HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.audio

> Would some of you Audio Wizards with knowledge regarding this please help  me
> out here.  I remember reading an article (Popualar Science, I *think*) quite 
> a while back regarding CD's and the degeneration of them when not played for 
> long periods of time.  If I remember correctly, it has something to do with 
> the type of plastic used in CD's. Also apparently this effect can be negated 
> by playing your CD's occasionaly. The type of laser used apparently also 
> makes a difference. (Something to do with the light frequency.)
> I've got a friend who's quite an audio fanatic and he wants to know if this
> is true/false etc.  Any and all info regarding this will be most appreciated.

As stated above, this is false.  There was a concern, especially with the
older CDs, that there would be some degradation of the disc due to delamination
of the metal layer from the plastic (which makes up the bulk of the disc).
As far as I know, even in these cases the playing of the disc had no
effect on this problem either way - it simply happened as the disc aged,
played or not.  Newer CD production has addressed the problem, which should
now be much less prevalent.



Bob Myers  KC0EW   Hewlett-Packard Co.      |Opinions expressed here are not
                   User Interface Tech. Div.|those of my employer or any other
myers@fc.hp.com    Fort Collins, Colorado   |sentient life-form on this planet.
Newsgroups: rec.audio
From: jreiser@scott.skidmore.edu (Jason Reiser... Asleep)
Subject: Re: Latest issue of TAS?
Organization: Skidmore College, Saratoga Springs NY
Distribution: usa
Date: Tue, 17 Nov 1992 07:29:08 GMT

macak <macak@mixcom.mixcom.com> writes:
> 
> It's been a long time since I received a regular issue of The Absolute Sound,
> and I'm beginning to wonder if an issue was lost in the mail.
> 
> The last issue I received was Issue 81, July/August 1992.  Has there been an
> one after that?
> 
> I _did_ recently receive the Guide to High End Audio Components... My question
> concerns the "regular" issues.
> 

I don't subscribe, but I got the regular issue about a week ago.  It's
issue #82, October 1992.

> Thanks.
> 
> Jim
> 
> 
> -- 
> 
> macak@mixcom.mixcom.com                         << All my own opinions >>
> 

				- Jason
-- 
---------------------------------------------------------------
\ Jason A. Reiser  \ Send E-Mail to jreiser@scott.skidmore.edu \
 \ Skidmore College \ Saratoga Springs, NY 12866 \ 518-581-6580 \  
  \ It's a new Ice Age!  Hooray!!  Sled City!  - Calvin & Hobbes \
From: bobschulien@cup.portal.com (Robert John Schulien)
Newsgroups: rec.audio
Subject: Re: Speaker Recommendation
Date: Fri, 20 Nov 92 22:25:41 PST
Organization: The Portal System (TM)

Steve Katz writes:
> and I believe I will get the most for my money by replacing speakers
> first.
You won't believe the difference.  (Can you tell I hate Radio Shack?)
> I am looking for recommendations on speakers in the <$1500/pair range.
Some have bashed Infinity, but I think their 'kappa' type speakers are
just dandy.  I've had 8k s for 2 years now and I love 'em.  The highs are
very clean, and they distribute the sound very well around the room.  You
mentioned a 120wpc amp.  This is not good.  I overload my 130wpc amp all
the time on transients.  Infinity wants 250wpc for the 8k s.  Does anybody
know why?  I figure it's because there are 5 drivers in each channel and
gobs of current is required.  Have fun and listen to them all before
buying.
Bob Schulien         bobschulien@cup.portal.com
From: stansbury-travis@yale.edu (Travis Stansbury)
Newsgroups: rec.audio
Subject: Re: Shareware Music,  was...Re: Defeating SCMS
Date: 23 Nov 1992 10:06:19 -0500
Organization: Yale University
NNTP-Posting-Host: minerva.cis.yale.edu

In article <1992Nov23.024931.3464@porthos.cc.bellcore.com> whs70@dancer.cc.bellcore.com (sohl,william h) writes:
>Since there's no requirement that anyone originating a new recording
>must encode the SCMS with a prohibition code, the idea of "shareware"
>music is still a possibility even with SCMS.  All then an "underground
>band" needs to do is record their DAT album and encode the SCMS 
>with an 00 code that allows unlimited generations of copies.  
>Assuming the band uses a PRO-DAT deck, the SCMS code can be
>set to any of the 4 possibilities, including the 00 code.
 
I hadn't thought of this before -- but reading your above post made me
realize that IF a recordable digital format gains widespread acceptance,
SCMS will be of little consequence for this reason: as in computer
software, there will be plenty of 'pirates' with the knowledge and
equipment to remove all copy protection from a newly-release album (ie
replace the imbedded SCMS code with 00), and then re-release the
'cracked' album into the pipeline.  These practices are widespread with
computer software to the point that anyone with a modem and a little
patience can tap into a cracking groups distribution net and pick up the
latest software within weeks of its release, minus all the annoying
copy-protection (or so I hear)...  Seems to me that a similar sort of
thing would be feasible with digital audio - and even more so when
personal computers reach the capacity to store and transfer albums,
because then the audio pirates and the software pirates will likely be
one in the same.... sound like interesting time are coming for the music
industry...


-- 
   ______________________________________________________
   | Travis Stansbury, Yale '94  || 2358 Yale Station   |
   | travis@minerva.cis.yale.edu || New Haven, CT 06520 |
   ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Newsgroups: rec.audio
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Playing 78's
Organization: Columbia University
Date: Mon, 23 Nov 1992 00:43:38 GMT

What companies are making turntables and styli for playing 78 RPM disks?
I've heard that Rega makes a specialty table for this purpose.  Anyone got
the scoop?


--
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
Newsgroups: rec.audio
From: johnme@ecs.comm.mot.com (John Meyer)
Subject: Re: CD skipping
Organization: pcb_design
Date: Thu, 19 Nov 1992 13:47:36 GMT

In article <1992Nov18.214728.17585@husc3.harvard.edu> on@husc10.harvard.edu (Ahmad On) writes:
>Is there a correlation between skipping and the length of the CD?
>My old Technics refuses to play properly on track 1 of especially
>long CDS.  I've oiled the rails of the laser transport (as suggested
>here) but it still has problem with the first 2 or 3 minutes of
>long CDs (+ 70 minutes).
>
>HELP!
>


Try cleaning the laser drive belt like you would clean your tape deck belts.
Or replace the belt.
This could be your problem.



  john
Newsgroups: rec.audio
From: sslok@srv.PacBell.COM (Sam Lok)
Subject: Re: **WHERE'S THE MD???****
Organization: Pacific * Bell
Date: Thu, 19 Nov 1992 06:06:01 GMT

In article <41166@sdcc12.ucsd.edu> ma168faf@imath7.ucsd.edu (Matthew Guarnotta) writes:
>I BEEN LOOKING FOR SONY'S MD PLAYER AND RECORDER....WHERE IS IT???
>WILL IT EVER COME TO THE U.S.?????? WHEN?????? HOW 'BOUT IN THE RECORD

The latest Cambridge SoundWork catalog lists two Sony portable MD players:

	MZ-2P	playback-only		$499
	MZ-1	record/playback		$699
	blank disk			$12.99

Available December, 1992.

The facing page list the Philips home DCC at $799.  I guess I can wait till
December :-)
-- 
Sam Lok			Pacific*Bell, California	sslok@srv.PacBell.Com
     ---   __o    
   ---    -\<,    The price one pays for pursuing any profession, or calling,
    --- (_)/(_).  is an intimate knowledge of its ugly side.  -- James Baldwin
Newsgroups: rec.audio
From: caro@adobe.com (Perry A. Caro)
Subject: Re: DCC -- JUST SAY NO!  (was: The end of cassettes,
Reply-To: caro@adobe.UUCP  (Perry A. Caro)
Organization: Adobe Systems Incorporated, Mountain View
Date: Thu, 19 Nov 1992 01:56:56 GMT

Let's be clear here.  Everything I've read about DCC indicates that all
recorders will have the SCMS (Serial Copy Management System) for DIGITAL
to DIGITAL copying.  That means you can make a first generation copy of
any digital source (CD, DAT, live recording, etc.), but you won't be
able to make subsequent generations.  Note, you can make any number of
first generation copies (i.e., if you buy one CD, you can make any number
of DCC copies of it, given appropriate digital to digital interconnects
and devices).  My understanding is that this is precisely the same
set-up as for DAT.

Hmm, I guess this means there will be no dual drive
digital duping decks for DCC!

If you're talking DIGITAL to ANALOG copying, then yes, each ANALOG
generation will introduce noise and degrade the quality of the
recording.  SCMS does not apply to analog copying -- the inherent
limitations of the technology are sufficient.

Perry
-- 
caro@adobe.com	...!{sun,decwrl}!adobe!caro   Contents: my opinions, no others
Newsgroups: rec.audio
From: A10035@email.mot.com (Scott Lindsey)
Subject: Re: A $2700 public audio system for a church???
Organization: Motorola Land Mobile Products Sector
Distribution: usa
Date: Mon, 16 Nov 1992 19:37:01 GMT

In article <1992Nov16.061939.6069@ucsu.Colorado.EDU>, carmien@tramp.Colorado.EDU (CARMIEN STEFAN) writes:
> 
> In article <3340269@hpcc01.corp.hp.com> kirk@hpcc01.corp.hp.com (Kirk Lindstrom) writes:
> >>My questions are
> >>
> >>(1)	Is there any difference between a home audio system and a public
> >>audio system?
> >Major.  Public systems should concentrate on voice rather than extended
> >bass, imaging, clean highs, etc.
> >>(2)	Is Radio Shack's system good enough for a church?
> >You probably want more rugged construction and fewer features.
> >
> >>(3)	Should my cousin use the local audio designer's $2700 system?
> >>
> >Tell the designer what budget you have in mind.  You can also consider
> >some used gear and you can offer to pay him/her a flat fee and let him
> >get the best price.
> >>
> >>-Luke
> >----------
> >Anyway, discuss the options with the designer and also tell him about
> >RadioShack and he'll let you know the weak points for your (cousin's)
> >use.
> >
> >Kirk out
> 
> I have done systems for similar types of places for 18 years, as a hobby
>...
> 	As for Radio Shack stuff, some of it is OK for mild use but
> you get what you pafor. I have had too many experiences fixing
> up cheap broken equiptment that was poorly installed, and the 
> level of frustration that the user (read pastor, churchmember, or
> most likly the poor janitor who ends up trying to get it to work)
> is really unnecessary.
> 	Think of it this way: If it's quality equiptment, installed
..
> 
> 			The cost will be ~$4100
> 	this does not include the mikes and cables we already have
> 	and would be LOTS higher if we bought speakers and had
> 	a consultant design & install - however this is similar
> 	to many sstems currently installed in medium sized 
> 	churches w/ choir etc.
> 
> 					Stefan Carmien

Just though that I'd mention something about some Radio shack equipment for
sound stuff.

Our small church inherited a small Radio Shack system (their 100 watt PA amp
 with 5 slide inputs and two speakers) and this system has served us fine for 
several years. It is simple and straightforward to operate, functions just fine,
 thank you, and has had ZERO problems. If your church meeting place is less than
 a 1500 square feet, it will  do the trick just fine. We used it in 
elementary school gymnasiums. It was more than adequate and had OK sound.
 As on option, you could add a cheap equalizer to take care of annoying 
resonances (feedback) if this is a problem (was not for us). Of course, you
 will need microphones. Thus, the total system comes in well under $1000!!

People who make bucks setting up more expensive systems will undoubtedly argue
that this stuff is garbage. However, if you want something that can be set up
easily and performs well enough (with forementioned size restraints) Then I 
would highly recommend going with a consumer priced system (which includes
the Radio Shack stuff)
Newsgroups: rec.audio
From: jrl8@cunixa.cc.columbia.edu (James R Lendino)
Subject: Re: Amplified SubWoofer
Reply-To: jrl8@cunixa.cc.columbia.edu (James R Lendino)
Organization: Columbia University
Distribution: usa
Date: Thu, 19 Nov 1992 01:21:30 GMT

   Yamaha's got what I thought was a pretty darn good powered
subwoofer.  The model number is YST-SW100, with the following
specifications (taken out Stereo Review's "Stereo Buyers Guide
1993"

   "Active Servo-technology design with two 7-in cone woofers
and 1 1/4-in air woofer.  70W power amp into 5 ohms, magnetically
shielded cabinet.  Line- and speaker-level inputs.  Continuously
variable high-pass filter with 24-db/oct slope; volume control.
FR 21-180 Hz.  Black finish..............................$449"

   The $449 figure is obviously MSRP, so you can get it for well
under $400.  The 70W seemed perfectly adequate for most purposes.

Hope this helps,
-JRL

-------------------------------
James R. Lendino
jrl8@cunixa.cc.columbia.edu
-------------------------------
Newsgroups: rec.audio
From: fsgab@acad3.alaska.edu
Subject: Sony ES DSP CD changers
Organization: University of Alaska Fairbanks
Date: Mon, 23 Nov 1992 14:46:10 GMT

What are the differences between the Sony CDP-C87ES 5 disc changer and the
other two CDP-Cx7ES changers.  I heard the C87ES and was impressed with the
DSP.  Do the other units have the same DSP?  Is theirs crippled in any way? 
Are there any single-disc Sonys with the same DSP?

Thanks, Grant Beaugard

Newsgroups: rec.audio
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: Where can I find an 8-track player
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Mon, 16 Nov 1992 18:53:37 GMT


In article <1e4u3sINN64b@usenet.INS.CWRU.Edu>, cg656@cleveland.Freenet.Edu (Michael O. Bartz) writes:
|> 
|> Yes the subject is correct.  I am looking for an 8-track player so that I
|> can play the few 8-tracks that I have.  It's really just for the novelty of
|> having one that I want it.
|> 
I think you want to look in yard sales, church rummage sales, thrift
shops, used junk shops and miscellaneous stuff want ads. There are many 
of these things floating around, and practically no one uses them or 
wants them anymore, but finding one in good condition that hasn't been 
given the old heave-ho can be a chore.

|> btw, I also wouldn't mind having a reel-to-reel player.  This might not be
|> as realistic, since I think they still go for a bit of money.  However, if
|> the price was reasonable, I'd love to have one.  They certainly are better
|> quality for recording than the average cassette!
|> 
Without spending big bucks, these are even harder to find. You might want to 
advertise for one (other than in this newsgroup, that is).
Newsgroups: rec.audio
From: whs70@dancer.cc.bellcore.com (sohl,william h)
Subject: Re: DAT and SCMS, some info
Organization: Bellcore, Livingston, NJ
Date: Wed, 18 Nov 92 18:38:24 GMT
Keywords: DAT, SCMS, copying

In article <1992Nov17.002951.9577@nntpd2.cxo.dec.com> winalski@adserv.enet.dec.com (Paul S. Winalski) writes:
>
>Note that SCMS is not unique to DAT.  DCC and MD also must implement SCMS
>in consumer units.

If that is so, then doesn't that imply a "digital" interface.  I  knew
DCC was a digital encoded signal, but I thought the inputs and
outputs of a DCC deck would be analog only.
If the DCC output is always analog, then what does the SCMS
coding provide or do for the recording industry?  Or is there some
type of analog SCMS encoding been developed that we haven't heard
about (that is, an SCMS encoding that is present in the analog 
mode at the audio out of a DCC deck?)

Standard Disclaimer- Any opinions, etc. are mine and NOT my employer's.
-----------------------------------------------------------------------
Note - If email replying to me with an automatic addressing process
bounces, manually address the resend using one of the addresses below.
-----------------------------------------------------------------------
Bill Sohl (K2UNK) BELLCORE (Bell Communications Research, Inc.)
Morristown, NJ             email via UUCP      bcr!dancer!whs70
201-829-2879 Weekdays      email via Internet  whs70@dancer.cc.bellcore.com
Newsgroups: rec.audio
From: cms2839@ultb.isc.rit.edu (a.stranger)
Subject: Re: Dolby C
Originator: cms2839@ultb
Keywords: Dolby 
Organization: Minimalist Music for Hyperactive Children (MMHC)
Date: Tue, 17 Nov 1992 04:31:05 GMT

In article <1992Nov16.220518.348@cypress.com> ssr@cypress.com (Bapcha/FPGA) writes:
>
>NOOOOOOOOOOO!!!!!!!!!!!!!!  Dolby B and C have similar ways of compensating
>for the hiss on a tape (assuming a zero noise source).  B compensates by
>10dB and C; by 20dB.  Hence if you record Dolby C,  and play it back on Dolby
>B,  just use the treble control to cut 10dB (oh well - till it sounds less
>"shrill"),  and you'll be all set !!

				dolby operates via compansion , not
equalization . so , regardless of whether or not gabe was right ( i
dunno ) , you will not be " all set " by twiddling with the eq .

-- 
       @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
       @       "Imagination keeps the shadows away  -  Xymox       @
       @~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~@
       @ a.stranger - CMS2839@ritvax.isc.rit.edu - PGP key on req. @
From: gmc@linear (Great Cthulu)
Newsgroups: rec.audio
Subject: Re: PNP vs NPN Output Stages
 
     There is a lot more than simply carrier mobility that determines transistor
Date: 13 Nov 92 21:12:31 GMT
Reply-To: gmc@mlb.semi.harris.com
Organization: Harris Semiconductor

performance. There are a number of degrees of freedom available to the
designer. For example, there is diffusion resistivity of the collector, base,
and emitter areas. There is the profile of the diffusion as you get farther
away from the surface; is it Gaussian, linear, step, etc. There is the
relative depth of the diffusions determining the location and profile
of the base region. There is also the very significant parameter of
the area of the diffused regions, and the shapes, and the locations.
For example, the transistor can have a square emitter for maximum area and
minimum collector resistance or a long skinny rectangular emitter for
minimum base resistance. It can have the base region contact on one side
of the emitter, or two sides and have half the base resistance. I can
continue on. The point is, though that one cannot state that a device sounds
better simply because it is a PNP or an NPN. There are a large number of
parameters that determine a transistor's performance. Carrier mobility is
only one, and can be compensated for by the others. Anyway, most amps
nowadays have op amps in them, and both PNP's and NPN's will be in the
signal path regardless of the output stage.


---
----------------------------------------------------------------------

Cthulu Lives

----------------------------------------------------------------------
Newsgroups: rec.audio
From: fineberg@win31.nas.nasa.gov (Samuel A. Fineberg)
Subject: Re: DCC -- JUST SAY NO!  (was: The end of cassettes,
Organization: CSC, NASA Ames Research Center, NAS Division
Date: Fri, 20 Nov 92 21:25:06 GMT
Reply-To: fineberg@nas.nasa.gov

In article <1992Nov20.032530.19833@samba.oit.unc.edu>, ses@sunSITE.unc.edu (Simon Spero) writes:
|> In article <kmr4.278.722209080@po.CWRU.edu> kmr4@po.CWRU.edu (Keith M. Ryan) writes:
|> >
|> >	Okay, virtually no home units will/have be/en sold which can not 
|> >record. The main reason for walkman's not being able to record, nor auto-
|> >mobiles; is that the enviroment is not well suited for recording. Not many 
|> >people would want to record songs off the radio or a cd while driving 60 mph 
|> >down the highway, nor carrying two units while jogging or riding a bicyle. 
|> 
|> 
|> Counterexample: On the flight over from the UK, I had my Discman wired in to
|> my DAT recorder (unfortunately the discman had no digital output; otherwise
|> things would be perfect.) 
|> 
|> :-)
|> 
|> Simon
|> -- 
|> Hackers Local 42- National Union of Computer Operatives, Chapel Hill section
|> ------------------------------------------------------------------------------
|> "Arise you users of compression, though the   | WAIS/Z39.50 spoken here
|> tarfiles hold you down" - The Internetworkale | DoD #612 | Tel: +1-919-962-9107
Actually, a large number of the people who buy DATs bought portable ones for
RECORDING live music.  They are great for that because they make really good
recordings and are much easier to carry around than a reel to reel recorder. 
However, I doubt if someone would use a DCC for the same reason because they
don't make as good recordings and cost more than a DAT, but it is possible.

Sam

P.S., before they had portable DATs, people did the same thing with
Walkman Pros, though this is a small segment of the population.
Newsgroups: rec.audio
From: brambo@eco.twg.com (Mark Bramblett)
Subject: Differences Between Sony 1000ES and 2000ES Digital Preamps
Followup-To: rec.audio
Organization: The Wollongong Group (East Coast Operations)
Date: Fri, 20 Nov 92 18:41:55 GMT

I've had a SONY 1000ES digital preamp for the last two years and have
been very happy with.  I have noticed multiple discussions in this
group, that there were design flaws in the 1000 that were corrected
in the 2000.  Can anyone tell me what these were?

Thanks,

Mark Bramblett

The Wollongong Group
Xref: sparky rec.audio:15142 rec.audio.pro:2327
From: paspro@.ic.ac.uk (Mr P.N. Asproulis)
Newsgroups: rec.audio,rec.audio.pro
Subject: Comparison of Headphones
Date: 15 Nov 92 14:36:14 GMT
Organization: Imperial College


 I want to buy a new set of headphones and I would like a comment
 on the Seinnheiser HD560 Ovation II compared to the AKG K500 both
 in the same price range.

 Thanks

                                                               _
---------------------------------------------------           / \
 Department of Aeronautics                                    | |
 Imperial College of Science, Technology & Medicine   ________| |________
 Prince Consort Road, London SW7 2AY, U.K.           |________| |________|
 Room E355, Tel. : (071) 589 5111 Ext. 4028                   | |
 E-mail: p.asproulis@uk.ac.ic.ae                           ___| |___
---------------------------------------------------       |___\_/___|
 P. N. Asproulis
Newsgroups: rec.audio
Subject: Re: More CD skipping...
From: erkamp@JANUS.ARC.AB.CA (Bob Erkamp)
Date: 18 Nov 92 11:26:48 MDT
Reply-To: erkamp@JANUS.ARC.AB.CA
Organization: Alberta Research Council

In article <1992Nov16.235544.24722@raven.alaska.edu>, fsgab@ix.acf-lab.alaska.edu (Grant A Beaugard) writes:
>What about near-new, unscratched CDs which skip?
>
>I've noticed that some of my european import CDs, especially ones from  
>small record labels, skip on some finicky players.  I have domestic CDs,  
>some of which are pretty well scratched up, and they seem to work fine on  
>the same players... 
>Of course, some of my domestic CDs skip too, and they aren't scratched.
>
>Is this an error in encoding? A slightly different type of encoding?  
>Error-correction errors? Enquiring minds want to know.

Is there any relation to total running time? I think you might find that a lot 
of the imports are quite long (70 minutes+) and that some players have 
difficulty tracking these CD's.

Bob