HDTenEightyP/NetNews huggingface dataset:
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Industry Magazines (Best)
Date: 18 Dec 92 17:31:44 GMT
Distribution: usa
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Dec17.161444.16264@ee.rochester.edu> sperber@ee.rochester.edu
(Michael Sperber) writes:

>  I use to get REP(Recording, Engineering, Production) magazine.

RE/P has ceased publication.  

-- 
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: cullen@ac.dal.ca
Newsgroups: rec.audio.pro
Subject: Re: Kick Stuff (was merits of power amps)
Date: 16 Dec 92 14:48:05 -0400
Distribution: world
Organization: Dalhousie University, Halifax, Nova Scotia, Canada

John Henders writes:
> I (Mur) write:
> 
>>Well, I'm guilty of "I'll only use a 535 on *his* vocal, because its the 
>>only thing I've tried that suits" but then again, I will have asked for a 
>>535 on the rider for lead vocal, or brought one. As for gating and such 
>>with drums, that's just stupidity.

> 	Well thanks Murray. Personally, I like a gate on the kick drum, even
> in small rooms. Actually, especially in small rooms. But I bring my own,
> just so I don't have tyo deal with attitude.
 
Well, I think that the kick is a different issue than trying to gate/comp
or otherwise control a snare that is present more from stage volume than
from the PA, which is what Mark and I were talking about. For one thing, 
the kick itself isn't going to overpower the PA without being in the mix.
Secondly, the typical rock kick sound is a radical strip eq, combined with 
medium to hard gating, and possibly severe compression as well, compared
to the usually flatter snare strip. Note that this presumes that the drummer
can tune his kit, and has his snare sounding at least close to the way the
band thinks it should be.
							Mur
							Cullen@ac.dal.ca
							Cullen@ug.cs.dal.ca
I'm offline from Dec 19 to Dec 27.

Newsgroups: rec.audio.pro
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Industry Magazines (Best)
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Distribution: usa
Date: Sat, 19 Dec 1992 06:41:13 GMT

In article <1992Dec17.161444.16264@ee.rochester.edu> sperber@ee.rochester.edu (Michael Sperber) writes:
>
>Hi, just a quick question.  I use to get REP(Recording, Engineering,
> Production) magazine, but I let my subscription run out.  Now I am looking
>at either renewing my subscription with REP or starting a new one with a
>different magazine.  I guess my question is, What is the BEST audio 
>industry magazine?  I am not too worried about the technical content being
>too high, I am just looking for a magazine that is well rounded.

R.I.P. to R/E/P.  They're gone.

Notable industry rags include MIX, dB, Post, Journal of the Audio Engineering
Society, Home & Studio Recording, Electronic Musician, etc.

If you had to pick one, I'd say go with MIX.  It's probably the most 
well-rounded on balance.


--
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: jfw@neuro.duke.edu (John F. Whitehead)
Newsgroups: rec.audio.pro
Subject: limit on line-level cable lengths?
Date: 19 Dec 92 04:49:25 GMT
Organization: Duke University; Durham, N.C.


What is the practical length limit on a standard home-audio line-level
cable?  

I have a tape deck I want to play out of one of two amps (one in my home
studio, one in my bedroom).  Right now I have to carry the deck back and
forth to be able to listen to it in each place.

Can I just get a standard Radio Shack 50-foot 18-gauge zip cord to run
from my studio to my room's amp, and have it work ok?  It doesn't have
to be recording studio quality sound, but I do have a fairly nice system
and don't want to have any excessive interference or noise.

Email is fine.  Thanks!

	- John


-- 
 ________________________________________________________________________
|   John      jfw@neuro.duke.edu          Duke University Medical Center |
| Whitehead   jfw@well.sf.ca.us           Department of Neurobiology     |
|________________________________________ Durham, North Carolina ________|
From: bchase@bigwpi.WPI.EDU (Bret Jared Chase)
Newsgroups: rec.audio.pro
Subject: power amp schematics
Date: 12 Dec 1992 00:56:22 GMT
Organization: Worcester Polytechnic Institute
NNTP-Posting-Host: bigwpi.wpi.edu


Newsgroups: rec.audio.pro
From: rblander@math.uwaterloo.ca (Robyn Landers)
Subject: M+M mixer schematic needed
Organization: University of Waterloo
Date: Tue, 15 Dec 1992 16:09:36 GMT


I'm in need of a schematic for a junky little old mixer
made by M+M and/or Pace in England in the early '80s.
The Canadian distributor was bought out by another company
that no longer carries or services this brand and they
tell me they've discarded all the old info on them.

It's a Micro Mixer, mono, 8 channel, powered.
It also came in stereo, 12-channel versions.

If anyone has a schematic for one of these, or knows where
one might be available,  I'd really appreciate getting a photocopy.


Robyn Landers
rblanders@math.uwaterloo.ca
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: The merits of Power amps! was: Peavey, etc!
Date: 15 Dec 92 21:06:31 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <bill.724380312@sarge> bill@verdix.com (William Spencer) writes:
>chrisc@gold.gvg.tek.com (Chris Christensen) writes:

>>It is my firm belief that the storage and supply cabablities of the
>>caps in the supply contribute a great deal to the "goodness" of amps
>>with linear power supplies.

>That's right, storage comes from caps, not from linear power supplies.

Point made,  but I can't think of a linear power supply that doesn't
use caps  :-)

And the real point is that a power amp that uses a large reserve via
caps would have the general tendancy to sound better IMHO.......

>So do any "lightwieght" amps have big caps, or do small ones come with the
>territory? Are any such amps recommended without "ifs" and "buts"?

Yes, inquiring minds want to know!
-- 
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: bobdavis@scumbag.viewlogic.com (Bob Davis)
Subject: Subwoofer setups
Followup-To: bobdavis@viewlogic.com
Originator: bobdavis@scumbag
Keywords: sub
Organization: Viewlogic Systems, Inc.
Date: Mon, 14 Dec 1992 16:03:06 GMT


Folks, I'm going to be needing some a serious bass/sub setup in the
early spring for some large indoor and outdoor gigs.  I've heard
innumerable horrible sounding bass bins, and am searching for some
with decent sound, cartability, and price below $3k or so.

Have any of you heard the new Bag End ELF setup, which uses small
overdamped 18" enclosures with a processor unit (includes limiter,
crossover, etc.)?  I may rent this once to see how it works in
practice.  ELP was using this at Great Woods (with alot of other stuff),
and the sound was above average for that venue.

How about stuff from EV, JBL, etc.?  Other idears also welcome.  I've
heard some stadium setups with walls-o-EV subs, normally setup with
WAY too much bass, so Ida know how these sound run correctly.

Big is OK, ENORMOUS is not.  "Fits in a van" is a good cutoff point
for the size issue.

Why not reply direct to me; I'll post a summary.



-- 
Bob Davis -- bobdavis@viewlogic.com
"VISUALIZE WHIRLED PEAS"

From: ruska@hpfcso.FC.HP.COM (Dave Ruska)
Date: Sat, 12 Dec 1992 05:51:07 GMT
Subject: Re: DOD 1642 MIXER?
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.audio.pro

In rec.audio.pro, mskogmo@nmsu.edu (SKOGMO) writes:

...
>   .................................  I was shopping around for a new
> mixer when I saw an ad in the back of Pro Sound News featuring the DOD
> 1642.  I wrote DOD and asked for specs.  When I got them, I was
> impressed!  All of the #'s seem quite good.  Has anyone out there used
> one?  What are the draw backs--other than since it is rack mount it
> must be kind of crowded.  Thanks for any other information anyone can
> provide.

Well I got mine two weeks ago. I chose it over the Mackie 1602 due to
the additional sub1/sub2 outputs which can be routed back into the mains.
I will use this capability for doing vocal group processing when I use
the board in a live sound system.

So far I'm quite happy with it. The only deviation from the original spec
sheet is the power supply is external, though originally intended to be
inside the box. From what I heard, when the supply was internal the
board had trouble meeting noise floor specs. 

I've found the board to be extremely quiet, and the sliders and knobs 
all have a real nice _feel_ to them. 

> Thanks in advance,
> Matt
> mskogmo@dante.nmsu.edu

Regards,
Dave                       (daver@hpgrrd.gr.hp.com)
From: logan@ccwf.cc.utexas.edu (Logan Shaw)
Newsgroups: rec.audio.pro
Subject: Turning pro - getting an audio-related job
Date: 16 Dec 92 13:52:21 GMT
Reply-To: logan@ccwf.cc.utexas.edu (Logan Shaw)
Organization: The University of Texas at Austin, Austin TX
Originator: logan@minnie.cc.utexas.edu


Well, here I am, and for various reasons, I might be looking for some type
of job in the near future (or maybe not, depending on school and other
things).

So, the thought occurs to me:  Rather than just doing something that I hate
and that bleeds the life right out of me, like data entry (which I've done
before), why not get a job that I might find interesting?  So, now I have
some questions about audio related jobs.

What kinds of jobs are available that have to do with audio, and how much
education / experience do the jobs require?  Jobs I know of:  DJ-ing (self
employed kinda situation, no?), touring with a band and running sound for
them, salesman in a music or stereo store, installer of audio equipment
(like for a high-end home audio store).


Here are my qualifications:

  I am working on a degree in Computer Science, so I know how to use computers.

  I have worked with small PA systems for a few years, almost exclusively
at churches, but also some at my high school, so I know how to use them,
set them up, and tear them down.

  I've even run sound for a professional musician once, and I got a free
t-shirt out of it.  :-)

  I have sung in choirs and played piano with a small musical group, so
I know about music and what performers want and need.

  I recently bought the Yamaha Sound Reinforcement Handbook and discovered
I knew alot of the information in it already.

  I know some of the basics of electronics, but don't dare ask me to design
a circuit for you, unless you want me to make it entirely of NAND gates.
(I took a single EE course...)

  I *don't* know how to convince singers to hold microphones correctly.

  I'm not sure I can restrain myself from killing any performer who decides
to put the microphone down on top of the main speakers when exiting the
stage area.


Is the job market hard to break into?  Would I have to do tons of grunt
work (loading and unloading trucks, etc.) before I could go on to something
even slightly interesting?  How would I go about getting a job?  Are there
agencies for this?  How can I get started?  Where can I expect to go with
it?  If it's important, I live in Austin, which has a thriving live music
scene.

This isn't exactly a request for a job - more for information (though if
someone feels like offering me a job, I certainly won't mind...)

Thanks,
  Logan
-- 
                              _________-_________
                              ________---________
                              _________-_________
                              _________-_________
Newsgroups: rec.audio.pro
From: nathan@laplace.biology.yale.edu (Nathan F. Janette)
Subject: Re: The merits of Power amps!  was: Peavey, etc!
Reply-To: nathan@laplace.biology.yale.edu
Organization: Yale University, Department of Computer Science, New Haven, CT
Date: Tue, 15 Dec 1992 21:37:30 GMT

In article <BzAsnH.Bz7@hpwin052.uksr.hp.com> mow@hpwin052.uksr.hp.com (Mark  
Payne) writes:

> 4. I never understand Mic Requirements. I can maybe just see the point on 
>    vocals... But who cares what I put on snare ?

This statement seems to be the essence of your argument, if I
understand correctly.  The answer is, I care, because different mics
do indeed affect the sound differently.  Even within the realm of mics
that are "good enough to do the job", their may well still be enough
difference between the contenders to make an "artistic" decision
with the choice.

To me, there is much more to live sound than just "getting the job done".

My experience has been with small clubs in this area for the most part,
and I often get strange looks from house soundfolks when I want to use a
different mic on our female vocalist.  Why do I insist on using an EV 
ND/757 on her voice rather than a SM58?  The answer is, with no flames
intended, that if I have to explain it to you you just wouldn't get it.
One either hears the difference, or not: crisp high end vs. no high end.

It's hard for us to argue this point, because it may just be that if I had
the chance to personally hear your system with it's 12 band hifi eq I
would think it was the greatest, but intellectually, and based upon my
own experience, I would be highly surprised. 

--
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)

Newsgroups: rec.audio.pro
From: bill@verdix.com (William Spencer)
Subject: Re: The merits of Power amps! was: Peavey, etc!
Organization: Verdix Corp
Date: Tue, 15 Dec 1992 00:45:12 GMT

chrisc@gold.gvg.tek.com (Chris Christensen) writes:

>It is my firm belief that the storage and supply cabablities of the
>caps in the supply contribute a great deal to the "goodness" of amps
>with linear power supplies.

That's right, storage comes from caps, not from linear power supplies.

So do any "lightwieght" amps have big caps, or do small ones come with the
territory? Are any such amps recommended without "ifs" and "buts"?

Bill s
Newsgroups: rec.audio.pro
From: cms2839@ultb.isc.rit.edu (a.stranger)
Subject: Re: limit on line-level cable lengths?
Originator: cms2839@ultb
Organization: Minimalist Music for Hyperactive Children (MMHC)
Date: Sat, 19 Dec 1992 22:05:31 GMT

In article <1992Dec19.065734.4183@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>at all.  One doesn't send audio over zip cord...not at -10 dBv line level
>anyway.  Speaker level, maybe.
>
				my thoughts exactly . the simplest
solution of all would probably to use a single amp with two , selectable
sets of speaker outputs . the only problem is how to control the volume
while in the second room . if the amp has a remote control , you can get
some infrared relay stations ( which pick up the IR signal from the
remote and transmit it to the second room ) which would solve this
rather neatly . 

-- 
       @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
       @       "Imagination keeps the shadows away  -  Xymox       @
       @~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~@
       @ a.stranger - CMS2839@ritvax.isc.rit.edu - PGP key on req. @
From: jhenders@jonh.wimsey.bc.ca (John Henders)
Newsgroups: rec.audio.pro
Distribution: world
Organization:  One of these days for sure
X-News: HERMES MMAIL 1.10 Rev. Nov 25 1992
Subject: Re: New Zealand live,engineers,PV etc
Date: Sat, 19 Dec 1992 13:26:18 -0800
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit

In <1992Dec19.181305.1@csc.canterbury.ac.nz>
	avac002@csc.canterbury.ac.nz writes:

>Ps what's your favourite Eq CD or tape.
> mine have been peter gabriel so for mids
>Morrisey  viva hate for vocal clarity
>and The railway children's in the mean time because they've got a punch up
>front drm sound and brite guitars.

	I still use Donald Fagen's Nightfly for everything. Sometimes I
check out bottom end with Thomas Dolby's Hyperactive off Flat Earth. 
	But I don't usually eq with them, just confirm that the pa can
sound ok, nothing's noticably out of phase or balance. For eq, I
generally use my own voice through a SM58, because I know exactly what I
want it to sound like. Also, unlike a lot of soundmen I meet, I don't
start sound check with drums, but with vocals. That way, IMHO opinion,
the a more accurately reproduces what goes into it. I still eq the low
end to accentuate kick, though less now as I have a 2 way parametric
inserted with a gate on kick.


-- 

 "If Rush fans were braindead, why are there so   Bruce Bufalini
 many people posting to alt.music.rush?"              PSU
Newsgroups: rec.audio.pro
From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: Monitor System Peaks
Date: Sun, 20 Dec 1992 18:16:19 GMT
Organization: Colorado Concert Sound

In article <1992Dec19.033011.2156@acme.gen.nz> kilroy@acme.gen.nz (earthbound misfit, I) writes:
>jhenders@jonh.wimsey.bc.ca (John Henders) writes:
>> [...EQing a PA...]
>> 	As an alternate method, I often flatten the graph, turn the monitors
>> up until before feedback, back them off a bit, then check the mike,
>> while listening both for tone, and peaks. This can give you a really
>This is interesting, because I've noticed something similar. Possibly it's my
>inexperience, but when I'm adjusting the monitor EQs I find that just standing
>at the desk and adjusting for howls will not sufficiently flatten the
>response, it seems fine with plenty of headroom in the monitors before things
>will start to feedback until someone uses a mic, when it quickly becomes
>apparent that things are still ringing. I've found it's important to get up on
>stage by the main vocal mics and listen to the reponse through the monitors
>and adjust for that.
>Craig Harding            kilroy@acme.gen.nz             ACME BBS +64 6 3551342

With onstage monitors, the placement of anything onstage will affect the
resonant modes (feedback), even the location of people.  One of the best 
things I've found that really works is (if time permits) to get a few
stagehands and have them stand at the mics with their fingers in their ears.
Ring out the system this way, and you'll have minimally few problems when
the band comes on for soundcheck.  It even helps to have someone sit in 
the drum kit (no playing!!!) and ring that out,  but you know the drummer
will come on and change everything anyway.

SCREEEEECH!!!!!!
Galen Watts, KF0YJ
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: The merits of Power amps!  was: Peavey, etc!
Date: 15 Dec 92 21:02:43 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <3965@wyse.wyse.com> jvb@wyse.wyse.com
(Jack Van Breen x2666 dept220) writes:
>I just wanted to compliment Mur and Chris on the Very Gentlemanly why thier
>discussion is going.  I find it very enlightening to read about thier
>experiences and 'why they feel the way they do'.  

>Good job. This is the way the net should work. 

As long as usefull information is presented in a manner similar to the
way that this discussion has progressed I agree with your observation
and accept the compliment!

>(BTW: I happen to now like Crown's for bang4buk vs. weight, but I have used
>the 'new' peavey's w/ good results as well:)
 
I don't expect to have many Peavey supporters come out here in this
forum because they fear professional rebuttal (?) I am sure that there
are others who could contribute to the discussion,  and I don't mean
to suggest that Peavey/heavey amp types only post!

-- 
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: caudle@owlnet.rice.edu (Chris Aaron Caudle)
Subject: Re: Monitor System Peaks
Organization: Rice University
Date: Wed, 16 Dec 1992 19:52:55 GMT

In article <BzD4I4.KnF@hpwin052.uksr.hp.com>, mow@hpwin052.uksr.hp.com (Mark Payne) writes:

|> My 93 Canford catalogue (Big UK gear distributor) just came through and 
|> in it is an "automatic feedback eliminator". I have only scanned the info 
|> on this but it has 9 different notch filters which it adjusts and assigns 
|> to the unstable frequencies that it detects. It works inline.. all the while.
|> 
|> I need to check this out more because it sounds like a real lazy tool to have
|> in the front monitor mix. I can't imagine how shuch a thing could work reliably
|> .. I wonder what happens if the vocalist holds a note for any length of time..
|> :-)

I'm not sure if this is the model to which you are referring, but Sabine make a
model called FeedbackEliminator, if memory serves me correctly.  A friend of mine
uses one on monitors in his band, and seems pleased with the results.  I can't
comment much personnally, but he is a very experienced musician and sound tech, so
I think it would be at least worth looking into.

Chris Caudle           
caudle@owlnet.rice.edu 

Newsgroups: rec.audio.pro