HDTenEightyP/NetNews huggingface dataset:
From: brad@buck.viewlogic.com (crotchety old man)
Subject: Critical digits - rambling argument is grapefruit
Originator: brad@buck
Organization: The House of Usher, Inc.
Date: Fri, 22 Jan 1993 20:15:04 GMT


In article <1993Jan22.051003.18109@labtam.labtam.oz.au>, graeme@labtam.labtam.oz.au (Graeme Gill) writes:
|> 
|> 	Err, speaking of Nyquist sampling theory that's 22.05 Khz minus
|> whatever the low pass filter takes out. The majority of people over
|> 20 years of age can't hear above 16 Khz.
|> 	
Oh yeah? Well, I'm 193 and I regularly carry on conversations with the bats 
in my belfry, who communicate at 100KHz. I can tell the exact waveshape of 
a sound I hear at 100THz (that's TERAHertz, kiddies). So don't give me none 
of your lip, you young scamps!

By the way, Cosgrove, what in blazes did you do with my cask of Amontillado?

- Mr. Renfield

Organization: Psychology, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.audio
Date: Thu, 21 Jan 1993 10:23:29 -0500 
From: Lisa Laverne Vaughan <lv0e+@andrew.cmu.edu>
Subject: Micing Acoustic Wind instruments?

greetings... the other day I was working with my 4 track recorder and flute.
I was recording multiple trax of a classical string quartet (using the flute
for 3 of the 4 parts).  The recording will be used in performance at a
wedding. 

I had the trouble of "breathing", actually gasping from a cold, being picked
up by the mic.  I have a pickup on the flute, but for classical music, the
"key clicks" are too noisy so I opted for the microphone (a vocal mic).

I tried to move the mic further away from me and play in a smallish room, but
then you could hear the distance.

Perhaps someone can offer some advice...

1. Is there a *very* inexpensive solution to this?  A friend suggested making
   a pop filter out of a crochet hoop and pantyhose, but that might not 
   do much for the breathing
2. Was I correct in the attempt to mic the room, rather than the flute, but
   just using the wrong kind of mic?

thankx, ...lisa
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re: Turntable/cartridge reccomendations wanted
Date: 22 Jan 93 20:37:24 GMT
Reply-To: lstowell@pyrnova.pyramid.com.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corporation

In article <C18qLz.A5B@watserv1.uwaterloo.ca> bmaraldo@watserv1.uwaterloo.ca (Commander Brett Maraldo) writes:
>
>	Buy a used Oracle with a Linn tonearm (the Ittok is the best match).
>You can get a used Oracle Delphi (< Mk III) and an arm for around $1000.
>Forget Linn turntables :-)
>	Actually, the old Rega Planars were pretty good.  A Thorens 166MkII
>is a good table and can be had for <$200.  I have heard only good things
>about the Revolver.  A Revolver and Linn Basik arm will run you something like
>$500 new.
>

    If you are going to spend this much money on a table setup, see
    if your local high end dealer has an O-scope and will set the
    overhang, tracking angle, and pressure for you.  There are
    guages that do this, but the most accurate method is a test
    record and o-scope.  

    It can make a surprising difference in audio quality.
From: uslave@mcl.ucsb.edu (Sir Prize!!!)
Newsgroups: rec.audio
Subject: Re: Muse amplifier and tube preamplifier
Date: 21 Jan 93 07:06:52 GMT
Distribution: na

In <1993Jan12.141205.3280@philabs.philips.com> ytl@philabs.philips.com (Ying Tat Leung) writes:


>I remember some time ago some netter posted that there is a shop
>that sells the Muse 100 for $899 (or some such).  Could that person
>post or email to me the name and number of that shop?  I'm looking to 
>buy a 100 at a good price.  Stereophile's classified ad has two demo
>100 for sale but when I called they're "sold" (well, we have them at
>the regular price).

That would be me.  The store is Ambrosia Audio, and I don't have the
phone number handy, but they advertise in the LA Times Classified
just about every day I think (and definitely Sunday).  They're currently
selling the Muse Model 100 for $845, according to last Sunday's ad.


*        *      *     *     *    *   *  *  * * ** ** *** **** ****** *********
   Jesse Chang  (Sir Prize!!!)            INTERNET:  uslave@mcl.mcl.ucsb.edu *
   "-.-- -.-- --.." "Technology - high, on the leading edge of life."  -Rush *
*         *       *      *     *    *   *  *  * ** ** *** **** ****** ********
Newsgroups: rec.audio
From: ec49726@uxa.cso.uiuc.edu (Manny DeSoto)
Subject: Re: Sony Carousel Problem
Organization: University of Illinois at Urbana
Date: Mon, 25 Jan 1993 19:22:13 GMT

grimme@sword.eng.hou.compaq.com (David Grimme) writes:


>My Sony cd carousel occassionally exhibits a rather annoying problem, and
>I am curious if other carousel players (particulary Sony players) commonly
>suffer from the same problem.  Occassionally, when I power on or change to
>another disc, the platter does not halt at any disc but just spins forever.
>Turning the player off then on several times eventually "cures" this, at 
>least until the next time it happens.  Is this a known bug?  Are there any
>known fixes?  This player is about three years old, but the problem has 
>occurred once in a while for a little over a year now.

I had a similar problem once a couple years ago with a Kenwood carousel. The 
player just couldn't read any (or just one) of the discs and they were all
properly in place. I too had to repowerthe unit just to get it to scan all the
discs. When I took it in Kenwood took 2 months to try to repair it and then
told me that they would have to import a part that would take another 2 weeks
on top of that. I went back to the store that I bought it from and swapped it 
for a Pioneer. I haven't had a problem with this unit since.

-
MD

-- 
Manny DeSoto                                 |  Life is what happens while 
NREMT-A, CPR/BLS - Instructor  ARC / AHA     |  you're making other plans.
University Of Illinois @ Urbana - Champaign  |      
Illini Emergency Medical Services            |    ec49726@uxa.cso.uiuc.edu
Newsgroups: rec.audio
From: brown@cbnewsh.cb.att.com (john.carl.brown)
Subject: Yamaha DSP A1000
Organization: AT&T
Distribution: usa
Date: Thu, 21 Jan 1993 12:27:29 GMT


  After reading some of the reviews here on the net and doing some
research I have decided I would like to get the Yamaha DSP A1000
A/V amp.  The best price I have found is $1134 delivered from a place
called Amerisound (904 262 9800).  Has anyone dealt with these people
or seen a better price?
  Someone asked the difference between Pioneer and Yamaha a/v receivers.
Check the noise on the rear channels when any sort of processing is done
on the sound.  Most of the Pioneer specs were atrocious!
Thanks,
John CArl Brown

Newsgroups: rec.audio
From: rsd@sei.cmu.edu (Richard S D'Ippolito)
Subject: Re: CD vs. LP again (was Re: Preamp and Amp)
Organization: The Software Engineering Institute
Date: Fri, 22 Jan 1993 10:25:51 EST


In article <1993Jan21.053532.18312@trl.oz.au>, Chris O'Neill writes:

> Hence valve amps and transistor amps with the same distortion cannot be
> compared (unless the distortion is zero) because the distortion has different
> properties with each type of amp.

Careful, here.  BJTs, FETs, UJTs, etc., have different transfer
characteristics, just as triodes and pentodes do.  In fact, some FETs are
good matches to some types of tubes.


Rich

From: yip@hpfcso.FC.HP.COM (Tom Yip)
Date: Wed, 27 Jan 1993 16:18:46 GMT
Subject: Re: Are Sony MDR-V6's worthwhile?
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.audio

In rec.audio, prater@cs.yale.edu (Ethan Evan Prater) writes:

> I've seen a lot of commentary on the Sony MDR-V6 headphones. I'd like to
> get a set of decent headphones -- would these be a good value? Illinois
> Audio sells them for $68 -- is that a good price? Are there other
> headphones that are better for the same price?
> 
> 

I bought a pair of MDR-V6's a couple of years ago for around $70.
I have yet to see them sell for under $60.  Actually, I'm surprised that
they are still selling them.  I believe Sony has replaced the MDR-V6 with
a new model, MDR-V600.  I have not seen them, but I've heard that other
people like them in comparison to the MDR-V6.  In my opinion, the MDR-V6
is a fine set of headphones -- very clear, and very comfortable.

Newsgroups: rec.audio
From: tlode@nyx.cs.du.edu (trygve lode)
Subject: Re: Loud Music, Noise cancelation systems?
Organization: Nyx, Public Access Unix @ U. of Denver Math/CS dept.
Date: Mon, 25 Jan 93 21:46:08 GMT

In article <C1Dtp8.65u@world.std.com> DPierce@world.std.com (Richard D Pierce) writes:
>In article <C1DIz4.9C2@news.cso.uiuc.edu> rmg53668@dcl-nxt53 (Ryan Martin Grant) writes:
>>>>: I've read (in Popular Science) about new tech where sound is analysed
>>>>: in real time using chips and an opposite wave is generated to cancel the
>>>>: signal.

[...] 

>>These dreams are very similar to my own, but I was wondering if any 
>>rec.audio wizards could bring up any hard facts for/against this technology
>>ever going mainstream.
>>
>
>There's a couple of fundamental reasons why it can't possibly be the dream
>system you hope it would be. Most fuindamental among them is the fact
>that, at the very best, you can provide cancellation over a volume whose
>dimensions are comparable to the shortest wavelength your interested in
>cancelling.

[...] 

>Cancel it at the source. Don't bother with DSP. Use a pair of wire cutters
>instead. It's cheaper. Even selling your house and moving is cheaper.

Well, that all depends--if, as in an example given in a previous message,
the source happens to be a particularly dull professor, using wire cutters
to cancel him, while often very effective, is probably illegal in most 
states and in some cases might even affect your grade....

Seriously, though, Dick is right--without making an near-infinitely 
controllable driver that encloses the space you want to work with, there's
not a whole lot of immediate applications except headphones (airport
telephones would be nice, but I doubt anyone building an airport would
spend that kind of money on anything that would actually be beneficial),
engine compartments, and things of that sort--vehicle interiors are 
probably pushing the limits of size where such a technique could affect
a useful amount of bandwidth.

What I think is amusing about this new technology is that it featured
prominently in one of the short stories in Arthur C. Clarke's "Tales
from the White Hart" (which I think was first published in the '40s--
can't tell you the exact date until I can get my SF collection organized
again).

Trygve
From: curt@oasys.dt.navy.mil (Curt Welch)
Newsgroups: rec.audio
Subject: Re: DAT, MD, DCC wars
Date: 22 Jan 93 22:18:25 GMT
Reply-To: curt@oasys.dt.navy.mil (Curt Welch)
Distribution: usa
Organization: Carderock Division, NSWC, Bethesda, MD

In rec.audio, dbl10@cunixb.cc.columbia.edu (Dominic B LoTempio) writes:
>        1)  Can you record a track onto a DAT that spans the break between
>sides? (Do DATs even have two sides?)

DAT only has one side - just like video tape - so this isn't an issue.

Curt
Newsgroups: rec.audio
From: tgk@cs.toronto.edu (Todd Kelley)
Subject: Cone vs Electrostatic: Merits? Liabilities?
Organization: Department of Computer Science, University of Toronto
Date: 28 Jan 93 04:35:48 GMT

I'm sure this has been asked before, so if someone can direct
me to the answer rather than provide it, I'd be just as grateful.

Are there any obvious (or even subtle) technical liabilities
or merits of the cone versus electrostatic versus
cone/electrostatic hybrid loudspeaker designs?

I plan to replace my 901s (we all know THEIR technical liabilities)
and I've listened briefly to 

Magneplanars 3.3
Thiel CS3.5
Martin Logans (model forgotten)
Apogee  (Centaur Minors, I think)

I liked the Magneplanars, whereas my brother hated them.  He liked
the Thiels.  I also liked the Apogees.

I guess my question is this:  Is there any particular thing that
tends to make people hate/love a design, and what are the
(possible?) technical explanations for it?  Leave the 901s out,
since they've been much covered elsewhere.

I plan to do some more serious listening, and I think that
at least a surface understanding of the technical aspects
might help.

Please post or send email.  I'll post a summary of email
responses if interests seems to warrant it.
-- 
Todd Kelley                       tgk@cs.toronto.edu
Department of Computer Science
University of Toronto
From: winalski@adserv.enet.dec.com (Paul S. Winalski)
Newsgroups: rec.audio
Subject: Re: DAT, DCC and MD
Date: 22 Jan 93 02:48:58 GMT
Reply-To: winalski@adserv.enet.dec.com (Paul S. Winalski)
Organization: Digital Equipment Corporation, Nashua NH


In article <1993Jan21.202342.7073@news.columbia.edu>,
gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
|>
|>Well, they do have their applications, and let me explain why.  DAT is
|>a great format.  I use it every day in professional applications.  But it
|>really will never make it as a consumer format and here's why.
|>
|>	- DAT cannot be used in a walkman design (not very
|>	  well, anyway).  Its helical-scan system is too delicate,

Sony has had a DAT Walkman on the market for years, as well as a portable
recorder.  Reports have been favorable.

|>	- DAT is not very robust.

In what way?  I own two DAT decks and have had less problems with them than
with my previous analog tape equipment.  On the other hand, DCC is reported
to suffer from tape alignment problems (tapes recorded on one deck not playable
on another due to fussy alignment tolerances).

|>	- DAT has no consumer pizzaz.
|>
|>wrt the last....MD is recordable optical, and that is generally considered
|>"cool" by the public.  DCC has semi-backward-compatibility, which is also
|>a plus.  DAT is neither "cool" nor compatible, which makes it strike out
|>from a consumer point of view.

THIS is the real reason DAT lost out in the consumer marketplace.  Lack of
pizzaz, plus no pre-recorded tapes.

--PSW
Newsgroups: rec.audio
From: ec49726@uxa.cso.uiuc.edu (Manny DeSoto)
Subject: Re: Who, besides SONY, makes MINIDISC machines?!?!
Organization: University of Illinois at Urbana
Date: Sun, 24 Jan 1993 02:40:47 GMT

goyal@utdallas.edu (MOHIT K GOYAL) writes:

>Does anyone know what other companies besides Sony make MiniDisc machines?

>Anyone know what other companies plan on making some, and when they are
>expected to be released?

>I'm waiting for some competition so prices will fall.

In the Feb. issue of Popular Science mag on pg 29, there is an article on 
the MD and the competition between Sony, Sanyo, Sharp, Mitsubishi and others
to put out the smallest MD. So far, the article describes the smallest one
so far (prototype) is made by Mitsubishi measuring .75"x3"x4.5" and weiging
only 7 oz. a heck-uv-a-lot smaller than the current sony models.

also, right next to the article on the MD, there is an interesting article
about 20bit super bit mapping.


Manny DeSoto                                 |  Life is what happens while 
NREMT-A, CPR/BLS - Instructor  ARC / AHA     |  you're making other plans.
University Of Illinois @ Urbana - Champaign  |      
Illini Emergency Medical Services            |    ec49726@uxa.cso.uiuc.edu
-- 
Manny DeSoto                                 |  Life is what happens while 
NREMT-A, CPR/BLS - Instructor  ARC / AHA     |  you're making other plans.
University Of Illinois @ Urbana - Champaign  |      
Illini Emergency Medical Services            |    ec49726@uxa.cso.uiuc.edu
From: bg@stein.u.washington.edu (Bill Whitson)
Newsgroups: rec.audio
Subject: Your opinions
Date: 26 Jan 1993 05:00:38 GMT
Organization: University of Washington
NNTP-Posting-Host: stein.u.washington.edu

Hi.

I'm putting together a component system and trying to get the best stuff
for the cash I'll be putting out.  I thought I'd run the framework for what
I'm putting together past everyone and see if I could draw upon your
experience.

Here are the pieces and what I plan to pay.  If you could recommend brands
and models I would be forever greatful.

*Reciever - 80 to 100 watts no surround neccesary. max $300

*6+1 CD Player - max $300

*2 cassette deck - with Dolby B&C, seek capability.  max $200

*Equalizer - max. $200

*Turntable - I have a lot of records and I'd like a good one. max $250

*Speakers - 80-100 watts with decent sound reproduction, no crappy
		paper mids etc.  max $400

If you have stuff along these lines and you like it, it'd be really great
if you could just tell me what it is and what you like about it.

Post or feel free to e-mail.

Bill Whitson
bill@booster.u.washington.edu

Newsgroups: rec.audio,misc.forsale,ont.forsale,uw.forsale
From: awelker@watarts.uwaterloo.ca (a welker)
Subject: Audio Equipment FORSALE
Originator: awelker@watarts.uwaterloo.ca
Organization: University of Waterloo
Date: Thu, 21 Jan 1993 15:21:42 GMT

I have the following items for sale. Please e-mail me for any details.
Best offer on all items (since I don't know the going rate)

Hafler DH-200 Power Amp
100 WPC, solid state
Needs new power switch

Dynaco PAS-3 Tube Pre-Amp
All stock, original manual
West German 12AX7's

NAD 1300 Pre-amp
Video, CD, Tuner, Phono(MM/MC) inputs
Defeatable tone controls  
Monitor Series, originally $750 Can.

Sony TCM-D5 Professional mono ENG tape deck
Speed control, 2 mic inputs, level meter, end of tape warning
Originally $800 Can.

Old Electrahome Tube amp on bare chassis
Stereo, uses EL34 outputs, excellent Ultralinear output transformers

Andrew Welker
519-746-7312
s
Newsgroups: rec.audio
From: pcw@flutter.tv.tek.com (Patrick C. Wilkins)
Subject: Re: Are Sony MDR-V6's worthwhile?
Organization: Tektronix TV Products
	<1993Jan27.232738.6185@magnus.acs.ohio-state.edu>
Date: 28 Jan 93 17:47:05

they may not be available via mail order, but can be found pro audio
dealers.
--

-------------------------------------------------------------------
    Pat Wilkins II
    A.K.A. Clif
    Email pcw@flutter.tv.tek.com
    Work 503-627-6525

-------------------------------------------------------------------
    Is Deja-vu real or is life just redundant???????
-------------------------------------------------------------------


Newsgroups: rec.audio
From: DPierce@world.std.com (Richard D Pierce)
Subject: Re: power amps blowing tweeters
Organization: The World Public Access UNIX, Brookline, MA
Date: Thu, 21 Jan 1993 21:25:28 GMT

In article <1993Jan21.153319.12834@sei.cmu.edu> Richard S D'Ippolito writes:
>
>In article <C14v52.6A9@world.std.com>, Richard D Pierce writes:
>
>> 
>> No, it would be a little less, not a lot less. Even at 20 kHz, the
>                    ^^^^^^
>> inductive component of the inpedance of most reasonable tweeters might
>> account for as much as maybe 20% of the total impedance (phase angle of
>> the impedance at that point about 10 or 12 degrees.
>
>OK, "much" or "little"?
>
>With your data, here is what I calculate:
>
>freq	wL	tan(th)	theta	Z	cos(th)	Power	SigmaP(n)
>
>20kHz	0.2R	0.2	11deg	1.02R	0.98	~P(nom)	1.0P
>
>60	0.6R	0.6	31	1.17R	0.85	0.24P	1.24P
>
>100	1.0R	1.0	45	1.4R	0.71	0.10P	1.34P
>
>140	1.4R	1.4	54	1.7R	0.58	0.05P	1.39P
>
>Now, using Mr. Frith's base of 20 watts, your impedance ratio data, and
>assuming an amplifier power response to 140KHz, we see diminishing
>contributions by the fourth term and a "square" wave power of only 27.8 watts
>(40% more) compared to the theoretical maximum of 40 (100% more) and his rough
>calculation of 37.
>

Well, ok, except for several facts. First, it's seldom a 20 kHz sine wave
that clips an amplifier, it's more like stuff much lower and more complex,
so that splatter is much denser and lower frequency then your table would
have us believe. So while the table above is interesting in an academic
sence and certainly correct only as far as it goes, it is a poor
approximation of reality.

Secondly, you've made an assumption about how the impedance rises above 20
kHz which is simply not correct. The standard model for voice coil
impedance which consists of a single linear inductor in series with a
single linear resistor is to simple to the point of being seriously flawed
for just this kind of example (not your fault, the literature seldom gets
it right also). 

In fact, both the resistive part and the inductive part of the model are
highly frequency dependent, with the inductance, for example, decreasing
roughly as the square root of frequency (not the inductive component of
the impedance, but the inductance itself). The net result is that
impedance rises much more slowly than your model accounts for, and the
phase angle is consequently less than your model predicts, by almost 50%
at the high end (typically the phase angle seldom exceeds 30 degrees at
any frequency below a couple of hundred kHz).

Sure, some of the energy then goes into heating the metal parts
surrounding the voice coil due to induced eddy currents, etc., but the
excitation current still has to flow through the voice coil anyway.

In short, the physical reality is more complex than you're allowing here,
and the differences are enough to make the substantial difference between
"much" and "a little" less, as I stated in my post.
-- 
|                Dick Pierce                |
|    Loudspeaker and Software Consulting    |
| 17 Sartelle Street   Pepperell, MA  01463 |
|       (508) 433-9183 (Voice and FAX)      |
From: shetline@bbn.com (Kerry Shetline)
Newsgroups: rec.audio
Subject: Re: Preamp and Amp
Followup-To: rec.audio
Date: 26 Jan 1993 00:06:18 GMT
Organization: BBN
Distribution: world
NNTP-Posting-Host: bbn.com

In article <1993Jan25.155935.12695@bnr.ca>, gpz750@bnr.ca (Dave Dal Farra)
wrote (to Lon Stowell):
> state that it is due to the euphonic colourations we are hearing.  I don't
> buy this.  If these colourations are the only reason that a system
> sounds more life-like, then there is something seriously wrong with
> the way the industry objectively specifies performance.  The goal is

Oh, come on. 'The industry' has decided to create MD and DCC. The measure
of performance is profit margin. There's very little to be read into this.

> life-like reproduction, and only that.  I think a LOT more work
> is required in the area of defining accurate controlled subjective tests 
> for audio to try and uncover these differences.  A/B'ing is a waste for
> anything but glaring differences.

If measurement is ruled out, and A/B testing is ruled out, what do we go
by? Our ears, of course. But that isn't reliable all the time.

Hearing things that aren't there is normal. Thinking it doesn't happen to
you is delusional.

Anyway, we don't have the opportunity to hear everything. So do we let
unaccountable and self-proclaimed audio gods who write reviews to do it for
us?

> LP has many technical faults versus CD but for some reason I and MANY
> others find it to sound more life-like.  To damn with the euphonic
> colourations crap.   My yard-stick is LIFELIKE SOUND.  NOT SPECS.  What's
> your hang-up with the spec's?

I haven't noticed that Lon is hung up on specs. What's your hang up with
the idea of euphonic distortion? Since you don't seem to care much for the
supposed engineering mentality, why would you use industry goals as a
measure of the desired direction of audio reproduction? At the technical
base, the industry is driven by engineers (who, when they can get marketing
people off their backs) are driven by intellectual goals such as getting as
close to zero-distortion as possible. If some distortions are pleasing (and
this has, I believe, been adequately demonstrated), it is still not
suprising that the technological thrust has not been in that direction.

Besides, if you make the technological base provide minimal distortion,
pleasing distortions can be added according to the listener's tastes.
Inherent distortion, on the other hand, can't be removed by those who find
it objectionable.

Since the entire two-channel stereo paradigm is far from capable of
completely reproducing the sound field of an original performance in an
alien acoustic environment, it is not at all surprising that distortion
might play favorable tricks on our hearing.

-Kerry
From: kirk@hpcc01.corp.hp.com (Kirk Lindstrom)
Date: Wed, 20 Jan 1993 20:11:33 GMT
Subject: Re: CD vs. LP again (was Re: Preamp and Amp)
Organization: Shredding the water of SF Bay, HP-OCD