From: neidorff@uicc.com
Subject: rec.audio FAQ (part 3 of 3)
Followup-To: poster
Summary: Common answers to frequently-asked questions about audio equipment,
  selecting, buying, set-up, tuning, use, repair, developments, and philosophy.
Originator: neidorff@makore.uicc.com
Reply-To: neidorff@uicc.com
Organization: Unitrode Integrated Circuits Corp.
Date: Tue, 5 Jan 1993 14:54:39 GMT
Expires: Sat, 20 Mar 1993 14:54:12 GMT

Archive-name: AudioFAQ/part3
Last-modified: 1993/1/5
Version: 1.0

15.0 Mail Order
	Mail order is appealing.  The general hope is that by using mail order,
	you avoid pushy sales people, you pay fixed, discounted prices, and you
	have written catalog descriptions to help you select your purchase.  In
	practice, most mail order today is "phone order", in that the company
	completes the deal with a phone call.  Many of the "mail order"
	companies don't even have price lists or catalogs.  They are just 
	retailers that are willing to sell over the phone and ship the 
	merchandise to you.  In some cases, retail store sales are better deals
	than mail order.  Don't expect the lowest price from the first place you
	call.  Also, don't expect excellent service from everyone, and
	especially not from the company with the lowest price.

15.1 Who sells brand XXX equipment mail-order?
	Consult the frequent rec.audio mail-order survey published by
	nau@SSESCO.com (William R. Nau) or contact William Nau directly.

15.2 Is the stuff sold by DAK really awesome?  Damark?
	DAK buys in large quantities.  They buy what they think they can sell.
	They buy close-outs as well as new first-line merchandise.  They
	honestly represent their merchandise with specifications.  They offer
	more information on their product, if possible, on the phone through
	their toll free number.  I know of many people who have bought from 
	DAK and been happy. I personally have bought from DAK and been happy.

	I haven't found anyone with experience dealing with Damark, positive
	or negative.

	On the other side, the catalog writers at DAK use some very flowery
	language which is intended to lead you to believe that they are selling
	gold for copper prices. In this sense, the words in their catalog may be
	deceptive.

	The DAK people have a good sense of "what the market will bear".  They
	price their products to sell, but not to give away money.  Mail order
	prices tend to be 10% to 20% less than discount, which is 10% to 20%
	less than retail. DAK has to compete with other mail order dealers, 
	such as Damark, but they send out SO MANY CATALOGS that they really 
	don't have to cut prices too far to sell.

	DAK has recently gone through hard financial times.  This may put buyers
	in some slight risk, because if they go out of business, you may not be
	able to get easy warranty service on their products.  I say easy because
	most DAK products are covered by a manufacturer's warranty, and you can
	often get good service from the manufacturer as well as from DAK.  I
	believe that DAK is over their slump, but I am not sure.  For more on
	warranties, see 19.1, below.

15.3 Is the stuff sold by Cambridge Sound Works really awesome?

15.4 What should I watch out for when buying mail order?
	Many of the cautions mentioned in warranties (19.1) apply. Look for a 
	store which has been around a long time. Look for friends which have 
	dealt with the store and been satisfied.  Look for a store which 
	does not seem to lie or stretch the truth.

15.5 What is gray market?
	See warranties (19.1), below.

|15.6 Are there any good mail-order sources for recordings?
|	Noteworthy has a good reputation among net readers as a supplier of
|	CDs.  They have a range of discs available centered firmly on the
|	mainstream, and are reasonable in price.
|	
|	BMG and Columbia also sell CDs mail-order, but have a smaller list of
|	offerings and higher prices.  However, BMG and Columbia have
|	interesting deals to entice new customers.  Read the fine print before
|	you sign up to be sure that they are right for you.
|	
|	Bose also sells CDs, although as yet, we haven't heard positive or
|	negative reviews of their service, selection, or prices.
|	
|	When considering mail purchases of CDs, consider shipping costs.
|	It is common for people to charge between $1 and $3 per disk for
|	"shipping and handling".  This makes mail order less attractive,
|	but may be equally balanced by a lack of sales tax.

16.0 Wire
	More than any other topic, speaker cables and equipment interconnects
	seem to use up rec.audio bandwidth echoing the same theoretical
	arguments, testimonials, and opinions.  Controversy can be stimulating,
	educational, and also amusing.  Please try to keep postings aimed at one
	of those three goals, and avoid the insults and emotion.  Also, try to
	avoid echoing a common position or principal, as described below.

16.1 Do speaker cables matter?
|	To avoid confusion and repetition, here is some common terminology.
	Cables are connectors attached to wires. Wires generally have multiple 
	conductors optionally surrounded by a shield and outer insulative 
	covering. Cables can introduce noise into the signal, act as a filter 
	(and thus change the frequency response of the system), and provide 
	non-linearities from improper (intermittent/loose) connections to or 
	between the connectors.

	It is quite scientifically conceivable that some cables do cause a 
	difference in sound, because of the differences in DC resistance,
	interconductor capacitance, and connector attachment alone.  The effects
	of exotic conductor weaving and materials are not so well established.
	In general, these effects (once we eliminate DC resistance), seem to be 
	small. However, if your system is at least fairly good, then some folks 
	have observed (although not in an experimental, double-blind sense) 
	significant differences in system performance with different cables. 
	The effects are said to be quite system specific; the only real 
	guideline is to try them and see which ones seem to sound better in 
	your system. 

	Roughly speaking, the price ranges for speaker cables is low 
	(under $1/ft), medium (under $6-8/ft), and high (up to $100/ft and 
	more). Try to arrange it so you can trial such cables; at several 
	hundred dollars per set, experiments can be expensive.

	In any system or experiment, it is essential that the differences
	between cables be separated from the differences between connectors.

	You should have an EXTREMELY solid connection between cable and
	speaker.  Speakers operate at very low impedances, so that bad
	connections will create significant artifacts or signal losses at any 
	power level.  For example, if the connection has a linear resistance
	of just 1 ohm, the speaker damping factor will be dramatically 
	reduced, making bass muddy.  If the connection contains imperfect
	metal oxides, then a slightly rectifying junction will block the signal,
	producing compression, distortion, and other non-linear effects.

16.2 What speaker cables are commercially available and how good are they?
	There is a wide range of speaker wire available, ranging from
	30ga zip cord (~$.10/ft) to exotic wires costing over $300/ft.
	The material used ranges from copper to oxygen-free copper (OFC)
	to silver. (There are a bunch of others as well.) 

16.3 What can I use for budget speaker cables?
|	First, a few words on terminology.  Wire is sized by AWG or BS gauge
	number.  Larger numbers represent smaller wire.  AWG 40 (also called
|	40 gauge) is as fine as human hair.  AWG 12 is 2mm or .081" diameter.
	Some wire is classified as solid, because it contains one strand per
	conductor.  Other wire is called stranded, because it consists of
	many strands per conductor.  Stranded wire is far more flexible than
	solid wire.  Most wire is made from drawn copper.  Some wire is sold
	that is claimed to be made with a process that produces oxygen-free
	copper.  Oxygen-free copper has a different metallurgical structure
	than common copper and may or may not conduct current better.

	Some critical listeners have reported excellent sound from large
	diameter solid copper wire, such as home wiring "Romex 12-2".  At least
|	one expert has said that common 18-gauge solid copper hook-up wire sold
	by Radio Shack also works very well.  Also recommended on a budget is
|	Sound King wire, a 12 gauge oxygen free copper stranded cable.  This is 
	available from MCM Electronics for $.39/ft.

	The scientific literature indicates that small gauge wire generally 
	sounds worse than large gauge and that resistance-related effects of 
|	the cable can be eliminated by using at least 12 gauge wire, particularly 
	for long runs.  Of course, shorter runs are always preferred, because
	they come much closer to the ideal zero-length wire, with no resistance,
	no capacitance, no inductance, and no change in signal.

16.4 What can I use for budget speaker connectors?
	The worst connectors are push-down, or spring terminals.  Screw 
	terminals with solid copper wire are much better.  Gold-plated binding 
	posts and gold spade lugs are inexpensive by audiophile standards and 
	are extremely stable.  Binding posts with spade lugs can be tightened 
	to get a very good mechanical joint, and may offer the lowest 
	electrical resistance of any connector.

	Gold plated banana plugs and jacks are also very good speaker terminals.  
	Good ones are more expensive than gold spade lugs, however, they also 
	provide a bigger area of contact, and are more convenient when you must 
	frequently reconfigure the system.  Banana plugs should be periodically 
	monitored for corrosion and loss of spring tension.  Monster offers a 
	banana-plug connector with an expanding center pin that forms an even 
	better connection than common gold banana plugs.  At approximately $25 
	per pair, the Monster banana plugs aren't a budget connector.

	All else equal, connectors with gold surfaces are better than
	connectors with any other surface.  This is for two reasons.  First,
	gold is extremely inert, meaning that unless gold is exposed to very
	harsh chemicals or harsh vapors, it will not corrode or oxidize.  It
	will remain a pure, low-resistance conductor.  Second, gold is quite
	soft, so that if a gold-plated connector is squeezed between two
	metal surfaces, it will deform slightly to fill scratches and voids,
	giving a very broad, low-resistance contact area.

	Corrosion of connectors is often a problem. Gold-plated terminals
	and connectors somewhat avoid this problem; problems with other 
	connectors can be mitigated by unplugging and replugging the connector 
	on a regular basis, cleaning the contact areas with a pencil eraser, 
	or by using a contact enhancer such as Cramolin or Tweek.  When you 
	use a contact enhancer, be very sure to follow the directions, and 
	avoid spreading enhancer about your equipment.

16.5 What about interconnects, such as the cable between a tuner and an amp?
	Line-level interconnects conduct smaller signals than speaker cables;
	the typical signal ranges from -2V to +2V (the CD output standard) 
	with currents in the microamps (the corresponding values for speaker 
	cables attached to a largish power amp might be -70V to +70V and 
	currents of many amps).  Line-level interconnects can be divided into 
	single-ended (or unbalanced), and balanced interconnects.  Home audio
	is almost always single-ended interconnects.

	Single-ended interconnects almost always use a form of the RCA connector
	(or phono plug). RCA plugs form fair to poor connections that degrade 
	with time as corrosion works into the metal-metal contact and as the
	spring tension of the connectors relax.  Gold-plating reduces the effect
	of corrosion and locking RCA connectors solve most of the mechanical
	problems.  However, these premium phono connectors are rare and
	expensive.  For example, a gold-plated Vampire locking RCA plug costs 
	approximately $23/pair.  If RCA connectors weren't a de facto standard, 
	we'd recommend against them.

	Unbalanced interconnect wires vary in geometry, material and price.
	Cheaper wires have a single conductor (normally stranded) and a shield 
	and cost $.20-$2/ft. Medium (complexity and price) wires have two 
	conductors (often arranged as a twisted pair) surrounded by a shield 
	and cost from about $3-$20/ft.  Exotic wires have all sorts of 
	geometries and materials (such as stranded silver conductors, or ribbon 
	cable braided around a core, or in one extreme case, a tube filled with 
	mercury!). Prices may be as high as $200-$300/ft.

	Balanced interconnects have three conductors: two for the signal
	one for ground, and additionally a shield. The standard connector for
	balanced cable is the ITT/Cannon XLR connector, which is quite good 
	mechanically (they lock). Equivalent connectors are also available from
	Switchcraft, Neutrik, and other vendors.  If you have to run cables
	longer than 12 feet or 4 meters, the greater noise immunity of balanced
	interconnects is often a good idea. For this reason, balanced connectors
	are standard equipment in professional installations such as studios,
	public address systems, and broadcast stations.  There is not much 
	variation in balanced cables.  The three brands mentioned above are
	known to be rugged, high quality and moderately priced. Slightly weaker
	imported connectors are available, but they aren't dramatically cheaper.

	For most systems, the most important aspect of a cable are
	the mechanical reliability of the connectors; in particular, the
	joint between connector and wire, and the joint between
	connector and socket. Typically, interconnect cables are short.
	It is worth getting just the right length; cables often come in
	.5 meter increments.  With quite good systems, some people observe
	differences in sound between various interconnects. This is quite
	system-specific and the same advice as given above applies:
	try several brands.  Most good dealers will loan interconnects
	for home evaluation.

	In cables where the shield does not carry the signal or ground, 
	the shield is normally only connected to ground at one end. In systems 
	where there are significant differences between ground levels on various 
	components, it may make a difference which way such cables are 
	connected.  Typically, the end where the shield is grounded should 
	be at the source of the signal.  Often, such cable has arrows on it 
	pointing in the direction of the signal flow.  In any case, try both 
	orientations.

	There are many objective reasons why cables might cause differences in 
	sound by interacting with the drivers in the signal sources as well as 
	by providing non-linear effects in the RCA connector.  Most of these 
	effects are again related to interconductor capacitance and resistance, 
	and the quality of the shielding provided by the "shield" conductor.
	In balanced cables the quality of the "twisted pair" inside the shield
	is also important.  One might note that a shield protects from only 
	capacitively coupled interference, and not from any magnetic field 
	interference.  The twisted pair in a balanced line provide some 
	magnetic rejection, as does steel conduit.  However, steel conduit has
	other characteristics which make it undesirable for audio in general.

16.6 What about Phono Interconnects:
	Phono interconnects are part of the link between a cartridge on a
	turntable and a preamp (or head amp or receiver). They are a special
	case of line-level interconnects because the signal is much lower, 
	typically 1 to 50 millivolts.  They are also intended to operate into 
	a higher impedance, typically 47K ohms, and form part of the capacitive 
	load for the cartridge.

	The low signal levels mean that the shielding of the cable, and the 
	presence of a separate drain/shield are more important, as is a good 
	ground.  A separate solid ground should come along with the cable as 
	a separate lead co-routed with the cable.

	In addition, the low signal levels make a good solid connection
	to and through the connectors MUCH more important, because of the 
	greater sensitivity to low-level non-linearities.

	Wire capacitance is often ignored in line-level interconnects;
	however, in a phono interconnect, it may constitute half of the total 
	capacitative load of the cartridge. Obviously, then, two cables with 
	significantly different capacitances should sound differently. 
	In this sense, the "right" cable for one cartridge may be too low
	in capacitance or too high in capacitance for another cartridge.
	
	For low-impedance cartridges (most moving coil cartridges),
	the wire must have low resistance to prevent cartridge unloading 
	and frequency-dependent signal loss. In addition, as the 
	signal levels are quite low, shielding is important. 

	Unfortunately, copper shields do not block stray magnetic fields, so
	in the case of phono cables, careful routing may be even more effective 
	at reducing hum than special wire.

16.7 Is there really a difference in digital interconnects?
	There are now three kinds of digital interconnects that connect
	transports to D/A converters: coax, plastic fiber (Toslink) and glass 
	fiber (AT&T ST).  In theory, these should sound EXACTLY the same (bits 
	are bits).  However, this assumes good circuit design (in particular, 
	the clock recovery circuits of the DAC, and careful consideration of 
	electronic noise) which may be compromised because of cost 
	considerations or ignorance.  Note that different signaling schemes 
	are used on plastic and glass fiber. 

	In any case, some people claim to hear a difference; of those who do,
	most seem to prefer the glass fiber.  However, the technology of fast
	digital data transmission in consumer electronics is evolving very
	quickly now.  Any specific recommendation should be treated with
	suspicion until the industry matures.

17.0 The Press

17.1 Which magazine should I read?
	Which ever one you like.  None are absolutely objective.
	Here's a list of some common ones:
|		Audio Magazine (US $24/year 12 issues)
|			PO Box 53548
|			Boulder CO  80321-2548 USA
|			800-274-8808, 303-447-9330
|		Audio Critic (US $24/yr 4 issues) (High-end)
			PO Box 978
			Quakertown PA  18951 USA
|			215-538-9555
|		Car Audio and Electronics ($19.95/year 12 issues)
|			Avcom Publishing Ltd
|			21700 Oxnard Street
|			Suite 1600
|			Woodland Hills CA  91367 USA
|			818-593-3900
		CD Review
		Hi-Fi Choice
			Dennis Publishing Ltd.
			14 Rathbone Place
			London, W1P 1DE England
			+44 71 631 1433
		Hi-Fi News and Record Review
			Subscriptions Department
			Link House Magazines Ltd
			1st Floor
			Stephenson House, Brunel Centre
			Bletchley, Milton Keynes MK2 2EW England
		HiFi Heretic
			PO Box 2019
			Yorba Linda CA  92686
		International Audio Review
			2449 Dwight Way
			Berkeley CA  94704 USA
|		Stereophile (US $35/yr 12 issues) (High-end)
			208 Delgado
			Santa Fe NM  87501 USA
			800-435-0715 or 505-982-2366
		Stereo Review
|		The Absolute Sound (US $46/yr 8 issues) (High-end)
|			Box 6547
|			Syracuse NY  13217 USA
|			800-825-0061 
|		The $ensible Sound (Mid and High-end)
			403 Darwin Avenue
			Snyder NY  14226 USA
			716-681-3513
		What Hi-Fi
			Haymarket Trade & Leisure Publications Ltd
			38-42 Hampton Road
			Teddington, Middlesex, TW11 0JE England
			+44 81 943 5000
17.2 Which reviews are better?
	Some reviews are so colorful and exciting, that they make great
	journalism and fun reading.  Lets ignore these for now, 
	even though they have their place.
	
	Beware of reviews from magazines that advertise the same 
	product.  The likelihood of bias is too high. Unfortunately, 
	that rules out 99% of the reviews in magazines.

	Stereo Review has a bad reputation for loving everything 
	made by every advertiser.  Even high-end journals such 
	as Stereophile and The Absolute Sound can be influenced.

	A classic example of misleading reviews occurs with equipment submitted
	to a magazine for review.  The manufacturer may send the editors a
	carefully built, adjusted piece for review.  The magazine will honestly
	rave about it. The manufacturer will then send the design off-shore for
	more economical manufacture and assembly, and the quality will suffer.
	Lower quality components will be substituted for prime parts.
	Adjustments will be made to wider tolerances or will not be made at all.
	The design may be completely changed to make it more manufacturable.
	You will unknowingly get a completely different piece than reviewed.

	Home auditions with one or two candidates from each of a few dealers
	are your best guide to be sure that you get what you want and pay for.

17.3 Is Consumer Reports right?
	Consumer Reports is the most objective testing lab we have ever found.
	Unfortunately, they are also the world's least specialized testing lab.
	They market their testing to the average consumer.  The average consumer
	will not hear some of the subtle differences which audiophiles hear.
	For that reason, Consumer Reports ignores issues that others feel vital.

	Consumer Reports also insists on basing their audio testing
	predominantly on lab measurements.  Although lab measurements do tell
	many differences between devices, interpreting lab measurements for best
	sound is difficult or impossible.  For example, it is very hard to
	compare two speaker frequency response curves and tell which will sound
	better.  Some $3000 speaker frequency response curves look worse than
	some $600 speaker curves, even when tested in the same setup.  On the
	other side of the issue, Consumer Reports has improved its test methods,
	and will continue to improve.  Expect the accuracy of their reviews to
	improve with time.

	The Consumer Reports frequency-of-repair data base is larger than any
	similar data base published and can be trusted as well as any statistic.

18.0 Retail

18.1 Should I use an up-scale retail store?
	This is probably the best place to listen to gear in a controlled
	environment, next to your home.  This is the best place to find
	expensive, high quality gear.  This is the place which is most likely
	to have a good policy on home trials and a liberal return/upgrade
	policy.  This is also likely to be the most expensive place to shop.
	One exception to this is that these stores have the ability to sell
	demos, returns, and discontinued gear at very advantageous prices.

	Some up-scale dealers will negotiate price on large systems or expensive
	purchases.  It never hurts to ask.

	There are definitely better and worse local hi-fi stores.  If you find
	a really good one, it is probably worth the extra money to buy from
	them, rather than from discounters.  A really good store will not push
	you to buy what they want to sell.  A really good store will allow you
	to take your time with your decision.  A really good store will not
	distort the truth in describing equipment.  A really good store will
	help you get the most out of your purchase by showing you how to set
	it up.  They will tell you what placement works best for the speakers.
	(Don't believe them if they tell you to put them anywhere.)  A really 
	good store also selects their lines carefully.  They don't want 
	dissatisfied customers or warranty returns any more than you do.

	Due to the nature of the customer, a hi-fi store in a shopping mall
	is likely to use high-pressure sales techniques.  They know that the
	majority of their customers are distracted easily by 299 other stores.
	Most of their sales go to customers that come in for 3 minutes, select 
	something, and leave.  There are exceptions to this, of course, but
	if there was a good generalization, it would be to look elsewhere.
	There are stores in large buildings, small buildings, private homes, 
	shopping plazas, and every other conceivable venue.  Search from among 
	these to find one that meets your needs and fits your style.

18.2 Should I use a discount store?
	If you need to listen carefully before making up your mind, discount
	stores can be very frustrating.  If you know exactly what you want, then
	this can be a great place to save money.  Don't expect knowledgeable
	sales help or after-sale support.  Be sure to ask about the warranty
	(see 19.1 below on warranties).

18.3 Is it right to negotiate price?
	Most people feel that it is fair to negotiate.  Some feel that it is
	fair to lie in negotiating, as the sales people frequently lie to you
	also.  Others think that lying to get a lower price is an immoral
	practice.  It may even be illegal, an act of fraud.  

	Some people feel that if you negotiate over price, you encourage 
	stores to mark prices artificially high, so that the stores have 
	room to negotiate.  Others feel that in negotiating, you are asking
	the store to accept a lower profit, or asking the sales person to
	take a lower commission, and are therefore hurting them.

18.4 How can I negotiate price effectively?
	A great source of information on this topic is available from books on
	buying a new or used car.  However, some very helpful general tips
	include:
		Know the competition and the dealer.
		Know the gear.
		Know the prices available elsewhere.
		Believe in your research, not their words.
		Stand your ground.
		Be nice to the people but hard on the deal.
		Be prepared to walk away if they won't agree.
		Expect their lines and prepare responses in advance.  For
			example, expect the dealer to claim that the Nakamichi
			deck is the best cassette deck on the market.  Be ready
			with a reply such as at that price, you can buy a DAT
			machine which has better frequency response, lower
			signal to noise ratio, etc.

18.5 It sounded great in the store.  Is it great?
	Never let anyone else pick stereo for you.  Especially not speakers.
	They all sound different, and you don't need a golden ear to hear the
	differences.  Listen for yourself and ignore what the sales people say.

	If you are still unsure, ask the sales people to let you take the gear
	home for a home trial in exchange for a large deposit.  Home auditioning
	takes 99% of the uncertainty out of store auditions.

18.6 Do sales people try to trick the customer?
	Some do and some don't.  Some will treat unpleasant customers badly and
	treat friendly people well.  Most sales people aren't wealthy.  They
	sell stereo to make a living.  If they can sell you a more expensive
	piece of equipment or a piece of equipment with a higher profit, they
	will make more money.  Usually, this figures into everything they
	say.  Some sales people claim to be altruistic.

	Some sales people really are open and honest.  They may starve with this
	approach, or they may have a nice enough personality, a good enough
	product line, a good enough store behind them, or a high enough
	technical background to overcome this "limitation".

18.7 How can sales people trick the customer?
	Often, a customer will trick him or herself without help.  We are often
	swayed by appearance, sales literature, position of the equipment in the
	showroom, and our own desire to buy what others will like.

	Some times, the sales person will actively try to push a particular
	piece of equipment by demonstrating it against another piece of
	equipment which is inferior or defective.

	Some sales people will demonstrate a set of speakers while
	simultaneously driving a subwoofer, even though they are not telling you
	this.  With the subwoofer, it probably will sound better.

	Some sales people will demonstrate one set of speakers louder than
	others.  Louder almost always sounds better.

	Most stereo buyers go into the store, spend a few minutes selecting what
	they want, lay down big bucks, and leave.  They don't need to be
	tricked.  They don't listen carefully.  They trust the sales person's
	choice as best in their price range.  For non-technical reasons, these
	people are the most likely to be satisfied with their purchase.

18.8 What should I ask the sales person?
	What do you want to know?  Seriously, the best questions are those which
	the sales person can answer without distorting the truth.  Don't ask a
	sales person to compare their brand to a brand they don't sell.  Don't
	ask "how good is the ...".  Ask questions of fact.

	Here are some questions you may want to ask:
		If I don't like it, can I bring it back for a full refund?
		Can I try this out at my home, in exchange for a deposit?
		What does the warranty cover?  For how long?
		What do I need to know to set this up for the best sound?
		Do I get a manufacturer's warranty with this?
		Where do I take this to get it repaired under warranty?
		Where do I take this to get it repaired out of warranty?

18.9 How do I impress the sales person?
	Why would you want to?  You have money and he doesn't.

18.10 How do I get the best service from a sales person?
	Be honest with the sales person.  Set some reasonable request and ask
	them to meet it.  For example, say that you will buy this if you can try
	it at home first and listen to it side-by-side with a piece from another
	store.  Alternately, say that you saw the same thing at store Z for $xx
	less, but you will buy it from the guy if he will match the price.

19.0 Miscellaneous

19.1 What do I need to know about warranties?
	Warranties have a few basic components.  The first is the term of the
	warranty.  The second is what is covered.  The third is who supports
	the warranty. The fourth is what restrictions.

	Term is fairly self evident.  What is covered is more detailed.  In
	audio electronics, typically everything is covered with a "parts and
	labor" warranty.  Often mechanical components such as tape heads are
	covered by different terms, such as shorter terms on labor and longer
	terms on parts.  Likewise, speaker warranties vary widely, from
	unconditional with no term limit to a basic 30 days parts and labor.

	Some warranties come from the manufacturer.  Others come from the
	dealer.  Still other warranty support is available with certain
	premium charge cards.

	A common restriction on some warranties is that the equipment is not
	covered unless it is sold by an authorized dealer.  A few dealers have
	lied about being authorized dealers.  Equipment sold by an unauthorized
	dealer is almost always sold completely legally.  This unauthorized
	dealer may, in fact, be fully authorized to sell, but not authorized to
	sell manufacturer's warranties.  In buying gear this way, dealers can
	get it cheaper, and provide the service themselves.  This kind of gear,
	with a full warranty from the dealer is referred to as gray market
	equipment.  Manufacturers discourage buying from these gray market
	dealers, but the risks are fairly low.  If the dealer is local and well
	established, the risks are minimal.

	If you buy equipment mail-order, a dealer warranty may be a pain in the
	neck, especially if you have to ship the gear to the dealer more than
	once to get it fixed correctly.  Then again, some factory service
	requires shipping gear far away at your expense, too.

	Frequently, home audio equipment is sold with a warranty restriction
	that if the gear is used commercially or in any profit-making
	enterprise, then the warranty is void. This is to protect the
	manufacturer from having to frequently repair equipment meant for light
	service. Professional audio equipment often comes with very liberal
	warranty terms, such as lifetime parts and labor.  Professional gear
	takes heavy use and severe wear from constant transportation.  It is
	expected to be able to take this abuse.

	All gear, electronic and mechanical, is known to have three principal
	failure modes: abuse, infant failure, and end-of-life failure.  In
	addition, a small fraction of the failures occur at random.

	Infant failure occurs in the first fifty hours of use, and is the
	principal responsibility of warranties. Infant failure is frequently
	caused by defective parts or a design defect.

	Abuse failure is that caused by a person who pulls a cable too hard,
	bangs the equipment on the table, pushes the controls too firmly 
	or too fast, or does anything else which the manufacturer did 
	not expect. These are the gray areas of warranties.  They
	do not represent a manufacturing defect in the manufacturer's 
	eyes, but they do leave you with a broken device.  To get 
	the best chance of coverage against this kind of failure, select 
	a brand or a dealer with a very liberal warranty policy.

	End-of-life failures are rarely covered by warranty. Tape heads have
	a finite, calculable life, as do rubber rollers, speakers, cables,
	batteries, bearings, and motors.  The life of some of these 
	components can be extended by intelligent care.  For example, the 
	life of common rechargeable batteries can be extended by good 
	recharging practice. Likewise, some cleaners can dry out rubber, 
	and will lead to premature failure. Don't expect warranty support 
	for any of these problems, and if you get it, feel lucky.

19.2 What is blind testing?  Non-blind?  Double-blind?  ABX?  

19.3 Where can I get a service manual for brand XXX?
	The most reliable source of supply is the manufacturer's sales office
	in your country.

19.4 Where can I get good repairs on brand XXX?

19.5 How can I take 115V gear over to a 230V country or vice versa?
	Some equipment is available with an international power supply, which
	can be rewired by any serviceman to either power line voltage.  If you
	expect to be moving abroad, look for this kind of equipment.  Often,
	the same model is available both as US only and as International. Some
	equipment will be rewirable and won't say it.

	If you know that your gear is limited to one power line voltage, you
	can order a new power transformer for that receiver, CD player,
	amplifier, or tuner which will be wound differently.  Contact the
	manufacturer's local service center.  This can be very expensive.  A
	new  transformer for a 40 watt receiver would wholesale for under $25
	but cost $75 from a service center.

	Another alternative is to buy a power transformer that will convert 115V
	to 230V and vice versa.  Here are some common models and their list
	prices.  Note that the power ratings are total line current multiplied
	by line voltage (2A at 115V is 230 watts).  Larger transformers are
	available for more money.  Some of the costlier transformers are
	constructed with plugs and jacks for immediate use.  Those marked * have
	wire leads and need safe connections to be used.

	Before spending money, check into other things about audio in the new
	country.  Broadcast frequencies are slightly different in some countries
	than in others, so a receiver or tuner bought in one country may not be
	able to receive some or all of the stations in another country.  The US
	separates the AM broadcast band frequencies by 10kHz.  The UK uses 9kHz	
	between AM stations.  Similarly, the US separates FM stations by 200kHz,
	where the UK has stations on a 50kHz spacing pattern.  It MAY be very 
	simple to modify a receiver from US to UK spacings, but may not.

	Step Down (230V in, 115V Out)
		MagneTek/Triad	N1X*	50 Watts	$11.83
		Stancor		P-8620*	50 Watts	$14.16
		MagneTek/Triad	N3M	85 Watts	$29.95
		Stancor		P-8630	85 Watts	$43.65
		MagneTek/Triad	N6U*	200 Watts	$25.72
		Stancor		P-8632	200 Watts	$51.80
		MagneTek/Triad	N5M	250 Watts	$42.60

	Step Up (115V In, 230V Out)
		Stancor		P-8637	85 Watts	$43.10
		MagneTek/Triad	N150MG	150 Watts	$49.46
		MagneTek/Triad	N250MG	250 Watts	$54.69
		Stancor		P-8639	300 Watts	$55.51

	The Stancor and MagneTek Triad lines are carried by
	large electronic distributors.

19.6 Are there really good deals in country XXX?

19.7 How do I find out how much an XXX is worth?
	There is a "Blue Book" for used audio equipment called 
	"Orion Blue Book-Audio".  This guide lists both a 
	wholesale and a retail value for most audio gear.
		Orion Research Corporation
		1315 Main Avenue Suite 230
		Durango CO  81301 USA
		303-247-8855
	Last I knew, a guide costs $150.  Each Nov, a new book is printed.
	After August, the old book is discounted. Some rec.audio readers
	who have the Orion Blue Book have offered to look up gear for others.

19.8 Do people really hear those differences?
	Who knows?  They sure think that they do.

19.9 Why do people disagree on what is the best sound?
	There are at least three different measures of what is "Perfect Sound".
	All three have advocates, and all three are right, in their own way.
	In general, whether they admit it or not, most listeners fit into one of
	these three preference groups:

	1.	It must sound like live music.  These people know what voices
		sound like in person, they know what instruments sound like
		without any amplification, and they have heard orchestras
		perform unaided by sound systems.  They want to accurately
		reproduce that sound.

	2.	It must sound like the recording engineer wanted it to sound.
		The recording engineer listened with extremely good equipment
		to the sound coming out of the microphones, and mixed them
		together for what he, at that time, felt was artistically
		correct.  It may not have been the same as live, but it was
		exactly what he wanted.  In the extreme, people like John 
		Fogerty used to audition his final recording mix in his 
		truck to see how it would sound thru a common, lousy stereo.

	3.	It must give me the most pleasure.  No matter how good or bad
		live sounds, no matter what the recording engineer intended,
		if I can buy some equipment that will give me more pleasure
		listening, then it must be the best.

	With these three perspectives, it is clear that no one system will
	satisfy everyone.  Add to that confusion the variable that everyone
	likes a different kind of sound, has heard live music under different
	conditions, and has a different idea of what the engineer intended,
	then there is an enormous range of possibilities.

	Another set of reasons is that people look for different things to be 
	right. Some want strong bass; others want male voices to sound like 
	male voices; others want violins to sound like violins. Systems rarely 
	do everything equally well. Speakers (in particular) are compromises. 
	Look for the speaker where the designer had your priority first.  You
	are perfectly right to select speakers based on YOUR personal taste.

	Confounding the situation further, we all say the greatest things about
	the stuff we already bought.  To do otherwise would be to admit that we
	are either stupid or deaf.

	Still another reason is that most people haven't heard enough 
	variations.  Until you hear a system that can truly reconstruct the
	three-dimensional accuracy of a stereo image accurately, you may never
	realize that it is possible.  Some excellent recordings contain enough
	information that with a good enough system, you can hear up-down,
	in-out, and left-right distinctions very clearly.  However, we will
	never experience this until we are fortunate enough to hear such a
	fine recording on a very good system.

	Finally, some of us really can't hear much difference.  We aren't deaf,
	but we don't have a well trained ear, don't know exactly what to listen
	for, and may even have slight hearing deficiencies, such as bad
	sensitivity to high frequencies which comes with older age, or hearing
	damage from listening to loud sounds (machinery, rock concerts, etc).

20.0 Network Protocol

20.1 What are the other newsgroups on audio and music?
	rec.audio.pro: This newsgroup is dedicated to professional audio.  It
		includes discussion on record production, studios, studio
		equipment, DJ equipment, recording concerts, sound
		reinforcement, mastering, mixing, special effects, and other
		topics which might apply to audio professionals.  If you are
		a home audio buff but like tape recording, you can find a good
		bit of advice here.
	rec.audio.high-end: This newsgroup caters to audiophiles and serious
		music lovers who are interested in discussing the subtle
		differences between expensive equipment, the nuances of
		selecting the best cables, the love and lore of LPs, and other
		details of audio that are inaudible to the untrained ear.
	rec.audio.car: This newsgroup supports discussion on different brands
		and models of car stereo, and also is an open forum for talk
		about car stereo installation, speaker selection, custom
		crossovers, and the special noise problems which occur in cars.

20.2 What network mailing lists are out there which aren't on usenet?
	There is an informal group of people interested in using DAT recorders
	to record "Grateful Dead" concerts. These people call themselves
	"Dat-Heads" and have a daily E-Mailing List.  To subscribe to this list,
	send a message to DAT-Heads-Request@fuggles.acc.Virginia.EDU asking to
	join the mailing list.

20.3 Should I post a question about "XXXXXXXXXXXXX"?
	If it is related to professional audio, take it to "rec.audio.pro".  If
	it relates to very expensive audio equipment or a request for opinions
	on subtle sound differences, you might want to take it to the newsgroup
	"rec.audio.high-end".  Otherwise, if it isn't addressed in the FAQ and
	it isn't a question for one individual, do it!

20.4 How can I suggest a change to the FAQ?
	Send an E-Mail message to neidorff@uicc.com and explain your suggestion
	or correction in detail.

20.5 Where is the FAQ for rec.audio archived?
| 	This FAQ is available via ftp.  Assuming you have access to the
| 	internet, the scenario is approximately:
| 		ftp research.att.com	# research's IP address is 192.20.225.2
| 		<login as netlib; password is your email address>
| 		cd research/memo
| 		binary
| 		get audio.faq.Z
| 	The FAQ is also available via electronic mail by sending a message like:
| 		send audio.faq from research/memo
| 	to  netlib@research.att.com
| 	If trouble arises because the FAQ is too big, precede the 
|	``send'' command with a ``size'' command
| 		mailsize 20k
| 	For general help, send the message
| 		help
| 	If you have problems or need further help with accessing the FAQ via
|	internet or e-mail, send e-mail to 
|		andrew@research.att.com

20.6 What does FAQ stand for?
	FAQ stands for "Frequently Asked Questions".  It is assumed that a FAQ
	also contains FGA or "Frequently Given Answers".  The newsgroup
	rec.audio has very few FGAs due to the personalities involved and the
	nature of audio.  For that reason, this document is called a FAQ.

20.7 Why did I get a bitter reply when I posted a simple opinion?
	Some feel that rec.audio is populated by people with very strong
	opinions.  The whole audio industry is filled with opinionated people.

	However, for the most part, these people like voicing their opinions and
	reading others.  What may have sounded like a severe rebuttal may have
	instead been an outlet for the other person's frustrations or a
	challenge to you to "play the `rec.audio' game" and back up your words
	with some spirit.

	Be sure to stay light when reading rec.audio.  Otherwise, you are likely
	to take yourself and everyone else too seriously.
-- 
Bob Neidorff; Unitrode I. C. Corp.  |  Internet: neidorff@uicc.com
7 Continental Blvd.                 |  Voice   : (US) 603-424-2410
Merrimack, NH  03054-0399 USA       |  FAX     : (US) 603-424-3460
-- 
Bob Neidorff; Unitrode I. C. Corp.  |  Internet: neidorff@uicc.com
7 Continental Blvd.                 |  Voice   : (US) 603-424-2410
Merrimack, NH  03054-0399 USA       |  FAX     : (US) 603-424-3460