HDTenEightyP/NetNews huggingface dataset:
From: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Re: Console Question
Organization: DSO, Stanford University
Date: Fri, 20 Nov 92 00:16:00 GMT

After recently playing a venue that had four separate (mono) stage monitor  
feeds, I would much rather have that type of option than a stereo stage  
mix.  This allowed each member of the band to have their own mix for  
monitoring...gee, no one wanted my guitar in _their_ mix...but it was by  
far the best monitoring situation I've yet encountered.  

I would NEVER use an in-the-ear monitor on stage...have you ever heard  
phantom power switched on while you were wearing headphones?  I'm afraid I  
don't see an advantage to stereo monitoring.

Jay
jay@ccrma.stanford.edu

Newsgroups: rec.audio.pro
From: antonp@woods.ulowell.edu
Subject: help with general info
Organization: University of Lowell
Date: Wed, 18 Nov 1992 18:39:28 GMT



Hello all...

I am a student at UMass Lowell's Sound Recording Technology
program. I've been following this conference for quite some
time, and have particularly enjoyed discussions
on MD & DCC... I'd be very interested to see how
any of you see the success of either of these midia
will affect the rest of the market... i.e. MD replacing
the CD in the home market on the strength of its
ability to record... or the possibility of CD players of the future will
be given the option to operate as MD requires (with
encoding and recording capability) or as regular CD requires
(with full CD ability and disk size)... 

What I'm writing for is to ask:
	Will any of you be willing to answer a few questions
I have on working in either of two markets-- live sound reproduction
or audio for television/cable production. It's about
time for me to focus on either of the two, and start an internship
somewhere, and any input you can give to what the industry
is really like from a worker's point of view will
be very helpful to me and other students in the program here.
Questions will be fairly vague, like job satisfaction, and the
like...

If anyone is willing to help me, thank you!
please respond to me at
			antonp@woods.ulowell.edu
Peter Anton, Secretary, AES, UMass Lowell Student Chapter Section
UMass Lowell College of Fine Arts, Sound Recording Technology
14 Lorenzo Rd.
Lawrence, MA	01843-3217
From: jrusby@darkwing.uoregon.edu (Jim T. Rusby)
Newsgroups: rec.audio.pro
Subject: Re: Console Question..another possibility
Date: 21 Nov 92 07:36:24 GMT
Article-I.D.: pith.1ekotoINN1eh
Organization: University of Oregon Network Services
NNTP-Posting-Host: darkwing.uoregon.edu

>In article <1ejcsuINN7sp@network.ucsd.edu> mbreen@sdacs.ucsd.edu (Michael Breen) writes:
>>Someone posted recently about individual monitor mixes.  In the last studio I
>>recorded in the engineer had what looked like a mixer collecting dust in
>>the corner.  It had inputs in the side and outputs at the top, so instead
>>of 'straight through', the signals seemed to be travelling at a 90 degree
>>angle.  This was the physical set-up, but it seemed to have something to
>>do with functionality (don't all good physical set-ups have something to
>>do with functionality?  I wasn't sure how "good" this set-up was so...)
>>I asked the enigneer what the hell this beast was, and he said something
>>like "matrix mixer...great for customizing individual monitor mixes".
>>OK, so I'm *not* sure exactly what he called it, but it seemed to make
>>sense for what it looked like it did.
>>
>>I can find out what it was (model, manufacturer) if anyone would like.
>>I'm just posting to let all of you know that there are solutions out
>>there for monitor mixes.
>
This could be the old Rane MM12 matrix mixer. There were a few others on
the market, and the matrix idea is still alive and well in theatre monitor
consoles.    The idea of a matrix is pretty simple but it takes a little
getting used to . The Rane MM12 (for example) had 12 channels that mixed
into 6 output groups. 
 The Matrix section gives you an "at a glance" picture of what channel is
going to whose mix, and how much    without searching the full length of
the console.  It means you buy one *heck* of a lot of pots, but I never
complained.  There are still a quite a few of the modular consoles that
offer a matrix module as an option for those who need it.

The old Rane MM12 was a bifet type board that also had a splitter built
right in - next to each xlr in was a direct xlr out so you could send the
mic signal out to the house console.  I really took a liking to that
board, it was so easy to set up a monitor mix on .  They discontinued it.

I think when we sold it a studio bought it as an auxiliary recording
monitor mixer for headphone custom mixes, etc.
From: villalj@xanth.CS.ORST.EDU (John Villalovos)
Newsgroups: rec.audio.pro
Subject: Books on Sound Reinforcement
Date: 21 Nov 92 02:38:56 GMT
Article-I.D.: flop.1ek7g0INN80r
Organization: Oregon State University
NNTP-Posting-Host: xanth.cs.orst.edu

I was wondering if anyone could recommend any good books on sound reinforcement.
I have the book put out by Yamaha and it seems to have a lot of good information
but it seems that a lot of it is theory based.  I'm kind of looking for
something with information on speaker placement in different situations.  If
you are using a certain style of speaker how do you get the best sound out of
it, etc...  I guess more hands on stuff.

Thanks for any info.

Later,
John Villalovos
-- 
John Villalovos
Certified Netware Engineer
villalj@xanth.cs.orst.edu
(503) 753-7883
Newsgroups: rec.audio.pro
From: falcon@camelot.bradley.edu (D. Nathan Hood)
Subject: Re: Demag devices for cassette
Organization: Bradley University
Date: 16 Nov 92 23:26:47 GMT

In <1e8vlcINNhsl@pith.uoregon.edu> jrusby@darkwing.uoregon.edu (Jim T. Rusby) writes:

>I've been using a conventional demagnetizer (wand style) for all my gear,
>and a student asked me what I thought about the demag devices for cassette
>decks that are mounted in cassette shells. 
>Ive never really given them much thought, so I sent him off to the library
>to peruse the periodicals for info.

>But, we've got this group heh.heh.heh- 

>Near as I can tell, there are two cassette shell style demags. One
>actually has a tape in with a pre-recorded low frequency signal that
>slowly varies in level as it fades out.

>The other has electronics built in that generate the signal. 

>Does anyone have any comments on these type of devices?  
>jim


>jrusby@darkwing.uoregon.edu

personally i use a Memorex cassette demagnitizer... i don't like the tape
kinds... i don't know how much i trust them...  i have had good results
with mine...  the tape kind costs somewheree around $10 (american)
generally and the electronic version cost over $20 (mine was about 23 i
think) i think it was worth it... the improvement is noticiable...
Newsgroups: rec.audio.pro,rec.music.synth
From: rmartin@ccu.umanitoba.ca (Richard Martin)
Subject: Re: WANTED: BBE Maximizer
Organization: University of Manitoba, Winnipeg, Canada
Date: Mon, 23 Nov 1992 21:51:08 GMT

In <BxwJuK.Ms7@news.cso.uiuc.edu> bsanders@mrcnext.cso.uiuc.edu (Barry Sanders) writes:

>I'm willing to pay $100 + shipping (in the USA) for a BBE model 422 (or 822) 
>Sonic Maximizer.  Since they sell for around $199 new, I think this is a
>reasonable offer.  Reply via E-mail.  

>Thanks,

>Barry
>bsanders@mrcnext.cso.uiuc.edu

I can't see anyone giving up there BBE once they have one.  It literally
not only changed the way I recorded my music, but the way I play back
commercial recordings as well.   If BBE ever goes out of business, those
things will be hotter than analog!!!!! (Sorry, A.R.F.!!!).   


R. Martin
Noise.



Newsgroups: rec.audio.pro
From: tonyb@juliet.ll.mit.edu ( Tony Berke )
Subject: inexpensive cassette decks
Organization: M.I.T. Lincoln Lab - Group 43
Distribution: rec
Date: 16 Nov 92 14:20:23

For what it's worth, I've seen very few realtime duplication houses
(well, none, actually) with a roomfull of Tascam 122's.  I have, on
the other hand, seen lots of places with roomfulls of various $300-
range Aiwas, Nakamichi Cassette Deck 1's, and Nak MR2s (more money,
more metal, about the same sound).  To me, if you want to get an idea
of where the value is, go look at someone who's done some research and
plunked down the dough for 100 or 200 of the things as the backbone of
their business.  Tascam doesn't seem to win in this situation.

The mid-line Aiwas seem to have the best cost-dollar ratio, especially
if you're not going to pound on them too hard and/or can do your own
service work.

I've personally been quite happy with the Sony 850ES (now the
870-somthing ES) that I have, which comes in at the top of your
suggested price range, if you can get it at a discount.  It sounds
quite good, and bettered the Naks, Yamahas, and JVCs in its general
price range (under $900 or so) that I compared it to before purchase.
But don't give Sony any more money -- they have enough already.
From: jkonghsu@ocf.berkeley.edu (James Kong Hsu)
Newsgroups: rec.audio.pro
Subject: Question: Amps rated higher than speakers
Date: 15 Nov 1992 17:36:51 GMT
Organization: U.C. Berkeley Open Computing Facility
	
	I have an amp that is rated at 120 watts and am thinking
	of purchasing speakers which are rated at 10 to 100 watts.
	Is there any drawback or danger in using an amp rated 
	higher than the speakers. Any help would be great. Please
	mail me at:
NNTP-Posting-Host: tornado.berkeley.edu

	jkonghsu@ocf.berkeley.edu

	Thanks.


Newsgroups: rec.audio.pro
From: eab@cbnews.cb.att.com (eugene.a.beer)
Newsgroups: rec.audio.pro
Subject: Stereo DAT mike
Date: 18 Nov 92 16:55:53 GMT
Article-I.D.: cbnews.1992Nov18.165553.21325
Distribution: usa
Organization: AT&T

Anyone have any experience with the Audio Technica AT822 stereo condenser
DAT mike?  Has anyone seen a review?  A.T. says it may have been reviewed
in Mix (1st half 1992), Home & Studio Recording, or Pro Sound News.
Any info would be greatly appreciated.

			eugene beer AT&T Bell Labs eab@cbzoo.att.com
                        614-860-5668
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Phantom Powering [was Re: AKG Blue Line Mikes]
Date: 16 Nov 92 23:08:06 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Nov12.105727@kuttner.sfc.sony.com> weaver@kuttner.sfc.sony.com 
(Eric Weaver) writes:

>Norm Strong wrote, in part:

>> The most interesting aspect is that they have no transformer, in spite
>> of being phantom powered. 

>Typically "phantom power" is implemented by a voltage between the signal
>leads and ground - A transformer isn't necessary to utilize this, although
>some good sized capacitors might be. 

To recover phantom power to operate a microphone all one needs is three
capacitors and two resistors.

Two caps are used in DC blocking,  the two resistors connect to pins 2
and 3 (power is recovered from the junction of the two resistors and
ground. The last cap is used to "buffer" the supply that is recovered.

The parts values are dependent on the application.
-- 
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: johann@bach.nevada.edu ()
Subject: * Want opinions on cassette deck <$500 for home studio
Organization: Univ Nevada Las Vegas - Computing Svcs
Distribution: na
Date: Sun, 15 Nov 1992 17:22:09 GMT

I really need to get a decent deck for my humble studio.
I want to spend as little as necessary (under $500).
Anyone have any opinions on various brands/models such as Tascam,
Nakamichi,...
The Tascam 202 MkII (dual deck) looks interesting ($350), but I am
a dual-deck bigot.  Anyone use one of these?  I've had bad luck with
a Tascam 122-B at the radio station where I work (could have been
from misaligned or dirty heads..tho' the engr. insists it's maintained).

Features I require:
-smooth accurate mechanism (probably solenoid)
-Dolby B and C
-better than avg bandwidth and S/N
-a usable led VU meter (more than 7-segment)
-phones jack

Features I want but could live without:
-3 heads
-Dolby HX-Pro
-counter memory (I know..this is asking a lot for under $500)
-external bias knob
-phones jack w/volume

Thanks in advance.
Jason Cathcart		reply to:  johann@bach.nevada.edu

Newsgroups: rec.audio.pro
From: dlo@valve.heart.rri.uwo.ca (David Lo)
Subject: New digital effect system SONY F7 and Sound field processor Roland RSS
Organization: The John P. Robarts Research Institute, London, Ontario
Date: Tue, 17 Nov 1992 18:40:30 GMT
Keywords: Sony F7 and Roland RSS


	I got a CD which is the first CD record and edit using the new sony digital effect system F7 and the new Roland RSS sound field processor. Is there anybody out there got any information on these two systems?
	Please response using e-mail
	much apperciate for any help.
			dlo@valve.heart.rri.uwo.ca
From: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Newsgroups: rec.audio.pro
Subject: Re: * Want opinions on cassette deck <$500 for home studio
Date: 16 Nov 1992 15:32:48 GMT
Organization: NASA Langley Research Center and Reptile Farm
Distribution: na
NNTP-Posting-Host: grissom.larc.nasa.gov

In article <H.ea.PbvzO5YLunA@jonh.wimsey.bc.ca> jhenders@jonh.wimsey.bc.ca (John Henders) writes:
>	Must have been something wrong with it, because both the 122 and the
>122mII are two of the nicest cassette decks I've ever used for pro use.
>Even the 112 isn't bad, though not quite as nice as the other 2.

The 122 is definitely the worst piece of junk I have ever used.  The eject
button is horribly designed, and breaks frequently.  At one point, the
Master Sound studio had eight 122s, all with broken eject buttons.  When I
went to the Teac service rep to buy replacements, the guy had a huge box
of them right under the front desk, and said "Not engineering problem!
No!  Must use exact replacement!"

In addition, the headphone jack has an incredible amount of noise on it.
Much more noise than even the worst tape hiss.  The HX-Pro stuff is really
terrible, and introduces an amazing amount of distortion (this is not typical
of HX-Pro by any means).

I am told that the MkII is a complete redesign, and it may actually be
acceptable, but the 122 is not a good sounding deck by any means.  Avoid
this thing like the plague.
--scott
From: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Newsgroups: rec.audio.pro
Subject: Re: RS Minimus-77's as NF Monitors? Anyone?
Date: 16 Nov 1992 15:28:12 GMT
Organization: NASA Langley Research Center and Reptile Farm
NNTP-Posting-Host: grissom.larc.nasa.gov

In article <1e22hpINN4u8@gap.caltech.edu> franko@cco.caltech.edu (Frank Filipanits) writes:
>As Christmas is coming, this would be an opportune time to decide I want
>a pair;  the question remains - are they suitable for NF studio work?
>I am just wondering if anyone else has used them for this purpose.

Umm... I feel really ashamed about this, but I actually worked for a radio
station that used a pair of these for studio monitors.  The bass isn't flat
or clean by any means (it has two big peaks in the bass range), but for the
application they weren't bad.

However, if you intend on using them for checking balances and tones, you
would be better off with something flatter.  A nice compromise might be a
good pair of headphones and the RS speakers, and switching between the two
from time to time.
--scott
From: cullen@ac.dal.ca
Newsgroups: rec.audio.pro
Subject: Re: Console Question
Date: 22 Nov 92 00:18:29 -0400
Organization: Dalhousie University, Halifax, Nova Scotia, Canada

I hate Quoting muself, but I must elaborate:
>  
> In Rare Cases there is a need that can be met by stereo monitoring 
> (assuming that Stereo means that each performer gets two sources with 
> different mixes, not that you mic everything in true stereo), however 
> I personally feel that stereo in the ear monitoring would be very 
> disorienting.

By rare cases, i mean that you must be at least in a medium sized 
club, to gain any benefits. The benefits I see are spatialization of 
cues, allowing a lower stage volume, and thus less leakage into
house, as well as more of an in depth sound using digital reverbs.
 
> I was involved in an attempt to create a stereo monitoring system for 
> a Cape Breton Folk/Celtic group (the Rankin Family, for those who are
> interested), which provided positioning across the stage, as well as
> stereo reverb in monitors. The attempt worked, but proved too time 
> consuming to set up, as well as very expensive in terms of equipment.

In terms of expense, assume a standard five piece rock, no keys band. 
Normally:
Drummer gets 2x15 box and 2 inch horn, or small full range cab and sub.
with one two channel amp and crossover
Lead vocal gets 2 wedges on mix, half amp
lead gui gets a wedge/ mix, half amp
rhy gui gets wedge/mix, half amp
bass gets wedge/mix, half amp
totals 5 mixes, 5 wedges, one drum fill, 5 EQs, 3 2ch. amps, five if 
wedges are biamplified.

Stereo
Drummer- 2x 2x15 box, 2x 2 inch horn, or 2 full range boxes and sub
2 amps, 2 mixes
etc, etc.

totals, 10 mixes, 8 wedges, 2 drum fills, 10 EQs, 6 2ch amps
This moves you up from the likes of a peavey six mix or yamaha 2408
into the leagues of a soundcraft 500 or a TAC scorpion, which is like 
4 times the price of a 2408.

Plus you need reverbs, etc, and a better op to set the thing up,
more time in the venue for sound check, more truck space, and so on.

If you got the cash, definitely the way to go, but impractical for most
bands around here (who still think a 200b is state of the art).

> 
> 					Murray
> 					Cullen@ac.dal.ca
> 					Cullen@ug.cs.dal.ca
>
From: jjr@sgtech.UUCP (John Radigan)
Newsgroups: rec.audio.pro
Subject: Re: Recording interviews?
Date: 20 Nov 92 14:39:25 GMT
Organization: Star Gate Technologies, Inc, Solon, OH

From article <STEVE.92Nov11164150@styx.crc.ricoh.COM>, by steve@crc.ricoh.COM (Stephen R. Savitzky):
- Any suggestions on how to record an interview?  One person asking
- questions, one answering, the result to be put on cassette and
- (eventually) sold.  What sort of microphones are good, and in what
- arrangement?  DAT or 4-track?  How are these things usually done in
- the broadcasting world?
 
I have done this going direct to DAT.  I use AKG's top-of-the-line condenser
lapel microphones.  They are expensive but very good.  I then do any 
gating/expansion later back at the studio.  If I need to do edits, I just
dump the DAT to analog half-track with NR and edit that, although sometime
soon I want to start doing this on a PC audio workstation.
-- 
John Radigan, Star Gate Technologies, Inc., Solon, Ohio  
Email: jjr@sgtech.uucp        Telephone: (216) 349-1860
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: RS Minimus-77's as NF Monitors? Anyone?
Date: 17 Nov 92 18:04:51 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1e8emcINNiht@rave.larc.nasa.gov> kludge@grissom.larc.nasa.gov (Scott Dorsey) writes:

>Umm... I feel really ashamed about this, but I actually worked for a radio
>station that used a pair of these for studio monitors.  The bass isn't flat
>or clean by any means (it has two big peaks in the bass range), but for the
>application they weren't bad.

No one should feel ashamed about using a simple speaker for service in
a situation like a radio ststion.  The only problem is that people
might look at a radio station and say "well if they use it it can't be
that bad...."  That's where the _real_ problem is   :-)

>However, if you intend on using them for checking balances and tones, you
>would be better off with something flatter.  A nice compromise might be a
>good pair of headphones and the RS speakers, and switching between the two
>from time to time.

This works!
-- 
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.
From: jj@alice.att.com (jj, curmudgeon and all-around grouch)
Newsgroups: rec.audio
Subject: Re: DCC -- JUST SAY NO!  (was: The end of cassettes,
Date: 19 Nov 92 19:44:12 GMT
Article-I.D.: alice.24247
Reply-To: jj@alice.UUCP (jj, curmudgeon and all-around grouch)
Organization: NJ State Home for Bewildered Terminals

In article <1992Nov18.173814.12529@nas.nasa.gov> fineberg@nas.nasa.gov writes:
>In fact, as other posters have pointed out, noise is added in expansion.  This
>noise is not part of the original signal and will propagte error.  Personally,
>I don't see why this can't be eliminated by using digital-digital copying,
>but maybe they are doing something stupid for "psychoacustic" reasons. 

If you copy the actual compressed bits, that's fine.  The problem is that
the arrangements I've heard of only allow you to transmit the DECODED bits,
hence one has to re-filter and requantize.

I'll refer you to a paper or three on psychoacoustic coding here,
to explain what a psychoacoustic coder does.  Some of the implications
of perceptual coding are:

1) A WORSE signal-to-noise ratio that one would expect from a 
theoretically "optimum" (in the MSE sense) encoder.

2) A substantially better percieved quality.


Anyhow, go look up

"Advances in Speech Signal Processing" by Furui and Sondhi,
Chapter 4, by Johnston and Brandenburg, titled "Wideband Coding -
Perceptual Considerations for Speech and Music".  

"Transform Coding of Audio Signals Using Perceptual Noise Criteria",
Johnston, Feb. 1988 Journal on Selected Areas in Communications,
IEEE

"Sum-Difference Stereo Transform Coding", Johnston and Ferreira,
ICASSP 92 Transactions, page II-569-572

Also look in the IEEE, JAES and AES preprints for papers by
Brandenburg, Theile, Johnston, Stoll, van der Kirkhof, Petit and Mahaeux,
Dehery, Gerhauser, Eberlien, E. Schroeder, and many others.
-- 
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.
From: curt@oasys.dt.navy.mil (Curt Welch)
Newsgroups: rec.audio
Subject: Re: DAT and SCMS, some info
Date: 18 Nov 92 21:06:37 GMT
Article-I.D.: oasys.27660
Reply-To: curt@oasys.dt.navy.mil (Curt Welch)
Organization: Carderock Division, NSWC, Bethesda, MD

(Paul S. Winalski) writes:
>Note that SCMS is not unique to DAT.  DCC and MD also must implement SCMS
>in consumer units.

In rec.audio, whs70@dancer.cc.bellcore.com (sohl,william h) writes:
>If that is so, then doesn't that imply a "digital" interface.

Yes.

>I knew
>DCC was a digital encoded signal, but I thought the inputs and
>outputs of a DCC deck would be analog only.

They have standard digital input and output ports like DAT and CD
along with the analog ports.

But you can't get them to send the raw data off the media out this
port.  The data always go through the compress/uncompress algorithm.

Curt
Newsgroups: rec.audio