HDTenEightyP/NetNews huggingface dataset:
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Recording interviews?
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Thu, 12 Nov 1992 04:59:23 GMT

In article <STEVE.92Nov11164150@styx.crc.ricoh.COM> steve@crc.ricoh.COM (Stephen R. Savitzky) writes:
>Any suggestions on how to record an interview?  One person asking
>questions, one answering, the result to be put on cassette and
>(eventually) sold.  What sort of microphones are good, and in what
>arrangement?  DAT or 4-track?  How are these things usually done in
>the broadcasting world?

What I would do is put interviewer on input 1, pan a little left of center,
put interviewee on input 2, pan right of center, and just slam the thing to
two-track and be done with it.  Alternatively you could just put one on
one channel and one on the other and mix it later.  DON'T just leave it
that way...it'll sound awful to have the voices jumping from speaker to
speaker, or worse, yelling at you in alternating ears.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.audio.pro,rec.audio
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: Denon vs Sony
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Fri, 06 Nov 92 16:17:50 GMT

In article <1992Nov4.064646.10336@csusac.csus.edu>, chenh@neptune.ecs.csus.edu (H. Philip Chen) writes:
|> shiv@bnr.ca (Shiv Naimpally) writes:
|> >[...]
|> >Sony and Yamaha I think are the only ones who make ALL their own 
|> >chips ('vertically integrated'). Most other brands use their chips.
|> 
|> That doesn't sound right.  I've seen NEC chips in Sony products.

NEC could be second-sourcing Sony. Also I should have clarified
that. They make the major chips involved. They probably use
'off the shelf' chips from NEC and others such as memory chips.
From: weems@cs.umass.edu (CHIP WEEMS)
Newsgroups: rec.audio.pro
Subject: Interesting Twist on Excessive SPL in Clubs
Date: 9 Nov 92 22:22:00 GMT
Article-I.D.: cs.9NOV199217221268
Organization: University of Massachusetts CS Department
News-Software: VAX/VMS VNEWS 1.41

In an interesting new twist on the discussion from a while back about
excessive SPL's in clubs and other venues, last night I went to a
local club for the first time in a couple of months, and there was a
new item on the menu: earplugs.

This is a small place, and I have more than once been blasted out of
there by a band with more speaker stacks than could fit on the stage.
The club manager always responded to complaints that he doesn't
regulate the loudness of the band.

Now there is about a 3" by 3" box item on the menu that says that
different people like to listen at different levels, and that the
club's policy is not to regulate the loudness of whoever is playing.
However, for 50 cents they will sell you a pair of disposable foam
earplugs or for $3, you can have a reusable set, both of which are
rated to attenuate the sound by 24 dB.

Has anybody else ever run across this sort of arrangement? Or are
these people starting something new?

Chip
From: mskogmo@nmsu.edu (SKOGMO)
Newsgroups: rec.audio.pro
Subject: Alesis MEQ-230
Date: 10 Nov 92 00:22:02 GMT
Distribution: rec
Organization: NMSU Computer Science

Does anyone have any experience with the M-EQ 230?  Good, Bad?  I
would like to know because I am interested in purchasing a single rack
space stereo 1/3 equalizer and may be able to get a good deal on the
230.


Thanx in advance.

Matt
mskogmo@dante.nmsu.edu
From: newsq@Ampex.COM (Stan Busby)
Newsgroups: rec.audio.pro
Subject: 600 Ohms @ +8VU
Date: 13 Nov 92 01:27:16 GMT
Distribution: na
Organization: Ampex Corporation, Redwood City CA

Most, but not all, audio equipment in TV studios runs
+8 VU when the meter reads zero.  Originally, this
was done to allow peaks which are 10 db greater than
that, and +18 was considered the max before you started
crosstalking into people's telephone lines.

Modern equipment have audio output source impedances of
less than 30 ohms, while most inputs are greated than 10KOhm.
Once in a while, however, you wind up feeding a telco line,
and it looks like 600 ohms.  When this unusual load is
stuck across a 30 ohm source the drop in level is only about
0.5 db.  If the source impedance had been 600 ohms, you
would lose 6 dB instantly.

Some of the telco line terminations involve filters, equalizers
and the like, using passive parts.  To do this right,
you need to design around a known input and output impedance,
and 600 ohms was chosen, probably from history.  For moderate
distances, the impedance of the line itself doesn't get into
act very much at audio frequencies.

newsq@ampex.com
Newsgroups: rec.audio.pro
From: weaver@kuttner.sfc.sony.com (Eric Weaver)
Subject: Phantom Powering [was Re: AKG Blue Line Mikes]
Organization: SONY Advanced Video Technology Center San Jose, CA USA
Date: Thu, 12 Nov 1992 18:57:27 GMT


Norm Strong wrote, in part:

> The most interesting aspect is that they have no transformer, in spite
> of being phantom powered. 

Typically "phantom power" is implemented by a voltage between the signal
leads and ground - A transformer isn't necessary to utilize this, although
some good sized capacitors might be. 
-- 
Eric Weaver  Sony AVTC  677 River Oaks Pkwy, MS 35  SJ CA 95134  408 944-4904
& Chief Engineer, KFJC 89.7 Foothill College, Los Altos Hills CA 94022
From: matthews@eecs.ucdavis.edu (Thomas W. Matthews)
Newsgroups: rec.audio.pro
Subject: WANTED hafler 220 (broken OK)
Date: 9 Nov 92 17:32:09 GMT
Article-I.D.: ucdavis.19047
Organization: Division of Electrical Engineering and Computer Science, UC Davis

I'm looking for a hafler 220.   I think there might have been a later
version with a suffix, and I'd like to hear about those too.

I'm hoping someone will have a broken one they'd like to
get rid of.  I can't pay a lot for a unit with a cooked power
transformer or a flamed out circuit board, but we can talk.

Of course, respond by email.   

Tom Matthews
Newsgroups: rec.audio.pro
From: newsq@Ampex.COM (Stan Busby)
Subject: Pettigrew bias-less magnetic recording
Organization: Ampex Corporation, Redwood City CA
Distribution: na
Date: Fri, 13 Nov 1992 07:24:39 GMT

I mailed this to jay@cmn19.Stanford.EDU, but the
daemon said that jay doesn't live here any more, so
I'll post it to the newsgroup.

When Ampex folded up its Audio and camera groups,
I was CE of the audio engr. dept, located at that
time in Cupertino.  I had been in that position for
a few years.  Before that, there were several audio
design engineers that I consulted with regularly, since
I was designing the audio channels for video recorders.
Pettigrew never came up, much less get tried. 

newsq@ampex.com (Stan Busby)


Newsgroups: rec.audio.pro
From: musjndx@gsusgi2.gsu.edu (Jonathan N. Deitch)
Subject: Re: Interesting Twist on Excessive SPL in Clubs
Organization: Georgia State University
Date: Thu, 12 Nov 1992 04:42:33 GMT

jerrymo@ecs.comm.mot.com (Jerry Morrow) writes:

>In article <9NOV199217221268@cs.umass.edu> weems@cs.umass.edu (CHIP WEEMS) writes:
>>
>>Now there is about a 3" by 3" box item on the menu that says that
>>different people like to listen at different levels, and that the
>>club's policy is not to regulate the loudness of whoever is playing.
>>However, for 50 cents they will sell you a pair of disposable foam
>>earplugs or for $3, you can have a reusable set, both of which are
>>rated to attenuate the sound by 24 dB.
>>
>>Has anybody else ever run across this sort of arrangement? Or are
>>these people starting something new?
>>
>yep.  all the concerts I've been to at Poplar Creek music theater
>this past year have had earplugs for sale.  At least they're admitting
>it's too loud.

They're also covering their tails if they get sued for killing someone's
hearing.

- Jonathan

-- 
         ** Atlanta Braves - Back to Back NL Champs '91 and '92 **

 Internet: jdeitch@gisatl.fidonet.org   Fidonet: Jonathan Deitch@1:133/411.7
           musjndx@gsusgi2.gsu.edu      Bellnet: 1 - (404) - 261 - 3665           
-----------------------------------------------------------------------------
Atlanta 1996 !! | Play Pinball !! | Don't Panic ! | "I hate it when I can't
--------------------------------------------------| trust my own technology!"
"Thrills!  Chills!  Magic!  Prizes!" -- Hurricane |    -- Geordi LaForge

Gene Roddenberry, Isaac Asimov, Jim Henson, Dr. Seuss, Mel Blanc ... Sigh ...

Newsgroups: rec.audio.pro
From: ted@dgbt.doc.ca (Ted Grusec)
Subject: DCC-MD
Organization: The Communications Research Centre
Date: Thu, 5 Nov 92 18:10:03 GMT

>>In article <68502@cup.portal.com> SteveSgt@cup.portal.com (Steven Eugene Sergeant) writes:
>>>1.      Which format appeals to you more as a consumer?  Why?
>
>DCC appeals more because of compatibility with regular cassettes and the
>fact that EVERY review I've read of both formats says that DCC sounds
>wonderfully perfect, while MD is an obvious compromise on sound quality.


For your interest, you should know that on the subjective sound side,
the two formats are quite indistinguishable from each other.  Both use lossy
compression to about the same degree, and both are equally
"indistinguishable" from CDs (expert and keen listeners can hear tiny
differences from CDs).  An "average" listener would find both of
equally high quality.

-- 
-----------------------------------------------------------------
Ted Grusec - Communications Research Centre, Ottawa, Ont., Canada
Newsgroups: rec.audio.pro
From: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Re: Whatever happened to biasless recording
Organization: DSO, Stanford University
Date: Thu, 12 Nov 92 18:14:58 GMT

In article <1992Nov11.051309.18795@bilver.uucp> bill@bilver.uucp (Bill  
Vermillion) writes:
> In article <1992Nov10.192017.14666@leland.Stanford.EDU>  
jay@cmn19.Stanford.EDU (Jay Kadis) writes:
> >In article <BxIDnI.2st@cen.ex.ac.uk> PVossler@cen.ex.ac.uk  
(P.J.Vossler)  
> >writes:
> 
> >> Was that the system where there is a cubic relationship between the
> >> audio signal and the magnetic flux generated in the head gap.
> 
> >Yes, it is the cubic relationship between magnetic flux amplitude and  
the  
> >remanent flux that is supposed to explain this biasing scheme.  The  
system  
> >works by taking the cube root of the audio signal up to a threshold  
level  
> >which corresponds to the saturation level of the tape.  Above the  
> >threshold, the signal is linear.
> 
> What???  The signal can NOT be linear above the saturation level.
> 
> At saturation there is no increase in output for any further increase
> in input.  How in heck can this be linear.   Once you saturate you lose
> all ability to discriminate any signal change.   Or is there something
> magic about this cube root recording that throws the laws of physics
> right out the window.
> 
> Or - conversley - am I completely clueless?     I am willing to learn
> but this doesnt' seem at all logical.
> 


What the article said was that the cube-root circuit only operated up to  
the equivalent of tape saturation, at which threshold it became linear.   
This does not mean that the tape could reproduce any signal of that  
amplitude...sorry for the confusion.(So why bother with the threshold?)

Jay
Newsgroups: rec.audio.pro
From: archer@elysium.esd.sgi.com (Archer Sully)
Subject: Re: MD vs. DCC: What does the group think?
Organization:  Silicon Graphics, Inc.  Mountain View, CA
Date: Fri, 6 Nov 1992 20:24:31 GMT

In <1992Nov6.103550.13519@eng.cam.ac.uk> cmh@eng.cam.ac.uk (C.M. Hicks) writes:

*
*DCC does NOT sound wonderfully perfect. At the APRS exhibition in London
*last June, everyone I spoke to thought that a top quality cassette copy 
*of a CD was better than a DCC copy (in a blind test on the BASF stand).
*

Well, considering that BASF is probably trying to sell you analog tape
I'd be a tad suspicious.  Likewise with anything at Philips' booth.  
Eventually some magazine or another will do some serious testing and 
we'll get something that more closely resembles information.

-- archer

Newsgroups: rec.audio.pro,music.synth
From: linley@netcom.com (Bruce James Robrert Linley)
Subject: Re: Big Brother Radio Shack
Organization: NetCom- Cheaper than Compu$erve (isnt everything, though?)
Date: Fri, 6 Nov 1992 16:39:53 GMT

In article <1992Oct29.004450.26252@mprgate.mpr.ca> walduck@mpr.ca (Andrew Walduck) writes:
>In article <1992Oct28.234128.19846@nntpd2.cxo.dec.com> g_house@goes11.enet.dec.com (Greg House) writes:
>>
>>In article <musjndx.720299932@gsusgi1.gsu.edu>, musjndx@gsusgi2.gsu.edu (Jonathan N. Deitch) writes:
>>|>jh@cadre.com (Joe Hartley) writes:
>>
>>|>Or do what I do : use my brother's name, address, and phone # as he doesn't
>>|>mind getting Radio Shack mailings ...
>>|>
>>|>- Jonathan
>>
>>Sounds like a great idea, Jonathan.  What is your brother's name, address, and 
>>phone number?
>>
>>Greg
>Actually, I hear that Craig Shergold likes Radio Shack flyers too...
>what's his address again??  
>
>;-) ;-) ;-) ;-) ;-)
>

How about this... The next time they want your address, do what I do. Give them
the address of a different Radio Shack store! Maybe they'll learn.

-- 
Bruce James Robert Linley | "Well, I tried shoving a weiner in the warp drive,
Comp Sci & Engr, UCLA     |  but it didn't do a bit o' good."
<linley@netcom.com>       | - Star Dreck, c/o Dr. Demento
<linley@seas.ucla.edu>    |
From: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Newsgroups: rec.audio.pro
Subject: Re: Recording interviews?
Date: 12 Nov 1992 15:08:56 GMT
Organization: NASA Langley Research Center and Reptile Farm
NNTP-Posting-Host: grissom.larc.nasa.gov

In article <STEVE.92Nov11164150@styx.crc.ricoh.COM> steve@crc.ricoh.COM (Stephen R. Savitzky) writes:
>Any suggestions on how to record an interview?  One person asking
>questions, one answering, the result to be put on cassette and
>(eventually) sold.  What sort of microphones are good, and in what
>arrangement?  DAT or 4-track?  How are these things usually done in
>the broadcasting world?

I've always done stuff with a two-track deck, with two Crown PZMs laid
on the surface of the desk between the two people.  The PZMs don't have
a problem with echoes from the desk surface (which is often a problem
unless you carpet the top of the desk or use a large blotter), and more
importantly they aren't very large or noticeable, which helps people
forget that they are being interviewed and encourages natural conversation.

I generally use an old Uher portable two-track deck instead of the DAT
because it's a lot easier to edit 1/4" tape than the DAT tape, and I
frequently need to do a lot of editing.  Your mileage may differ.
--scott
Newsgroups: rec.audio.pro
From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: Interesting Twist on Excessive SPL in Clubs
Date: Tue, 10 Nov 1992 15:04:35 GMT
Organization: Colorado Concert Sound
Keywords: EARPLUGS

The Fox Theater in Denver Sells Earplugs at the snack bar.  I always wear
earplugs when someone else is mixing on our PA.  Why does everyone associate
a high level of DISTORTION with loudness?  Do you REALLY have to make the 
red LEDS on the master come on?  Do you all know about gain structure?  Do 
you realize that when the red LEDS come on you are at least 15 dB into 
compression?  Do you realize the legal ramifications of damaging someone's
hearing?

I don't know about you, but I'd like to hear the wind in the trees when I'm
fourty, fifty,....  years old.
From: weaver@kuttner.sfc.sony.com (Eric Weaver)
Newsgroups: rec.audio.pro
Subject: Re: the usual silly test levels question
Date: 13 Nov 92 19:50:44 GMT
Organization: SONY Advanced Video Technology Center San Jose, CA USA


In article <1992Nov13.032413.17005@news.columbia.edu>, gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
|> In article <1992Nov12.144249@kuttner.sfc.sony.com> weaver@kuttner.sfc.sony.com (Eric Weaver) writes:
|> >
|> >The only place at my station we care about I/O impedances is on the program
|> >lines up the mountain...
|> 
|> How are those handled, by the way?  I've always been curious?  After you come
|> out of the control room, what sort of processing is done before the stuff
|> gets put on transmission line and sent up the hill?
|> 

Ahem.  Actually, nothing.  This makes a bit of a problem because some jocks
are not in the habit of watching their meters while they talk, and like to 
blast thru the small amount of headroom we have on that line.  Clip city.

I am preparing to split our Optimod, placing the compressor at the studio end
and leaving the limiter and stereo generator at the top.  REAL soon, ah yup.
Probably I'll also reduce the operating level on that line to 1 mW since we 
won't have the noise rush-up problem we do now.
-- 
Eric Weaver  Sony AVTC  677 River Oaks Pkwy, MS 35  SJ CA 95134  408 944-4904
& Chief Engineer, KFJC 89.7 Foothill College, Los Altos Hills CA 94022
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Dimmer Noise
Date: 5 Nov 92 18:47:26 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <16893D836.CCEB001@UTXVM.CC.UTEXAS.EDU>
CCEB001@UTXVM.CC.UTEXAS.EDU writes:
>I run the sound system in my church and am having a problem with mikes
>picking up noise that is apparently originating in a dimmer.  The dimmer
>and mixer are in an equipment room at the back and the overhead mikes
>(for the choir) and the lights are at the front.  We are using balanced
>lines, Audio-Techica mikes, and a TOA mixer.
 
>It is helpful to turn the lights off or all the way up, but that
>defeats the point of having a dimmer.  When people stand up to make
>announcements without using a mike (grr!) the choir mikes are usually
>the least bad input, but you have turn them way up, and then they
>really buzz.
 
>If you have a helpful solution that meets electrical codes, good practice,
>etc. please respond by mail as our newsfeed is overloaded and losing some
>articles.  If you have speculation or flames the news group will do fine. :-)
 
I assume that you are not using a powered mixer.

If that is the case and you have a power amp that is located some
distance from the mixer,  disconnect the pin 1 connections to the
power amps, at the power amps.  That should break the ground loops.

I hope that you have looked for the obvious like snake cable running
along side dimmer power lines, etc....


-- 
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: milo@dorm.rutgers.edu (james mielo)
Newsgroups: rec.audio.pro
Subject: Need help with home subs
Date: 11 Nov 92 02:52:28 GMT
Followup-To: rec.audio.pro
Organization: rutgers university


						I need to know the principles behind the M&K and Velodyne sub
modules. Both have either a second woofer or passive resonator that fires
90 degrees off axis from the foward facing woofer. The downward firing
woofer is in-phase with the foward one and it has its output reflected off
of the floor. Please shed some light on how the two different sound paths
blend and estimate the Theile-small parameters of a compatable woofer.




James Mielo
Rutgers College of Pharmacy '94
milo@dorm.rutgers.edu
From: villalj@xanth.CS.ORST.EDU (John Villalovos)
Newsgroups: rec.audio.pro
Subject: Re: Interesting Twist on Excessive SPL in Clubs
Keywords: EARPLUGS
Date: 11 Nov 92 08:35:30 GMT
Article-I.D.: flop.1dqgkiINN22l
Organization: Oregon State University
NNTP-Posting-Host: xanth.cs.orst.edu

In article <Nov10.150435.81763@yuma.ACNS.ColoState.EDU> gw214790@LANCE.ColoState.Edu (Galen Watts) writes:
>I don't know about you, but I'd like to hear the wind in the trees when I'm
>fourty, fifty,....  years old.

I'm with you.  I'm just a DJ which isn't really a real musician but the music
I play is pretty loud.  When I do my dances I wear earplugs up on stage.
The main reason why though is because when I mix with the headphones I have
to turn them up fairly loud to hear over the speakers.  Before I used earplugs
my ears would ache the next day.

Sometimes I've done P.A. mixing for bands and I always tell them they should
wear earplugs (especially drummers) but they don't listen to me.  Takes away
from the "musical experience and energy".

Later,
John Villalovos
-- 
John Villalovos
Certified Netware Engineer
villalj@xanth.cs.orst.edu
(503) 753-7883
From: villalj@xanth.CS.ORST.EDU (John Villalovos)
Newsgroups: rec.audio.pro
Subject: Re: Interface Digital Audio <---> Computer ???
Date: 11 Nov 92 08:30:19 GMT
Article-I.D.: flop.1dqgarINN1no
Distribution: world
Organization: Oregon State University
NNTP-Posting-Host: xanth.cs.orst.edu

In article <H.ea.PSaPv1RDa&M@jonh.wimsey.bc.ca> jhenders@jonh.wimsey.bc.ca (John Henders) writes:
>	The reason pc sdigital sound boards are not as common as you'd hope
>is that the only part of a ps the designers can take advantage of it th
>keyboard and displayl. The bus bandidth of anything below an eisa
>machine is too slow to kee up.Even then, display update is a problem.

I was just wondering if there could be some clarification on the above point?
How much data does there need to be transferred that a typical 16bit ISA bus
can't handle it?  Can't an ISA bus transfer 16bits of information at 8MHz speed.
So that would be 16*8,000,000=128,000,000 bits per second or 16,000,000 bytes
per second?  Now I realize that in reality it can't get that high but I didn't
think that digital audio was much above 300-500KB/second.  That's why I thought
people complained about the slow data transfer rate from CD-ROM drives.

If someone can fill me in on this I'd appreciate it.

Later,
-- 
John Villalovos
Certified Netware Engineer
villalj@xanth.cs.orst.edu
(503) 753-7883
Organization: Psychology, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.audio.pro
Date: Thu,  5 Nov 1992 11:28:28 -0500 
From: Lisa Laverne Vaughan <lv0e+@andrew.cmu.edu>
Subject: 8x or 16x,16bit,A-B,Portable CD?

I was in love with me Denon DCD1520 until it was stolen.  I bought it for its
easy of functionality, its specs (4x oversampling and 16bit as I recall), and
most importantly, the AB repeat feature.  Now I've decided to go portable
for the versatility of it, but again, want to purcahse a player that's at
the top of the line in terms of specs/sound.

I've read about the sony discman which has the features I want, and too many
that I don't want.  I'm a firm believer that the more resources devoted to
the quantity of widgits means a loss of quality of each of the individual
widgits.  Besides, I have a sony D6C and have had a heck of a time ordering
replacement parts, etc.

I've read the reviews on the Technics portable, but it deosn't seem to have
the AB feature that is *primo* for me.

So, the question is:  Is there a portable CD player available, with *minimum*
of 8x oversampling, 16 bit (at least), AB repeat, perferably remote
controllable, limited bells/whistles, and price unimportant (up to say
$700).

replies to this account... thankx, lisa
From: ruska@hpfcso.FC.HP.COM (Dave Ruska)
Date: Thu, 12 Nov 1992 21:09:11 GMT
Subject: Feedback on Peavey DPC-750 amp ?
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.audio.pro


Has anyone used the Peavey DPC-750 Power amps ? Are they reliable ?
I've heard complaints about the earlier DECA series amps. Any feedback
on the DPC-750 amp would be appreciated. The light weight and single
rack space of the DPC are nice features.

If you don't like the DPC-750, what other amps would you recommend for
driving stereo mains in a nightclub/bar setup?

Thanks,
Dave              ( daver@hpgrrd.gr.hp.com  <- real email address )
Newsgroups: rec.audio.pro