HDTenEightyP/NetNews huggingface dataset:
From: hgw@julia.math.ucla.edu (Harold Wong)
Subject: sound consultant
Organization: UCLA Mathematics Department
Distribution: ca
Date: Wed, 15 Apr 92 16:41:27 GMT

Greetings,

Can anybody recommend a good sound consultant in the Los Angeles
area?  I have a church  I'd like someone to look at.

Thanks.

Harold

Newsgroups: rec.audio.pro
From: gt3281c@prism.gatech.EDU (TABLER,JOHN ALEXANDER)
Newsgroups: rec.audio.pro
Subject: Re: Miking a Snare with a '57
Date: 16 Apr 92 17:22:07 GMT
Distribution: usa
Organization: Georgia Institute of Technology

>>       I don't recommend changing the phase of a microphone by rewiring it
>>internally.  Instead, wire up a simple adaptor and 'cross wire' the signals
>>in question.  This way, the phase on any mic can be easily reversed without
>>creating a "special" mic.  

>How would one go about doing this?  Just swapping the signal in the XLR
>connector?  Would that work properly?

    Yes. 
     I have several "phase reversal" cables, each about a foot long, with one 
male and one female XLR.  Simply swap the two signal wires (#2 and #3 I think)
on one end of the cable, and leave the drain wire (#1) alone.
    Some consoles have a phase switch on the input modules.  This sort of thing
is what they are for.

Bye

John T.
From: jjr@sgtech.UUCP (John Radigan)
Newsgroups: rec.audio.pro
Subject: Re: How to mic drums.
Date: 8 Apr 92 14:06:32 GMT
Organization: Star Gate Technologies, Inc, Solon, OH

From article <1992Apr7.060616.5548@pasteur.Berkeley.EDU>, by payam@landau (Payam Mirrashidi):
> In article <4233@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
> 
> A question along the same lines: How do you eq a kick so it sounds strong and
> tight and not boomy.  I usually mix off of a 26 channel Soundcraft 400, so I
> have a low, a high and two parametric mids available.  In addition, I am using
> a RE20 mic. 
> 

To add another mic choice to the list: AKG D112.

This is the updated (drastically) version of the D12 that has been mentioned
already.  The peaks in the 112 response curve correspond exactly with the
"thud" and "click" of the kick drum.

In addition, I remove a whole lot of mid from around 200hz up to about
2-3k or so.  I also roll off above about 6k to reduce leakage.  I experiment
with the EQ at about 100hz to get the thud and at about 4-5k to get the right
click.  This seemed to work OK with an RE20 last time I used one.

Hope this helps,

	JR
-- 
John Radigan, Star Gate Technologies, Inc., Solon, Ohio  
Email: jjr@sgtech.uucp        Telephone: (216) 349-1860
Newsgroups: rec.audio.pro
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Newsgroups: rec.audio.pro
Subject: Re: Recording Studio
Keywords: Multitrack
Date: 13 Apr 92 00:43:46 GMT
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University

In article <1992Apr11.170543.8227@nic.unh.edu> dcm2@kepler.unh.edu (Tommy the Cat) writes:
>     Hello fellow net.people.edu  I have a slight predicament... I have 100,000
>dollars to burn, and I/we (my band) want to open up a recording studio.
>However, we are new around the music scene and equipment area.

Err, if you're quite serious here, the first thing you should buy yourself
is a good studio consultant.  Building a good studio from the ground up is
not something for the uninitiated.

Trying to build a recording studio is in many ways like trying to build
a house, and you know what they say...before you try building a house, try
living in one for a while.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: High Quality VU meters
Date: 17 Apr 92 17:45:55 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Apr17.063446.13831@leland.Stanford.EDU> wiser@leland.Stanford.EDU (Philip Rayne Wiser) writes:
>
>Does anyone know what VU meters are used in top quality mixing 
>consoles( SSL, etc.)?  I was interested in studying their properties 
>and maybe trying to simulate them digitally.  Also, where are the 
>best places to find them?

I believe that the information you seek is in the Handbook for Sound
Engineers.  I used that book and the old Audio Clclopedia (second
edition) when I developed a multi mode scheme for an audio product.

REF: U.S. Patent #4,920,331 "User Selection of Meter Ballistics"
Robert Bateman and Donald R. (Chris) Christensen.

>	I was curious about the advantage of having a VU display vs. 
>the "dancing lights" of many present boards.  Malcolm Chisholm had 
>an article in the March issue of Mix about console ergonomics.  He 
>wrote that light bars are good for keeping track of the general level 
>of many channels.  He suggested that some meters should be 
>included for things like checking vocal isolation.  What other benefits 
>would there be to the addition of a few assignable meters? (I'm trying
>to justify the idea of simulating VU's)

The use of LED meters is somewhat controversial.  The use is generally
restricted to channel monitoring and not usually used in the final output
of the console.  There are exceptions.

I don't know exactly what you mean by assignable meter, I expect that
you ate talking about a couple of meters that can be switched to
several different points in the system.  My personal preference would
be to have a meter on all, or the inputs and more on the outputs.

It really depends on the method of operation of the console and the
operators preference.

The meters that we designed allows switching of the bar and dot to
different decay rates.  The dot can also be switched off.

The main design influence for our meter was the desire for a average
weighted bar and  the indication of the peak content of the signal,
We did that with a peak indicating dot.  This dot can also be switched
between following the peak or indicating the peak and holding it for
about 1/2 second.

-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I AM only human.
Newsgroups: rec.audio.pro
From: v035550@stortek.com (Steve Monroe)
Subject: Alesis ADAT?
Originator: v035550@stcvax
Organization: Storage Technology Corp.  Louisville, CO
Date: Wed, 15 Apr 1992 02:47:25 GMT

                                                                                
Does anybody on this group own an Alesis ADAT?                                  
What do you think of it? Howz it work?, etc...                                  
Where did you get it...                                                         
I dont want to gunk up the group, so please                                     
respond via email: Steve_Monroe@stortek.com                                     
                                                                                
sm                                                                              
Newsgroups: rec.audio.pro
From: nathan@laplace.biology.yale.edu (Nathan F. Janette)
Subject: Re: FORESALE: Misc Stereo
Reply-To: nathan@laplace.biology.yale.edu
Organization: Yale University, Department of Computer Science, New Haven, CT
Date: Mon, 6 Apr 1992 21:42:45 GMT

In article <1992Apr6.203845.26783@e2big.mko.dec.com> glantz@enable.tay1.dec.com  
(Mike Glantz) writes:
> 
> Likewise, I'd prefer not to see discussions of green markers and "audiophile"
> speaker cable in here -- unless there are any pros who actually use such
> stuff in their work, and are interested in telling us how and why.
> 
> Anyone else feel this way?

Oh yeah, unless, as mentioned, it refers to pro usage.

--
Nathan Janette		"I'm a NeXTstep man,
Dept MB&B, Yale Univ	 I'm a NeXTcube guy"
New Haven, CT
nathan@laplace.biology.yale.edu (NeXT)
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Newsgroups: rec.audio.pro
Subject: Re: Mic pre-amps
Date: 13 Apr 92 00:53:49 GMT
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University

In article <1992Apr8.192913.4917@mintaka.lcs.mit.edu> prj@gamba.lcs.mit.edu (Paul R. Johnson) writes:
>stereo mic I had asked about.  The C-1000s seem to work great for
>my rehearsal recording; though I've not done much yet and may end
>up only using one (i.e., mono) for simplicity's sake.
>
>I am, however, interested in possibly getting a mic preamp to use
>when recording performances.

I recommend that before you consider sinking money into a preamp, that you
do some serious experimenting with stereo recording first.  Get comfortable
with the gear you've already got (and you've got enough now to make some
good recordings) before you add another component to the equation.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
From: gt3281c@prism.gatech.EDU (TABLER,JOHN ALEXANDER)
Newsgroups: rec.audio.pro
Subject: Re: Subwoofer power amp/hf horn advice requested
Date: 14 Apr 92 19:45:03 GMT
Organization: Georgia Institute of Technology


> I know a guy that wants to sell an old 
> Phase Linear 350w/channel into 8 ohm power amp for $300.  Sounds like a 
> good amp for this application, but the amp's about 15 years old.  Would 
> this be a mistake?

  Sounds like a PL 700B.  I have one of these, (as well as a PL 400) and have no 
trouble with it. 
 However... I have made some modifications to , and have two fans on it.  We used to
call these Flame Linears... 'nuff said.  
  These amps (as they came off the assembly line) were never designed for sound
reinforcement use, the sevice manuals actually state this fact.  With that in mind I
can not recomend that you buy it for such a use.
  I have considerable experience in the design, construction, and repair of audio
power amplifiers, and even knowing that I can fix any amp myself, I would pay only
$175 for that PL 700B.  It is a very old amp.

Bye 

John T.
From: jhenders@jonh.wimsey.bc.ca (John Henders)
Newsgroups: rec.audio.pro
Distribution: rec.audio.pro
Organization:  One of these days.
Subject: Re: SM58 Reliable and predictable Was: SM58 etc
	<OSYSTEMS.92Apr11130232@world.std.com>
	<1992Apr13.133902.6919@oz.plymouth.edu><1992Apr14.232716.5055@ac.dal.ca>
Reply-To: jhenders@jonh.wimsey.bc.ca
X-Software: HERMES GUS 1.00 Rev. Jan 16 1992
Date: Thu, 16 Apr 1992 03:23:54 -0600

In <Edv3yJG00VpL8cAkhe@andrew.cmu.edu>, Jarrod M. Jenzano writes:
>>>Does anyone still use Shure SM-58(Ice Cream Cone) mic's for
>>>live sound support?
>  ^^^^^
>
>The thing is, they're so damn easy to work with.  You can throw the
>thing up on stage, do about 3 seconds of feedback eq, and you get a
>pretty nice (at least dependable) sound quality.  Also, they can take
>the standard beating when people hit the microphone to see if it's on
>(as opposed to talking into it.)

    Agreed on all above points, also the posting about memorised curves.
For quite a while a local sound company kept bringing me out new mikes to
try while I was renting a bar P.A. from them. I tried EV 757's, Beyer's
several AKG's and numerous mikes I'd never heard of. I found that the
consistancy of the 58 was it's strong point. Having a performer comfortable
with the mike is also important. 
    Of all the mike's I tried only 2 were in any radical way better, the
Beta 58, and an AKG condesor that looks like a small 58. This was supposed 
to be "road rugged " It wasn't. But it sounded smoother than any other live
mike I ever worked with, until it got dropped.
    One thing no ones mentioned here is consistancy in the mike sounds of 
all 12+ mikes used on a loud live gig. It's always been my preferencce to
have similar sounding mikes on stage, especially when there's several 
singers. It's my feeling that with a large number of open mikes leaking
sound into your mix, you want them to be similar as much as possible, 
otherwise your graph gets warped beyond belief trying to tune out all the
different peaks.


-- 
There are a lot of intelligent people on the net that will go
ballistic when they are subjected to something stupid.
-- Larry Smith on the rec.arts.manga debate
From: cox.s@applelink.apple.com (Steve Cox)
Newsgroups: rec.audio.pro
Subject: Sony PCM-2000 Prof. Portable DAT
Date: 17 Apr 92 02:36:59 GMT
Distribution: usa
Organization: Apple

Want to sell a Sony portable professional DAT with SMPTE timecode support.
Will record at 44.056, 44.1, and 48 kHz analog or digital without copy 
protection. Will also record at 32 kHz digitally.
Digital I/O is AES/EBU standard.
Also has balanced analog mic/line ins with padding and phantom power.

Comes with 3 batteries and charger, case, and original box.

This machine has less than 20 hours on it. Great for audio for video or film
work!

New cost over $6k, asking $3.5k.

Would consider trade for comparable pro audio gear e.g. mics, effects like 
Lexicon 480L or Lexicon 300. Also consider trade for a Waverunner LX Jet Ski.

email me or call 408 265-9043 after 7:00 pm.
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Headphones for Monitoring Recording
Date: 13 Apr 92 16:48:32 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Apr13.141102.13182@mintaka.lcs.mit.edu> prj@gamba.lcs.mit.edu 
(Paul R. Johnson) writes:
>What is the rec.audio.pro wisdom on the best headphones to use for
>live recording of concerts (in my case Early Music concerts)?
>I need ones that have closed/isolated earpieces so I don't
>disturb other people (I'll be in the audience), and that give an
>accurate representation of the sound (of course).

I have used my Sony MDV-V6's for many years in the manner which you
describe.  I have yet to be dissapointed.

-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I AM only human.
From: kevins@eng.auburn.edu (Kevin Sullivan)
Newsgroups: rec.audio.pro
Subject: Subwoofer power amp/hf horn advice requested
Date: 13 Apr 92 16:32:22 GMT
Organization: Auburn University Engineering

Our four piece blues/rock band just bought the two Peavey 118 sub cabinets 
I mentioned a week or two ago.  Right now we're pushing them with the 
power amp section of a Peavey Mk IV Bass head (210 watts into 4 ohms).
Not exactly the best match.  I know a guy that wants to sell an old 
Phase Linear 350w/channel into 8 ohm power amp for $300.  Sounds like a 
good amp for this application, but the amp's about 15 years old.  Would 
this be a mistake?  If so what should we get to push the subs?  We're 
running the highs (Peavey SP-2s with yamahas on top) with a Peavey Deca 
xxx (forget the number) 250w/channel into 4 ohms.  Price is a consideration.

Also the horns in the SP-2s suck so I'm thinking of ripping them out and replacing them with ... suggestions, please.

Thanks in advance,
Kevin Sullivan
Xref: sparky rec.audio.pro:515 rec.music.makers:5695
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro,rec.music.makers
Subject: Re: Quiet fans for studios?
Date: 15 Apr 92 22:47:40 GMT
Followup-To: rec.audio.pro
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Apr15.190001.24557@intelhf.hf.intel.com> dcovell@pcocd2.intel
.com (David Covell) writes:

>My home studio is in a small upstairs bedroom and gets very hot. I can't
>use any of the supposedly-whisper-quiet fans sold in stores because they're
>still noisy enough to get picked up when I mike my classical guitar. I play
>with a light touch and need lots of gain, so even close-miking picks up
>any sound in the room.

The common studio solution is to use an oversized squirrel cage blower and
run it slower for less noise.  The air is also ducted in lined ducts
woth atleast one 90 degree bend to block the blower noise.

You could build something but it would be large in size....

The air inlet as well as the air outlet slould be ducted with at least
one "90" each so that the blower noise is contained.

>It seems there must be some sort of small fan designed for studio use. I'd
>think a squirrel-cage such as is used in evaporative coolers would be
>less noisy than the typical propeller type. 

The blower I mention above is much quieter than the normal prop job.

>I seem to get hot easily when playing music (anybody else notice this?) and
>them  ;^{

Ya, but I'm a drummer........

>Anyone know of a solution? External cooling is not an option in this case.

See above,  I hope it helps.


-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I AM only human.
From: bill@bilver.uucp (Bill Vermillion)
Newsgroups: rec.audio.pro
Subject: Re: Recording Studio
Keywords: Multitrack
Date: 13 Apr 92 15:52:11 GMT
Organization: W. J. Vermillion - Winter Park, FL

In article <1992Apr11.170543.8227@nic.unh.edu> dcm2@kepler.unh.edu (Tommy the Cat) writes:
>
>     Hello fellow net.people.edu  I have a slight predicament... I have 100,000
>dollars to burn, and I/we (my band) want to open up a recording studio.
>However, we are new around the music scene and equipment area.

After helping put together 2 small studios - when we went with
our 3'rd studio - we did what I recommend you do.

GET A CONSULTANT!!!!!  - don't think of spending serious money
without doing that.

I have heard other complain that they cost too much.  One local
studio said that.  It is the worst sounding piece of expensive
crap ever to grace the scene.

We put more in than your $100k.   But we had 3 consultants come
in.   In the end we picked the one that we felt knew the most.
He had never done a studio from ground up but we went to a
couple that he done the installation before.

We knew he could do it if he got the chance.  The others showed
us some nice "looking" places but were pretty crappy.  All they
wanted to do was sell equipment.

They said we will put in this console, this recorder, etc.

The person we chose asked us about the music.  Asked us what
our goals were.   Found out what we really wanted.  (We had
already decided on the console so that was out of the
question).

We discussed all aspects of the studio.  In the we made a deal
with him to buy all the peripherals through him - money up
front - 7% over cost - and he got discounts for cash up front,
which brought in some of the equipment at 3-5% over dealer
cost.

We got a hell of a studio.

We put him in the business literally.   He next built a studio
for the FBI, and then one for Ronnie Milsap.

He then changed the name of the company from Tennessee Musical
Instrumentation to Valley Audio.  Bob Todrank is the name.  He
now runs Roland.

But - GET YOURSELF A CONSULTANT!!!!!!


-- 
Bill Vermillion - bill@bilver.uucp 
                - ..!{peora|ge-dab|tous|tarpit}!bilver!bill
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: phantom power
Date: 15 Apr 92 02:14:10 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <MduTMG_00iUxM5pd8G@andrew.cmu.edu> rs6k+@andrew.cmu.edu 
(Riccardo Schulz) writes:
>I want to make my own mic pre amp, and I've got most of the design set
>except the phantom power.  I even have that, except for one little
>detail.  How do I get the 48 volts from the same transformer that I plan
>to use for the lower supply rails (probably plus and minus 18 or 22

Phantom power does not have to be 48 Vdc.  Check the mics that you
will use and you will find that they may operate on 9-52 Vdc.

The current requirement for phantom power of microphones doesn't
normally exceed 4 Ma at 48 Vdc.  You cound use a voltage doubler to
get to near 48 Vdc. 

Take whatever voltage you can get before the regulators, decouple,
filter and requlate it seperately.

>volts).  Do I need a separate winding on the transformer, and if I do,
>what should it be; or can I step up the voltage from what is already
>there; do I do that at the AC level or the DC level?  What is the best
>way?  A push in the right direction may be all I need.

If you need more info I can supply it.

-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I AM only human.
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Newsgroups: rec.audio.pro
Subject: Re: Long Cable Runs?
Date: 13 Apr 92 00:39:58 GMT
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University

In article <gdtF=Ly00Uh_A__Jsy@andrew.cmu.edu> "Raymond C. Chick" <rc4n+@andrew.cmu.edu> writes:
>I record classical music on location and often have long cable runs from
>microphones to preamps or mixer.  To find a good monitoring room I may
>have to use 150' to 300' of cable. Will this have any effect on s/n,
>frequency responce, or any other things ?

It depends on three factors:

	- The capacitance of your microphone cable
	- The output impedance of your microphones
	- The input impedance of your preamplifier

Many high-quality microphones used for professional classical recording have
impedances well under 100 ohms and can run lines several hundred feet long
before any inline amplification is needed.  This is useful if you're running
a signal back to, say, a sound-truck, or to a monitoring station that is
well out of the way of the concert hall.

You can compute the high frequency rolloff like so.

First, get the capacitance of your cable.  This is usually listed per foot,
so multiply that out by the # of feet of run you have.  Let's call that C.

Now get the output impedence of your microphone (call that Zo), and the
input impedence of your next stage.  Call that Zi.

Now, first you have to get the time constant (measured in seconds)


    Zo * Zi
T = ------- + C
    Zo + Zi 

Now that you have the time constnat T (actually tau, but we don't have greek
in ASCII yet), you can compute the transfer function and the rolloff frequency.

	1
Fc = -------
     2pi * T

That'll give you the -3dB downpoint...i.e., the frequency at which 3 dB in
signal loss will be exhibited.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Organization: Music, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.audio.pro
Date: Mon, 13 Apr 1992 17:32:46 -0400 
From: Riccardo Schulz <rs6k+@andrew.cmu.edu>
Subject: Re: How to record a clarinet ?
	<1992Apr13.130902.26297@news.larc.nasa.gov>

This is a problem, and if you know in advance that the performer swings
both ways (sorry) you might consider using mid-side mics.  this is the
only arrangement that will truly give you a stable center in a situation
like that.