HDTenEightyP/NetNews huggingface dataset:
From: rgonzal@gandalf.rutgers.edu (Ralph Gonzalez)
Subject: Re: Speaker radiation patterns
Originator: tjk@csd4.csd.uwm.edu
Organization: Rutgers Univ., New Brunswick, N.J.
Date: Fri, 24 Jul 1992 12:58:26 GMT


kenyee@ksr.com (Ken Yee) writes:


>In article <1992Jul21.011956.177986@ns1.cc.lehigh.edu>  
>jap1@ns1.cc.lehigh.edu (JOSEPH ALEXANDER PADULA) writes:
>> I had a conversation with someone who suggested that the conventional
>> forward firing systems were the speakers that more accurately reproduced  
>the
>> information on the recording.  I concede that this may in fact be  
>correct
>> considering the placement of microphones in minimally miked orchestral
>> recordings.  However, this is not the perspective of someone sitting
>> in the audience.  There, at least from my experience, one does not 
>> perceive the pinpoint imaging that some speakers provide but more of the
>> diffuse soundstage that bi/dipolar speakers produce.
>   I went to my first real Boston Pops concert a couple of months ago.
>   It definitely didn't sound like any recording I've heard.  There
>   seemed to be more high frequency sounds than I expected and the
>   bass drum seemed more diffuse than most recordings.  I had orchestra
>   seats, 25-30 feet behind the conductor at a 45 degree angle to the
>   right.  I looked up and noticed that the mikes were mostly directly
>   over the orchestra and directly over the conductor especially...
>   implying that the conductor's seat is the "best".
>   Sound was indeed diffuse and it did take a while to for me to find
>   all the instruments I was hearing.
>   At any rate, I thought electostatics sounded most like this, but
>   I felt their sweet spots were too small (in the $2k range).

There's another issue other than the diffuseness of the sound stage and
the choice of miking.  That is, most direct-radiator speakers have
an entirely different frequency response if you stand in front of them
versus if you stand beside or behind them.  Therefore, the reverberant
response in your room (the sound which bounces around before reaching
your ears) usually has a different balance from the direct response.

In my opinion, this unnatural imbalance is responsible for a lot of
timbre and soundstaging (the "you are there" phenomena) problems.
Panel speakers have an advantage in this light.  This is why you
see expensive direct-radiator speakers like Mirage with drivers 
front and back.  (Even Thiel suggests you buy two pairs and put them
back to back to get near-omnidirectionality.)

This is not the same as Bose's dubious aim for "concert sound" via
changing the ratio of direct/reflected sound -- I'm talking about
getting the same balance in the direct sound as in the reflected
sound instead.

-Ralph

-- 
Ralph Gonzalez, Computer Science, Rutgers Univ., Camden, NJ
Phone: (609) 757-6122; Internet: rgonzal@elbereth.rutgers.edu
--

Newsgroups: rec.audio.high-end
From: rshapiro@bbn.com (Richard Shapiro)
Subject: Re: Audio Alchemy DDE 1.0
Originator: tjk@csd4.csd.uwm.edu
Organization: BBN, Cambridge MA
Date: Thu, 30 Jul 1992 13:03:33 GMT

In article <28JUL199222442179@zeus.tamu.edu> p0p4018@zeus.tamu.edu (PREMTHAMKORN, PRAKIT) writes:
   If you are upgrading your CD player and your CD has a digital output (either
   coaxial or optical type), buy this converter unless you want to spend a lot 



The Audio Alchemy is a very decent bitstream-type dac at a *very*
reasonable price. I feel I should warn potentinal buyers of one
possible drawback though: this dac will *not* handle 48kHz DAT digital
out. So if you're thinking of using this item with a DAT deck as well
as a cd player, forget it. 


   $450).  I use digital output from Rotel 855 with good result.

Personally I think the 855/955 sounds better than the AA. Just an
opinion...
From: winalski@adserv.enet.dec.com (Paul S. Winalski)
Newsgroups: rec.audio.high-end
Subject: Re: DAT Digital Playback?
Date: 22 Jul 92 13:08:08 GMT
Reply-To: winalski@adserv.enet.dec.com (Paul S. Winalski)
Distribution: usa
Organization: Digital Equipment Corporation, Nashua NH
Originator: tjk@csd4.csd.uwm.edu


In article <Jul.20.16.05.23.1992.17699@pilot.njin.net>,
ron@pilot.njin.net (Ron Natalie) writes:
|>
|>I'm working on doing some data collection involving an analog signal
|>down around 17KHz.  A way of doing this that has come up is to use
|>a DAT Walkman type unit to record the data and then get the digital
|>out into a computer.
|>
|>The question is, has anybody done something like this.  What is the
|>real bits per sample (dynamic range) of the Sony DAT Walkman for
|>instance.  Does anybody know the specifics of the digital output
|>(or a device that could interface a DAT player to a workstation).

All DAT records at 16 bits/sample (linear), 48,000 samples/second.  There's
also a "long-playing" mode that uses 12 bits/sample (non-linear), 32,000
samples/second.  The digital out is defined by an international standard.
Your best bet would be to get a copy of it.

--PSW
Newsgroups: rec.audio.high-end
From: tjk@csd4.csd.uwm.edu (Thomas Krueger)
Subject: Crossposting Messages
Originator: tjk@csd4.csd.uwm.edu
Organization: College of Engineering Electronics Shop, UW Milwaukee
Date: Wed, 22 Jul 1992 13:34:35 GMT

The guidelines specifically say no cross-posting, yet people still post
separately to rec.audio and rec.audio.high-end. 

You won't get any more responses if you post to both groups.

I guess I'll have to read rec.audio regularily now. 

To reiterate, post to one group or the other, but not both. 

							- Tom
-- 

Thomas Krueger                       UW-Milwaukee Engineering Electronics Shop
tjk@csd4.csd.uwm.edu                                         +1 (414) 229-5172
    Moderator: rec.audio.high-end, Info-Fortune, and Mystery mailing lists
Newsgroups: rec.audio
From: dap@portal.vpharm.com (David A. Pearlman)
Subject: Re: Mail order experience with J & R Music World?
Organization: Vertex Pharmaceuticals, Inc.
Date: Wed, 22 Jul 1992 21:51:32 GMT

In article <1190757@hpnmdla.sr.hp.com> rons@hpnmdla.sr.hp.com (Ron Stewart) writes:
>I bought a Sony computer monitor from them about 4 months ago and was

They are reputable, reliable, and honest (based on all the interactions
I and people I know have had with them).

They are also one of the more expensive "discount" mail order places.

If you are satisfied with their prices, I wouldn't hesitate to order
from them.

dap
-- 
===============================================================================
    David A. Pearlman

Vertex Pharmaceuticals Inc.                     email: dap@vpharm.com
Newsgroups: rec.audio
From: gfl@hera.uucp (22402-lenahan)
Subject: Re: CDs and Digital Audio
Organization: Bellcore, Livingston, NJ
Date: Fri, 24 Jul 92 20:33:25 GMT

> chris@dranet.dra.com writes:
> >2) I understand the sampling rate of cd digital audio is 44 khz.
> >   How many bits (or bytes) of memory does a sample consist of?

each sample is (2) 16-bit words = 4 bytes.
> 
> >3) How many seperate signals are stored on a cd? (Just 2 for stereo or 
> >   are there more?)

The CD is decoded based on the presence of 2 channels.  Different
processing coul;d yeild more, I suppose.
> 
> >4) How far away are we from radio stations broadcasting their
> >   signal digitally?  Or is this not feasible?

It has been proposed, built, and done, for TV audio, by Dolby
and others.  The problem is the old chicken and egg of
stations waiting for listenenrs and ........
> 
> >4) Switching to analog signals: If stereo is 2 signals, how
> >   do FM stations broadcast 2 signals at once?

They modulate the two channels on independent carrier frequencies,
the same way many stations can broadcast at once.  The two are
very close together.  It's called "FM", just like the radio.
> 

Grant
gfl@hera.cc.bellcore.com
From: dave@53iss6.Waterloo.NCR.COM (Dave A. Henrich)
Newsgroups: rec.audio
Subject: Surround Speakers
Keywords: surround
Date: 20 Jul 92 18:14:59 GMT
Organization: Imaging Systems Division, NCR Corp, Waterloo, Ont., CANADA

I recently purhased some excellent rear speakers. They are GOODMANS
from the UK. Model - Maxima2 with a 4"woofer and dome tweeter. They 
are relatively small (bookshelf size) 7"wide x 12" high.
Retail in Canada is approx. $175. Not sure if available in the US
Anyways, they do sound good and work well with my Sony (STRAV1070)
receiver(15w rear channel output). I have them wall mounted at the side 
and about 16" down from the ceiling.
I'd recommend these over any others I've heard(Koss M85,Pioneer etc)

--
----------------------------------------------------------------------
"Here we stand and here we fall, History won't care at all" B.May
----------------------------------------------------------------------
Dave.Henrich@Waterloo.NCR.COM
From: stephen@snoopy.umd.edu (Tim Stephen)
Newsgroups: rec.audio
Subject: Broken CD player - fix or trash?
Keywords: DSP speaCD
Date: 30 Jul 92 12:06:05 GMT
Organization: University of Maryland, College Park

Hi,

   I've got a 2 year old sony CDP-590 CD player that suddenly stopped
working.  No matter what I do it reports "no disc" on the display
and refuses to play.   I've called around and getting it repaired
seems like it could cost almost as much as buying a new one.   Does
anyone have any suggestions on what I should do?  Could it be something
minor like a sensor used to detect the presence of a CD?  Thanks...

Pete Silvestre

Newsgroups: rec.audio
From: staudt@physik.uni-kl.de (Willi Staudt AG-Linder)
Subject: Re: Cyrus/Mission amps
Reply-To: staudt@physik.uni-kl.de (Willi Staudt AG-Linder)
Organization: University of Kaiserslautern (Germany)
Date: Tue, 28 Jul 1992 10:51:19 GMT

In article <watsonr.711994665@unix1.tcd.ie>, watsonr@unix1.tcd.ie (richard
watson) writes:
|>Are they really that good, in their price-range (260 Irish pounds) ?
|>
|>Would I be better with a Musical-Fidelity budget (300 pounds) ?
|>
|>Does anyone know about the Cyrus-1/Cyrus speaker combination ?
|>
|>Any advice, comments, etc. greatly appreciated.

Just a few weeks ago I auditioned the Cyrus1 + Mission 761 and I didn't like
the
sound at all. Especially solo guitar (Alex deGrassi: Blue Trout , Windham Hill
Records) sounded like put through a softener. The sound improved definitely
when
I switched to the Acoustic Research AR-03 amplifier, more dynamical but still
a 
very week bass.
Compare the Mission 761 to the Energy 2.1 or 3.1 from Canada, same size and
prize
range over here (ca.1000DM, sorry I don't have the conversion rate for Irish
pounds at hand).
If you can pay a little bit more for the boxes then listen to some of the
models by Monitor Audio!!!
I settled for the MA700 (ca.1300DM), which have a very crisp and clear sound in
the high/middle range and quite more overall volume compared to the Mission and
Energy. And even with the rather cheap AR-03 (ca.600DM) they sound very good.
In the end I decided to spent some extra money and buy the new Nytech Ion
Obelisk
100 amplifier (ca.1300DM). It added some power, is more comfortable to handle
and
provides still more volume in the bass range and I was fortunate enough to talk
the dealer into a special price reduction for the set :-) :-) :-) 

		Willi

  <>==============================<>=============================<>========<>
  || Wilhelm F.Staudt             || E-Mail:                     ||  \     ||
  || Department of Physics        ||                             ||   \    ||
  || University of Kaiserslautern || staudt@physik.uni-kl.de     ||   /\   ||
  || FRG - 6750 Kaiserslautern    || staudt@rhrk.uni-kl.de       ||  /  \  ||
  <>==============================<>=============================<>========<>
From: wgd@ukc.ac.uk (W.G.Day)
Newsgroups: rec.audio
Subject: Re: Record run-out grooves - ARE THEY DANGEROUS?
Date: 22 Jul 92 09:15:28 GMT
Reply-To: wgd@ukc.ac.uk (Warren Day)
Organization: Computing Lab, The University, Canterbury, Kent. CT2 7NF, UK

In article <1992Jul20.025622.16607@trl.oz.au> tpearson@titan.trl.OZ.AU
(Trevor Pearson) writes:
>wcsanil@superior.carleton.ca (Anil Prasad) writes:
>> and real "scraping" sounds begin. However, is it dangerous to leave
>> your stylus in the run-out groove for any length of time?

>> Anil Prasad

>No more so than the rest of the record. Will cause stylus wear at the
>same rate and of course bearing wear etc. Assuming you don't leave it
>too long, it shouldn't be a problem.

> * Trevor Pearson                        *

Indeed.  A friend of a friend had a party once and naturally used his hifi
to make music at it.  Unfortunately, due to being forgotten about Dave's
LP12 was left spinning for 38 hours with his Karma MC cartridge in the
run out groove.  Naturally he was worried about whether he need to shell
out several hundred pounds for a new cartridge, but no, it was fine.
Infact there is less information in the run out groove, depending on how
loud the join up is.

Warren
Newsgroups: rec.audio
From: bill@verdix.com (William Spencer)
Subject: Re: Good Quality Speakers?
Organization: Verdix Corp.
Date: Thu, 23 Jul 1992 23:59:20 GMT

In article <1992Jul23.111046.2005@merrimack.edu> desmondw@merrimack.edu writes:
>
>     Does anyone know a good pair of speakers that deliver deep bass. I
>posted earlier about Bose 601's and got a negative response from everyone
>who replied. I went to one place where a guy showed me Tannoys(?) and I
>didn't care for them. The bass was no where to be found. It sounded
>good overall, but I wanted more punch.

You're not going to find any other speaker with as much bass as some of the 
Boses. It doesn't go deep but there's a lot of it. Completely exaggerated
and inaccurate. No one else even wants to make speakers like that.

Now if this is what you want, go ahead and buy them. But realize that it's
hard to get around that sound if you tire of it, unlike, say, boosting the bass
on a better set of speakers.

A long time ago I went shopping with someone to get some speakers. The Bose 
sounded better than all the others -- plenty of bass, even at whisper-quiet
department store levels. They listen now with the bass turned way down.
Treble too.

Bill s
From: ngrjn@milton.u.washington.edu (V Nagarajan)
Newsgroups: rec.audio
Subject: Best news about LPs...
Date: 26 Jul 92 01:31:38 GMT
Article-I.D.: u.1992Jul26.013138.29209
Organization: University of Washington, Seattle


	  ...is that they are on their way out.

	That's my impish side talking. Seriously, what is the future for
	LPs? A local music store had two dozen cutouts and no more! I am
	curious as to why people are investing hundreds, if not thousands,
	of dollars on a technology that is being phased out rather rapidly.
Newsgroups: rec.audio
From: william@chopin.udel.edu (Wild William)
Subject: Foster... where are they and how to get in touch?
Organization: University of Delaware
Distribution: usa
Date: Tue, 21 Jul 1992 15:15:28 GMT

I am trying to reach the Foster company for replacement of a tweeter 
diaphram.


Anyone know what their address/ph # might be.

William

william@chopin.udel.edu
From: ptt00@DUTS.ccc.amdahl.com (  179  Peter Thelen)
Newsgroups: rec.audio
Subject: DAT Information Please
Date: 24 Jul 92 23:34:49 GMT
Reply-To: ptt00@DUTS.ccc.amdahl.com (  179  Peter Thelen)
Organization: Amdahl Corporation, Sunnyvale CA


Can someone give me a clue as to where I can get information on the
various DAT machines that ar currently on the market. I'm looking at home
or semi-pro machines in the 600-1200 dollar range.
In my shopping travels I'll find that most stores will carry only one
brand and one model, they've usually lost the booklet & remote,and the
floor model is all they have left, if they have any DAT's at all !
Mail order places are even of less help, they have the very latest models
that the stores don't even have yet, and they know nothing about them.

This will be my second DAT machine. The one I have now is a JVC 505 which
I'm less than totally happy with: It displays only A-TIME (no P-TIME),
it is NOT programmable, and it makes a faint "click" sound on the audio
channel when starting play after a pause...
Features I DO like about it are the slow-speed 4 hour mode, which all
pro decks i've checked out don't have, and a large rotary level control
which is concentric (that is-both channels can be set slightly different
if necessary) rather than the stupid sliders that seem to be so prevalent
nowdays.

Anyway, any information is appreciated. Just point me in the right
direction and tell me where I can get the information for myself.
Thanks in advance

peter (ptt00@DUTS.ccc.amdahl.com)
From: mwandel@bnr.ca (Markus Wandel)
Subject: Re: CDs and Digital Audio
Organization: bnr
Date: Fri, 24 Jul 1992 17:54:44 GMT

In article <1992Jul23.141505.1@dranet.dra.com> chris@dranet.dra.com writes:

>4) How far away are we from radio stations broadcasting their
>   signal digitally?  Or is this not feasible?

Quote (without permission) from the July 6, 1992 EE Times:

"The United States is on a headlong dash to convert its
radio-broadcast system to an all-digital format.  If all
goes according to plan, the transition could begin within
two years.  The catch, of course, is that efforts that
require cooperation among competing segments of the private
sector and the public rarely go according to plan.  The
Electronic Industries Association, which is orchestrating
efforts to establish a U.S. digital audio broadcast (DAB)
standard, is accepting proposals now and intends to make
a recommendation to the Federal Communications Commission
by the fall of 1993."  etc. etc (long article).  They are
working on it but don't hold your breath.

>4) Switching to analog signals: If stereo is 2 signals, how
>   do FM stations broadcast 2 signals at once?

They broadcast a compound signal which contains both
channels.  In any FM radio, the FM detector recovers this
compund signal, whose bandwidth is quite high.  The bottom
15KHz of spectrum contain the monophonic audio, and that's
all a monophonic radio sees.  Centered around 38KHz is the
difference signal -- frequency shifted by multiplying it
with the 38KHz stereo carrier (in effect).  That takes up
the bandwidth from 23KHz to 53KHz.  Right between the
mono (sum) signal and the difference signal is the 19KHz
stereo "pilot".  What an FM receiver does is look for this
pilot and if it finds it, light the stereo lamp and
frequency-double it to 38KHz, then multiply the 38KHz with
the original signal to recover the difference signal from
its 38KHz position.  Now add to the sum signal to get one
channel, subtract from the sum signal to get the other
channel.

Or so it goes in theory.  In practice, it's very simple.
The sum signal is L+R.  The difference signal is L-R.
The difference signal multiplied by a 38KHz waveform is
essentially a sequence of (L-R) -(L-R) (L-R) -(L-R) etc.
The transmitted signal is the sum of the two, which
means alternately (L+R)-(L-R) = 2R and (L+R)+(L-R) = 2L.
So all the receiver has to do is alternately route the
compound signal to the left and right channels, bridging
the gaps with low-pass filters, and it's done.  The
timing is obtained from the 19KHz pilot carrier.

Markus Wandel
mwandel@pinetree.org <- NOT where this posting comes from.
From: jj@alice.att.com (jj, curmudgeon)
Newsgroups: rec.audio
Subject: Re: 20 or 24 bit digital recording?
Date: 27 Jul 92 02:04:55 GMT
Reply-To: jj@alice.UUCP (jj, curmudgeon)
Organization: NJ State Home for Bewildered Terminals

In article <1370@eagle.ukc.ac.uk> wgd@ukc.ac.uk (Warren Day) writes:
>In article <23292@alice.att.com> jj@alice.UUCP writes:
>>I now request your references
>
>Vinyl resolution reference:  apparently someone has performed measurements
>of the complex shape forming properties of polyvinyl and it comes out at
>around 16.5, I was also told that CD is 15.5 as you always have at worst
>a .5 bit error, which makes sense.  Shane...?

Again, I ask, REFERENCES, please.  I read most of the major scientific
and industry journals, and I haven't seen what you report for vinyl
anywhere.

As to CD, you're wrong. The .5 bit error is, as far as I can determine
from your example, really the .5 delta quantization  error that
RESULTS from 16 bits.  There need be no 15.5 bits of real
information on a CD.

As far as real vinyl, I haven't seen any vinyl yet that has
demonstrated anything over about 55dB SNR, even at low frequencies,
and that limits vinyl (note, SNR, not dynamic range, is what
is important here for measuring "bits"), even ignoring 
frequency response problems, separation problems, 
degratation problems, and the like, to less than 10 bits.
-- 
 Bush    *Copyright alice!jj 1992, all rights reserved, except transmission
   vs       *by USENET and like free facilities granted. Said permission is
 Clinton  --    *granted only for complete copies that include this notice.
 Just Say !NO!       *Use on pay-for-read services specifically disallowed.
Newsgroups: rec.audio
Subject: Re: 20 or 24 bit digital recording?
From: stuartw@ccu1.aukuni.ac.nz (Stuart Woolford)
Date: Thu, 23 Jul 1992 21:20:18 GMT
Organization: University of Auckland, New Zealand.

j_adams@hpfcbig.SDE.HP.COM (John Adams) writes:

>In rec.audio, t8800568@phillip.edu.au writes:

>>I heard not long ago that some recording engineers were using digital
>>recorders that record in greater than 16 bit, ie 20 bit etc...

>>I have often wondered why it is that this has not been done before,
>>since a lot of the anti CD brigade are of the opinion that CD is
>>not able to reproduce the transparency of vinyl.  Would switching
>>to a greater word length (ie 20 or 24 bit sampling) solve the
>>problem?  

>>This might sould like a dumb question, but since the socalled 1 bit
>>players get the data off a disk as a constant stream of data, would
>>they be able to benifit immediately from this change in recording?,
>>or would it be necessary to change the player to full 20 or 24 bit 


>20 bit recording is only begining to appear in recording studios
>producing the master copies.  The 20bit master MUST transfered to a 16
>bit format as in the case of a CD.  The current technology (DCC omitted)
>CANNOT handle the 20 bit format.  However the accuracy of the 16 bit
>information on the CD may be truer to form when originating from 20 bit
>master than from a 16 bit.

>CD and DAT will continue to be 16 bit regarless of the resolution of the
>master.

until they start using non-lossy compression for DAT B-)
( ie:on audio data, you can EASILY get 1:8 compression NON-LOSSY ..
anyone for an 8hour CD format??? )
-------------------------------------------------------------------------------
stuartw@ccu1.aukuni.ac.nz

			>>>>In VI Where Available<<<<
-------------------------------------------------------------------------------
Newsgroups: rec.audio
From: marks@keinstr.uucp (Mike Marks)
Subject: Re: Cambridge SoundWorks?
Organization: Keithley Instruments, Cleveland, Ohio
Date: Thu, 30 Jul 1992 19:40:43 GMT

mgr@iti.org (Mike Rother) writes:
>Doesn't Cambridge have the print ads featuring a photo of an
>elderly-looking Henry Kloss listening carefully to some speakers?

Is this the same Kloss responsible for the Kloss Novabeam TV's
and Kloss Video Corp?  

Thanks,

Mike Marks
Newsgroups: rec.audio
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re: Velodyne VA-810
Date: 30 Jul 92 17:32:51 GMT
Reply-To: lstowell@pyrnova.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corp., Mountain View, CA
Originator: daemon@sword.eng.pyramid.com

In article <1992Jul30.074552.16104@leland.Stanford.EDU> ianchan@leland.Stanford.EDU (Ian Hin Yun Chan) writes:
>Velodyne is a name I always hear associated with subs. Are they good? In
>particular, do they have ACTIVE subs? The ad for the VA-810 showed 'em w/
>a green LED in front, so I assume this particular model is... What's their
>performance like? How is crossover performed? And at what frequencies?
>Are these FAQs? :) I would appreciate if previous users could share their
>experiences with me.
   
   The Velodynes are all powered subs.  Xovers may vary.  

   Why not wander a few blocks over to Sound Goods on San Antonio
   in Mt. View and take a listen to them?