HDTenEightyP/NetNews huggingface dataset:
From: Scott Fenton <sf@zengroup.com>
Subject:   Receiver and Tape-Deck Recs Requested
Originator: tjk@csd4.csd.uwm.edu
Organization: University of Wisconsin - Milwaukee
Date: Tue, 8 Sep 1992 21:26:22 GMT
           Sun, 06 Sep 92 22: 28:25 EDT

Hello, all.  I am another new reader of this newsgroup and would, likewise,
be grateful for a set of recommendations on components.  And, again, if a
similar query has been recently asked or if the request is not appropriate
for this DL, please excuse the bytes.

I have the traditional post-college med-fi set-up with a Yamaha receiver
(never thrilled with), an old Nak 580 cassette deck, an early B&O table w/
good needle, a throwaway CD player (alright, GE label), a mixer, and a
Toshiba PCM digital-audio/VCR (disappointingly, with only analogue outputs).
I listen to a broad range of types of music, usually within two large, very-
old-constuction high-ceiling rooms over a set of KEF and home-made
Dahlquist-style speakers.  The deck and radio need replacing (I am told that
I should buy the radio as pre-amp, power-amp, and tuner, but I haven't the
room) and I can finally afford it.  I'd pay a significant premium for good
aesthetics and/or American-made, but I am not manic about these things.  I
will toss in two other requests from a friend for lo-fi recs but will cheer-
fully accept suggestions directing me to "Consumer Reports" and the like.

COMPONENT	PRICE RANGE	OTHER COMMENTS OR DESIRED FEATURES

FM/AM		$1-$2K		Would like good pure sound, of course, but
Receiver			also any new station-grabbing features,
				lots of input jacks, and remote.

Cassette	$0.5-$1.5K	Dual deck dubbing, auto reverse (play &
Deck				record), remote op, adjustable bias/eq/rec.

Cassette	$100-$200	As much of the above as is realistic.
Deck				

Turntable	$100-$200	Auto-Start when U move the arm (would this be
				best bought used with replacement cartridge?).

Any recommendations on mail-order vendors, other suggestions, advice?  Will
happily synopsize feedback & post to the group, if desired.  Again, thanx
very much for any and all help.

Scott Fenton

sf@zengroup.com
From: moskowit@panix.com (Len Moskowitz)
Newsgroups: rec.audio.high-end
Subject: Re: Newbie Needs Help....
Date: 14 Sep 92 12:59:13 GMT
Organization: PANIX Public Access Unix & Internet, NYC
	(queueing-rmail) id 151422.20849; Sun, 13 Sep 1992 15: 14:22 EDT
Originator: tjk@csd4.csd.uwm.edu
Cc: wem53067@uxa.cso.uiuc.edu

In article <Bu9xCL.5rs@news.cso.uiuc.edu> wem53067@uxa.cso.uiuc.edu
(The Bard ) writes:

>The Problem is, that although I've gone and aditioned a bunch of equipment, my
>newbie ears are overwelmed with what the hear. I "can" not the difference for
>instance between krell and adcom components, but when I start comparing adcom 
>with more realistic equipment, it's harder to distinguish the defernece.

It takes time to train your ears.  Spend some time making the rounds
of your local high end shops.  Bring your own music nand pay attention
to detail.  If, in the end, you still can't differentiate between
Krell and Adcom in systems using other Krell-class components, save
yourself some serious money and get the Adcom gear.  Adcom (and
comparable gear from other manufacturers) sounds darned good at their
price points.

>I have approx. 5k to spend on equipment, and I understand that a good portion
>of that should go into speakers... (2k aroundish)? Where I need help is 
>this all down and perhaps for some of the so called "experts" namely you, to
>suggest components with in my price range to audition.

Try the Muse 100 amplifier driving Thiel CS2.2 speakers.  Source could
be one of the Cal Icon CD players or perhaps a turntable if you're a
masochist.


-- 
Len Moskowitz
moskowit@panix.com
Newsgroups: rec.audio.high-end
From: wem53067@uxa.cso.uiuc.edu (The Bard )
Subject: Re: Newbie Needs Help....
Originator: tjk@csd4.csd.uwm.edu
Organization: University of Illinois at Urbana
Date: Fri, 11 Sep 1992 17:40:39 GMT
  (5.67a8/IDA-1.5 for <rec-audio-high-end@ux1.cso.uiuc.edu>); Fri, 11 Sep 1992 01: 44:20 -0500
  (5.67a/IDA-1.5 for rec-audio-high-end@ux1.cso.uiuc.edu); Fri, 11 Sep 1992 06: 44:19 GMT

wyatt@othello.fnbc.com (Wyatt Sutherland) writes:


>By the way Champaign-Urbana has a very good hall, and the CSO records  
>someplace in or near your stomping grounds.  I know that great artists  
>travel through your area.  Also if you want great opera at an affordable  
>price, go to Indiana University in Bloomington, Indiana.  Members from the  
>Met in N.Y. attend opera rehearsals and concerts in Bloomington, IN.

>You'll also be supporting the arts, which need more of our support  
>especially in these financially turbulent times.

>Just some suggestions.

>Good Luck.
>Wyatt

>wyatt@jupiter.fnbc.com

First off, I'd like to thank everyone for the suggestions... they have REALLY
helped.

Second, about CSO, I go often, and I love to listen... I've even taken a few
classes here on the development of classical music, ect. Let me state though
that as often as I go,m I cannot ALWAYS go when I want, and I'd like to
duplicate that sound as much as I can (The whole reason for a home stereo!)
Plus, I have to admit that I'm hooked on alternative as well as classical,
and unfortunately, alternative music sounds REALLY bad live... It's not all
that great recorded in a studio... but you can't expect the world from a
bunch of screaming men (or women).

Nuff said.. :)

-Later, The Bard
Wayde Milas
wem@uxa.cso.uiuc.edu
From: gt0213c@prism.gatech.edu (LENAKOS,JASON GEORGE)
Newsgroups: rec.audio.high-end
Subject: Room Treatment?
Keywords: room treatment
Date: 14 Sep 92 12:59:20 GMT
Organization: Georgia Institute of Technology
Originator: tjk@csd4.csd.uwm.edu


Hello,

	I recently moved to a new apartment and subsequently have a new
listening room.  The room has plaster walls and ceiling, and a hard wood 
floor.  The net effect of this move on the performance of the system is 
the increase and almost overwhelming strength of the upper midrange and 
the higher frequencies.  In addition, the very high frequencies do not 
sound near as open as they used to.  The previous listening environment 
was about 16' x 11', with wall to wall carpeting and heavy curtains located
behind the system, which I suspect quelled the upper mids.  It also had 
about a 6' wide opening to another room in the wall facing the system,
and the listening center was located a few feet in front, and to the right
of it.  The new listening room, as mentioned before has all hard surfaces,
and measures 14' x 13'.  There is a hallway entrance approximately 3' wide
in the left wall behind the point of listening, as you face the system.  I
placed two throw-down carpets in fornt of the audio system and acheived
only a slight change for the better.  In both cases, the audio system was/is
located on the larger dimension.  Buying new speakers is not out of the 
question, I suppose, but I don't think that will fully solve the problem or
be a cost-effective measure. What else can I do to improve the sound? 
Would makeshift curtains along the walls help?  What about acoustic baffling?
Thanks in advance.

	-Jason
-- 
Jason Lenakos          		 |   "Nobody will fly for a thousand years!"	
Georgia Tech Aerospace		 |
gt0213c@prism.gatech.edu	 |	Wilbur Wright,1901, in a fit of despair	
Newsgroups: rec.audio.high-end
From: johno@sdd.hp.com (John Ongtooguk)
Subject: Re: fm antennas
Originator: tjk@csd4.csd.uwm.edu
Organization: Hewlett-Packard, San Diego Division
Date: Thu, 10 Sep 1992 12:56:39 GMT

In article <RSHAPIRO.92Sep8115021@kariba.bbn.com>, rshapiro@bbn.com (Richard Shapiro) writes:
|> Anyone have any direct experience with the passive FM antennas made by
|> Audio Prism? In particular, the 6500 and the 7500? Or any other
|> recommendations for an indoor, passive FM antenna? An outdoor antenna
|> isn't practical at the moment and my experience with active antennas
|> leads me to distrust them.

   No, no, perhaps. I used a cheap ($1.50 ?) set of TV rabbit ears
   for years as they were easy to point and adjust, but they didn't
   work as well after moving behind some hills a few years back. I 
   found a simple 'optimized' dipole design in one of the Radio Shack  
   books, on radios I believe, which works so well that I had to put an
   attenuator on it as some stations were overloading the tuner. It's      
   a piece of wood about four or so feet long, a few inches wide with
   rounded ends, the antenna merely being some 300 ohm twin lead wrapped
   around the wood. It's not as hard to hide as it sounds; I put mine
   on top of the bookcase after trying out a few locations. I recall 
   that different dimensions optimize it for different frequencies, and
   that 75 ohm coax worked better than the twin lead for hooking it
   up to the tuner. My wife likes it, especially since I considered 
   building some large twin lead rhombics on the ceiling.

   John Ongtooguk (johno@sdd.hp.com)
From: smills@news.weeg.uiowa.edu (MuffinHead)
Newsgroups: rec.audio.high-end
Subject: Re: Women and Hi Fi
Date: 14 Sep 92 12:59:27 GMT
Organization: University of Iowa, Iowa City, IA, USA
Originator: tjk@csd4.csd.uwm.edu

peterca@ento.csiro.au writes:

>which leads me to wonder are there any girls out there tweaking (or even
>reading this) or is it just us boys.  The women I know all seem to enjoy
>quality reproduced sound and just as many women as men are knowledgable and
>enthusiastic attenders of concerts...

   It's because usually it isn't girls who ask for a stereo for xmas or
bug their parents for a tape deck for their car. Most girls are happy with
some little box that plays their pre-recorded tapes while boys make a point 
to notice the difference between a a real 3-way system and a pair of Triaxles
setting on a rear deck.
   Please note that I'm not saying that ALL females are technologically
deprived, it's just the case with most. An ex-girlfriend couldn't hear a
problem when her $129.99 special was distorting. My current girlfriend
has Sony, Onkyo, and Awai components and Infinity's. World of difference.
   Also, boys growing up tend to putz around with things and open tape
decks to see how they work more than girls do.


-- 
Muff
Newsgroups: rec.audio.high-end
From: garyw%cea.Berkeley.EDU@ucbvax.Berkeley.EDU (Gary Wong)
Subject: Dana Audio 2f Query
Originator: tjk@csd4.csd.uwm.edu
Keywords: Dana, speakers
Organization: Center for EUV Astrophysics
Distribution: usa
Date: Fri, 11 Sep 1992 17:37:16 GMT


I would like to hear from anyone who has
experience with Dana Audio speakers, in
particular the model 2f.

I am interested in:

        1) your overall impression
           (imaging, soundstage, tonal
           balance, etc.)

        2) which speakers you would compare
           it to

        3) test configuration (speaker
           placement, connected equipment)

        4) your opinion of their customer
           service

        5) shipping cost and time

I am searching for speakers for my
Adcom GFA 535 + GFP 555.


Thanks to all who can respond
garyw@cea.berkeley.edu
From: eric@prodigal.psych.rochester.edu (Eric Hansen)
Newsgroups: rec.audio.high-end
Subject: Re: Women and Hi Fi
Date: 15 Sep 92 13:54:13 GMT
Organization: University of Rochester - Rochester, New York
Originator: tjk@csd4.csd.uwm.edu

In <1992Sep14.072519.15627@news.weeg.uiowa.edu> smills@news.weeg.uiowa.edu (MuffinHead) writes:

>   It's because usually it isn't girls who ask for a stereo for xmas or
>bug their parents for a tape deck for their car. Most girls are happy with
>some little box that plays their pre-recorded tapes while boys make a point 
>to notice the difference between a a real 3-way system and a pair of Triaxles
>setting on a rear deck.
>   Please note that I'm not saying that ALL females are technologically
>deprived, it's just the case with most. An ex-girlfriend couldn't hear a
>problem when her $129.99 special was distorting. My current girlfriend
>has Sony, Onkyo, and Awai components and Infinity's. World of difference.
>   Also, boys growing up tend to putz around with things and open tape
>decks to see how they work more than girls do.

>From my own experiences, it would definitely seem that boys are quick to
disassemble things before even looking at the manual/instructions.  If we 
wanted to take this argument further (without getting so tangental that the 
moderator refuses to post the replies), we could cite psychological studies 
of social norms and parent/gender modeling which theorize why boys are 
expected to take things apart, and girls are not.  Anyways, before the flames 
start rolling in, here's the real (redeeming) content of my posting:

How do you get your "significant other" interested in high-end audio?!
(given that I'm a male with a female girlfriend).  Rather than getting
scoffs and annoyed mannerisms, it would be nice to go down to the local
high-fi shop and drool at the Krells *together*.  How's that for a date?!
Is it strange that the first thing I reach for while in the bathroom is the
Sterephile rather than the Victoria's Secret Catalog?!
(this is a semi-serious question). 

Forget cables and interconnects for the time being, this is a practical issue!

- Eric

eric@binoc.bih.harvard.edu
Newsgroups: rec.audio.high-end
From: Jesper.Ullerstam@eua.ericsson.se (Jesper Ullerstam)
Subject: CD drive question
Originator: tjk@csd4.csd.uwm.edu
Organization: Ellemtel Telecom Systems Labs, Stockholm, Sweden
Date: Tue, 8 Sep 1992 21:28:09 GMT

I have no problems with the fact that different DA-converters
produce different sound quality. My question concerns the CD
drive part. I frequently use a CD-ROM player with my computer
and I know as much about computers that I realise that my
CD-ROM always must deliver the exact data stored on the disc.
A CD-ROM is quite cheap if you compare to a high end hifi
CD-drive. If the CD-ROM delivers the exact information,
why can't you build a hifi drive that does the same thing, at
the same price? Do they use different methods for reading the
data? I'm interested in any information related to this subject.

/jesper

Newsgroups: rec.audio.high-end
From: piscine@rs1.tcs.tulane.edu (henry bart)
Subject: What is MDF?
Originator: tjk@csd4.csd.uwm.edu
Organization: Tulane University, New Orleans, LA
Date: Thu, 10 Sep 1992 12:55:53 GMT
Nntp-Posting-Host-[nntpd-8701]: rs1.tcs.tulane.edu

I've seen many references to MDF for stereo racks, etc.  I would like to build
my own rack but don't know what MDF board is or what MDF stands for.  Is MDF
available through regular lumber supply houses?

Thanks....


		Mike


Newsgroups: rec.audio.high-end
From: DPierce@world.std.com
Subject: re: What is MDF
Originator: tjk@csd4.csd.uwm.edu
Organization: University of Wisconsin - Milwaukee
Date: Mon, 14 Sep 1992 12:58:42 GMT


Yes, as many people stated, MDF is "Medium Density Fiberboard."

However, it bears little relation to the normal chipboard that you find in
the vast majority of lumber yards and home centers.

The normal stuff you find (which may be advertised or known as 55lb
particle board, underlayment) is very poor for loudspeakers. Generally, this
stuff has a fairly dense surface but a very loose and open core. 3/4"
samples of the stuff I have seen show open voids and little glue content.
Often times, this stuff is made out of anything pulpy, most often shreaded
corn cobs, with a glue filler and binder. The stuff is typically a light brown
tan (whatever) color. The average particle size if usially a couple of
millimeters. It machines pretty poorly and can just barely hold a screw.
It's, in general, pretty lousy stuff.

MDF, on the other hand, is made out of wood by-products that has had the
living s**t pulverised so the average particle size is typically on the
order of .02 mm! It's formed using a combination of extreme heat, steam
and a whole bunch of pressure. It's usually quite dark in color, about
the same as tempered Masonite. It machines almost like aluminum. It's
much more suitable for loudspeaker use than the stuff us mere mortals
can normally get ahold of.

Another material that works well (but is expensive) is what is often refered
to as void-free Baltic Birch plywood. This is the stuff that is 13 layers
for a 3/4 (actually 20 mm) thickness. It's about as dense as MDF (both, at
about 50 lbs, are considerably less dense than water, at about 64 lbs/cu. ft)
but it also machines well and while hold screws with a death grip. It's
also expensive, running about $60 for a 5'x5'x3/4" sheet.



|                Dick Pierce                |
|    Loudspeaker and Software Consulting    |
| 17 Sartelle Street   Pepperell, MA  01463 |
|       (508) 433-9183 (Voice and FAX)      |
From: piscine@rs1.tcs.tulane.edu (henry bart)
Newsgroups: rec.audio.high-end
Subject: Re: What is MDF?
Date: 14 Sep 92 12:59:45 GMT
Distribution: usa
Organization: Tulane University, New Orleans, LA
Nntp-Posting-Host-[nntpd-22873]: rs1.tcs.tulane.edu
Originator: tjk@csd4.csd.uwm.edu

>    > I've seen many references to MDF for stereo racks, etc.  I would like
>    > to build my own rack but don't know what MDF board is or what MDF
>    > stands for.  Is MDF available through regular lumber supply houses?
>    > Mike
>
>    As I understand it, MDF is a particular type of particle board.  As a
>    guess, I'd say that the acronym stands for something like "medium-
>    density fiber" or similar.  It is sold with a rating of pounds (per
>    what?).  Audio Concepts makes a big deal of using 49.3 lb. Willamet(sp?)
>    MDF in ther speakers.  For the Sub-1 clones some friends and I made, we
>    used regular ol' 3/4" particle board from the local home supply store.
>    I think the rating was 30-something pounds -- it cost $11 per 4x8 sheet.
>

Thanks to you and the more than a dozen people who responded via e-mail. I  
think I now have a grasp on MDF.  =8)


		Mike
Newsgroups: rec.audio.high-end
From: matthews@eecs.ucdavis.edu (Thomas W. Matthews)
Subject: Fuses, Relay contacts
Originator: tjk@csd4.csd.uwm.edu
Organization: Division of Electrical Engineering and Computer Science, UC Davis
Date: Tue, 8 Sep 1992 21:20:06 GMT


After reading all the discussion about fuses in DC supply
paths and in the speaker circuit, I wonder what people are
saying about relay contacts.  Some power amps (but not
high-end amps?) disconnect the speakers on power-up, and
then connect them by means of relays.  Or one might use
relays (or even switch contacts) to select speakers.

It seems to me that such contacts could create a
reliability problem.  But even if they're new,
could they degrade the sound?

BTW, about fuses in the DC supply to an amplifier stage:

The problem is supposed to be as a result of added 
resistance (even signal-dependent resistance as the fuse
temperature varies), or so I infer.  The result of
resistance in series with the power supply would be
a variation in the voltage supplied to the amplifier.  
That seems like a bad thing, but the amplifier should be 
very insensitive to power supply voltage; an unregulated
supply would have a significant 120 Hz. component (plus
harmonics) and if that were audible, the amp would not
be considered good at all!  

If the supply voltage were to drop *far enough* then the
output device(s) could be near saturation (bipolar device)
or near the linear region (FET) for short times when
the output current demand is high.  Measurements could 
confirm whether or not this is happening.  

Tom Matthews
From: jek@boz.East.Sun.COM (John Karwoski Sun King of Prussia Regional SE Manager MidAtlantic 215-962-5621)
Newsgroups: rec.audio.high-end
Subject: Maggie/Vandersteen Amp Matching
Date: 8 Sep 92 21:32:20 GMT
Organization: Sun Microsystems, King of Prussia, PA
Originator: tjk@csd4.csd.uwm.edu


I am in the process of auditioning loudspeakers to replace my Boston
Acoustics A-200s.  So far, the speakers I prefer are Magneplanar SMGA's
and Vandersteen 1Bs (OK, I prefer bigger Maggies and the Vandersteen 2's,
but there are budget considerations here).

The question is how well either of these would be suited to my amp, a
Luxman LV105u (hybrid design: tubes in the pre-amp section, mosfets in
the power amp).  The Maggie spec sheet says 4 ohms, the Vandersteen
6 and of course the Lux is spec'ed (only) at 8 ohms.  Impedance specs
for speakers seem to vary widely (ie some that are rated for 8 ohms are
more like 5, etc), so I don't know if the 4 ohm spec for the Maggie is
the lowest it will ever be, or if its a nominal specification.  

The Luxman owner's manual seems to emphasize 8 ohm or higher speaker
impedances, so I am particularly sensitive to proper matching.

I plan to listen to both of these systems at home before deciding which
to purchase.  Any help or experience on the above question would be
appreciated.  Also, what should I listen/look for (other than smoke :-))
that would indicate impedance mismatch once I do them home?

Thanks,
John

--
John Karwoski
Regional SE Manager
From: ereiss%ocf.Berkeley.EDU@ucbvax.Berkeley.EDU (Edward Reiss)
Newsgroups: rec.audio.high-end
Subject: McIntosh Dilemma
Date: 8 Sep 92 21:24:14 GMT
Organization: U.C. Berkeley Open Computing Facility
Originator: tjk@csd4.csd.uwm.edu

I recently acquired a used McIntosh 117 preamp/tuner.  My original intention
was to purchase a new McIntosh amplifier, and build a system around these two
components.  The preamp is solid state and so is the amplifier that I am
considering purchasing (A discontinued model (754) now available for approx
$700).  Now I'm having second thoughts and wondering if I could get better
value by selling the preamp and buying different brand components.  This being my
first excursion into high end audio, I would appreciate any and all opinions
about the quality of the McIntosh models in question and any alternative 
routes that I could take.  

Ed Reiss
ereiss@ocf.berkeley.edu
ereiss@cory.berkeley.edu
Newsgroups: rec.audio.high-end
From: rshapiro@bbn.com (Richard Shapiro)
Subject: Re: Newbie Needs Help....
Originator: tjk@csd4.csd.uwm.edu
Organization: BBN, Cambridge MA
Date: Fri, 11 Sep 1992 17:35:21 GMT

In article <1992Sep9.191615.5911@fnbc.com> wyatt@othello.fnbc.com (Wyatt Sutherland) writes:

   Well $5K is a lot to spend.  Here is my suggestion.  You live in a state  
   that has one of the world's greatest orchestra.  The Chicago Symphony  
   Orchestra.  Let's say you attend a concert every 2 weeks.  You will be  
   able to hear app. 15 concerts ( the CSO also has vacation time, and  
   Ravinia isn't the greatest place to hear a concert ).  Let's assume that  
   you would pay $25 a ticket - you can pay less and get a better sound up in  
   the crows nest.  If you go by yourself you could hear the CSO in Orchestra  
   Hall for 13+ years, or you could take a friend and enjoy almost 7 years of  
   live, punchy brass in a rich hall.  Taking in account that you probably  
   are young and likely to climb into a more comfortable income bracket, you  
   will then be able to afford a better system, and you will have educated  
   your ears.

Actually, his ears will be seriously lopsided, as he will have heard
only the tiniest sliver of music: orchestral music by euro-american
composers active between the late 18th and early 20th centuries,
perhaps with a few later 20th century pieces thrown in. No jazz, no
rock, no electronic/avant-garde, no chamber music, no gamelan, no
soukos, no salsa, no medieval european music, no "classical" music
from N Africa or Iran or India or China, no folk music, no dance
music, no country, no blues -- the list could go on and on.

This is something of a long-standing controversy in high-end audio,
more or less the equivalent of the canon debate in literature.
Personally, I regard the claim that mainstream European orchestral
music is the best education for one's ears to be little more than a
rationalization of the cultural status quo. I do not regard a diet
restricted to such music as a very healthy one.

There's also another issue, regarding the function of recorded music
-- which is *not*, in general, to reproduce concert music. But I'll
save that debate for later.

   You'll also be supporting the arts, which need more of our support  
   especially in these financially turbulent times.

It does indeed, but the Art Ensemble of Chicago is more likely to need
your dollars than is the CSO....


Newsgroups: rec.audio.high-end