HDTenEightyP/NetNews huggingface dataset:
From: gt3281c@prism.gatech.EDU (TABLER,JOHN ALEXANDER)
Newsgroups: rec.audio.pro
Subject: listening to the paint dry
Date: 23 Jul 92 18:35:18 GMT
Organization: Georgia Institute of Technology


>In article <1992Jul21.152510.14537@col.hp.com> friedman@col.hp.com (John Friedma
>n) writes:
>>calving@netcom.com (The Lindsay-Geyer Corp) writes:
>>> The Lindsay-Geyer Corporation is on line.
>>
>>Okay.  I'll bite.  What exactly is "The Lindsay-Geyer Corporation?"
>
>The maker of the World's best-sounding mic and other audio cables. 
>With our mic cable, it doesn't sound like PA anymore.
>It sounds like face-to-face.
>>
>>John Friedman
>>friedman@col.hp.com

   Great, we can all relax now.    

 Get real, the weak link in making it so that "it doesn't sound like PA anymore"
is almost never the mic cable or speaker cable.

   But if you want to spit in the ocean, well thats your bussiness...


Bye

John T.

.
Newsgroups: rec.audio.pro
From: tchannon@black.demon.co.uk (Tim Channon)
Subject: multitrack recordings of other than popular music 
Distribution: world
Organization: null
Date: Sat, 25 Jul 1992 00:47:59 +0000

> multiple microphones mixed live onto a 2-track DAT recorder.
> (Originally a Sony PCM-2500 with the antialiasing filters
> replaced by apogee filters, more recently a Sony PCM-2700.
> The mutual friend was the guy who ``moded'' the DAT).
> 
If the mics were good there should be some good aliasing on that recording. 

Which version of the Apogee was fitted?
The gentle ones appear to have just 2dB rejection @ 22050. (measured some 
while ago when I wanted to see what they actually did)

This is ok for making analog copies of  pre-digitised  stuff  recorded  at  a 
similar  sampling  rate provided that there is no hf leakage, but originating 
material is asking for trouble?

The 2700 is a quite different matter.

  TC. 
    E-mail: tchannon@black.demon.co.uk or tchannon@cix.compulink.co.uk
                                
Xref: sparky rec.audio.pro:1359 rec.music.makers:8604 rec.music.synth:12800
From: jrusby@darkwing.uoregon.edu (Jim T. Rusby)
Newsgroups: rec.audio.pro,rec.music.makers,rec.music.synth
Subject: Re: multitrack recordings of other than popular music
Date: 28 Jul 92 21:48:32 GMT
Organization: University of Oregon Network Services


Lets not forget the photo in the Neumann catalog.  They have what must be
the largest collection of Stereo Neumanns hung over an orchestra ever
photographed.  I wonder how many of them were actually being used?
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Soundproofing
Date: 28 Jul 92 23:56:59 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <nsc7kjs@zola.esd.sgi.com> cook@bebop.esd.sgi.com (Doug Cook) writes:
(text edited, thread=The use of sheetrock for wall covering in a sound
isolation room........)

>Except that sheetrock is a notoriously acoustically "live" surface;
>you'd also have to cover the inside of such a "room within a room"
>with carpet/foam/etc.

What I think you meant to say was that sheet rock is reflective, and I
would agree to that but the benefit of the mass (sheetrock) in sound
transmission reduction is invaluable.  Information revealed below will
help to reduce the percieved liveness of the sheetrock walls....

I did forget to put some valuable information into my post (which
strongly suggests the use of sheetrock....) was that the interior
dimensions of the room-in-a-room should follow good acoustical design
practice.

I suggest the purchase of F. Alton Everest's book "The Master Handbook
of Acoustics" The book gives practical sound proofing and isolation
suggestions, etc.

For the person interested in the formula for room dimensions:

	Height	Width	Length
A-	1.00	1.14	1.39
B-	1.00	1.28	1.54
C-	1.00	1.60	2.33

This information is reprinted without permission from the "Handbook
for Sound Engineers" and appears on page 51.

The ratios to room height suggested above will provide basic room
alinments that will have the axial modes interleaved and provide the
best balance of sound in the room.  These facts are true and useful
for listening rooms, studio tracking rooms, studio control rooms and
bathrooms that are to be used for overdubbing........
-- 
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,rec.music.makers,rec.music.synth
From: pkor@phoenix.oulu.fi (Pasi Korhonen)
Subject: Re: Tascam MDR-8
Organization: Ripoff Industries
X-Newsreader: Tin 1.1 PL4
Date: Thu, 23 Jul 92 10:34:37 GMT


>Just for the record, the first multitrack format (12-track) on video
>tape (8mm) was Akai's ADAM which has been available for something lik>e
>4 years. A 12-track system goes for something like $30,000>.
>I wonder how many of them were sold.

	I read from Studio Sound or something that there is over 600
	operating A-DAM systems, dunno how true this is.

	Pasi

--
Pasi Korhonen                                              pkor@phoenix.oulu.fi
Saaristonkatu 3 A 6                                 ar660@cleveland.freenet.edu
90100 Oulu		                                 pkorhone@nyx.cs.du.edu
981-377 811                                                   bronx/OuluBox,IRC
Newsgroups: rec.audio.pro
From: friedman@col.hp.com (John Friedman)
Subject: Re: The Lindsay-Geyer Corporation is online
Date: Tue, 21 Jul 1992 15:25:10 GMT
Organization: HP Colorado Springs Division

calving@netcom.com (The Lindsay-Geyer Corp) writes:
> The Lindsay-Geyer Corporation is on line.

Okay.  I'll bite.  What exactly is "The Lindsay-Geyer Corporation?"

John Friedman
friedman@col.hp.com
From: rxkand@minyos.xx.rmit.oz.au (Andrew Hall)
Newsgroups: rec.audio.pro
Subject: Re: listening to the paint dry
Date: 25 Jul 92 00:35:16 GMT
Organization: RMIT Computer Centre, Melbourne Australia.

gt3281c@prism.gatech.EDU (TABLER,JOHN ALEXANDER) writes:
>>
>>The maker of the World's best-sounding mic and other audio cables. 
>>With our mic cable, it doesn't sound like PA anymore.
>>It sounds like face-to-face.
> Get real, the weak link in making it so that "it doesn't sound like PA anymore"
>is almost never the mic cable or speaker cable.

>   But if you want to spit in the ocean, well thats your bussiness...





                                                        
  
      IF ANY ONE THINKS THAT BY CHANGING THEIR CABLES TO THIS DUDES
      BRAND IS GOING TO IMPROVE THEIR SOUND   LEARN TO MIX FIRST.
      
      OR WHAT WE COULD DO IS GIVE EVERYBODY IN THE ROOM HEADPHONES
      OOH! THATS SILLY THE H/PHONE LEADS WOULD GET TANGLED AT THE BAR
      OOH! THEN WE COULD ALL BE FACE-TO-FACE.
      OOH! THEN WE ALL WOULD BE FACE-
      OHH HANG ON THATS SILLY THEY WOULD 
-- 
          ------------------------------------------------------
	  |  Andrew Hall         rxkand@minyos.xx.rmit.oz.au   |
             -------------------------------------------------
          [                        I   I                       ]
          [                     I  I   I  I                    ]
          [            WAVERLEY I  I   I  I SAINTS             ]
          [                     I  I   I  I                    ]
          [                  "true and correct"                ]
          [____________________________________________________]
From: clive@mcdd1.uucp (Clive Backham)
Newsgroups: rec.audio.pro
Subject: Re: INFORMATION WANTED ON ARCHIVING RECORDINGS ON A LONG TERM BASIS
Date: 23 Jul 92 08:27:24 GMT
Organization: McDonnell Douglas,Hemel Hempstead,UK

In article <92204.111002EASHMAN@auvm.american.edu>, EASHMAN@auvm.american.edu (Eric Ashman) writes:
> Yamaha has just released a CD recorder which produces discs playable on
> standard CD players.  This allows you to library about 60 minutes of audio
> in a permanent state which shouldn't really go out of date.
> 
> Other companies will most likely be releasing the same sort of equipment in
> the coming months.  Reviews of this model seem to be quite good.  It costs
> $15,000 I believe.  Get the May issue of Mix Magazine for a complete review.

Meridian also produces such a machine. Its UK price is 4500 pounds
(about $8500 at current exchange rates). It's probably less of a
"professional" machine than the Yamaha, but then again Meridian do 
have a good reputation for making fine-sounding CD players.

If I remember correctly, a 74 minute blank recordable CD costs about
17 pounds in the UK ($32).

- Clive    (mcdd1.uucp!clive@uknet.uucp)
Newsgroups: rec.audio.pro
From: jay@cmn8.Stanford.EDU (Jay Kadis)
Subject: Re: 8mm vs VHS for digital multitrack was Re: Tascam MDR-8
Organization: DSO, Stanford University
Date: Fri, 24 Jul 92 17:12:49 GMT

Having recently purchased a Sony Hi-band 8mm camcorder, I've found that  
dropouts are significant in the 8mm format, even using the expensive  
evaporated metal cassettes.  My video friends agree that 8mm systems are  
more prone to dropout than S-VHS. Seems like more robust error correction  
must be involved to get them to work for audio.

Jay Kadis
jay@ccrma.stanford.edu  
Xref: sparky rec.audio.pro:1317 rec.music.makers:8461 rec.music.synth:12621
From: metlay@minerva.phyast.pitt.edu (metlay)
Newsgroups: rec.audio.pro,rec.music.makers,rec.music.synth
Subject: Re: Tascam MDR-8
Summary: Head formats and tape formats: why choices are made
Date: 23 Jul 92 13:38:11 GMT
Followup-To: rec.audio.pro
Organization: Atomic City

In article <1992Jul23.071259.6233@news.cs.brandeis.edu> jacob@max.cc.brandeis.edu ( ) writes:
>An unresolved question: what determines the choice of 8mm (Tascam, Akai)
>versus VHS (Alesis)?

I honestly have NO idea why Alesis picked VHS for the ADAT, other than
the fact that being a wider format the heads were easier to manufacture 
cheaply. That's a complete guess on my part; the fact is that 8mm is a
far superior medium all across the board.

>Obviously VHS is less expensive but I've heard that 8mm is technically
>superior, but that's at the level of a "rumour"... or thereabouts.

Nope, it's the truth. VHS tape transports haul the tape out of the 
machine and wrap it halfway around creation; 8mm is much gentler on
the tape. It's also more compact, more solid in terms of tape winding
and rewinding, and a commonly accepted standard for computer use (before
the DAT came along, 8mm backup media were the most popular ones around;
in fact, they may still be).

>In any case it would seem almost incredible that the price difference
>is what would have determined Alesis to go with VHS.

I doubt that it was: no one in their right mind would choose VHS for 
only cost reasons-- it's too flaky. Keep in mind that the only reason
VHS beat out Beta (a FAR superior format) in the early years of video
was because VHS was the first format in which you could record a long
movie, and so it conquered the USA and then spread to the rest of the 
world (although Japan and Europe held out a long time, or so I've
been told).


--
metlay@  | 
minerva. | "YOW! He done blowed out his FRONTAL LOBE!"
phyast.  |                                          --Cheech's assistant
pitt.edu | 
From: nunis@hpsgm2.sgp.hp.com (Simon NUNIS)
Date: Wed, 29 Jul 1992 09:24:14 GMT
Subject: HELP with 4 track info
Organization: HP Singapore Notes-Server
Newsgroups: rec.audio.pro

hi everyone!

seems like i need to ask this question once again...

well, basically i am looking for 4-track portastudios...i need some information
from all who have experience with this sort of machines...which ones?

well, basically, i am interested in the tascam and fostex stuff.

i would be particularly interested in the 424,488,644.
also the x-26,x280.

please email responses to :  nunis@hpsgm2.sgp.hp.com

thanks.

simon.
From: calving@netcom.com (The Lindsay-Geyer Corp)
Newsgroups: rec.audio.pro
Subject: The Lindsay-Geyer Corporation Audition
Date: 29 Jul 92 02:43:27 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest)

We are arranging an audition witn Mr. Christensen.  We welcome all challenges.  Stay tund for further developments.

Calvin G.

If it ain't broke, don't fix it.  If it's obsolete, replace it.
From: chd@althea.ece.arizona.edu (Chris De Young)
Newsgroups: rec.audio.pro
Subject: Need MIDI spec
Date: 22 Jul 92 18:11:54 GMT
Reply-To: chd@althea.ece.arizona.edu
Distribution: world,local
Organization: --
News-Software: VAX/VMS VNEWS 1.4-a4

A friend of mine and I are interested in the possibility of writing some 
software (and building a hardware interface) for sending/receiving MIDI
over the Internet (as a stream, not like transferring a file).

In order to do this, we need a copy of the official MIDI spec.  Does anyone
have a copy, or know where I can get one?  I already have Bob McQueer's
"USENET MIDI Primer".

Thanks much!

-Chris
chd@althea.ece.arizona.edu
Newsgroups: rec.audio.pro
From: cms2839@ultb.isc.rit.edu (a.stranger)
Subject: Schematics for Phantom to T-Power adaptor?
Originator: cms2839@ultb
Organization: Minimalist Music for Hyperactive Children (MMHC)
Date: Fri, 24 Jul 1992 05:55:16 GMT

				does anyone have a schematic for a board
that would allow you to power a T-Power mic with a console that supplies
48V Phantom power ? i know that they are commercially available . thanks
in advance ...

-- 
       @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
       @     "Imagination keeps the shadows away  -  Xymox      @
       @~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~@
       @       a.stranger  -  CMS2839@ritvax.isc.rit.edu        @
Newsgroups: rec.audio.pro
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: The Lindsay-Geyer Corporation is online
Date: 23 Jul 92 22:23:09 GMT
Article-I.D.: gold.4903
Organization: Grass Valley Group, Grass Valley, CA

To the question "What exactly is the Lindsay-Geyer Corporation"?

In article <!bgm+_f.calving@netcom.com> calving@netcom.com 
(The Lindsay-Geyer Corp) writes:

>The maker of the World's best-sounding mic and other audio cables. 
>With our mic cable, it doesn't sound like PA anymore.
>It sounds like face-to-face.

>	Calvin G.

I would like samples so I can judge for myself.  Mind you this is a
professional request, not a sham for free cable.......

Also I would like a list of the manufacturer reps and dealers that
you market product through.

-- 
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: r0r4661@rigel.tamu.edu (RUDD, RONNIE, JR.)
Subject: Tascam MDR-88
News-Software: VAX/VMS VNEWS 1.41    
Keywords: 8mm
Organization: Texas A&M University, Academic Computing Services
Date: Thu, 23 Jul 1992 01:02:00 GMT

I just got Tascam's latest "Users' Guide" in the mail.  It appears that their
new 8 track digital machine will be the MDR-88.  It will be an 8mm tape system
similar to the ADAT.

Does anyone have any more information on it?  Like cost, tape speed, HI8 tape,
ADC/DAC chips used?    

Later,
Ron Rudd
r0r4661@rigel.tamu.edu
From: ireland@iccgcc.decnet.ab.com
Newsgroups: rec.audio.pro
Subject: RE: Resurrecting Recordings
Date: 30 Jul 92 08:30:54 EST

Resurrecting old recordings using digital technology has been going on for 
a handful of years now. I believe the way its done is to sample in
the record into memory. Then you put a little bit (of the song) at a time
on your monitor. At this point you are looking at the music waveforms for
a particular section. You then roll the mouse up to any high amplitude
transients that look like they could be "pops", and then erase (or cut,
or whatever) the peak, thus eliminating the pop. I suppose you would want
to do a before and after comparison at this point to make sure you are 
happy with the modification. 

If you were to go this way for an entire scratched up record, then you may be
at it for a while. There may be a system that will do all this stuff
automatically - and therefore quicklier - by this time.

I'm not an expert on this type of thing, so you'll probably want to talk to a
few more people about this. But, that's what I know about it.

Maybe your best bet is to use one of those analog gadgets that removes
only fast occurring/high-amplitude transients ("pops"). Radio stations
use 'em. Maybe you could rent one.

Rotsa' ruck.



Xref: sparky rec.audio.pro:1340 rec.music.makers:8518 rec.music.synth:12669
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.audio.pro,rec.music.makers,rec.music.synth
Subject: Re: recording choral monophonic music [?]
Date: 24 Jul 92 15:08:08 GMT
Article-I.D.: bbx.165
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <1992Jul23.213347.29582@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>In article <1992Jul23.040745.4793@news.cs.brandeis.edu> jacob@max.cc.brandeis.edu ( ) writes:
>>Basically what type of machine is used in recording choral monophonic music?
>>2-track, 4-track, 8-track or what? Also how are the choir and the mics usually
>>placed?
>
>First of all, the question isn't how many tracks but how many microphones.
>You never need more than 2 tracks to record choral a capella music.  Having
>more just gives you the convenience of mixing it later, and is totally
>unnecessary unless you have more than two mics.

I was recently asked by a friend if I would record their church choir
for some kind of fund raiser.  I wasn't experienced at this type
of recording and I wanted to make sure I got it right.  So I set up 
6 microphones (3 pairs) at different symetrical locations in 
front of the choir.  Each microphone went to its own track on an 
8-track tape.  (They also used a little electric piano which I recorded 
directly to its own track).  I figured I could sort it all out later in 
the studio and add a little reverb to place them in a larger church.

I was glad I did it that way.  The end result was much better than I 
was expecting.  I suppose if I knew what I was doing I could have
selected the correct microphones and placed them in just the right
spots and recorded to stereo.  I wasn't willing to take that chance.

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
Newsgroups: rec.audio.pro
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: AKG 414 - different models
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Thu, 23 Jul 1992 21:35:11 GMT

In article <6948.2a6e9382@dcatla.uucp> duslt@dcatla.uucp writes:
>What is the difference between the ULS and TL models of the AKG 414?  I've
>heard that the TL is better.  Why?

The TL is transformerless.  I personally prefer to work with transformerless
coupling wherever possible.  Is it worth the extra 300 bucks for the TL
version?  Depends who's buying!


--
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.pro
From: aloke@tfs.com (Minister of Information)
Subject: Anything to say about Trident mixing boards?
Organization: TRW Financial Systems
Date: Wed, 29 Jul 1992 00:54:38 GMT

The subject line pretty much says it. I'm thinking about buying
a Trident 28x24x24x2, and would like to hear positive/negative comments
about Trident's boards.
-- 
------------------------------------------------------------------------------
Aloke Xerxes Prabhakar
					"You shoulda killed me last year."ice-t
TFS 
Newsgroups: rec.audio.pro
From: jay@cmn8.Stanford.EDU (Jay Kadis)
Subject: Re: Soundproofing
Organization: DSO, Stanford University
Date: Tue, 28 Jul 92 19:03:57 GMT

Short of building a room within a room, try building new walls "inside"  
the old walls and fill the space with insulation.  If you can seal the  
walls with foam or caulking, you will have created bass traps which act to  
remove some of the bass energy.  This approach worked for me and didn't  
break the bank.  Outside, the bass and kick drum are audible, but the  
neighbor's car stereo is much louder...

Jay Kadis
jay@ccrma.stanford.edu
From: robertj@tekgen.bv.tek.com (Robert Jaquiss)
Newsgroups: rec.audio.pro
Subject: Re: INFORMATION WANTED ON ARCHIVING RECORDINGS ON A LONG TERM BASIS
Date: 23 Jul 92 14:27:40 GMT
Organization: Tektronix, Inc.


     I have reard of the once off CD systems.  There are similar units for
making one off CD-ROMs.  If Yamaha is using the organic dye type of media,
I have heard comments that these are unstable.  Its worth checking into.

	Robert Jaquiss 

Internet: roabertj@tekgen.bv.tek.com
Newsgroups: rec.audio.pro
From: calving@netcom.com (The Lindsay-Geyer Corp)
Subject: Re: The Lindsay-Geyer Corporation is online
Date: Thu, 23 Jul 92 03:42:57 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

In article <1992Jul21.152510.14537@col.hp.com> friedman@col.hp.com (John Friedman) writes:
>calving@netcom.com (The Lindsay-Geyer Corp) writes:
>> The Lindsay-Geyer Corporation is on line.
>
>Okay.  I'll bite.  What exactly is "The Lindsay-Geyer Corporation?"

The maker of the World's best-sounding mic and other audio cables. 
With our mic cable, it doesn't sound like PA anymore.
It sounds like face-to-face.
>
>John Friedman
>friedman@col.hp.com


	Calvin G.


Newsgroups: rec.audio.pro
From: sracer@cecelia.media.mit.edu (Andy Hong (Go Speed Racer!))
Subject: Yamaha digital 8-track
Organization: MIT Media Laboratory Music Group
Distribution: rec
Date: Thu, 23 Jul 1992 05:25:46 GMT

Speaking of digital 8-tracks... there's a review of the new Yamaha 8-track
digital recorder (along with its matching A/D's and D/A's) in the latest
issue of _Studio Sound_.

--andy
Newsgroups: rec.audio.pro,rec.music.makers,rec.music.synth
From: jacob@max.cc.brandeis.edu ( )
Subject: Re: Tascam MDR-8
Organization: Brandeis University Math Department
Date: Thu, 23 Jul 1992 07:12:59 GMT

In article <d0ct025B1af=01@JUTS.ccc.amdahl.com> kls30@DUTS.ccc.amdahl.com (Kent L Shephard) writes:
>
>The current issue of MIX Magazine has an article on digital recording
>systems.
>
>The new Tascam 8-track machine, the MDR-8 is listed.
>I called Tascam and they claim agressive pricing (aDAT territory) and an
>8mm tape format.

Just for the record, the first multitrack format (12-track) on video
tape (8mm) was Akai's ADAM which has been available for something like
4 years. A 12-track system goes for something like $30,000.
I wonder how many of them were sold.

The Akai system never really took off and the new Tascam and Alesis
machines will all but kill it for sure (if any life was left in it)

An unresolved question: what determines the choice of 8mm (Tascam, Akai)
versus VHS (Alesis)?

Obviously VHS is less expensive but I've heard that 8mm is technically
superior, but that's at the level of a "rumour"... or thereabouts.

In any case it would seem almost incredible that the price difference
is what would have determined Alesis to go with VHS.
From: duslt@dcatla.uucp
Newsgroups: rec.audio.pro
Subject: AKG 414 - different models
Date: 23 Jul 92 11:09:53 GMT
Organization: Digital Communications Associates, Alpharetta, GA

What is the difference between the ULS and TL models of the AKG 414?  I've
heard that the TL is better.  Why?

Lee Taylor
Atlanta, GA
duslt@dcatla.uucp
Newsgroups: rec.audio.pro,rec.music.makers,rec.music.synth