug 1992 16: 23:51 -0400

In article <9208201409.AA01282@quasar.ctr.columbia.edu>, Jay Tan <jaytan@ctr.columbia.edu> writes:
> 
> 
> 
> I was offered a deal on a pair of Phase Technology speakers, PC 80, with two 8' Monster cables, for $530 + tax.  What do you think about the deal?  Your opinions greatly appreciated!!!!
> 


These speakers are really good.  They also have a PC90 subwoofer that matches
them.  As for the price... Check them out at your local store... If you cant
find on, let me know and I will get you a price.
					Mike.

Newsgroups: rec.audio.high-end
From: bchall@tecnet1.jcte.jcs.mil
Subject: Speakers for < $500
Originator: tjk@csd4.csd.uwm.edu
Cc: info-high-audio@csd4.csd.uwm.edu
Organization: University of Wisconsin - Milwaukee
Date: Tue, 18 Aug 1992 15:38:19 GMT



On 10 August, vogelv@spot.Colorado.EDU (VOGEL VINCENT PHILIP) wrote:

>I am looking for the best speakers I can get for under $500.
>
>I'm not too concerned about bass limitations.
>
>I have a Denon ___-860 Preamp/amp and an Onkyo CD player.
>
>I am considering Paradigm 5se/3se or Paradigm Phantom.
>
>I thought that it might be best to find a soft pair since my system tends to
>be on the bright side.

>I would much appreciate a list of any speakers you think I might want to
>listen to.  I have heard that Paradigm has few rivals for the $$$. 
>Thanks.


You may want to try Siefert Research Maxim III or Maxim III H (my last price
quote was ($399 and $499, respectively).  I currently own a pair of Maxim III
H's (had them about 2 years) and I'm pretty pleased with them.  A friend has
a pair of Maxim III's and is also quite happy.

The main difference in the Maxim III's and III H's is the tweeter used.  The
III's are softer than the III H's, so these may work with your system better
than the III H's.

These speakers are only available directly from the factory, but the good
news is that Siefert Research gives you a 30-day trial period. If you are not
happy, you can return them for a full-purchase price refund.

FYI, I have a B&K ST-140 power amp and an Adcom GTP-400 tuner/preamp.  

The address is:     Siefert Research
                    31212 Bailard Road
                    Malibu, CA 90625

Phone:              213-457-4239

BTW, I'm not affiliated in any way with this company, I'm just a satisfied
customer.

-------------------------------------------------------------------------------
- Brian C. Hall                                   bchall@tecnet1.jcte.jcs.mil -
-------------------------------------------------------------------------------
- SY73E BLDG 2109                                                301-737-6120 -
- Naval Air Warfare Center Aircraft Division                     DSN 326-6120 -
- Patuxent River, MD 20670-5304                                               -
-------------------------------------------------------------------------------

Newsgroups: rec.audio.high-end
From: sethb@fid.Morgan.COM (Seth Breidbart)
Subject: Re: Apogee Stage subwoofers
Originator: tjk@csd4.csd.uwm.edu
Organization: my opinions only
Date: Thu, 13 Aug 1992 13:09:51 GMT

In article <0095EEE9.4D909780.20363@camins.Camosun.BC.CA> Deryk Barker
<dbarker@camins.Camosun.BC.CA> writes:
>Some time ago somebody mentioned a forthcoming dedicated subwoofer for
>the Apogee Stages. Does anyone have more info, like availability or
>(gulp) price?

I called Apogee yesterday.  They (Jason Bloom, anyway) expect to start
shipping subwoofers around mid-September.  The price is $2595 (US).
They come with an active crossover; you need another amp.  He
suggested that the Adcom 555 was good enough, the subwoofers are very
efficient.

Seth		sethb@fid.morgan.com

Newsgroups: rec.audio.high-end
From: europe@europe.corp.sgi.com (Patrick Renvoise)
Subject: Re: Good sounding VCR
Originator: tjk@csd4.csd.uwm.edu
Organization: Silicon Graphics, Inc.
Date: Wed, 12 Aug 1992 13:08:58 GMT

Hi Ken,

Although I respect the enthusiasm of this guy who loved the sound of
this cheap video solution for audio, I doubt that the sound could be
any better than average.  Ok I have prejudices about Japanese
equipments, but I've spent so many hours listening to stereo gears that
my ears get ticklish when it comes to good sound.  As an example 2
months ago I bought a Sony CDP R1 transport (with a one week home trial
period). This piece weights about 40 pounds, has a solid copper
chassis, special power supply,... and retails at $4000. I'm not
Rotschild but when my dealer offered me to take it for $750, I thought
I couldn't go wrong.I was WRONG.  Although the bass was tighter and
more dynamic than my $500 Marantz CD player used as a transport the mid
range was almost too detailled and the trebbles were harsch. On violin
for example it was obvious that the Marantz was far better. My
girlfriend who's not an audiophile heard the difference and without
telling her which transport was playing she would prefer the Marantz on
10 tracks out of 10. So I returned the unit and got my money back to
buy more CD's.

So sorry but if the top of the line Sony dedicated transport sounds
only reasonnably ok I can't believe that their video stuff can sound
great... or may be it's luck.  Does any Japanese stero company listen
to what they design or do they use only scopes and voltmeters???

-- 
Patrick Renvoise 
Silicon Graphics International Marketing (415)390-3525
/----------------------------------------------------------------------\
| "Il faut cultiver notre jardin." Voltaire (last phrase of Candide)   |
| "It is necessary to cultivate our garden." (1st level translation)   |
\----------------------------------------------------------------------/




Newsgroups: rec.audio.high-end
From: roy@prism.gatech.edu (Roy Mongiovi)
Subject: KEF 107 binding posts
Originator: tjk@csd4.csd.uwm.edu
Organization: Georgia Institute of Technology
Date: Fri, 21 Aug 1992 13:07:18 GMT


I have a pair of KEF 107's and one of the binding posts is slightly loose.
When I have to disconnect (and reconnect) the speaker wire, I have to hold
the base of the post to prevent it from turning with the screw part of the
post.

Does anyone have any idea how to get inside one of these beasts (without
hurting it, of course) so that I can tighten down on the post?  Thanks.
								Roy
-- 
Roy J. Mongiovi   Systems Support Specialist        Information Technology
                                                Georgia Institute of Technology
Tough are the souls that tread the knife's edge  Atlanta, Georgia  30332-0715
        J. Tull                                      roy@prism.gatech.edu
From: gbb@watson.ibm.com (Gary Bronner)
Newsgroups: rec.audio.high-end
Subject: Power conditioners, e.g. Tice, PowerWedge,...
Date: 23 Aug 92 13:54:06 GMT
Organization: University of Wisconsin - Milwaukee
Originator: tjk@csd4.csd.uwm.edu

Ref:     Append from: tcheung@gandalf.rutgers.edu (Tak Cheung)

I have not listened to commerically available powerline conditioners
but I have built a few of my own based on what I've read about the
better ones.  For those of you willing to roll your own they are
cheap and easy to build.  My experience has been that they make
a surprising difference in sound quality.  In my system the quality
of the bass and the apparent low level resolution of detail improves
especially when listening to CDs.  The biggest improvement comes
from separately filtering the power to each component.  I have been
surprised at the magnitude of the improvement, since all my components
already use tightly regulated power supplies.

The power line conditioner consists of a Corcom EMI filter at the
line cord input to the filter, separate isolation transformers for
each output, and another EMI filter after each isolation transformer.
I put it in a cast aluminum box and use good quality sockets.  I
built one for my CD player, tuner, and solid state preamp for a bit
less than $100.

You can get the isolation transformers from Mouser Electronics
(800)346-6873 (Magnetek Triad brand).  A 50va isolation transformer
runs $19.62 (part number 553-N68X).  You can probably find them
cheaper at some surplus outlets.  The EMI filters I got from
R+D Electronics (800 642-1123).  They sell a 5 amp filter for
$2.95 (part number 195C5).  The box and power sockets are easy
to find so I won't bother listing sources.

Comparisons on my own stereo and other people systems show that
the differences are easy to hear.  One gets some advantages if
components share an isolation transformer, but the best results
have been obtained with a separate transformer for each component.

I have no relationship with any of the suppliers listed above.


Gary Bronner
Newsgroups: rec.audio.high-end
From: <MPA15C!ARTHUR@TRENGA.tredydev.unisys.com>
Subject: Question on Balanced Outputs
Originator: tjk@csd4.csd.uwm.edu
Organization: University of Wisconsin - Milwaukee
Date: Fri, 14 Aug 1992 13:18:40 GMT
Comments: Automatic Return Receipt Requested

I happen to own the Stax Pro Lamda headphones, (oh, Excuse Me, Earspeakers!),
which are one of those that get powered from a separate headphone amplifier.
They get relatively infrequent use, but when I wish to use them I have been
forced to unplug the preamp-to-amp cable and reroute it to the Stax amplifier.
The preamp is a Classe` DR5.  A brainstorm recently hit: as the Classe` has
both balanced and unbalanced outputs, why couldn't I use them simulataneously,
leaving the usual RCA cable going to the amp- a C-J MF200, and running a pair of
XLR --> RCA cables to the Stax amp?  Brilliant!  So I went to a pro video store
and shelled out a whopping $23 on a cheapie pair of balanced-to-unbalanced
cables.  So why am I writing?  Obviously because it didn't work.  Can anybody
explain this one: merely plugging in the XLR end into the Classe`, even if the
RCA end is left dangling, kills the normal unbalanced output.  The effect at
the speakers is as if one were listening either to a badly untuned radio or to
bleedthrough on a cheap preamplifier when one sets the input selector switch to
the wrong source.  Happily, I hadn't bought big-$$$ cables for this test, so
I'm only out a few bucks, but these results were totally unexpected.  Anyone
care to venture an explanation, before I play telephone tag with the designer?

  Arthur L. Shapiro        ARTHUR%MPA15C@TRENGA.TREDYDEV.UNISYS.COM
  Software Engineering
  Unisys Corporation       Speaking as a civilian, rather than for
  Mission Viejo, CA        Unisys, unless this box is checked: [ ]


Newsgroups: rec.audio.high-end