HDTenEightyP/NetNews huggingface dataset:
From: lionel@cs.city.ac.uk (Lionel Tun)
Newsgroups: rec.audio.pro
Subject: Re: need help putting toget her a system
Date: 7 Apr 92 18:27:32 GMT
Organization: City University, London

In article <4547@unccvax.uncc.edu> wsware@mosaic.unccvax.uncc.edu
(William Scott Ware) writes:

> need help putting to get her a system

Sorry, I can't help on the putting - I prefer ten pin bowling myself.
But in any case try and find out what she wants!

Lionel :)

--
Lionel Tun   (lionel@cs.city.ac.uk)
Vision Group, City University, London, EC1V 0HB. 071-477 8000 x 3889
From: huopio@lut.fi (Kauto Huopio)
Newsgroups: rec.audio.pro
Subject: Re: Headphones for Monitoring Recording
Date: 14 Apr 92 10:13:05 GMT
Organization: Lappeenranta University of Technology, Finland
Disclaimer: Opinions expressed below are writers own.
Peruutus: Mielipiteet ovat omiani.

In article <4272@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
> In article <1992Apr13.141102.13182@mintaka.lcs.mit.edu> prj@gamba.lcs.mit.edu
> (Paul R. Johnson) writes:
> >What is the rec.audio.pro wisdom on the best headphones to use for
> >live recording of concerts (in my case Early Music concerts)?
> >I need ones that have closed/isolated earpieces so I don't
> >disturb other people (I'll be in the audience), and that give an
> >accurate representation of the sound (of course).

> I have used my Sony MDV-V6's for many years in the manner which you
> describe.  I have yet to be dissapointed.

How about AKG K-414's ? They are a bit pressing to ears, but the sound
is very neutral (should I say dry?).. 

--Kauto
--
****************** Kauto Huopio (huopio@kannel.lut.fi) **********************
*  Mail: Kauto Huopio, Punkkerikatu 1 A 10, SF-53850 Lappeenranta,Finland   *
*****************************************************************************
Newsgroups: rec.audio.pro
From: awelker@watarts.UWaterloo.ca (a welker)
Subject: Re: FORESALE: Misc Stereo
Organization: University of Waterloo
Date: Tue, 7 Apr 1992 14:37:49 GMT

In article <1992Apr6.203845.26783@e2big.mko.dec.com> glantz@tay1.dec.com writes:
>
>In article <1992Apr6.154652.14736@watserv1.waterloo.edu>,
>awelker@watarts.UWaterloo.ca (a welker) writes:
>>Hello I have the following forsale:
>>
>[... ad for assorted STEREO equipment ...]
>
>I don't know how others feel, but while I expect to see ads for *CONSUMER
>STEREO* equipment in rec.audio, I'd rather not see them in this newsgroup.
>
>Likewise, I'd prefer not to see discussions of green markers and "audiophile"
>speaker cable in here -- unless there are any pros who actually use such
>stuff in their work, and are interested in telling us how and why.
>
>Anyone else feel this way?

Sorrt about that, I did not realize that you would be offended by that
posting. So, how about this:

Forsale

Sony TCM-5000, PROFESSIONAL mono portable cassette recorder
Pitch control, two mike inputs, built in speaker, viynl protective
case, line out.
Sells for about $450
Asking $300 or best offer.

Thanks!

Andrew Welker

Newsgroups: rec.audio.pro
From: tonyb@juliet.ll.mit.edu ( Tony Berke )
Subject: Re: Long Cable Runs?
Organization: M.I.T. Lincoln Lab - Group 43
Date: 10 Apr 92 10:42:46

In article <gdtF=Ly00Uh_A__Jsy@andrew.cmu.edu> "Raymond C. Chick" <rc4n+@andrew.cmu.edu> writes:

   I record classical music on location and often have long cable runs from
   microphones to preamps or mixer.  To find a good monitoring room I may
   have to use 150' to 300' of cable. Will this have any effect on s/n,
   frequency responce, or any other things ?

300 feet sounds a bit long.  Depending on your cable cables' capacitance
and your mics' output impedance, you might be rolling off the treble a
bit (or more than a bit).

I would imagine that the output stage of a mic preamp would have a
much lower source impedance than the typical mic (150 - 600 ohms).
This should let you run several times further without loss, and will
increase noise immunity to boot.

So perhaps you'd be better off with a fairly short run from the mics to
the preamps, then the long run to your monitoring location can be done
with relative impunity from the preamp outputs.  Some mic pre's can be
phantom powered, eliminating the need to have wires running
everywhere ( assuming your mixer has phantom capabilities ).

Of course, you can always do what I do -- monitor on headphones from a
convenient location near the mics, then kick yourself when you get home
for getting the balance and imaging all screwed up!

Tony
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Recording bass guitar
Date: 16 Apr 92 23:53:58 GMT
Organization: Grass Valley Group, Grass Valley, CA

The "vocal stressing" technique that I described can be used to
highlight any instrument.  

Also running the output of the EQ into the side chain input will allow you 
to dynamically reduce any selected frequency band.  Don't forget to
"Y" the signal into the EQ and the compressor.
-- 
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: friedric@mdd.comm.mot.com (Bernd Friedrich)
Subject: Tascam 688 vs Fostex R8
Organization: Mobile Data Division, Motorola
Date: Mon, 13 Apr 1992 18:40:35 GMT

Can anyone comment on the recorded sound quality differences between the
Tascam 688 vs the Fostex R8?  The 688 is a cassessete format with dbx
noise reduction running at 3 3/4 ips while the Fostex is 1/4 inch open reel
running at 15 ips, w/o noise reduction (I believe).

How do the frequency response and signal to noise ratios compare.  Anybody
actual use the two products, and found any great preference (regarding
sound quality? 

Thanks for your input.
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Mike connections
Keywords: Mike
Date: 8 Apr 92 19:22:31 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Apr8.162739.18212@dcs.glasgow.ac.uk> gjw@dcs.glasgow.ac.uk 
(Mr Garry J. Wardrope) writes:

>For a typical balanced (dynamic) mike ( > $150 ) what is the ground line
>usually connected to?

The shield of the cable is connected to the shell of the microphone.
THis is the case if the cost is $150-400.

>Is it usually connected to a center tap of the cartridge or a matching
>transformer.

The shield of the cable isn't connected to the center tap of the mic
or transformer. It may be connected to the shield of the transformer if 
it has a shield.

>Or is it simply connected to the case and therefore electrically isolated from
>the two phase lines.

As stated above it IS connected to the case and the shield is the ground 
reference for the other signal leads. 

>Or is it something completely different.

>The original thought was in connection with phantom power and whither
>connecting a mike (or other device) to a desk so equipped would 
>cause damage or be detrimental to the use of a mike not designed to use
>phantom power.  i.e. an ordinary dynamic mike.

An ordinary BALANCED output dynamic mic will not be damaged if
connected to a jack that has phantom power on it.

>If the ground line is electrically connected to the system in some way
>presumably some current must flow through the transformer/cartridge and
>would at the very least affect the sound quality.

The shield of the cable/connector is connected to a signal ground in the desk.

This signal ground is the phantom power curent return path.

A balanced microphone will have phantom power present on the microphones 
coil.  As long as there is no contact with the shield connection no current 
will flow and there will be no damage or effect on the quality of the signal.

Additionally the phantom power supply is (typically) limited to about 4 mA.

It is true that the microphones signal will "ride" on the phantom
power but the AC coupling to the input of the mic pre amp restores the
signal to it's ground reference.

-- 
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: afdenis@lims01.lerc.nasa.gov (Stephen Dennison)
Subject: Re: How to mic drums.
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lessee ... I had it here a minute ago ...
Date:  7 Apr 1992 09:51 EST  

In article <1992Apr7.060616.5548@pasteur.Berkeley.EDU>, payam@landau (Payam Mirrashidi) writes...
>In article <4233@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
>A question along the same lines: How do you eq a kick so it sounds strong and
>tight and not boomy.  

*Personal* opinion ? Loose the RE20 and stick a 57 or even an MD-421 (yeah, 
I *know* that they're delicate and not recommended for high SPLs, but I 
*love* the way they sound on a kick and I haven't destroyed one yet...)  
or equivalent in there, or that little square AKG thingie (sorry, I'm bad 
with model numbers). I have *always* found the RE20 to be BOOMY by default, 
and in need of a lot of tweaking to get that tight solid `whack'. 

>I usually mix off of a 26 channel Soundcraft 400, so I have a low, 
>a high and two parametric mids available.  In addition, I am using
>a RE20 mic. 

You *should* have enough control with the Soundcraft to make the RE20 sound 
good, but IMHO you would be *much* closer to the sound you're after at flat 
eq if you start with a different mic.

> 

>I guess any hints for miking a snare with SM57 would be appreciated too!
> 

Again, it depends on what you're after.  I've found that bringing a 57 in 
from the top at a 90 degree orientation to the position that the drummer 
strikes the snare, about an inch in from the rim and a half inch over the 
head (pointing towards the center of the drum) will usually let you achieve 
that *huge* exploding (Cars/Loverboy) snare sound and, surprisingly enough, 
micing the *shell* of the drum will produce a reall *poppy* kind of jazz 
sounding snare (again, the *tuning* of the snare and the playing style have 
a lot to do with this too).  I picked this one up from the previous Rare 
Earth experience I alluded to.  Pete's snare sounded *awesome* and that's 
how *he* miced it, on the shell about 1/3rd of the way from the top of the 
rim and about an inch away from the shell.

Oh, and *never* mic a damper of any sort.  If the drummer has a maxi-pad 
taped to the head of his snare, place the mic as far away as you can from 
it.


-- Stephen 

(The only two valid e-mail addresses from now on are ...)
afdenis@lims01.lerc.nasa.gov,  afdenis@lims02.lerc.nasa.gov
.. boring .sig follows, press n to skip it.

		Love shares at least *one* common trait with the Great
		White Shark. When it *stops* moving forward, it dies.
From: prj@gamba.lcs.mit.edu (Paul R. Johnson)
Newsgroups: rec.audio.pro
Subject: Headphones for Monitoring Recording
Date: 13 Apr 92 14:11:02 GMT
Organization: lcs.mit.edu

What is the rec.audio.pro wisdom on the best headphones to use for
live recording of concerts (in my case Early Music concerts)?
I need ones that have closed/isolated earpieces so I don't
disturb other people (I'll be in the audience), and that give an
accurate representation of the sound (of course).

---Paul Johnson
Newsgroups: rec.audio.pro
From: glantz@enable.tay1.dec.com (Mike Glantz)
Subject: Re: FORESALE: Misc Stereo
Reply-To: glantz@tay1.dec.com
Organization: Digital Equipment Corporation
Date: Mon, 6 Apr 92 20:38:45 GMT


In article <1992Apr6.154652.14736@watserv1.waterloo.edu>,
awelker@watarts.UWaterloo.ca (a welker) writes:
>Hello I have the following forsale:
>
[... ad for assorted STEREO equipment ...]

I don't know how others feel, but while I expect to see ads for *CONSUMER
STEREO* equipment in rec.audio, I'd rather not see them in this newsgroup.

Likewise, I'd prefer not to see discussions of green markers and "audiophile"
speaker cable in here -- unless there are any pros who actually use such
stuff in their work, and are interested in telling us how and why.

Anyone else feel this way?
From: jjr@sgtech.UUCP (John Radigan)
Newsgroups: rec.audio.pro
Subject: Re: How to mic drums.
Date: 10 Apr 92 12:58:58 GMT
Organization: Star Gate Technologies, Inc, Solon, OH

From article <1992Apr8.184024.22617@news.media.mit.edu>, by mbl@media.mit.edu (Marc LoCascio):
> good advice, but something that hasn't been mentioned up until now is the
> sound of the bass drum itself.  i haven't had to suck low-mids out of a kick
> drum signal in a long time, because i primarily record my drummer, who has a
> great sounding 24" kick with minimal padding.  put a PL20 into it, maybe roll
> off a bit below 100 Hz, maybe boost a bit around 2-4 KHz, and the sound is
> there.  if you're mic'ing a bad sounding kick with a blanket inside of it,
> then, yes, get rid of lots of signal in the 200 Hz - 1 KHz range (not to
> mention the blanket).
> 
> Marc LoCascio	(mbl@media-lab.media.mit.edu)

Very true!  A really good sounding kit can give you a great sound without
hardly any work sometimes.  In my studio I see alot of "demo" work by bands
that have very little, if any, studio experience.  A side effect of this is
that I get the "opportunity" to see alot of horrible sounding gear.  And of
course getting a guy who's spending his last pennies to work at getting what
I would call a great sound is a tough sell.  So I end up doing alot of the
EQ thing I described in my previous post as a band-aid.

JR
-- 
John Radigan, Star Gate Technologies, Inc., Solon, Ohio  
Email: jjr@sgtech.uucp        Telephone: (216) 349-1860
Organization: Music, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.audio.pro
Date: Mon, 13 Apr 1992 16:58:58 -0400 
From: Riccardo Schulz <rs6k+@andrew.cmu.edu>
Subject: phantom power

I want to make my own mic pre amp, and I've got most of the design set
except the phantom power.  I even have that, except for one little
detail.  How do I get the 48 volts from the same transformer that I plan
to use for the lower supply rails (probably plus and minus 18 or 22
volts).  Do I need a separate winding on the transformer, and if I do,
what should it be; or can I step up the voltage from what is already
there; do I do that at the AC level or the DC level?  What is the best
way?  A push in the right direction may be all I need.

Thanks in advance

Riccardo Schulz
5428 Claybourne St
Pittsburgh PA 15232

412-687-3155
412-621-9633
412-268-3450

or, by the board
Newsgroups: rec.audio.pro
From: pringle@yoyo.cc.monash.edu.au (GLen Pringle)
Newsgroups: rec.audio.pro,comp.dsp
Subject: Re: Article on Audio Restoration Process
Keywords: snap crackle pop
Date: 2 Apr 92 23:32:40 GMT
Organization: Monash University, Melb., Australia.

In <1992Apr1.202705.18525@ERA.COM> feit@ERA.COM (Mark Feit) writes:

>Quite some time ago (1988?), I read an article in _Broadcast
>Engineering_ about a process used in cleaning up old records for
>re-release.  I don't remember all of the details, except the cost
>($105 per minute of material) and the location of the company (San
>Fransisco or that general neighborhood).  The writer of the article
>mentioned that the process had been used with a great deal of success
>on a tape made from a broken wax record which had been [carefully]
>reglued.

When I was in London I saw in the Science Museum a display on an
old wax cylinder with the voice of Queen Victoria on it which they
restored (to a degree).  Much of it is still indecipherable, but I
think they actually used a laser to read the tracks.  But first they
had to build a player to put the cylinder on, as there were so many
different formats used back in the early days (sound like the
computer industry?  :-)  Does anyone have any more information about
this, maybe someone who actually lives in London?

-----------------------------------------------------------------------------
|  GLen Pringle                       |  Research is what I'm doing when    |
|  Monash University, Australia       |    I don't know what I'm doing.     |
|  pringle@yoyo.cc.monash.edu.au      |           - Bert Whitney            |
-----------------------------------------------------------------------------
From: jhenders@jonh.wimsey.bc.ca (John Henders)
Newsgroups: rec.audio.pro
Organization:  One of these days.
Subject: Re: Subwoofer power amp/hf horn advice requested
Reply-To: jhenders@jonh.wimsey.bc.ca
X-Software: HERMES GUS 1.00 Rev. Jan 16 1992
Date: Thu, 16 Apr 1992 03:31:44 -0600

In <54616@hydra.gatech.EDU>, TABLER,JOHN ALEXANDER writes:
>
>> I know a guy that wants to sell an old 
>> Phase Linear 350w/channel into 8 ohm power amp for $300.  Sounds like a 
>> good amp for this application, but the amp's about 15 years old.  Would 
>> this be a mistake?
>
>  Sounds like a PL 700B.  I have one of these, (as well as a PL 400) and have no 
>trouble with it. 
> However... I have made some modifications to , and have two fans on it.  We used to
>call these Flame Linears... 'nuff said.  

    Actually, the first 50 or so 700's Bob Carver sold were to a local 
sound company here. They still have a few for sale. They're working
reliably in the monitor system of one of the biggest clubs in town.
    I still agree thay shouldn't be touched, as they do have a bad rep
for taking speakers with them when they go. There was a ferrite bead 
modification that made them somewhat more reliable, but I still wouldn't
use one unless I was forced to.




-- 
There are a lot of intelligent people on the net that will go
ballistic when they are subjected to something stupid.
-- Larry Smith on the rec.arts.manga debate
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Revox Parts Availability
Date: 6 Apr 92 23:36:34 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <46118@dime.cs.umass.edu> weems@cs.umass.edu (CHIP WEEMS) writes:
>for a Revox A77? I have a chance to pick one up cheap, as is, but it has
>one dead meter and a slipping counter belt. Are parts obtainable, and
>are they reasonable in cost (vs. inflated due to rarity).

The parts from Revox are expensive, sometines you have to get things
like pinch rollers from them.

A slow speed (3.75-7.5ips) is at best worth $200-300. They are usually
only saleable to someone who already is in love with them or someone
like your self, looking for agood deal.  They are good sounding machines 
but they handle tape poorly.

>Also, I know they were available in a wide range of speeds (any adjacent
>pair), so I'm curious as to whether they can be reconfigured easily
>(i.e. without replacing the motors). I'd like to step the top speed
>up from 7.5 to 15 ips.

The speed change is done with a different capstan/motor assembly.
I had a price of something like $125. When I was looking at one a few
years ago.

The other way is to have a collar made that slips over the capstan
shaft.  It has to be perfectly round and a press fit with set screw
lock otherwise your in for flutter.....

Leave the speed alone 'cause then you'll be lookin for 1/2 track
heads. etc......

With the influx of DAT in the home to mid studio there is a few good
1/4" 1/2 tracks out there......
-- 
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: dcm2@kepler.unh.edu (Tommy the Cat)
Subject: Recording Studio 
Keywords: Multitrack
Organization: University of Never Went
Date: Sat, 11 Apr 1992 17:05:43 GMT

     Hello fellow net.people.edu  I have a slight predicament... I have 100,000
dollars to burn, and I/we (my band) want to open up a recording studio.
However, we are new around the music scene and equipment area.

	I am the sound person/technical support for my band so I have
somewhat of an idea of what to purchase, but some idea is not enough; I want
to make absolutely sure...  We are thinking of a 16 maybe 24 track studio,
with DAT!!  :)

	Basically, I just have some basic questions about the difference 
between live and studio mixing boards, what type of things I might need to 
consider, good brand names, mixing down procedures, etc...

	Basically, any knowledge that could be handed down, would be most
appreciacted.  And who knows, I may give you my first born
child 8)

Please email to dcm2@kepler.unh.edu :)

thanks,
-chris










-- 
......// David (Chris) Mackensen      // "And what you say about his //
.....//   dcm2@kepler.unh.edu   //---// company, is what you say    //.
....//     dcm2@oin.unh.edu    //  about society..."               //..
...//   dcm2@bofur.unh.edu    //        -- Rush (Moving Pictures) //...
..//   dcm2@gloin.unh.edu    //----------------------------------//....
.//   dcm2@bifur.unh.edu    // "An ounce of perception, a pound //.....
//------------------//-----// of obscure.  Process information //......
// Design by ss1    // at half speed.  Pause, rewind, replay,  //.......
Newsgroups: rec.audio.pro,rec.music.makers
From: dcovell@pcocd2.intel.com (David Covell)
Subject: Quiet fans for studios?
Organization: Development Tools Operation, Intel Corp., Hillsboro, OR
Date: Wed, 15 Apr 92 19:00:01 GMT


My home studio is in a small upstairs bedroom and gets very hot. I can't
use any of the supposedly-whisper-quiet fans sold in stores because they're
still noisy enough to get picked up when I mike my classical guitar. I play
with a light touch and need lots of gain, so even close-miking picks up
any sound in the room.
It seems there must be some sort of small fan designed for studio use. I'd
think a squirrel-cage such as is used in evaporative coolers would be
less noisy than the typical propeller type. 
I seem to get hot easily when playing music (anybody else notice this?) and
them  ;^{
Anyone know of a solution? External cooling is not an option in this case.

------------------------------------------------------------------------------
DAVID COVELL (dcovell@pcocd2.intel.com)|Wrangler of acoustic, electric, and
INTEL FOLSOM (California)              |Midi guitars, basses, synths, CAD tools
DESIGN ENGINEERING, EPG GROUP          |and assorted other techno-beasties
From: klein@napali.Eng.Sun.COM (Mike Klein)
Newsgroups: rec.audio.pro
Subject: Re: Shocking (IT IS A SINE WAVE)
Date: 13 Apr 92 16:23:41 GMT
Reply-To: klein@napali.Eng.Sun.COM
Organization: Sun Microsystems, Mountain View, CA
NNTP-Posting-Host: napali

In article 92Apr11124009@world.std.com, osystems@world.std.com (Cary T Conrad) writes:
  >
  >Another way to illustrate that 208VAC is a sine wave is to take
  >two 120VAC sine waves on graph paper, overlay them, and shift
  >120 degrees. Add the values together and......
  >
  >What do you know, IT'S A SINE WAVE!

An easy test: a sinusoidal ("sine", as long as you ignore phase) wave
is the only waveform that contains only a single frequency.  No matter
what you do to a sine wave, as long as you don't add some other
frequency by some means, it is still a sine wave.

---

Mike Klein		{wherever}!sun!klein || mike.klein@Eng.Sun.COM
Sun Microsystems, Inc.	Mountain View, CA
From: jj1w+@andrew.cmu.edu (Jarrod M. Jenzano)
Newsgroups: rec.audio.pro
Subject: Re: SM58 Selfdestructs first recorded instance was Re: SHURE SM-58's
Date: 15 Apr 92 14:37:09 GMT
Distribution: rec.audio.pro
Organization: Sophomore, Physics, Carnegie Mellon, Pittsburgh, PA

>>Does anyone still use Shure SM-58(Ice Cream Cone) mic's for
>>live sound support?


The thing is, they're so damn easy to work with.  You can throw the
thing up on stage, do about 3 seconds of feedback eq, and you get a
pretty nice (at least dependable) sound quality.  Also, they can take
the standard beating when people hit the microphone to see if it's on
(as opposed to talking into it.)



Jarrod
Newsgroups: rec.audio.pro