HDTenEightyP/NetNews huggingface dataset:
From: wood@uk.tele.nokia.fi (Peter Wood)
Subject: Re: PNP vs NPN Output Stages
Organization: Nokia Telecommunications, Transmission Product Development,
	Cambridge, UK
	<1992Nov10.004153.9424@viewlogic.com>
Date: Wed, 11 Nov 1992 10:49:23 GMT

>>>>> On 10 Nov 92 00:41:53 GMT, brad@buck.viewlogic.com (Bradford Kellogg) said:

Brad> In article <1992Nov9.214606.3791@sei.cmu.edu>, rsd@sei.cmu.edu (Richard S D'Ippolito) writes:
Brad> |> 
Brad> |> In article <1992Nov9.113458.16272@EE.Surrey.Ac.UK>, Rob Bish writes:
Brad> |> 
Brad> |> > ***** if you like Bach use NPN *****
Brad> |> > ***** if you like Chopin use PNP ***
Brad> |> > 
Brad> |> > ...Has anyone else observed this effect, and can they shed any light on the
Brad> |> > cause?
Brad> |> > 
Brad> |> > Rob Bish.
Brad> |> 
Brad> |> I've noticed the same thing, and furthermore, I get better depth perception
Brad> |> when listening to baseball and football broadcasts through FETs.
Brad> |> 
Brad> |> Rich

Brad> In fact, the very best thing is a passive mechanical amplifier. Remember 
Brad> those record players with the clamp-in steel needles connected to a 2 inch
Brad> vibrating diaphagm connected to an ever expanding tubular arm connected
Brad> to what was in essence a bull horn, like those things pictured on the
Brad> old RCA Victor records called His Master's Voice with the dog looking
Brad> in the bell of the horn ? Remember ? Huh ? 

Oh yes, much better.  And don't forget that if you can bear not to listen to
it for a week, you can turn the horn up and use it to brew beer in too...  I
find that always helps my depth perception...

Yours in search of truly useful hifi
Pete
--
-----------------------------------------------------------------------------
- Peter Wood,   Nokia Telecommunications,  Transmission Product Development -
-                    Cambridge, UK.  Tel:  +44 223 423 123                  -
- External Email: wood@uk.tele.nokia.fi         Internal Email: NTL02::WOOD -
-----------------------------------------------------------------------------
From: mike@banana.fedex.com (Mike Bearden)
Newsgroups: rec.audio
Subject: Re: LaserDisk Player as CD Tranport?
Date: 9 Nov 92 16:06:01 GMT
Organization: Federal Express Corp.











Someone (b grant), i believe, posted this a few days ago, but i just now have
time to reply. 


>I use  the Phiplips laser disk player (CDV or LDV 400, I don't remember the
>model name) on which the Theta Data and I think the EAD Transport are
>based. It is clearly better than the Rotel 855 I was using as a transport
>for my Theta Gen II. At about $400-450, it may be the best transport buy

  i am looking at my stereo buyer's guide.  is the model the Phillips
  CDV-400BK Combi-Player that lists for $600?  is this the unit of
  which you speak?  whare can i get this unit?  i have found it in
  audio advisor, but i know it can be found cheaper.  another company
  sold it for $420, but it was out of stock.

  has anyone else compared it sonically to the rotel or any other
  cd players or transports?

  thanks for the info.

  mike bearden
Newsgroups: rec.audio
From: cs108069@pandora.sdsu.edu (John DeRose)
Subject: Are Record Club CD's The Same Quality?
Organization: San Diego State University, College of Sciences
X-Newsreader: Tin 1.1 PL5
Date: Wed, 11 Nov 1992 00:34:56 GMT

A friend of mine told me he heard somewhere that the CD's sold through
companies such as BMG, etc. are inferior to store-bought ones!

Support or refutations?

John DeRose		cs108069@pandora.sdsu.edu
Newsgroups: rec.audio
From: carlwu@magnus.acs.ohio-state.edu (Carleton Wu)
Subject: Re: Pro Logic Center ch. and SUBwoofers...
Organization: The Ohio State University
Date: Sat, 7 Nov 1992 05:25:56 GMT

     Whoa!!  When I got 'em, they were $550 for the PAIR.  This being their 
10" subwoofer model.  I have no clue what they're 12" subs cost.  I bought 'em 
in July.
Newsgroups: rec.audio
From: wcwang@magnus.acs.ohio-state.edu (Wei-Chi Wang)
Subject: The BMG Club Phone Number
Organization: The Ohio State University
Date: Fri, 13 Nov 1992 20:43:22 GMT


     This days I tried to reach BMG Club at 1-800-wamadeus but the operator 
said this is not a correct number.  If they change their phone number?  I will 
appreciate if people who has any idea can send me am e-mail.

Thanks.

Wei-Chi Wang
Organization: Sophomore, Electrical and Computer Engineering, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.audio
Date: Thu, 12 Nov 1992 07:48:50 -0500 
From: Bambang Suryanto <bs3f+@andrew.cmu.edu>
Subject: Re: Definitive Technology - Opinions sought
	<1992Nov12.055117.3639@udel.edu>
Distribution: rec

>Speaking of Definitive Tech, what does the fine citizens of netland
>think of this companies products?  I'm particularly interested
>in hearing comments, criticisms, opinions on the model DR7s.

Well I think it is a superb speaker with an good imaging and detail. It
deliver a lot of bass eventhough the bass driver a little bit small. It
is compareable to Thield and apogee ( I think !)
_______________________________________________________________________________
_
"I was line up for glory, but the ticket sold out in advance"  - N.Peart
"We will pay the price but we will not count the cost"  -N.Peart
Newsgroups: rec.audio
From: loj@cae.wisc.edu (Lo Jeffrey)
Subject: Re: How 'bout a new group for the rest of us?
Organization: U of Wisconsin-Madison College of Engineering
Date: 12 Nov 92 10:47:45 CST

>In article <1992Nov12.003105.69226@ns1.cc.lehigh.edu> ptb2@ns1.cc.lehigh.edu (PETER TALAN BERGEN) writes:
>>
>>I could not agree with you more, I am f**cking sick and tired of listening to
>>people ask questions whether they should a stereo for $10,000 or $13,000.  I
>>am personally a little offended that someone would spend that much money on a
>>stereo when there are so many bigger problems today.  We definitely need a
>>college audio board.
>

I don't have $10K to spend on a stereo either.  However, I'm not tired of
reading about it.  The reason for this is probably similar to the reasons
why we buy posters of Ferraris and the Sports Illustrated Swimsuit Issue.
Sure, it's just pipe dreams on paper (or your computer), but it's part of
what drives us to go to college and get a better paying job and thrash
our credit cards.

In addition, I have posted questions about cheaper components to this
group before.  I think you'll find that, along with the pompous audiophile
grandstanding, you'll also get some VERY helpful and practical advice.
If someone choses to rip on your system because it didn't cost as much
as your four years of college, to hell with him.  Most people reading
the post will agree with your opinion of him.

Just my $.02

Jeff Lo
loj@cae.wisc.edu
Organization: Penn State University
Date: Sun, 8 Nov 1992 20:06:24 EST
From: <LLH111@psuvm.psu.edu>
Newsgroups: rec.audio
Subject: Pre-amplifiers

I currently have an Adcom GFA-535 power amp and an GTP-400 preamp-
tuner.  I just bought a Denon DCM-520, which has a good variable out,
I think.  I'm wondering if I should sell my preamp since I only use CDs,
and run direct from the DCM-520 to the GFA-535.  I listened to the
CD running direct, and I notice more bite in the highs.  Is there
anything inherently good or bad about running the DCM-520 direct to the
535?  Drop me an E-mail and if I get more than a couple responses, I'll post
a summary.  Thanks.
.
Richard
Newsgroups: rec.audio
From: bamn@venus.ycc.yale.edu
Subject: RE: DEFINITIVE TECH> opinions
Organization: Yale Computer Center (YCC)
Distribution: rec
Date: 12 Nov 92 16:09:51 EDT

In article <Qf0Z_mq00Uh781HH01@andrew.cmu.edu>, Bambang Suryanto <bs3f+@andrew.cmu.edu> writes:
>>Speaking of Definitive Tech, what does the fine citizens of netland
>>think of this companies products?  I'm particularly interested
>>in hearing comments, criticisms, opinions on the model DR7s.
> 
> Well I think it is a superb speaker with an good imaging and detail. It
> deliver a lot of bass eventhough the bass driver a little bit small. It
> is compareable to Thield and apogee ( I think !)
> _______________________________________________________________________________
> _
> "I was line up for glory, but the ticket sold out in advance"  - N.Peart
> "We will pay the price but we will not count the cost"  -N.Peart
From: henry@ginger.sri.com (Henry A. Pasternack)
Newsgroups: rec.audio
Subject: Question for Mac tube experts.
Date: 5 Nov 92 15:22:23 GMT
Reply-To: henry@ginger.sri.com (Henry A. Pasternack)
Organization: SRI International


   I have a pair of output transformers purchased from Audio Classics.
It was originally my intention to build Bruce Rozenblit's "70W
McIntosh" amplifier from an article in "Glass Audio".  After acquiring
parts and belatedly studying the design, I have decided that Mr.
Rozenblit was largely full of himself and this circuit is unacceptable
by my standards.

   I have been trying to figure out the best way of configuring the
various pieces that I have (transformers and power supply components)
into a circuit that is more appropriate.  It occurs to me that a good
start would be the original MA230 amplifier, whose output transformers
are supposedly copied in the Audio Classics product.  I would be pleased
if a McIntosh expert could describe to me the important details of the
MA230 power amplifier design, i.e., B+ voltage, screen configuration,
and type of output tubes.  A schematic would be even nicer.

   Thanks in advance for your help.

-Henry
From: brad@buck.viewlogic.com (Bradford Kellogg)
Newsgroups: rec.audio
Subject: Re: LP Problem
Date: 10 Nov 92 00:28:03 GMT
Organization: Viewlogic Systems, Inc.
Originator: brad@buck


In article <1992Nov9.184838.26230@menudo.uh.edu>, wjin@cs.uh.edu (W. Woody Jin) writes:
|> 
|> I have some LPs which makes noise whenever volume goes up.
|> Does it mean that the those LPs are already damaged ?
|> If so, why does it happen ?
|> 
Your LP's may be permanently damaged. My own theory, based on experience 
with the same phenomenon, is that when the stylus encounters a loud (vs. 
a soft) portion on a record, the stylus vibrates more violently, hitting 
the larger lateral variations in the groove with greater force. 

Then, if the stylus is: 

- worn or damaged
- applied with excessive force
- applied with too little force (causing it to bounce around) 
- mis-aligned
- cheap (a conical type can cause "tracing" distortion)

...or if there is any dust on the record or the stylus, any one (with the
exception of the conical stylus) or more of these conditions can have an 
abrasive effect on the groove walls which is most pronounced where the 
force is greatest, i.e. where the music is the loudest. When the groove 
wall gets chewed, noise results in proportion to the loudness of the passage.

If the groove walls are chewed, it might help to clean your LP's and your 
stylus very carefully, then again it might make things sound worse. I don't 
know of any definite cure for this. Upgrading your stylus/cartridge might 
help, if you have a less than high grade setup.
Newsgroups: rec.audio,rec.audio.pro,comp.sys.ibm.pc.soundcard,comp.multimedia
From: zilla@ccrl.nj.nec.com (John Lewis)
Subject: Re: Interface Digital Audio <---> Computer ???
Organization: C&C Research Labs, NEC USA, Princeton, N.J.
Date: Thu, 12 Nov 92 03:52:13 GMT

I believe the new macs (vx and performa600) can read audio directly off
of a CD, as well as control the CD as an audio player.
From: system@hale.cts.com (System Administration)
Newsgroups: rec.audio
Subject: Re: Infinity Speakers - Any Comments
Date: 8 Nov 92 20:36:00 GMT
Organization: Hale Telecommunications Inc.

al@qiclab.scn.rain.com (Alan Peterman) writes:

> In article <1992Nov9.030822.30189@ns1.cc.lehigh.edu> ptb2@ns1.cc.lehigh.edu (
> >    Has anyone out there had any experience with Infinity Speakers.  I have 
> >    set and the tweeters are sh*t.  I've blown three in 2 years and Infinity
> >    gives me the run around with warrenty service....  Has anyone
> >    else had any trouble with Infinity speakers or their service department.
> >    And for the rest of you looking for speakers, DO NOT BUY INFINITY!!!!!!
> 
> I could be wrong, but I think Infinity may well have the greatest range
> of speakers available.  I think you can get Infinity brand speakers in
> the $150/pr range, and I know you can spend $60,000 on a set.  There is
> a WORLD of difference between the cheaper ones, and the better stuff
> (which is $2K and UP a set).
> 
> I got my Infinity RS-2.5's about 8 years ago, used.  Someone had managed
> to blow all 4 EMIN's and 3 of the EMIT's.  Infinity quickly sent me
> free replacements.  Never had a problem with them since, but I only
> have 400 WPC available.  :-)  
> 
> I have seen some of the cheaper SM series, and not been impressed
> with their quality, as well as the RSX000 stuff which again is
> mid-fi stuff.  The better speakers, Kappa series and up is fine,
> expensive, heavy and very accurate.  The IRS is outstanding, as 
> it should be, priced with modest houses!
> 
> BTW - if the first poster blew THREE tweeters, I might wonder about
> improper operation.  Most speaker makers will not replace blown
> warranty replacement drivers.  
> 
> -- 
> Alan L. Peterman                                 (503)-684-1984 hm & work
>                        al@qiclab.scn.rain.com
> It's odd how as I get older, the days are longer, but the years are shorter!


The best killer of tweeters is a crummy amplifier.

When you run you amp into clipping and harmonics, tweeters are the first 
to suffer, as they are trying to reproduce signals that were not in the 
original source.  They don't stand up to abuse because of their lighter 
construction and high effiency.  Infinity's Kappa tweeters are incredibly 
delicate, and their various poly-cell tweeters, while a bit more 
resistant, are easy to blow under such conditions.

I own Infinity speakers from small bookshelf (forgot the model number) 
types, to car and am a happy owner of Reference 9's.

Our service department (Contract HRSI) says this is the most common
way things get to them for repair, and the next most common way they get 
blowouts is from users "maximizing" bass.

What were you doing when you blow them up?
Newsgroups: rec.audio
From: ted@dgbt.doc.ca (Ted Grusec)
Subject: Re: MD and DCC
Organization: The Communications Research Centre
Date: Sun, 8 Nov 92 02:07:35 GMT

In article <Nov.7.17.13.24.1992.29321@gandalf.rutgers.edu> rgonzal@gandalf.rutgers.edu (Ralph Gonzalez) writes:
>Mind if I slip into this thread?
>
>I sure hope that DCC dies a horrible death and MD survives. MD has the
>advantage of reliability and fast access. DCC's only advantage is that
>of compatibility with an old standard.
>
>Does anyone know how flexible the MD standard is? Does the code on 
>a recording tell how much compression is used so that it is decoded
>properly? It would be nice if this were so, since then high-end 
>recordings could be done with little compression, but released on
>multiple disks to make up for the extra data. Even better would be
>if the standard somehow allowed for improvements in technology where
>eventually the data in a CD could eventually be squeezed into an MD
>without compression. Thus, future MD players could play high-end
>recordings but still be compatible with older MD recordings.
>
>Maybe I'm dreaming...
i

You are dreaming in technicolor.  Forget flexible. Forget high end.
Forget "without compression".  MD will be good, but never high end.>
-- 
-----------------------------------------------------------------
Ted Grusec - Communications Research Centre, Ottawa, Ont., Canada
From: weitzman@chaos.cs.brandeis.edu (Adam J. Weitzman)
Newsgroups: rec.audio
Subject: Confusion over new CD technology
Date: 12 Nov 92 15:01:56 GMT
Organization: Brandeis University


OK, audiophiles, here's your chance to help out someone who loves music but
hasn't been able to keep up with the new advances in CD-player technology.

I'm going to soon be in the market for a new CD player. I have noticed while
looking around that various CD companies have introduced various new 
technologies into their CD players. I've noticed the phrases "Pulse" and
"MASH 1-bit" most frequently, and of course 37-bit-471x oversampling. Can
anyone please summarize for me what these new technologies are (and any I 
haven't listed here), how they help playback, what to listen for when 
comparing the players employing these technologies, etc.? I would really 
appreciate it.

Also, does DSP *really* make anything sound much better, or are you better 
off getting a low-to-medium-priced equalizer?

Thanks for any responses.

-- 
					- Adam J Weitzman
					  weitzman@chaos.cs.brandeis.edu
"All our life is spent in this permanent brainwashed contempt."
	- Meat Beat Manifesto
From: kayd@prism.CS.ORST.EDU (Kayd)
Newsgroups: rec.audio
Subject: Re: Dolby B/C dubbing on Dual Decks
Date: 6 Nov 92 04:30:00 GMT
Article-I.D.: flop.1dcsc8INNddu
Organization: Oregon State University, Computer Science Dept.
NNTP-Posting-Host: prism.cs.orst.edu

I see absolutely no advantage in converting one recorded tape to any other
type of Dolby encoding.  For instance, B-=>C: The B encoded tape will produce
a discrete amount of noise that the B filtering cannot filter out.  This 
noise will become an audible amount, something that WILL be heard.  If you
then take this NOISE and record it on a C type system, the NOISE will be 
treated as wanted sound and will be preserved, maybe more accurately, on the
C encoded tape.  When you play it back, violla, NOISE!

C-=>B: Noise leftout of the C encoded tape will be introduced in the audio
equipment, OR just plain there will be less noise reduction on the B tape
inherent from using the B encoding method.

B or C-=> None: Obviously more noise will be heard when it is played back
on a non-Dolby mode or player since no noise reduction techniques are 
preserved.

None -=> B or C: Same as B-=>C.  Noise already there will be preserved and
more noise will be introduced from the dubbing process.

Conclusion:
	Use your original copy, keep it away from strong magnetic fields,
demagnetize your heads every now and then, and you'll preserve the best
signal to noise ratio possible.

Darrek Kay
Kayd@Prism.cs.orst.edu
(503)737-9410
From: m1mlr00@fed.frb.gov (Mark L Rodini)
Newsgroups: rec.audio
Subject: mid-level tapedecks
Date: 10 Nov 92 21:05:54 GMT
Reply-To: m1mlr00@fed.frb.gov (Mark L Rodini)
Organization: Federal Reserve Board, Wash, DC

Does anyone have any insight on the Marantz SD-62 tape deck
that could offer some opinions. It seems to fit all my basic
needs:
  
 -single deck
 -separate play and record heads
 -Dolby b,c and HX-Pro noise reduction
 -good technical specs
 -minimal "bells and whistles"

Hence, the advice I mainly seek is on quality: sound(of course) and repair record. 
I've had it recommended to me by a salesperson at Myer-Emco, where they are selling it 
(naturally) for $399 with a three year parts/labor warranty. Can I assume it's a high 
quality deck considering that other decks that are loaded with "conveniences"
are priced equivalently? Besides seeking good sound, I really hate having to take
things back for repairs; any ideas on its repair record?

Any comments regarding this or any roughly equivalent model would be appreciated.
(e-mail OK: m1mlr00@feb.frb.gov)

Thanks, Mark
Newsgroups: rec.audio
From: bss+@N3.SP.CS.CMU.EDU (Bruce Siegell)
Subject: BMG Compact Disc Club phone number
Originator: bss@N3.SP.CS.CMU.EDU
Organization: ECE Department, Carnegie Mellon University
Date: Mon, 9 Nov 1992 20:22:35 GMT

(800) WAMADEUS no longer seems to work.  ("Your number can not be completed
as dialed....")  Does BMG have a new 800 number?  If so, what is it?  The
WAMADEUS number used to answer with another name:  <something> Preview
Society.  Does anyone remember what the name was?

					Bruce Siegell
					bss@cs.cmu.edu
Newsgroups: rec.audio
From: troy@cbnewsj.cb.att.com (Troy Cauble)
Subject: Re: Pro Logic Center channel speakers
Organization: AT&T Bell Laboratories, Holmdel NJ
Date: Fri, 6 Nov 1992 17:51:14 GMT
X-Newsreader: TIN [version 1.1 PL6]

Brian Haugh (bhaugh@IDA.ORG) wrote:
: I've auditioned Yamaha, Snell, Panasonic, Bose, Definitive Technology
: 
: and other center channels, and have found the Definitive Technology
: 
: to have much greater clarity and dispersion than any of the others.
: 
: The Snell has a smoother overall frequency response (at around
: $600-$800), but is not as detailed or as clear and well-dispersed
: 
: as the Definitive Technology (at ~$300).  I've used it with 
: 
: considerable satisfaction in my system with Proac Response 3 front
: 
: speakers and Definitive Technology surround speakers ($500/pair).
: 
: The Def. Tech. suround speakers are also the best ones i've heard
: 
: in such an application - their bi-polar design makes them especially
: 
: versatile and appropriate for surround applications.


By the way, the Snell KIIv, a video shielded version of the Snell KII,
lists around $250 EACH.  For people with Snell C's, J's, K's, etc, this
is probably a better tonal match then a Snell-Multimedia center speaker.
(Snell and Snell-Multimedia are two different lines.)

-troy
Troy.Cauble@att.com
Newsgroups: rec.audio
From: winalski@adserv.enet.dec.com (Paul S. Winalski)
Subject: Re: Defeating SCMS
Reply-To: winalski@adserv.enet.dec.com (Paul S. Winalski)
Organization: Digital Equipment Corporation, Nashua NH
Date: Fri, 13 Nov 1992 18:55:00 GMT


In article <Bxn2x7.61@cantua.canterbury.ac.nz>,
deanaj@elec.canterbury.ac.nz (A. J. Dean) writes:
|>
|>Paul S. Winalski (winalski@adserv.enet.dec.com) wrote:
|>: No.  Wenever a consumer DAT deck that enforces SCMS records from its analog
|>: inputs, it writes a SCMS code of 11 onto the resulting DAT.  The analog input
|>
|>When they do something that stupid they're asking for it to be broken.
|>Perhaps the DAT manufacturers deliberately made SCMS worse than it needed to
|>be just so that the necessary little black boxes will proliferate, and the
|>SCMS will simply 'cease to exist' in a virtual sense once supply and demand
|>has taken care of things.

This part of SCMS was a sort of uncomfortable compromise between the recording
industry (led by Columbia Records) and the DAT manufacturers (led by Sony).
Remember that, at the time, the recording industry was trying to get the US
Congress to mandate the use of an analog frequency notch copy protect scheme
in all recordings, both analog and digital.  They were also threatening to sue
the DAT manufacturers if they tried to import and market DAT in the US.  The
impasse was finally solved by (1) Sony buying Columbia Records, and (2) the DAT
manufacturers agreeing that if they implemented SCMS in consumer DATs, the
recording industry would not block their importation.  The 11 code for analog
input is there because the recording industry insisted on it.

|>Defeating SCMS seems pretty simple to me - remember your first "Hi there"
|>program? I rekon I could do it with a few PLLs and some delays. Perhaps in
|>years to come people will have little competitions thinking up the most
|>obscure ways to defeat SCMS. Hey, a mechanical design (cogs and all) would
|>be neat.

Such circuits have been designed, and the digital logic part is about as easy
as you describe.  The trickier parts are the drivers and receivers for the
signal cables into and out of the filter.

The biggest problem is that it soon will be illegal to build or use such
devices in the US.  The Home Recording Rights Act is now law.

--PSW
Newsgroups: rec.audio
From: gauhm@cs.tamu.edu (Piper at the gates of dawn)
Subject: Looking for CD - faq
Organization: Computer Science Department, Texas A&M University
Distribution: usa
Date: Tue, 10 Nov 1992 00:02:41 GMT


Is there any FAQ on CDs and CD players ?  If so could someone
mail it to me please --> gauhm@cs.tamu.edu