HDTenEightyP/NetNews huggingface dataset:
From: michael@Canada.lsil.com (Michael Smith)
Subject: Re: Is a subwoofer output for YAMAHA a1000?
Reply-To: michael@Canada.lsil.com
Organization: LSI Logic Corporation of Canada, Inc.
Date: Fri, 22 Jan 1993 17:38:49 GMT

In article 16589@murdoch.acc.Virginia.EDU, wc2q@weyl.math.Virginia.EDU (Wan-Ying  Chang) writes:
>	Is a subwoofer out for the YAMAHA A1000 ?
>
>Barry
>
>
There is one on the E-1000, and by inference, there is one on the A-1000.  I
believe it has a high-pass at 200Hz (don't know the fall-off rate).



---
     Michael Smith - Chipset Design Engineer

Phone: (416) 620-7400         michael@canada.lsil.com
Fax:   (416) 694-5005

    _/     _/_/   _/_/_/   _/                   _/
   _/    _/        _/     _/ 
  _/      _/_/    _/     _/     _/_/_/ _/_/_/ _/ _/_/_/
 _/         _/   _/     _/     _/  _/ _/  _/ _/ _/
_/_/_/ _/_/_/ _/_/_/   _/_/_/ _/_/_/ _/_/_/ _/ _/_/_/
                                        _/   LSI Logic Corp. of Canada, Inc.
                                   _/_/_/   Suite 1110, 401 The West Mall
                                           Etobicoke, Ontario
                                          M9C 5J5
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re: Comments on analog music
Date: 22 Jan 93 20:53:08 GMT
Reply-To: lstowell@pyrnova.pyramid.com.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corporation

In article <5587@othmar.lulea.trab.se> sture@lulea.trab.se (Sture Jonsson) writes:
>
>And unfortunately for your point, a lot of people DISLIKE it. But of course,
>that's just because they prefer distorsion ? Hm.....

   That is exactly the point.    And anyone who knows a tiny bit
   about analog recording/playback technology was aware of these
   distortions LONG before digital audio was even considered.  

   But preference is highly personal.  

   Some people don't like CD because very miniscule distortions in
   the A-D D-A processes are usually quite audible and annoying.

   Some prefer analog because the distortions tend to be very benign
   and in some instances helpful.  Few are really bothersome until
   they reach levels several orders of magnitude above those of even
   mediocre digital implementations.   

   Many also don't like digital because it CAN be merciless in
   revealing flaws in the rest of the chain....and this really hurts
   egos and wallets if that equipment has lotsa zero's in the price
   tag.

   And some don't like it because it would hurt their ego to admit
   that they do like it.   

>
>But the "fact" remains: Theory and implementation do often differ.

   Facts and theory tend to differ even more often.

>
>If "distorsion sounds better" than 'pure perfect sound forever' I'd say there
>is something wrong, with the products and techniques.
>

   A potentially more demanding medium is gonna strain otherwise
   perfectly adequate systems....

   So if you put a turbo on your engine and the clutch pukes, is it
   the turbo's fault, or should you have known better?

   Or if you put on a source with a dynamic range such that the 
   perceived average loudness is very low (particularly compared to
   LP's usual compression) but the transients may just clip your
   darling amp...is it the technologies fault or just your severe
   lack of knowledge about perception, loudness, etc?
From: renoir@picasso.ocis.temple.edu (Khemdut Purang)
Newsgroups: rec.audio
Subject: Re: Old CD Player and New CDs
Date: 24 Jan 93 14:43:15 GMT
Distribution: world,local
Organization: Temple University
X-Newsreader: TIN [version 1.1 PL8]

Kerry Shetline (shetline@bbn.com) wrote:
: In article <23JAN93134941@pyros.hacks.arizona.edu>,
: omf@pyros.hacks.arizona.edu (Oscar Fowler) wrote:

: Yes, it really is done. And yes, there is a standard for a fixed track
: width. It gets ignored sometimes. The way the laser pickup tracks a CD,
: however, does not depend on precise track width. It's more a matter of
: tolerances in the tracking mechanism. Most machines have no problem with
: fudging the track width a bit. Some older ones... well...

: -Kerry

	there is a tolerance on the standards.
	you can get to longer playing times by going to the limits of
	these tolerances. but the older machines dont quite like it.
Newsgroups: rec.audio
From: palane@iastate.edu (Paul A. Lane)
Subject: Re: What happen to dbx?
Organization: Iowa State University, Ames IA
Date: Sat, 23 Jan 1993 05:41:01 GMT

In <1993Jan22.194204.12111@galileo.cc.rochester.edu> sr001b@uhura.cc.rochester.edu (s. satya vardhan reddy) writes:

>What ever happen to the dbx noice cancellation. I believe that it is still
>better than Dolby S or Dolby HX Pro. I bought two tape decks with it in the
>middle 80's but I don't even hear of it anymore.

It's dead, Jim. I think the proponents of Beta might have similar objections.
I wonder if dbx is still around. I know they came out with a line of speakers
and electronics, but haven't heard a peep from them in quite some time.

Paul

Newsgroups: rec.audio
From: stud1b53@bnr.ca (Anshu Prasad)
Subject: New Yamaha A/V Receivers
Reply-To: stud1b53@bnr.ca
Organization: Bell-Northern Research Ltd.
Date: Thu, 28 Jan 93 17:51:11 GMT

  I've read a few posts lately (including my own :-) requesting
info on the new Yamaha A/V Receivers and Integrated Amplifiers.
I managed to get some sketchy details, so I thought I'd share
them.  Please note that this info is being transcribed from 
memory so there may be errors.

  RX-V570 : New entry-level model with 50 watts/channel across
            the front three channels.
            Same decoder and DSP chips as existing receivers.

  RX-V670 : Replaces RX-V660
            Amp power increased to 75 watts/channel across front
            three channels.
            Same decoder and DSP chips as existing receivers.

  RX-V870 : Replaces RX-V850
            Same amp power as 850.
            Uses the A1000 DSP chip.  The info was vague on whether
            this includes all 23 DSP modes of the A1000 or merely a
            subset.  It does include the 70 mm Adventure mode (this
            was explicitly stated).
            On-screen programming/parameter setting (as in A1000).
            S-Video in/out connections.

 RX-V1070 : Replaces RX-V1050
            Same amp power as 1050.
            Uses the A1000 DSP chip (see comments above).
            On-screen programming.

DSP-A1000 : Not discontinued.  Remains as is.

DSP-A2070 : New top-of-the-line unit.
            Seven channel amp (same power as A1000??).
            Boasts "three times as much DSP power as the A1000"
            using a new DSP chip.
            They claim better DSP programs with increased channel
            separation etc, etc.
            I hope it's all they say it is considering the hefty 
            $2000 US price tag.

  If anyone knows more about these units, please email, especially
if any of my info is incorrect.  The local dealer predicts availability
of the new units in late February or early March.  Will they be
available sooner in the US?

-- 
   __ ___  
  /\ \ \ \  Anshu Prasad                        stud1b53@bnr.ca
 /--\ \/_/  Ottawa, Ontario, CANADA
/_/  \_\    All opinions are my own, not my employer's, BNR Ltd

From: rons@hpnmdla.sr.hp.com (Ron Stewart)
Date: Fri, 22 Jan 1993 23:28:29 GMT
Subject: Re: "Buy what you like"? (was Re: Bose BULLSHIT)
Organization: Hewlett-Packard, Santa Rosa, CA
Newsgroups: rec.audio

    reviewers say!  But ... It seems to me that if someone who listens to audio
    systems enough to make a partial living at it says that "this speaker has
    these strengths and those faults", and especially if another reviewer in 
    another magazine comes to the same conclusion, that is information that I
    should take into account in my buying decision.  Even if my ears aren't 
    trained enough to hear the faults now, it may be soon.
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Everyone who reads these so called highend audio magazines should really
understand that the writers that these magazines hire are payed for their
ability to write interesting copy that will sell the magazine. The writers
knowledge of audio basics and/or electronics is entirely secondary.
Their ears aren't any better than the next guys.
The best advice I can give to the novice audio enthusiast is find a small
local stereo with a salesperson you are comfortable with and work with
him/her.

Most small, local stores will let you take equipment home over the weekend
so you can audition in your own listening room and with no obligation to
buy.

Ron Stewart
Santa Rosa, Calif.
From: eric@prodigal.psych.rochester.edu (Eric Hansen)
Newsgroups: rec.audio
Subject: Re: Expensive Stereo and a roommate
Date: 21 Jan 93 19:23:49 GMT
Organization: University of Rochester - Rochester, New York

In <1993Jan21.152053.27349@nynexst.com> rsilvers@nynexst.com (Robert Silvers) writes:

>In article <kjg3_1r@rpi.edu> weavej@aix.rpi.edu (Jonathan Mark Weaver) writes:
>>
>>I have a ~$2000 stereo system and a roommate who likes to use it while
>>I'm away (without asking of course).  I'm especially concerned about
>>my new Nakamichi tape deck. He doesn't really know to switch between
>>types I, II, and IV and he usually has those crummy type I tapes, plus
>>he tends to leave the cassette holder door open (which lets dust in).     
>>

I used to pull the fuse out of my amp whenever I left the room to prevent
my roommate from listening to music at obscenely loud levels.  I started
doing this after hearing The Specials being played in my room about a block
away as I was riding my bike back to the dorm.  This bothered me.

You probably can't pull out the fuses on a tape deck (this is a hardcore
deterrent), but maybe you can do one of the following:

* Explain to him that you are concerned about having problems with your nice
tape deck because of neglect and poor maintenance.  A friend of yours who
is a hifi repairmain gets tape decks in all the time which have been
ruined by people leaving the door open.

* Completely unplug everything (components, interconnects, etc) so that he can't
figure out how to operate your stereo.  He'll probably feel so inept that
he'll stop trying to figure it out and buy his own Sanyo boom box (oh boy!)

* Booby trap your tape deck by putting some refridgerator magnets inside.
If you do this properly, his tapes will still fit, but they will "self-erase".
You may have to de-magnetize your deck a few times, but after he realizes
that your Nakamichi doesn't like him, your troubles will be over.

* Burn all of his tapes.  If he likes to listen to yours, too, then burn
yours and change your musical tastes.  Try "Chech Monk Chants" for starters...

Most importantly, stand your ground.... it's your property!

Good luck -

Eric


--
    * Eric J. Hansen                  |    Center for Clinical Computing   *
    *   eric@binoc.bih.harvard.edu    |   350 Longwood Avenue, Boston, MA  *
Newsgroups: rec.audio
From: Dave Dal Farra <gpz750@bnr.ca>
Subject: Re: Advice for the budding speaker designerRe: WANTED: Info on building speakers, speaker software, etc.
X-Xxdate: Fri, 22 Jan 93 17:05:56 GMT
Organization: BNR Ltd.
X-Useragent: Nuntius v1.1.1d9
Date: Fri, 22 Jan 1993 16:56:35 GMT

In article <bill.727655871@sarge> William Spencer, bill@verdix.com writes:
>Dave Dal Farra <gpz750@bnr.ca> writes:
>>In article <m7=3fdb@rpi.edu> dinsmm@aix.rpi.edu (Michael Dinsmore) writes:
>>>I am interested in building some speakers.  At the moment I 
>>>am just trying to get some preliminary work done - basic 
>>>knowledge of acoustics that would be beneficial.
>
>>The best avenue for the beginner is to first understand the
>                         ^^^^^^^^^            ^^^^^^^^^^
>>Theil/Small papers printed in the Journals of the Audio Enginnering
>>Society (JAES). 
>
>Ha Ha! Good one!
>
>Bill s

Sorry, I assumed some back-ground in electrical engineering and/or
acoustics.

If you don't have this background and don't understand these concepts,
it's best to build speaker's from pre-designed kits.  It's very
easy to screw up your own design if you don't have a firm grasp at the
concepts involved.  The Theil/Small papers are a pre-requisite IMHO towards
having a "firm grasp".

Mind you, designing and building one without the proper knowledge can be
rewarding, say, like building an end table.  Just don't expect it to sound
great.  The potential pitfall's in uninformed crossover design, especially,
are too staggering to even mention.
Newsgroups: rec.audio
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Anti-aliasing on the recording end?
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Sat, 23 Jan 1993 07:30:00 GMT

In article <1993Jan22.234435.3989@news.ysu.edu> joe@avs.com (Joe Peterson) writes:

>I doubt you would want to simply "discard" the extra samples.  You then would
>lose the advantage of oversampling!  I assume you mean you would digitally
>filter down to 44.1...

The point is that by running the sampling clock X times faster, you
can use fewer poles on the *analog* side and use a smoother slope
filter.  Digital filtering is more a concern in anti-imaging filters
(plauyback) than on anti-aliasing filters.  On playback, oversampling
is a technique used to do some filtering in the digital end.  On
record, it's used to avoid time-delay pre-echo ringing and
nonlinearities caused by high-order filtering &c that you would need
to achiefe proper anti-aliasing.  The advantages on record is that
you get an alias frequency much higher than you would otherwise, and so
as long as your about -12 dB down when you're less than 20 kHz away
from the sampling frequency, you'll have no aliasing.

The standard practice is, after the analog filtering, the signal is 
put through S&H, A/D.  Then it is put through the decimator, given
processing bits (error correction, SCMS, all that jazz), multiplexed,
and recorde.

Of course, there are lots of other methods for doing this now...anyone
who's interested in more technical info than this is advised to read
Pohlman's books.


--
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
From: 93fsg@williams.edu (F. Sebastian Grassia)
Newsgroups: rec.audio
Subject: Re: Comments on analog music
Date: 27 Jan 93 00:14:49 GMT
	<1993Jan26.135419.11498@cbnewsh.cb.att.com>
	<shetline-260193104012@128.89.19.90>
	<1993Jan26.205858.8720@news.yale.edu>
Organization: Williams College. Williamstown, MA
NNTP-Posting-Host: hereford.cs.williams.edu
In-reply-to: dionne@pop.cis.yale.edu's message of 26 Jan 93 20:58:58 GMT

In article <1993Jan26.205858.8720@news.yale.edu> dionne@pop.cis.yale.edu (Marc Dionne) writes:


> >I'm not familar with GRP. What kind of music do they have?
>
> Unfortunate jazz-influenced elevator music.
>
> Marc

You are truly a philistine if you consider Chick Corea, former
pianist for Miles Davis and shaper of modern fusion to be a
producer of "Unfortunate jazz-influenced elevator music."

There are many other excellent, serious jazz musicians recording
with GRP, which I'd be glad to list for you, upon request.  GRP
is a company founded by musicians, for musicians, and produces
some excellent quality (both sonically and musically) albums.

Sheesh.  I though you Yalies were supposed to be a little more
cultured than you appear to be! ;->

> --
> (bababadalgharaghtakamminarronnkonnbronntonnerronnt-
> uonnthunntrovarrhounawnskawntoohoohoordenenthurnuk!)
Verrrrry interesting.... but stupid.

--
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!! F. Sebastian Grassia    !!            Living vicariously               !!
!! 93fsg@cs.williams.edu   !!   through the models and images I create.   !!
!! The Graphics Cowboy     !!          (((((((((((*)))))))))))            !!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Newsgroups: rec.audio
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Turntable/cartridge reccomendations wanted
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Thu, 21 Jan 93 19:01:17 GMT


Given the huge stacks of LPs I still have and having discovered
that analog does sound so great, can anyone make some reccomendations
for a good turntable/cartridge combo that is reasonably priced ?
I'd like to spend <$500 but can go up to $1000.
Newsgroups: rec.audio
From: nau@ssesco.com (William Nau)
Subject: Pleasing (was: Preamp and Amp)
Organization: SSESCO
Date: Wed, 27 Jan 1993 13:53:29 GMT

Dave Dal Farra <gpz750@bnr.ca> writes:
> The final goal of any high-end audio system is not to produce
> sound in as pleasing a manner as possible, but is to provide
> as realistic an illusion of real performers playing
> music before you as possible, in as real a reproduction of the
> acoustic environment the piece was recorded in as possible (multi-track
> horrors are obviously excluded).   This goal is not a matter of taste but
> is an absolute.

Screw that!  This may be the goal of your audio system, but you cannot
speak for everyone.  I want to enjoy my music.  I want to enjoy it
for years to come.  That's my goal.  If this goal happens to achieve
'life-like' sound then fine.  My primary goal is that the music is
pleasing to me.  You have a perfectly reasonable goal, let us have our
own reasonable goal.

 [A bunch of stuff that I agree with deleted.]

> We should always purchase a peice of gear based on the pleasure we derive
> from it.   As profesionals in audio, we should not be talking about taste
> here.   As profesional's in the audio feild, we should be deriving pleasure
> from the life-like sound our design's produce.

Well your first sentence in this paragraph makes much sense, however, once
again, you start to tell others what they should find pleasing.  It's not
your call.  It's up to the individual.  The 'life-like' effect is very
often a result of that.

 [Meaningful argument about LP vs CD deleted]

-- 
William R. Nau
Supercomputer Systems Engineering and Services Company (SSESCO)
511 11th Avenue South, Suite 216
Minneapolis, Minnesota 55415-1536
(612) 342-0003

nau@SSESCO.com
Newsgroups: rec.audio
From: mcilwain@eng.auburn.edu (Frank H. McIlwain)
Subject: Infinity / JVC
Organization: Auburn University Engineering
Date: Tue, 26 Jan 1993 22:02:39 GMT


I am just trying to get some comments on Infinity speakers:

Infinity Reference Fives
Infinity Video One
Infinity Reference E-L

Has anyone had any experience with these speakers?

Also, has anyone had any experience with JVC receivers?

JVC RX-807 or JVC RX-707

Frank
e-mail - mcilwain@eng.auburn.edu
Newsgroups: rec.audio
From: DPierce@world.std.com (Richard D Pierce)
Subject: Re: Liquid Cooled Speakers?
Organization: The World Public Access UNIX, Brookline, MA
Date: Sat, 23 Jan 1993 13:09:20 GMT

In article <C19FDF.8CI@panix.com> moskowit@panix.com (Len Moskowitz) writes:
>Richard D Pierce writes:
>
>>There are some problems, though. The viscosity of the oil changes with
>>temperature, so that the damping effects are reduced at high temperatures.
>>The oil can tend to "wick" out of the gap if there are any very narrow
>>gaps or absorbent materials near by (like the paper cone of a tweeter).
>
>Also, over time, small amounts of the ferrofluid can be forcibly ejected
>from the gap eventually resulting in performance changes.
>

This is only the case with drivers with large mechanical excursion
capability that does not have the venting done properly. I have never seen
this happen with tweeters.

-- 
|                Dick Pierce                |
|    Loudspeaker and Software Consulting    |
| 17 Sartelle Street   Pepperell, MA  01463 |
|       (508) 433-9183 (Voice and FAX)      |
Newsgroups: rec.audio
From: mpalmer@encore.com (Mike Palmer)
Subject: Re: Receivers: Pioneer VSX-D901S vs. Yamaha RX-V1080
Organization: Encore Computer Corporation
Distribution: na
Date: Thu, 21 Jan 1993 17:37:10 GMT

mowat@slipknot.eng.pyramid.com (Eric Mowat) writes:

>I've read some recent negative reviews of Pioneer receivers: they don't
>sound as good as the Yamaha, etc.  And everyone seems to love the
>Yamaha 1050.  Does anyone have any opinions on the D901S?  It has S-video,
>good rear/center channel power (45/55 watts), a few more DSP modes (8
>vs. 5), and a subwoofer connection.  Yamaha features are pretty similar,
>with the biggest advantage being the level controls for front/rear/center 
>speakers and a DSP mode called 35mm.

>What it comes down to is price.  Best 1050 price I found is $888 vs. the
>901S price of $690.

>So what in your opinion makes the Yamaha worth it?  I want to be convinced :-}

Pioneer receivers in general have high noise (hiss) levels.
Newsgroups: rec.audio
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Direct vs Reflecting speaker designs
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Thu, 21 Jan 1993 19:57:28 GMT

In article <1993Jan19.190240.359@sparky.imd.sterling.com> jim@IMD.Sterling.COM (Jim Nicholsen) writes:
>
>
>The preceding would seem to say that room reflections are indeed a
>"bad thing". However, increased reflections are listed as a "good thing"
>in a couple of well regarded speakers (e.g. Definitive Tech "Bi-polar"
>designs, some Magneplanar ads). Where does the truth (tm) lay?
>

It really depends on a number of things.

If you design a speaker system that works via reflections...say The
Definitive Tech bi-polar (as you mentioned), or the Miarge M-1, then
you want a good deal of reflectivity in the live end of the room,
because the design depends on that.  Ian Paisley up a API recommends
that, in the ideal setup, the side walls should be reflective from the
live end back to 2/3 of the way between the listener and speaker, so as
to get the first reflection but no more.

HOWEVER....when you're working with DSP, you generally do not want your
room to be too reflective.  This is out of a need for *control*.  You can
simulate reflectivity electronically.  You *cannot* make a reflective room
sound dry.  Therfore, if you have t err in a DSP setup, you always want
to err on the dry side.

Some professional DSP units, such as the SigTech processor used for 
location-recording work, etc., is rated up to 50 ms....in other words,
its DSP effect will work in a room with up to 50 ms of natural delay.
After that, the unit can't exert enough control.


--
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
Newsgroups: rec.audio,rec.video

I am interested in buying a Surround Sound Receiver.  Any comments on
the Denon AVR-2000?  Which mail-order company has the lowest price?
Thanks for the info!

--
Boniface K. Lee (bonl2@cfsmo.honeywell.com)
Honeywell Commercial Flight Systems - Minneapolis Operations
(612) 785-4629
Newsgroups: rec.audio
From: Frank@mindlink.bc.ca (Frank I. Reiter)
Subject: Paradigm speaker comparisons
Organization: MIND LINK! - British Columbia, Canada
Date: Sat, 23 Jan 1993 05:04:35 GMT

Has anyone done a critical comparison of the Paradigm 7SEs vs the 9SEs?  I'd
also like to hear comments from anyone who could contrast the 11SEs with
their "Export Monitors".  Those two models are identically priced at a local
stereo shop, and though he tried the salesman was unable to explain the
difference between them in terms I could understand.

Frank.
--
___________________________________________________________________
Frank I. Reiter                 Internet: Frank@mindlink.bc.ca
MIND LINK! Communications Corp. Surrey, British Columbia, Canada