HDTenEightyP/NetNews huggingface dataset:
Organization: Stanford Linear Accelerator Center
Date: Tuesday, 15 Dec 1992 00:31:17 PST
From: Youngjoon Kwon     (415)926-2761 <YKWON@SLACVM.SLAC.STANFORD.EDU>
Newsgroups: rec.audio
Subject: Re: Magneplanars again...from he who wishes to know.
 <1992Dec14.210404.962@cmkrnl.com>

>(Also I got a little tired of a "sweet spot" that was only about 2" wide.)

Sure, that's why I never consider buying ribbon speakers.
I don't want to become a slave to the machine that I bought with
my hard-earned cash.  :-)
(translated; I don't want to restrict myself to the small space of
so-called "sweet-spot" to enjoy music.)  I usualy go to live concerts
(symphony, opera) if I have a few hours of free time to devote
myself to just enjoying music.  In most cases, that's much better.
Although I love classical musics very much, I listen to music at home
just to relax and forget about all the restrictions in the outside world.
Certainly, binding myself to the sweet-spot doesn't relax me at all.

-Youngjoon
Newsgroups: rec.audio
From: RYNA10@waccvm.corp.mot.com (Jay Kopycinski)
Subject: AMP FOR SALE,CHEAP,NEEDS WORK
Organization: Motorola
Date: 15 Dec 1992 16:00:26 MST

FOR SALE:  Kenwood Basic M1 component amp (220watts per channel)
(needs work......blows fuses.....)

$50 + shipping

If interested, call Jay at 602-981-8941.  (I don't have email capabilty)

Newsgroups: rec.audio
From: surtij2@aix.rpi.edu (Johan Surtihadi)
Subject: Comments on Hafler SE100 preamp
Organization: Rensselaer Polytechnic Institute, Troy NY
Distribution: na
Date: Fri, 18 Dec 1992 17:01:49 GMT

Hi,
Does anyone have some experience with Hafler SE100 preamp? Is it a good
preamp? I know that Hafler does not make this model anymore. How much
is a used unit (~2 years old) worth?
Thanks.
.
Organization: North Dakota Higher Education Computer Network
Date: Thu, 17 Dec 1992 20:41:40 CST
From: <KANTOLA@NDSUVM1.BITNET>
Newsgroups: rec.audio
Subject: Help with shelf system

I bought an Aiwa NSX350M shelf system about a couple of months ago.  I really
like the sound but would like a little extra bass.  I've looked at the Advent
mini subwoofer and a Cerwin Vega subwoofer (both under $200).  Does anybody
know if this would be a good idea.  The subwoofers are non-powered and my
system puts out 30 watts a channel.  Also, it has a cheap surround sound
system that uses 16 ohm speakers.  Should I buy 16 ohm speakers (which I can't
find anywhere yet) or should I just get powered speakers and put up with the
buzz.  I hooked my boom box up and, although it's not exactly dolby surround,
it makes movies sound a hell of a lot better.  Thanks in advance.

Keith (KANTOLA@VM1.NODAK.EDU)
Newsgroups: rec.audio
From: dsblack@iastate.edu (Vilkata TDK)
Subject: Re: CDs and cars
Organization: Iowa State University, Ames IA
Date: Wed, 16 Dec 1992 16:03:29 GMT

In <1gm1q7INNjev@charnel.ecst.csuchico.edu> msiegall@OAVAX.CSUCHICO.EDU (MARC SIEGALL) writes:

>I have an in-dash CD player, and was wondering if anyone had answers to
>these two questions:

>I keep some discs in my car (in a holder).  Do I need to worry about
>the outside temperature?  How do near freezing temps affect CDs, even
>if they are in velvet lined pockets?

I don't think it matters much, if any.  The biggest problem I ever had with
the cold was last winter, when the CD's I left in my car fogged over.  In fact,
the lens on my portable (I now have an in-dash) fogged over, too.  Basically,
they wouldn't play until everything defrosted.

>If I'm playing a disc and turn the car off, the CD stays in the player.
>When I start the car again, the player picks up right where it let off.
>My tape deck automatically ejects tapes when the deck is turned off.
>Should I be sure to remove my discs before turning off the car, or are
>they OK in the deck?  

Not sure, but I would assume they're safe.
-- 
-------------------------------------------------------------------------------
|    V I L K A T A     T . D . K .         ------dsblack@iastate.edu------    |
|         If you know what my name refers to, email me!  I forgot!            |
-------------------------------------------------------------------------------
From: winalski@adserv.enet.dec.com (Paul S. Winalski)
Newsgroups: rec.audio
Subject: Re: Digital-to-Digital copying
Date: 15 Dec 92 20:03:36 GMT
Reply-To: winalski@adserv.enet.dec.com (Paul S. Winalski)
Organization: Digital Equipment Corporation, Nashua NH


In article <1735@rwja.umdnj.edu>, johe@njmsa.umdnj.edu (Rene Johe) writes:
|>
|>Ok. So even Sony's new MD doesn't make digital copies. Does this upset me?
|>
|>
|>HELL YES!
|>
|>Is there any way of (legally) getting a pure digital copy off MD, DAT, or
|>DCC? Can I LEGALLY open up the case and change the wiring? How would this be
|>done?

As long as you don't interfere with the operation of SCMS, you can do what you
wish.

--PSW
Newsgroups: rec.audio,rec.video
From: leejun@stable.ecn.purdue.edu (Jun H Lee)
Subject: Any Recommandations for Subwoofer around $300?
Organization: Purdue University Engineering Computer Network
Distribution: na
Date: Sun, 13 Dec 1992 10:53:18 GMT

Could anyone recommand nice subwoofer for around $300?

Thanks alot...
Newsgroups: rec.audio
From: owen@emds.enet.dec.com (Steve Owen)
Subject: Re: Kenwood A/V receivers
Organisation: Digital Equipment Corporation, Maynard MA
Organization: Digital Equipment Corp.
Date: Thu, 17 Dec 1992 21:13:28 GMT


In article <1992Dec17.172255.1643@Virginia.EDU>, slr3e@Virginia.EDU ("Stacy Lee Roach") writes...
>I have the opportunity to buy a new Kenwood-8030 A/V Receiver
>( last years model ) for $300.  It has 120 watts x 2, Dolby
>Pro-Logic, and .06 THD to list a few features.  I was more 
>interested in getting a higher end integrated amp or separates 
>a little later, however this seems like a pretty good deal.  
>I would appreciate a response from anyone who owns a Kenwood 
>receiver or knows much about them as soon as you can.  I'd 
>mainly like to know how Kenwood compares with some of the higher 
>end receivers on the market.
>					slr3e.Virginia.edu

Personally, I gave up on receivers and went to seperates.... MUCH better 
sound... but if you're going to go the receiver route, I can't think of a 
better cost/performance company than Kenwood.  

Sony, Panasonic, and others seem to fill up their receivers with tons of gizmos 
(like built in equalizers, etc), but Kenwood actually eliminates some of those 
features in exchange for slightly better sound and better build quality.

$300 seems reasonable for that receiver... I think it was somewhere around $450 
list.

Later...
Steve


Newsgroups: rec.audio
From: RYNA10@waccvm.corp.mot.com (Jay Kopycinski)
Subject: LOTS FOR SALE
Organization: Motorola
Date: 11 Dec 1992 11:20:39 MST

I HAVE THE FOLLOWING FOR SALE.  ALL IN GREAT SHAPE AND I HAVE MANUALS
AND ORIGINAL PACKAGING FOR MOST:

1) CARVER C-4000 PREAMP (sonic holography, auto correlation, peak limiter
circuitry, surround sound processor and rear/center channel amplifiers,
etc.)  $390

2) PHASE LINEAR 400 AMP (200 watts per channel, VU meters)  $250

3) KENWOOD KT-8300 TUNER (analog)  $60

4) KENWOOD KR-4070 RECEIVER (40 watts per channel) $75

5) TOSHIBA F15B DIGITAL TUNER (high end) $100

6) TOSHIBA C15B PREAMP (high end) $100

******* IF YOU DON'T LIKE THE PRICE, MAKE AN OFFER...WE CAN TALK. ****

For more info please call Jay @ 602-981-8941.  If not home, please leave
message.


Newsgroups: rec.audio
From: winalski@adserv.enet.dec.com (Paul S. Winalski)
Subject: Re: Mobile Fidelity....
Reply-To: winalski@adserv.enet.dec.com (Paul S. Winalski)
Organization: Digital Equipment Corporation, Nashua NH
Date: Sat, 12 Dec 1992 21:02:33 GMT


In article <1992Dec11.223240.3067@holos0.uucp>,
lbr@holos0.uucp (Len Reed) writes:

[regarding MFSL gold discs]
|>
|>Anyway, no one has offered any reason to believe that gold discs would
|>produce fewer raw errors, perhaps leading to fewer uncorrectable errors.
|>Since disc players are made with aluminum discs in mind, it seems likely
|>that gold discs would be no better, and perhaps worse, than aluminum ones.
|>It reminds me of those idiot CD rings that add mass to the discs: they
|>only reason they don't break players or make for more errors is that there's
|>enough tolerance in the players that they aren't adversely affected.
|>I suspect gold discs are the same.
|>

The claim is that, since gold is a more malleable material than aluminum,
the gold foil will adhere more closely and more smoothly to the pits in the
CD, thus providing a better surface to be read by the laser, and reducing the
number of read errors.  As far as I know, nobody has ever conducted experiments
to test this hypothesis.  I noticed that MFSL has stopped making this claim
in their packaging of Ultradiscs.  I think maybe the Federal Trade Commission
got after them and told them to either back up the claim with facts or to stop
making it.

For both CD rings and gold plating, another claim that has been made by their
proponents is that, although the error correction logic may correct any read
errors, the invocation of this circuitry leads to second-order jitter effects
in the power supply of the CD player, effects that are picked up by the DAC
and analog components of the player and that result in audible distortion.
Once again, there haven't been any properly conducted studies to determine
the validity of the claim.

--PSW
Newsgroups: rec.audio
From: drkhoe@nmt.edu (ONID)
Subject: Re: Hopefully New MD Questions
Organization: New Mexico Tech
Distribution: rec.audio
Date: Thu, 10 Dec 1992 23:35:01 GMT


In order to tell significant differences between MD and DCC versus CD, the
best way to do this would be to do the double-blind test.  Listen to both
sources blindfolded and you will hear differences between MD/DCC and CD...

MD and DCC is not mean't to be a professional digital format... this is
intrinsic in it's ATRAC/PASC encoding methods which is basically
analog sound wave compression into digital format (not a digital compression
mind you...)...  It is mean't for the consumer to have nice digital
recording capabilities.  

If you want pure digital CD recording you could go out and buy yourself
a mega-buck Marantz or Denon CDR (Compact Disc Recorders) with blank discs
ranging anywhere from 50-100 dollars...

According to Audio magazine, CDR's made by the consumer actually sound
better than pre-manufactured CD's because of more significant "pits" which
are a result of the better laser heat in the CDR.  This in turn reduces
overall block errors while reading the CD...

I don't know if anyone consideres a CD a professional format, but the 
techniques used to record one certainly are...
There is no compression of the dynamic range or frequency response while
the resolution is probably the best you can get out of digital sampling.

A new digital recorder developed by Sony for professional recordings includes
the new 20-bit sampler which outputs an even higher quality due to the
extended bit range allowing for more bits per dynamic response...

-- 
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Computers are bad for you, they cause brain cavities... Even Crest can't help!
"Shouryuken" - Ryu | The piper has lost his way... the mice have ran away!
%%%%%%%%%%%%%%%%%%%%%%%%%%%%---drkhoe@nmt.edu---%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Newsgroups: rec.audio
From: joe@avs.com (Joe Peterson)
Subject: MiniDisk seems to be cool
Organization: Advanced Visual Systems Inc.
X-Newsreader: TIN [version 1.1 PL6]
Date: Tue, 15 Dec 1992 14:46:27 GMT


Being a very critical listener, I was a little bummed about the idea of
data compression being used in the new MiniDisk.  That "bit-for-bit"
integrity that anything digital has is very pleasing, and when you think
about "lossy" digital processing, it seems to undermine the benefits.

However, I am starting to rethink these ideas.  Although I agree that
lossy compression is a bad thing if you want the absolute best quality and
reproduction you can get, I see some really exciting possibilities for MD.
For those of you who have used the JPEG digital image compression stuff, you
know that the quality can be so close to the original that the compression
advantage is welcomed.  I used to hate the idea of JPEG because it was
lossy and bothered my idealistic way of thinking.  In procatice, however,
I really like using it.

I see MD as a replacement for analog cassettes for portible or mobil use.
I (like most people) make tapes of my favorite CDs and play them in the
car or at work, etc.  I find that cassettes are a pain!  They have to be
rewound, and (worse!) they degrade over very little time.  I have had to
re-record many cassettes because the very beginning of the tape starts to
lose its highs (in an up-and-down sine-wave kind of way).  Once this
happens, I can't stand to listen to the first song!  I assume some magnetic
field has gotten to the the tape and affected one side of the real, but it
is a drag.

I think using MD's on the road will be cool because they are more likely to
remain the same as the day you recorded them, and they are more compact.
Without the big case they come in, you could stack a bunch of them.

Admittedly, they are expensive now, but this will change.  I also think MD's
will be far superior for car use due to the non-skip memory, the outside
plastic sheath, and the fact that you can have a COPY for your car of the
music you want.

All in all, I don't think MD's are trying to be a CD replacement (as they
are not in sound quality).  I think, however, they can augment CD's (and
vinyl as well - just think - you can make MD's from your favorite vinyl and
then not worry about wearing down your vinyl too much!).

I'd say this about MD's: they are not perfect, but are exciting!

						Joe Peterson
						AVS, Inc.
						joe@avs.com
From: qazi@csd4.csd.uwm.edu (Aamir Hafeez Qazi)
Newsgroups: rec.audio
Subject: Re: Recomendations for walkman
Date: 21 Dec 1992 05:08:27 GMT
Organization: Computing Services Division, University of Wisconsin - Milwaukee
NNTP-Posting-Host: 129.89.7.4

In article <1992Dec20.180107.7872@en.ecn.purdue.edu> syd@en.ecn.purdue.edu (Dennis P Hilgenberg) writes:
>EILIF LIEN writes:
>
>>What I would do is: look for a brand that is known for their durability and 
>>quality (e.g. Sony or Aiwa) not for their fancy bass eq. or auto reverse. 
>		       ^^^^
>>You don't need anything but play, fast forward/backward and volume (and 
>>perhaps Dolby B). Auto reverse is wasted $ and makes the sound worse (loss 
>>of treble).
>
>Dolby is probably a waste on a portable given its sensitivity to azimuth
>alignment, which is too easily screwed up with all the jostling walkmans take.
>If you play a lot of commercially produced cassettes, Dolby may be unavoidable,
>but otherwise is probably more of a hassle than it's worth.  However, a
>"metal/normal" playback equalization switch is a nice thing to have.
>
>>Then, when you have got the walkman, you should align the azimuth to match 
>>the recorder to be used. This is easily done by recording some FM-hiss (or 
>>music if you don't have a tuner) and adjust the azimuth screw visible near 
>>the play head on the walkman. The azimuth is correct when you get most high 
>>frequencies.
>
>Unfortunately, as noted above, you'll have to do this altogether too often with
>a portable.  (And it'll never be right if it's an auto-reverse model.)


--I can testify to the azimuth problems on walkmans.  I have an Aiwa
  personal stereo that I paid $130 for.  It is just an ultracompact cassette
  player with Dolby B and C (the reason for which I bought it), autoreverse,
  (which I would definitely do without), and a rechargeable battery.  It 
  sounded superb when it was brand new, but after a while, the head 
  misalignment came into play, and I had a personal stereo that did not
  sound the same anymore.

  The build quality and sturdiness of the personal stereo is crucial.
  My sister has a Sony Walkman FX-75, I believe.  It is also an ultracompact
  cassette player with the same features, except it has just Dolby B and
  it had the MegaBass system, which I would do without.  However, hers
  is more sturdy than mine, and the decent sound quality is still there.

  The bottom line is that you should look at the build quality of the 
  walkman.  In my experience, it is a key factor in its sound quality, 
  especially in the longevity of it.

--Aamir Qazi
-- 

Aamir Qazi
qazi@csd4.csd.uwm.edu
--Why should I care?  I'd rather watch drying paint.
Newsgroups: rec.audio
From: gfl@herahera.cc.bellcore.com (lenahan,grant f)
Subject: Re: Class C amplifiers, says Mr. Pierce.
Organization: Bellcore, Livingston, NJ
Date: Thu, 17 Dec 92 15:31:44 GMT
Summary: warning for the humour impaired ...

> >   In a recent posting, Dick Pierce referred to Class C amplifiers.
> >
> >   I'm curious to know the brands and model numbers of some of the
> >more popular Class C audio amps.
> >
> >   Enquiringly yours...
> >
> >-Henry
> 
> What?  If I recall correctly, Mr Pierce said class C amps are NOT used
> for audio.
> 
> I worked on a class C amp in the military, it was an old tube type sonar
> transmitter with big 4PR60 tubes for the output stage.  The tubes were biased
> so high that only the top 1/3 of the waveform was amplified.  You could
> get away with this type of biasing since the amp was only designed to
> amplify a single frequency, 8KHz I think.
> 
> There is no way you can use a class C amp for audio, period.
> And why would you want to.


Oh no!  Someone took him seriously.
Stirring up trouble again, eh henry?

Grant
From: jj@alice.att.com (jj, curmudgeon and all-around grouch)
Newsgroups: rec.audio
Subject: Re: Specs. on CD players
Date: 14 Dec 92 19:11:26 GMT
Article-I.D.: alice.24409
Reply-To: jj@alice.UUCP (jj, curmudgeon and all-around grouch)
Organization: NJ State Home for Bewildered Terminals

In article <1992Dec11.213610.29760@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
>The specific technology used doesn't matter. What is important is how well 
>the technology is implemented. A Sanyo for $99 might use the same technology 
>as a Rotel for $500. Which do you suppose is the better implementation?
Careful now, they're just as likely to be the SAME as different.

That aside, any kind of DA convertor can be made to function well.
Some are harder to make work at a given price than others,
some easier.  The quality of the engineering of any specific
implementation is much more important than ANY "method" claim.
The "method" flak is looking for something to say that sounds
impressive.  It does convey some information, one hopes,
on the method used, but little if anything on how well
that method has been applied.

It seems that almost any engineering principle can be abused,
especially in the audio market.
-- 
Extremism *Copyright alice!jj 1992, all rights reserved, except transmission
   in the    *by USENET and like facilities granted.      Said permission is
  defense of     *granted only for complete copies that include this notice.
 liberty is no vice.  *Use on pay-for-read services specifically disallowed.
Newsgroups: rec.audio
From: joe@avs.com (Joe Peterson)
Subject: Re: I just tested DCC and MD...
Organization: Advanced Visual Systems Inc.
X-Newsreader: TIN [version 1.1 PL8]
Date: Wed, 16 Dec 1992 14:45:07 GMT

Bob Myers (myers@hpfcso.FC.HP.COM) wrote:
: > 	Ok.  i have some questions about these DCC and MD things.  Does MD
: > use a similar frequency domain compression algorithm or some other
: > unusual compression scheme?  Are the MD media enclosed in a cartridge or
: > bare like CDs?

: Enclosed.  They resemble a 3-1/2" floppy, right down to the little metal
: "sliding door."

Actually the little door is plastic...

						Joe Peterson
						joe@avs.com
Newsgroups: rec.audio
From: DPierce@world.std.com (Richard D Pierce)
Subject: Re: Mr. Pierce responds to Re: Class C amplifiers, says Mr. Pierce.
Organization: The World Public Access UNIX, Brookline, MA
Date: Fri, 18 Dec 1992 15:20:48 GMT

In article <41520@unix.SRI.COM> henry@monod.biol.mcgill.ca (Henry A. Pasternack) writes:
>   Dick Pierce writes:
>>No, no audio amplifier may have been designed as Class C, but if it's
>>SUPPOSED to be Class B, I'll bet you it runs Class C much of the time.
>   I think a lot of eyebrows went up when Dick referred to Class
>C audio amplifiers.  I know mine did.  Technically, an amp that
>wanders into an underbiased condition as Dick describes can be
>categorized as Class C.  But I would tend to refer instead to such
>an amplifier as a badly-designed Class B circuit.  Evidently, this
>was Dick's intent from the start.

I know this is probably not an appropriate attitude to adopt for this
newsgroup, but I, frankly, am more interested in reality then intent. The
intent may have been to operate as class B, but the reality is class C in
the cases I cited. If it looks like class C, sounds like class C, notches
like class C, it ain't class B, regardless of what the engineer intended.
Phase Linear's attempt to save money by biasing the amplifier so as to
reduce the thermal margins needed was a dumb idea. It was dumb in that it
led to a product which sounded bad (actually the amp had a host of
problems in addition to this one).

Can anyone confirm my memory that this generation of Phase Linear was Bob
Carver's handywork?

-- 
|                Dick Pierce                |
|    Loudspeaker and Software Consulting    |
| 17 Sartelle Street   Pepperell, MA  01463 |
|       (508) 433-9183 (Voice and FAX)      |
Newsgroups: rec.audio
From: strong@tc.fluke.COM (Norm Strong)
Subject: Re: ANY COMMENTS ON SONY TAPE RECORDER TC-K620
Organization: John Fluke Mfg. Co., Inc., Everett, WA
Date: Thu, 17 Dec 1992 14:57:15 GMT

In article <1992Dec16.004951.7056@iitmax.iit.edu> keivjam@elof.iit.edu (James Keivom) writes:
}
}I just got a sony tc-k620 stereo deck recorder and i wondered if anyone had
}any problems with it?  how different is it as compared to the sony tck-690?
}how is the frequency response?  does it have a remote?

I have 2 of them ($400/pr), and I'm quite happy with them.  My sole
bother is that the level indicator segments don't change color above the
Dolby level.  I bought them to make high quality dubs from a digital
recorder.  

The 690 has 2 mike inputs and dual capstan drive, if I'm not mistaken.


-- 

Norm Strong  (strong@tc.fluke.com)
2528 31st S.   Seattle WA 98144   USA
Newsgroups: rec.audio
From: lester@naomi.b23b.ingr.com (Les Bartel)
Subject: Re: Digital-to-Digital copying
Reply-To: lester@naomi.b23b.ingr.com
Organization: Intergraph Corporation
Date: Tue, 15 Dec 1992 19:43:45 GMT

In article <1992Dec15.150336.3695@porthos.cc.bellcore.com>, whs70@dancer.cc.bellcore.com (sohl,william h) writes:
|> 
|> The main goal of the federal laws was not so much the SCMS as it
|> is the establishment of royalty fees on blank DAT tapes and
|> DAT tape recorders (as well as other digital audio recording
|> media and equipment (DCC??,  MD???)

So this means that I can copy anything I want, without fear of prosecution,
right?  After all, I've paid the royalties by buying the blank tape.
Likewise, when I record my performance of the music I wrote, I should get
a portion of the royalties.

This royalty stuff can't be that stupid, can it?  What am I missing here?

By the way, how much is the royalty per tape (or however it is figured)?

 - les

-- 
Les Bartel			Look, I'll make a deal with you.
Intergraph Corporation		If you stop telling lies about me,
Electronics Division		I'll stop telling the truth about you.
lester@naomi.b23b.ingr.com
(205) 730-8537