HDTenEightyP/NetNews huggingface dataset:
From: td@babar.inria.fr (Thierry Despeyroux)
Newsgroups: rec.audio
Subject: Re: Best news about LPs...
Date: 28 Jul 92 08:40:54 GMT
Reply-To: Thierry.Despeyroux@sophia.inria.fr
Organization: INRIA, Sophia-Antipolis (Fr)

Do you know what most of LP's owners do? They record them on tapes, loosing
of course a lot of information, adding some more noise. After that they
listen to the tapes, and sometime to the LP's. Why? Because if they don't
do that, they will ear a lot of noise on the LP's. Try this! Buy two
identical LP's and check that the quality is the same. Then listen to
one of them only, with a lot of care, on an high-end equipment, during
several years. Then compare...

There is an another test that has been done some years ago, at the begining
of the laser years. It was a blind test, with (1) an LP, (2) the same record
on CD, and (3) the same CD plus some noise added with the proper equipment. 
For some people, (2) was better. For other (1) and (3) was better (comments
was "more music", "more life"). Nobody made the difference between (1) and (3).
Most of the people was professional.

I have an other story. I have a very old record, not "Long Play", nor stereo,
a small one (less than 30 or 25 cm), but 33.3 rpm,
with a lot of noise on it. I love it very much, and of course it is on tape,
to save the vinyl (well, what was used before vinyl). One day I saw the
same record on LP, so I bough it. And was very disappointed. The old one
was far better! I know the reason now: the little hole is not exactly in
the middle of the disc. 

Well, let's go the concert hall and listen to real music, not HiFi !

-- 
+---------------------------------------------------------------------------+
|     Thierry Despeyroux      | email: Thierry.Despeyroux@sophia.inria.fr   |
| I.N.R.I.A. Sophia-Antipolis | phone: +33 93 65 77 07 fax: +33 93 65 77 66 |
+---------------------------------------------------------------------------+
|        walk: 2004, route des Lucioles, 06 Valbonne-Sophia-Antipolis       |
|        mail: B.P. 93 / F-06902 Sophia-Antipolis Cedex / France	    |
+---------------------------------------------------------------------------+
Newsgroups: rec.audio
From: fpf@cepheus.gasco.com (Frank Ferguson x.3584)
Subject: Tube Sound
Organization: NorthWest Natural Gas Company of Portland Oregon
Distribution: na
Date: Fri, 24 Jul 1992 22:00:21 GMT


I pass this on as nothing more than a subjective observation.  I dediced,
the other night, to change amplifiers in my home system.  I've been
listening to an Adcom 535 driven by a Soundcraftsman pre-amp (with
equalizer--only used to "balance" the sound of Grateful Dead tapes
which can be of highly variable sonic quality).  I chose, instead, to
install an old Sherwood 5500 IV  integrated tube amp that I've owned for
some time now.  (about 40 watts/side).  

I was listening to some Ricki Lee Jones (Pop Pop) because I like
female vocalists when trying to assess how a system sounds.  I have to say,
the difference was staggering; and it was not in the Adcom's favor.  My
Magnapan SMGA's have not sounded as good before.  I conclude that the Sherwood
is simply a much better sounding amp the the 535--and the 535 is rather
well regarded.  Ricki's singing was much more detailed (I could easily
understand every lyric--and this is very difficult with her work), and
the music was absolutely lush and without stridency of any kind.  The last
track (a cover of the Airplane's "Coming Back to Me" off of Surrealistic
Pillow) was just gorgeous and very lifelike.

Some time ago, I had a set of ML Sequel I's.  These were very striking speakers,
and I was very happy with them (and with myself for buying them).  We had
some friends over one evening, and I was showing of the system for one 
of them.  "Very impressive", he sail of the Sequels, "but they'd never
fool anyone into thinking that someone was really singing here".  I
was floored, but on listening, I had to agree.  The SMGA's with this
little Sherwood come much closer to replicating reality.  In this instance,
tubes really are better than transistors.

Francis P. Ferguson
fpf@gasco.com

Newsgroups: rec.audio
From: freedmanm@woods.ulowell.edu
Subject: Re: Stereo Reviews advertisers
Organization: University of Lowell
Date: Tue, 28 Jul 1992 00:48:32 GMT

In article <1992Jul27.095730.2021@merrimack.edu>, desmondw@merrimack.edu writes:
> 
>      I'm glad discussions on these mail order places are popping up.
> I'm interested in some stuff from a place called 6th ave Electronics
> City(page 81 in Aug issue of Stereo Review). Look at their prices!
> It can't be perfectly new equipment. I was interested in buying a 
> pair of Boston Accoustics speakers. I can't find them for under
> $900/pair anywhere, YET this place says the same speaker model is
> $396/pair.? I'm a little skeptical.
>      I'd be more apt to buy speakers than amps since amps can have
> a million problems. I wonder if this stuff isn't factory serviced.


Be carefull of these places, alot of them sell either B-Stock (refurbed stuff)
or stuff with foreign warantees... Try sending a system back to Japan to get
fixed... Major bummer!!!!!!!
						Mike
Newsgroups: rec.audio
Subject: Re: 20 or 24 bit digital recording?
From: stuartw@ccu1.aukuni.ac.nz (Stuart Woolford)
Date: Fri, 24 Jul 1992 04:40:01 GMT
 <1992Jul23.212018.16396@ccu1.aukuni.ac.nz> <1992Jul23.222548.12552@scic.intel.com>
Organization: University of Auckland, New Zealand.

sbradley@scic.intel.com (Seth Bradley) writes:

>>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.

>An article in this month's Audio magazine describes a method whereby
>a 20 bit recording is passed through a noise shaping filter to produce
>a (claimed) more accurate 16 bit master than would be produced if the
>recording was originally made with 16 bits.

a big problem with CD ( and all sampled data ) is the strong correlation
between the noise floor and the music.. this can be audible improved by
shaping the noise ( which effectivly adds more.. ) so that it is not
correlated to anything..ie: white noise sounds better.. B-)

....just incase anyone cared.
------------------------------------------------------------------------------
stuartw@ccu1.aukuni.ac.nz

			>>>>In VI Where Available<<<<
------------------------------------------------------------------------------
Newsgroups: rec.audio
From: yves@speedy.dev.cdx.mot.com (Yves Vidal)
Subject: Re: Mail order experiences with "Abe's of Maine" 
Organization: Motorola Codex, Canton, Massachusetts
Date: Thu, 23 Jul 1992 13:38:33 GMT

In article <jog.711849422@kpc.com> jog@kpc.com (Rajeev Jog) writes:
>Subject line says it all.  Please post or e-mail.
>

AVOID, AVOID AVOID.

When I decided to buy a camcorder, I called those people, as their 
prices "look" very appealing.....

The price given does not include anything ! You have to add for 
warranty, batteries, shipping, packing...... The equipment 
advertised is not even "PASSED". It is grey market shipped from 
Hong-Kong. They do not guarantee when you will get it, since they 
have no control on it. All in all, if you want regular stuff, you end
up paying more than other *honest* discount places. 

To top it off, they are not even polite on the phone and will never
tell you Hello, Good-Bye or thank you. They treat you like sh....
especially a woman answering the phone.

Give it a try for fun, and then order from someone else.
Newsgroups: rec.audio
Subject: Re: CD emphasis question
From: Richard.Edgar@comp.vuw.ac.nz (Richard Edgar)
Date: Thu, 23 Jul 1992 00:16:32 GMT
Organization: Dept. of Comp. Sci., Victoria Uni. of Wellington, New Zealand.


In article <1992Jul22.074159.23638@lugb.latrobe.edu.au>, MATGBB@LURE.LATROBE.EDU.AU (BYRNES,Graham) writes:
|> Does anyone know how common the use of emphasis is on CD's?
|> 
|> I'm in the process of building a DAC, but before I build in the extra
|> circuitry to switch the emphasis in and out, I'd like to know if it will ever
|> get used.
|> 
|> Hunting through old copies of the AES journal suggests that emphasis
|> was needed to compensate for low quality 14 bit AD/DA converters. I've
|> read suggestions elsewhere that emphasis was only used on a few early CD's.
|> Unfortunatel my present player seems to do the de-emph digitally, so 
|> short of bread-boarding an spdif reciever with an emphasis detector I've
|> no way of going through my CD collection to see if anything uses it.
|> Thanks in advance,
|> Graham B

I have around 200 cd's and only 2 that I can think of now light up the
emphasis indicator on my player. The cd's concerned are a Kinks compilation
from 60's thur to early 80's and Roger Waters masterpiece 'The Pros and
Cons of Hitchhiking'.

Personally I'd add the circuitry just so I could listen to P&CHH,

Rich
Newsgroups: rec.audio
From: sjc28473@uxa.cso.uiuc.edu (Steven Joseph Chmura)
Subject: B.I.C Venturi 630?
Organization: University of Illinois at Urbana
Date: Mon, 27 Jul 1992 05:06:20 GMT

Just curious what people thought (or experiences) with this BIC line.
For the price, these sound wonderful.  I was wondering if anyone has
any other recomendations.

-- 
							Steven Chmura
							MD-2-B
From: bill@bilver.uucp (Bill Vermillion)
Newsgroups: rec.audio
Subject: Re: 20 or 24 bit digital recording?
Date: 31 Jul 92 14:52:17 GMT
Organization: W. J. Vermillion - Winter Park, FL

In article <MONTA.92Jul24120226@image.mit.edu> monta@image.mit.edu (Peter Monta) writes:

>Now if we rate the LP at 70 dB SNR at best (is this generous?), i.e.
>11 bits, then the physical resolution is 0.5 um, which is at the
>edge of reasonableness.  There remains piezo noise and distortion,
>thermal noise in the preamp, etc. which I don't really know any
>numbers for.

One of the engineers at Micro-Accoustics (years ago) told me
their cartridge would respond to 1/2 micron.

Now have I gotten totally screwed up (that is highly possible)
but 1/2 micron is 1/2 of a millionth of an inch, which is a bit
smaller than 1/2 of a millionth of a meter.

70db is a reasonable figure for a carefully crafted state of
the art pressing.   A pure lacquer (the master) can approach
80db.

Volume consumer pressings run much less.

-- 
Bill Vermillion - bill@bilver.oau.org  bill.vermillion@oau.org
                - bill@bilver.uucp 
                - ..!{peora|ge-dab|tous|tarpit}!bilver!bill
From: hoov@hogbbs.scol.pa.us (Brian Hoover)
Newsgroups: rec.audio
Subject: Aiwa XP-6
Date: 24 Jul 92 01:44:39 GMT
Organization: The Heart of Gold BBS, Lemont PA

I've been looking for a portable CD player for quite awhile.  I saw this 
one advertised in a Damark catalog for $190.  Has anyone had experience 
with this brand or this specific model?  Please post respones (or email 
me.)  Thanx.

                                     B. Hoover
From: macman+@pitt.edu (Dennis H Lippert)
Newsgroups: rec.audio
Subject: Re: Best news about LPs...
Date: 27 Jul 92 15:51:32 GMT
Organization: University of Pittsburgh

In article <4729@othmar.lulea.trab.se> sture@lulea.trab.se (Sture Jonsson) writes:
[about LP's vs. CD's]
>1) It sounds much better.

I've tried to stay away for a long time, but I simply must add that the 
general public (including myself) *much prefers* not having to listen to
cracks and pops on LP's.  We also like losing the hiss of prerecorded tapes.

>2) Some people have several hundred (thousand?) LP:s that they don't want to
>   change into CD (buying the same thing again, paying 1.5 times the price
>   and it still sounds worse. At least at this point in time).

It costs 1.5 times as much because people are willing to pay for 
(a) no cracks and pops
(b) much higher degree of "toughness" - LP's are too easy to scratch
(c) much improved portability
(d) fancy-looking disks  
(e) a reasonable carrying case (IMHO LP sleeves never did work... tear,
wear out, cause dust, etc. etc.)

IMHO, the extra cost is definitely worth it for the jewel box alone.

And remember that the mass market buyer's stereo isn't good enough to tell
the difference... and the mass market is the group that quit buying LP's...
if you owned a record company, what would you do?

-Den
-- 
===============================================================================
Dennis Lippert - macman@unix.cis.pitt.edu
The "Mac Maniac" operator at the Hillman Research Lab - Univ. of Pittsburgh
- all comments are mine, don't use them without proper identification.
From: sar@philabs.philips.com (Sidney A. Rosenzweig)
Newsgroups: rec.audio
Subject: Does the Sony bashing that occurs on the net apply to ES?
Date: 28 Jul 92 13:22:22 GMT
Distribution: na
Organization: Philips Laboratories, Briarcliff Manor, NY.

Over the last couple of weeks, I've read a couple of postings from people who
said that they didn't like Sony receivers. I just bought an ES receiver (Sony
STRGXES-57) and I am now wondering if people look down on this stuff when
compared with Denon, Yamaha, Marantz, and other receivers in the $400 range.
I thought that the SonyES sounded comparable to the aforementioned brands. The
regular Sony stuff (STR1070 and 970?) seemed to be much worse.
If people have had experience with the ES receiver, and think that it is
poorly constructed, or has some fundamental flaw, please let me know so that I
can consider returning it in time.

Thanks,
Sid

sar@philabs.philips.com
From: jayb@hpgrla.gr.hp.com (Jay Brown)
Newsgroups: rec.audio
Subject: Re: Cambridge SoundWorks?
Date: 29 Jul 92 14:27:59 GMT
Organization: Hewlett-Packard, Greeley, CO

I recently purchased Ensemble I's from them.  They seem to do everything
in a quality fashion.  The documentations and other support goodies are nice.

I bought the speakers for space reasons and they are replacing some Boston
Acoustic 100's.  They are noticeably less brilliant on the high end and
less boomy on the low end, even when I "optimize" the placement of the
two subwoofers.  I'm not sure my BA 100's weren't a little overagressive
in the extremes (makes them sound more impressive in a demo), but less
"accurate".

The extra floorspace is nice and the sound seems to come from my entire
wall now.

Jay Brown hpgrla!jayb
From: brennan@hal.com (Dave Brennan)
Newsgroups: rec.audio
Subject: Re: Advice on ordering from J$R Music World
Date: 23 Jul 92 18:29:07 GMT
Organization: HAL Computer Systems, Austin, TX
NNTP-Posting-Host: yosemite.hal.com
In-reply-to: gmc@analog.mlb.semi.harris.com's message of 23 Jul 92 13:47:22 GMT

How do you typically get them down on a price?  Do you have to mention some
one else's lower price or what?  What are people's experiences with the
best way to get places, mail-order or local, to knock their prices down?

Inquiring minds want to know!

--
Dave Brennan                                      HAL Computer Systems
brennan@hal.com                                         (512) 794-2855

Visit the Emacs Lisp Archive: archive.cis.ohio-state.edu:pub/gnu/emacs
From: leconte@irisa.fr (Thierry Leconte bureau AB 302 poste 7294)
Newsgroups: rec.audio
Subject: Re: Modifying a Sony CDP990
Date: 27 Jul 92 11:15:59 GMT
Reply-To: leconte@irisa.fr
Organization: IRISA, Rennes, France

In article 712046502@milton, amigo@milton.u.washington.edu (The Friend) writes:
>
>	I've been hearing about mods to various CD players, so I thought I'd
>take a look at possibly beefing up my Sony CDP-990. At the output stages
>they're using a AD1860N-O & RC5532DD-RL845. I don't have a book on these
>parts so I'm hoping someone can tell me what they are (I'm guessing one or
>both are op amps). I'd also like to know whats a good replacement for
>the op amp(s) there (since traditionally you can do better). Course I'm also
>just looking for advice on if its really worth it..
>

The AD1860 is a 18 bits audio DAC from Analog Device.
I don't known any replacement for it but this chip have the possibility
to use a trimmer to adjust the MSB. If your CD player don't use one it's
perhaps a good idea to add it.

The 5532 is a very classic dual op-amp. You can replace it by AD827
Some people have reported good results with it. I'll personnaly try
this replacement for my Kenwood DP-1100SG very soon (as soon as I find
a source in France)

I don't really know if its really worth it and in fact I doubt but lots of
people report great improvement by just changing the op-amp. So  the best
is to try. It's easy and not really expensive. 
Be sure of your solderer skill anyway...

 ___________________
/_______  _______  /        Thierry LECONTE
       / /      / /            BULL/IRISA
      / /      / /         Campus de Beaulieu
     / /      / /_____     35042 RENNES CEDEX
    /_/      /_______/           FRANCE
email : leconte@irisa.fr   telex : 950473 UNIRISA
phone : 99 84 72 94        fax   : 99 38 38 32 
Newsgroups: rec.audio
From: jim@IMD.Sterling.COM (Jim Nicholsen)
Subject: magnetic amps
Organization: Sterling Software, IMD
Date: Thu, 30 Jul 1992 23:07:50 GMT
X-Md4-Signature: 4fe794b9d2ba266dd59ea4c212ad83bb

A few weeks ago someone asked, in the midst of the periodic Carver flame-fest,
how the Carver Magnetic (mumbo advertising named jumbo) amps work.

Now let me start off by stating that I don't know the correct answer to
that question, nor am I qualfied to answer but ...

While leafing through the pages of an old "Reference Data for Radio Engineers"
I found an entry for Magnetic amplifiers. The discussion of this amplifier
type, and its problems, sounded familiar to the comments made during the
flame-fest. In the event this is the "secret" to the Carver amp, here is
how a magnetic amp works

It all starts with an iron core (or similiar suitable material) shaped
in a torroid. There are three sets of windings around the core. One set
is attached to an AC power source and is used to "tap the full power of
the power supply" to magnetize the core to saturation. One set is attached
to the load and receives the current generated when the magnetic energy
stored in the core is fired. That is, when the stability of the magnetic
force is interrupted. The third set of winding is, natrually, a control
loop that interrupts the stability of the magnetic field. 

Since it uses an AC power source, rectifiers and/or multiple cores must be
utilized to handle direct current loads.

So, either this is the way Carver's amps work - or not. :->

At least you now know how radio stations got the signal out before thryatrons,
magnatron, and klystron tubes became prevalent.

    ...Magnatron tube?, does this mean I could rewire my microwave
       oven to power a subwoofer? I think I hear a Tim Allen comedy
       routine in the making...   :->


jim nicholsen
jim@imd.sterling.com
From: u9dmlb@ohm.york.ac.uk (Duncan McL Barclay)
Newsgroups: rec.audio
Subject: HELP, Signal levels on LPs
Date: 23 Jul 92 11:23:24 GMT
Organization: Electronics Department, University of York, UK

Hello all in netland.

A further episode in the design of my pre-amp. IO need
to know signal levels on an LP so I can get the 
low noise amp right.

I would like to know the following (preferably with an explanation
of the 1cm/s etc. type meanings)

Typical 'average music level'	1cm/s
Typical Signal to Noise		60dB
Typical dynamic range		60dB

The values Ive given are what I have sort of remembered from
a variety of articles bvut they are probably wrong.

Finally the signal to noise ratio. Lets assume my figures are
correct so the noise for 'averrage music level' of 1cm/s is 10um/s
(1cm divided by 1000). Now is this noise level fixed for any
signal level? ie if the signal is 10um/s is the noise a further
60dB down?

Thanks in advance from a confused engineer.


-- 
Raggy                 | God smiles upon the little children, the alcoholics, and
u9dmlb@ohm.york.ac.uk | the permanantly stoned. S.King.
From: rsl@aplpy.jhuapl.edu (Russell S. Laderer)
Newsgroups: rec.audio
Subject: Cracks in Woofer
Summary: Help!
Date: 31 Jul 92 14:05:34 GMT
Organization: Johns Hopkins University Applied Physics Lab

I have a set of 8 year old Pioneer S-910 speakers, (which
I have absolutely loved till now), one of which has two
really nasty cracks in the woofer.  One crack runs from
the cone (the cardboard piece in the center?) to the edge
in a straight line, the other crack forks (like lightning)
about 3/4" from the edge (2 tongues).  Now for the question:

1) Is there any way these can be repaired by a novice like
   myself?

2) If not, is it worth replacing the woofer? (Compared to the
   cost of 2 new speakers, I'd want a matched set).

3) If too expensive to repair, I need recommendations for
   new speakers.  Not too expensive (I think these listed
   around $300 stateside, but I'm not sure since I bought
   them overseas in an USAF exchange.)  The rest of my
   system runs off a 75W/channel Amp, and has a CD,
   a Dual Cassette, VCR, AM/FM/TV tuner, Turn Table,
   Equalizer, and AV controller.

This is fairly important since my 25" JVC monitor is
speakerless.

Thanks in advance.

					Scott Laderer
From: sam@ocf.berkeley.edu (Samuel Chen)
Newsgroups: rec.audio
Subject: Sony STR-AV 1070 Receiver for sale
Date: 24 Jul 1992 02:29:23 GMT
Organization: U.C. Berkeley Open Computing Facility
NNTP-Posting-Host: tempest.berkeley.edu

		I have a Sony STR-AV 1070 receiver for sale.
	I bought it 5 months ago.  It has 120 W/Channel at 8 ohm
	and it is a PRO-LOGIC surround system with 30 watt for
	rear and 30 watt for center channels.  It has 30 pre-set
	FM/AM stations, Dual-Room-Link-Control system, 11 Digital
	Soundfield setting, 7 band Equalizer with Spectrum Analyzer
	Programmable A/V remote control, 5 Audio/ 3 Video inputs,
	and sleep timer.
		I have selling it because I will be upgrading to
	a digital system. I am selling it for $ 375 or the best
	offer that comes in.  Buyer will pay shipping or we can
	work something out.  It has a 2 year warranty on it. I 
	still have the original box and manual and everything else
	that come with it.
		If interested, please email to sam@ocf.berkeley.edu
		Thanks.


	-Sam
From: borowski@hpspkla.spk.hp.com (Don T. Borowski)
Newsgroups: rec.audio
Subject: Re: Old tube radio
Date: 21 Jul 92 22:16:22 GMT
Organization: Hewlett Packard Company, Spokane, Wa.

In rec.audio, ttak@troi.cc.rochester.edu (Tim Takahashi) writes:

>I'm in the process of rebuilding an RCA Victor Model 88K floor radio that
>I saved from the junk heap. It is an AM/SW superheterodyne radio in a
>large floor standing case. It has a magic-eye tuning device, and a 12"
>full-range loudspeaker that uses the power-supply coil to generate the
>magnetic field (i.e. no permanent magnet). The tubes that it uses are
>tubes such as 6J7,6L7,6K7 (octal plug w/ anode caps).. I've found a schematic
>in a repair guide dated 1947, but I have a feeling that it is older yet.
>Can an old radio collecter help me out? (I have a grip on repair, but 
>would like some more history)

The tubes you listed there indicate that the radio was designed in the
mid '30s.  Just a few weeks ago, I was reading some information published
by Aerovox (a manufacturer of "condensors" and resistors) in 1939 (if I
remember correctly).  It was describing the new tubes of the era.  They
talked about the 6SJ7 replacing the 6J7, the 6SK7 replacing the 6K7, etc.
The "S" means single ended, that is, all the connections at one end of the
tube (no anode caps).

Octal bases started appearing the in early '30s.  So that pretty well brackets
the radio.

Of course, superheterodyne excludes all but the late '20s.  But speakers
with field coils survived into the early '50.

I am no scholar on all this.  This is just all personal observation of stuff
I have seen or own myself (usually pick up as "junk" since I was in grade
school in the '60s).


Donald Borowski    WA6OMI    Hewlett-Packard, Spokane Division
"Angels are able to fly because they take themselves so lightly."
                                       -G.K. Chesterton