HDTenEightyP/NetNews huggingface dataset:
From: michi@ptcburp.ptcbu.oz.au (Michael Henning)
Newsgroups: rec.audio.high-end
Subject: Re: Cassette Tapes Most Digestable by Nak Dragon
Date: Wed, 11 Nov 1992 23:38:24 GMT
Organization: Pyramid Technology Corporation
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aa543@cleveland.Freenet.Edu (Thom Boughton) writes:

>In a previous article, robo@quantum.qnx.com (Rob Oakley) says:

>>
>>Having said all that, does anyone have a brand/formulation
>>favourite that they have found particularly effective in
>>Dragon?
>>

>The best tape I have found to date is TDK MA-XG.  Can't really tell you
>if it is due to the better shell construction or the tape formulation itself,
>but there isn't another tape on the market which sound s ANYWHERE near it.

I use TDK MA-XG and TDK MA-X tapes in my Dragon. They are the best ones I
have been able to find. Coincidentally, Nakamichi brand tapes are actually
TDK tape material that is repackaged. So it shouldn't be a surprise that
TDK tapes sound very good on Nakamichi machines, since they are the
company standard tape.

As for the sound difference between MA-XG and MA-X tapes, as far as I can
tell, there is none. Both tapes actually use identical tape material,
only the case is different. I have listened to both with Stax Lambda
head phones, and could not find a difference. Whether the better case
of the MA-XG is worth the extra dollars, you have to decide for yourself.
It is certainly very solid, and it feels like it will last a thousand years.
However, I don't think it has any influence on sound quality (at least not
in a Dragon).

Another tape I can recommend for the Dragon is the TDK SA-X. It is not
quite as good as the MA-X, but you will only hear the difference with
extremely critical material, and even then, probably only when using good
headphones. The SA-X has a very slightly higher noise floor, does not
reproduce the very high end quite as clearly, and the dynamic range is
slightly lower. I find that I use SA-X for most recordings, and MA-X
only for music that has extreme dynamic range, and a lot of very quiet
passages.

							Michi.

PS: I believe that TDK have stopped making the MA-XG. It has been replaced by
    a new-look tape, even more expensive. A friend of mine bought some
    of these a year ago, and we compared them to the MA-XG on his CR-5.
    We couldn't hear any difference...  At any rate, any MA-XG tapes you
    buy now are old stock, and the supply will gradually dry out.

-- 
      -m------- Michael Henning                 +61 75 950255
    ---mmm----- Pyramid Technology              +61 75 722475 FAX
  -----mmmmm--- Research Park, Bond University  michi@ptcburp.ptcbu.oz.au
-------mmmmmmm- Gold Coast, Q 4229, AUSTRALIA   uunet!munnari!ptcburp.oz!michi
From: deanaj@elec.canterbury.ac.nz (A. J. Dean)
Newsgroups: rec.audio.high-end
Subject: Re: Why digitize: some bunk
Date: 12 Nov 1992 03:18:48 +0000 (GMT)
Organization: Electrical Engineering, University of Canterbury, New Zealand
 <01GR2JMNWOGG8ZHZVV@csc.canterbury.ac.nz>; Thu, 12 Nov 1992 16:18:54 +1300
 12 Nov 92 16:18:50 NZD
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Paul A. Lane (palane@iastate.edu) wrote:
: I think that you're a bit off-base here. The term analog is being used in
: two different ways. With reference to analog vs. digital, the term refers
: to a signal which has unlimited variability within a given range. 

A digital signal can also have unlimited variability within its range as
well. Consider the limiting case of a 1 bit (discrete time) signal. If you
quantise your original source with the digital threshold varying randomly
(by say adding analog noise) you get an infinte resolution representation of
your original signal. To get infinite resolution of your playback signal,
you could do the same thing (though digital systems don't usually do this).
I may be wrong, but you don't lose ANY resolution, all that suffers is the
noise level (quite horribly in this case!) and the spectral position of this
noise. Note that the original signal is still there with all its resolution,
even if it is buried in noise and both are subject to the problems of
sampling. As noise is an acceptable part of 'analogue' signals, I don't see
the difference. (well, I do, but I don't accept it just yet.) 

Antony
From: hafner@ifi.unizh.ch (Michel Hafner)
Newsgroups: rec.audio.high-end
Subject: Re: DAT is King of Audiophile Digital Recording
Date: Thu, 5 Nov 92 15:10:01 GMT
Organization: University of Zurich, Department of Computer Science
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Originator: tjk@csd4.csd.uwm.edu

In article <1db95hINN8m0@uwm.edu> bilver!bill@peora.sdc.ccur.com (Bill Vermillion) writes:
>What was not mentioned is that Mix did one better.   Their critical
>measurements were made by recording engineers who were intimately
>familiar with the music and made their judgement on how it sounded.
>
>And it was NOT 10 digital copies, but 20 ANALOG generations.  In the
>end - there was a slight difference between the 20th generation analog
>and first generation digital.    The consensus was that it did sound
>'different' - but nothing anyone could pinpoint in the listening tests.
>And the real kicker was that the audience was about evenly divided.
>Some prefered the digital original while other preferd the copy. 

You must be kidding. If these people listened to a 20th generation analogue
tape and found the difference to the digital master to be slight, there are
only a few possibilities:

- they have very bad hearing
- they used very low playback volumes
- they used a very unrevealing kind of music 
- they used very unrevealing playback equipment
- combinations of the above
									M.H.
From: Bill Luciw <luciw@apple.com>
Newsgroups: rec.audio.high-end
Subject: Re: Why digitize: some bunk
Date: Wed, 11 Nov 1992 19:21:46 GMT
Organization: Apple Computer, Inc.
	for
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

There seems to be something missing from this thread that I'd like to
briefly touch on: namely psychoacoustic phenomena.   I get the impression
that we're treating human hearing as though it can be done with simple
transducers as ear replacements.  Hearing is a complex
neuro-electro-mechanical phenomena which is only *roughly* modeled as
simple transfer functions.  So when somebody says they can hear a
difference that theoretically should be insignificant or maybe even
'inaudible', perhaps it would be wise to give them the benefit of the
doubt and realize that hearing is very much a personal experience. 
Additionally, it would be interesting to get opinions from folks who
actually try to apply psychoacoustic principles in products, since by no
means am I sufficiently versed in the subject.

The digital vs. analogue debate will doubtless rage on, but in the final
analysis, hearing is in your head, not the 'experts' ...

Just adding gasoline to the fire ... ;-)

-- Bill

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Bill Luciw                      Voice: (408) 974-3845
Newton Products Group           Fax:   (408) 974-1794
Apple Computer, Inc.    
10300 Bubb Rd.  MS: 50-B        AppleLink:  Luciw
Cupertino, CA 95014             Internet:   luciw@apple.com

"Imagination is more important than knowledge."
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: koller@roma.berkeley.edu (Dieter Koller)
Newsgroups: rec.audio.high-end
Subject: Antique Audio Equipment
Date: Thu, 12 Nov 1992 23:28:09 GMT
Organization: International Computer Science Institute, Berkeley
Reply-To: koller@roma.berkeley.edu (Dieter Koller)
NNTP-Posting-Host: 129.89.7.4
Keywords: Western Electric, Altec
Originator: tjk@csd4.csd.uwm.edu

Hi all:

I think the design of stereo equipment is driven by two philosophies:

1. Design loudspeaker systems, in which disturbing frequencies
   (peaks and maxima in the the frequency spectrum) are *reduced* 
   at a cost of low efficiency (80-90dB). The result is that you
   have to use large amplifier to drive them. As well known, large
   and powerful amplifier are difficult to design.
   The sound of those (mid-price ca. $5000) loudspeaker - amplifier
   combinations is squeezed and not naturally.

2. The second philosophy is not to *reduce* disturbing frequencies
   in the spectrum of a loudspeaker but to use a more sophisticated
   design in the loudspeakers chassis etc., in order to "physically"
   amplify the "weak" frequencies. The result can be a loudspeaker
   with a efficiency of about 100dB and more. Some of those loudspeakers
   are well designed horn systems. In this way you can
   use moderate and small amplifier (even less than 3 Watt) in order
   to get a very natural and airy sound. The reason is that you can
   design low power amplifier with a very few number of parts.
   
At the beginning in the design stereo amplification, people are forced
to use their skill in a very sophisticated design of loudspeakers with
a very high efficiency, because the available tube amplifiers didn't 
provide the necessary power to drive a low efficiency loudspeaker.
Nowerdays, since powerful amplifiers are avaliable, the knowledge about
the design of loudspeaker seems to be lost and most of the available
loudspeaker are of low efficiency.

Some people pursue the old philosophy and listen preferable
to such antique audio equipment. I listened to some components
and I'am convienced that you have to spend quite a lot of money in order
to buy a comparable (modern) system.

But this is my opinion. 
What do you think about antique audio equipment?
What is your experience?


BTW, I'am looking for the following components:

Loudspeakers:
    Western Electric / Altec: 755 A, 288, 286 
Amplifier:
    Marantz 8B, Brook

If someone of you sell one of those components or knows somebody who sells
or knows a store where these components are sold, please drop me email.

Thanks.

 - dieter
From: Andrew Ball <FCTY7402@RyeVm.Ryerson.Ca>
Newsgroups: rec.audio.high-end
Subject: Dynaco PAT-4 mods
Date: Thursday, 12 Nov 1992 20:58:52 EST
Organization: Ryerson Polytechnical Institute
Distribution: na
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

I have recently come into possession of a Dynaco PAT-4 pre-amplifier.
I am interested in hearing from those of you who may be able to suggest
modifications to enhance the PAT-4's sound and performance.

I am considering replacing the stock volume pot with an ALPS substitute
and cha nging the internal wiring (of which there is a plethora, all
point-to-point), t o something a little better.

Other possibilities include substituting better caps throughout,
replacing the cheezy(TM) RCA connectors and installing a Corcom RFI
filter at the AC input.

If you feel that this is a worthwhile endeavour, I welcome additional
suggestio ns.  If not, just tell me to buy something better.

Thanks for your time & advice.

======================================
Andrew Ball
fcty7402@ryevm.ryerson.ca
aball@acsserv1.ryerson.ca
From: hsu@ecf.toronto.edu (HSU TITUS HENG-HSUEH)
Newsgroups: rec.audio.high-end
Subject: Re: opinions on Acoustat
Date: Mon, 9 Nov 1992 22:52:52 GMT
Organization: University of Toronto, Engineering Computing Facility
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

In article <1dlq8hINNjtm@uwm.edu> TYE@VM1.NoDak.EDU writes:
>
>What do you think of Acoustat?  From what I've heard of the Spectra 33's,
>they sound superb, far better than $10k Apogee's (and cost "only" $3k).

I really wonder...I have lived with a pair of Apogee Stages for the past
two years, and what I found is that this pair of speakers are EXTREMELY 
picky. Even after 2 years, I still find that you can always do better if
fine-tune the environment a bit.  I still haven't finished tweaking the
set-up even after two years.  And this pair of speaker is supposed to be
not quite as picky as its bigger brothers.  It seems that it is rare to
come by a pair of properly set-up Apogees, and having the speakers off
by a few degrees or so could just shoot the sound to hell.
From: dionf@ere.umontreal.ca (Francois Dion)
Newsgroups: rec.audio.high-end
Subject: Re: PCM vs DAT?
Date: Wed, 4 Nov 1992 23:11:55 GMT
Organization: Universite de Montreal
  (920330.SGI/IDA-1.4.3 for uunet!rec-audio-high-end); Wed, 4 Nov 92 23:12:00 GMT
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

In article <1d5v3jINNbfe@uwm.edu> winalski@adserv.enet.dec.com (Paul S. Winalski) writes:
>(1) What do you consider "extremely expensive"?  120-minute DATs can be got for
>under US$ 8 each these days.

The rare places i have seen them here, they sell at 20$ CDN (don't remember if
it was 120 minutes. Metal type audio cassette by Maxell are 3.99$. Regular video
cassette by Sony are 2.50$. Real super vhs are more like 10$.

The entry level DAT machine is 899$ in the few stores that have them. Don't
even think about pro DATs... I have no idea what price the PCM are retailing,
but someone told me that in japan some VHS have a PCM mode that records 24
hours of 16 bit 48Khz on a T120. A PCM module can be connected to any VCR and
will record 48Khz 16 bit 8 hours on a T160. Even if you buy the super vhs
type, it's still a lot cheaper than DAT.

>(2) The law that mandates Serial Copy Management System (SCMS) in DAT recorders
>applies to all forms of digital recording.  New PCM encoders for VCRs will have
>to comply.  (This law passed Congress--does anybody know if Bush has signed it
>yet?)

This law doesn't apply in Canada i think. Anyway, i wanted to know what would
be better for me between DAT and PCM. The only tapes that will go out of my
house are analog Metal from my TEAC, since i do not know anybody with a DAT
with the exception of studios and some radio stations, and some musicians. All
of them who probably don't want a copy of my radio show... 8)
The big advandtage of PCM is the running cost, length of recording and, for now
, no copy flag. I plan on purchasing an AES whatever interface for my computer
so i'll be able to copy some chunks from CDs (my CDROm doesn't permit that),
the PCM and once the final recording is digitally mastered, resent on the PCM.
At the station, i'll be able to transfer that to DAT if i want, so i guess
i'm covered...
Ciao,
--
Francois Dion
    '  _   _   _ 
 CISM (_) (_)  _) FM       Montreal , Canada       Email: CISM@ERE.UMontreal.CA
      (_)  / . _)             10000 Watts          Telephone no: (514) 343-7511
_______________________________________________________________________________
Audio-C-DJ-Fractals-Future-Label-Multimedia-Music-Radio-Rave-Video-VR-Volvo-...
From: TYE@VM1.NoDak.EDU
Newsgroups: rec.audio.high-end
Subject: Re: Ordering CDs via Internet
Date: Tue, 10 Nov 1992 22:00:40 CST
Organization: North Dakota Higher Education Computer Network
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   with BSMTP id 4136; Tue, 10 Nov 92 22:11:41 CST
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On 6 Nov 92 MWW%TNTECH.bitnet@CUNYVM.CUNY.EDU (Michael W. Wheeler) writes

>I called a CD warehouse (can't remember the name off the top of my head)
>via modem. They had this great database where you could search by artist

It might have been Noteworthy.  Their database is also accessible via
GEnie (General Electric info. service) as part of the "free" GEnie*Basic
(unlimited non-primetime for $4.95/mo.).  I ordered from them -- good outfit,
really cheap prices, not very broad selection of classical (mostly
mainstream stuff), lots of other stuff that I'm not interested in, a few
interesting non-mainstream things like Tibetan Gyoto Monk chants.

>of the places it mentioned was the Internet. They didn't say anything about
>whether they were reachable via the internet or not. So... does anyone know
>if there is such a critter on the Internet and if so what the address is?

Sorry, I don't.  GEnie is local access is most metropolitan areas (but
not where I'm living now so I no longer subscribe :-( ).  I'm pretty
sure Noteworthy is non-Internet; I seem to remember them also offering
some kind of special software -- pay a small fee, get their entire catalog
on floppy disk (plus a program to catalog your own music), then call their
BBS just to order and download updates.

--Marcus.
From: robo@quantum.qnx.com (Rob Oakley)
Newsgroups: rec.audio.high-end
Subject: Cassette Tapes Most Digestable by Nak Dragon
Date: Thu, 5 Nov 1992 22:56:00 -0500
Organization: Quantum Software Systems
Distribution: world
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Originator: tjk@csd4.csd.uwm.edu

I have owned a Nakamichi Dragon for several years now and
have experimented with various cassette tape formulations
and manufacturers.

Because the Dragon offers variable bias and level settings,
practically any cassette can be pushed to its maximum.

Having said all that, does anyone have a brand/formulation
favourite that they have found particularly effective in
Dragon?
From: gt0213c@prism.gatech.edu (LENAKOS,JASON GEORGE)
Newsgroups: rec.audio.high-end
Subject: Re: System on a budget- with a tough twist
Date: 4 Nov 92 23:05:14 GMT
Organization: Georgia Institute of Technology
NNTP-Posting-Host: 129.89.7.4
Keywords: voltage conversion
Originator: tjk@csd4.csd.uwm.edu


Let me make a suggestion: Rather than change the components, change
the power source.  That is, I don't see why it isn't possible to
put a  "voltage reduction" device between the components and the wall
outlet.  The only audible  problem I can think of off the top of my head
would be noise in the line from such a device. Given the audio grade
line conditioners out there I don't see why such a device can't be
constructed.  However, I haven't had the luxury of coping with such
a problem......

As far as budget system suggestions, I think the Rotel is right
on target for CD.  Fitting a mutlisource system, especially with a 
reel to reel, in $3k is going to be tough.  Your friend may want to consider
Magnum Dynalab's Ft11, which at a used price will be considerably 
less than the Ft101.  BTW, the FT101A does not have voltage switching
capability, either.  As for speakers, there is a surpisingly good market
of used Vandersteens.  These should satisfy your friend's musical tastes.
Powered by used Acurus they should sound alright and still fit the budget.
As for a preamp I'm not sure...Maybe B&K.  I have no idea concerning
the purchase of a reel to reel machine, except that it will probably run
more money typically than any of the other sources.  Some Audio Quest
cabling will work fine with the above.  Good luck!

 
-- 
Jason Lenakos          		   |  "I began to realize that there might be 
Georgia Tech Aerospace		   |   something after all to Newton's Laws"
Internet: gt0213c@prism.gatech.edu |        Robert H. Goddard,  1902
From: chowkwan@alumni.cco.caltech.edu (Raymond Maihin Chowkwanyun)
Newsgroups: rec.audio.high-end
Subject: Hum Problem
Date: Tue, 10 Nov 92 19:33:43 PST
Organization: University of Wisconsin - Milwaukee
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu


This is in response to redfreak@ecn's hum problem with his phono:

0) Turn off your CD.

1) Try floating everything except your pre-amp.  ie only the
pre-amp is grounded, all is ungrounded, use cheaters if necessary.

2) Take a ferrite core and wind your phono interconnect around it.
4 loops should do it.  Push the wire through the hole and round
the metal.  Try to have the first loop be 180 degrees away from
the last loop.  Space the loops as equidistantly as you can.

If you can't find a ferrite core, TDK makes a noise suppressor.
You can loop the interconnect once and attach the TDK gizmo to it.

3) Fashion some power cords out of 10ga solid core wire.  Twist the
wire.

4) Borrow a power wedge to plug your stuff in and see if that makes
the hum go away.  

These solutions are listed in rising expense order.  

-- ray
From: geiger@cae.wisc.edu (Joey Geiger)
Newsgroups: rec.audio.high-end
Subject: Speaker Cable
Date: Mon, 9 Nov 92 01:21:25 cst
Organization: U of Wisconsin-Madison College of Engineering
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

  I have a question about speaker wire, and the effect of it
on sound reproduction, and amplifier heating.

With my current speakers (Cambridge SW Ensamble) and reciever
(Sony 1090), would purchasing good cable (suggestions) produce
a noticible audio improvement?

Currently, my reciever becomes EXTREMELY hot when it is played
for a time (30-40 mins) at a high, but still within limits volume.
Would new speaker cable have any effect on this?

Finally, can anyone give me their opinion of the Harman/Kardon
AVR/30. (Is it good, and what would be a good price for it?)
From: widener!rnd.stern.nyu.edu!sbhattac@cmcl2.NYU.EDU (Shankar Bhattacharyya)
Newsgroups: rec.audio.high-end
Subject: Re: Small Value Film Caps
Date: 6 Nov 92 04:56:13 GMT
Organization: NYU Stern School of Business
  (5.65c/Widener-4.2 for cmcl2!rec-audio-high-end); Fri, 6 Nov 1992 00:01:10 -0500
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu


In article <1db92sINN8lb@uwm.edu> kludge@grissom.larc.nasa.gov (Scott Dorsey) writes:

>I am looking for extremely small film capacitors (in the 100-1000 pF range)
>for use in stabilizing feedback loops in power amps.  I don't want to use
>the standard ceramic caps because I have had difficulties in the past with
>small amounts of distortion and microphonics caused by piezoelectric effects.
>Unfortunately, no very small film caps seem to be made, and I don't want to
>string a number in series to reduce the value.  Has anyone out there ever
>seen such creatures for sale?  Polypropylene or polyester would be fine, to
>start out with anyway.

Old Colony sells some. The Borbely power amp designs use some.

However, for a much wider selection, try :

Precision Audio Supply
Box 96
Downey, CA 90241

213-869-6804

10 am to 4 pm PST (closed Wednesdays)

PAS is a small operation, possibly out of someone's garage. They sell
assorted parts for builders, pots and tube sockets and such, but the
interesting thing is that they have an extremely good range of small
value film caps,  from 4.7 pF on up. The capacitors are from Siemens,
Reliable Capacitor, and so on. The very small ones are mostly polystyrenes.
They have 1% and 2% caps, and will supply matched pairs for not a whole lot
more.

Prices are pretty reasonable, though they have a $30 minimum. That's not
hard to reach, of course.

You could have a good bit of trouble getting a price list from them. They
mail them out at irregular intervals. The last time I spoke to them they
said they would get the list out to me at some point, but allowed as how
they had about as much business as they wanted, and were not planning a
mailing any time soon, but would be happy to send me a flyer whenever they
got around to it.

I have ordered from them on a few occasions. Service was quite reasonably
prompt. I have no complaints at all. They are a mite laid back, but they
are in California and all .........

- Shankar