HDTenEightyP/NetNews huggingface dataset:
From: sethb@fid.morgan.com (Seth Breidbart)
Subject: Re: DAT sans AD/DA
Organization: my opinions only
Date: Sat, 3 Oct 1992 02:21:39 GMT

In article <1992Oct2.154037.17993@bilver.uucp> bill@bilver.uucp (Bill Vermillion) writes:
>In article <BvGAE6.Ko4@rice.edu> caudle@owlnet.rice.edu (Chris Aaron Caudle) writes:
>>Does anybody make a DAT transport only?
>>I can get outboard convertors, and I don't
>>want to pay for redundant convertors in
>>a DAT.  
>
>The only unit I have seen that meets that spec is the Sharp
>RS-P1(GY).
>
>It is being sold as a complete unit, with car mounting bracket,
>car cassette player adaptor, car cigarette lighter power
>adaptor, AC adaptor, and connecting audio cables at $499
>through Damark.   

The Kenwood DX-7 is essentially the same unit, but comes without the
car stuff.

The Aiwa HD-S1 (and older HD-X1) are also similar, in that the A/D and
D/A converters screw on the end.  The Aiwa units have the headphone
jack in the main part (apparently either it uses a separate set of
D/As or the D/As are in the main body, and only the amps for line out
are in the HD-A1).

I don't think either of them is generally sold as a separate unit (but
email me if you're interested and I'll see what I can do).

Seth		sethb@fid.morgan.com



Xref: sparky rec.audio.pro:1882 rec.music.synth:15899
From: galanter@nyu.edu (Philip Galanter)
Newsgroups: rec.audio.pro,rec.music.synth
Subject: AES Anyone??
Date: 2 Oct 92 22:48:08 GMT
Reply-To: galanter@nyu.edu (Philip Galanter)
Organization: New York University

Did anyone out there go to AES?  Did you get to listen to the Tascam  
digital 8 track?  How about the new Zoom 2200 reverbwhatever?  Any news  
from Lexicon on new effects?  Does Fostex have an ADAT response product in  
the wings?

Please share any interesting news with the net...or me via e-mail if you  
are shy :^)

Thanks, Phil

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Philip Galanter         New York University    phone:    212-998-3041
Research Associate      251 Mercer             fax:      212-995-4120
Academic Computing      New York, NY 10012     internet: galanter@nyu.edu
 
   O f f i c e   o f   A r t s   &   M e d i a   T e c h n o l o g i e s
Newsgroups: rec.audio.pro
Distribution: world
From: jimh@laison.w8hd.org (Administrator)
Organization: L'AISON - Local Area Information Server Open Network
Date: Thu, 24 Sep 1992 20:39:23 EDT
Subject: ECM-66 microphone

Has anyone else experienced the apparently unavoidable problem of breath
blasts which occur then this microphone is worn by a
spealer/talent/announcer, who, while off-camera, looks down at a script
and speaks virtually directly into the microphone (being worn in the
lavalier postion)?  Of course, I am using the blast filter foam screen
supplied with the mic, since it is totally useless without it! 

Except for this nagging problem, the mic is useful as a highly
dirctional lavalier.  Comments?

Jim Hebert
Television Sound Engineer
***************************************************************************
L'AISON       Local Area Informatin Server Open Network        313-647-2634
FirstClass System     Beverly Hills, Michigan           PostalUnion Gateway
***************************************************************************
Newsgroups: rec.audio.pro
From: cms2839@ultb.isc.rit.edu (a.stranger)
Subject: Re: Printing cassette J-cards
Originator: cms2839@ultb
Organization: Minimalist Music for Hyperactive Children (MMHC)
Date: Tue, 29 Sep 1992 22:33:06 GMT

In article <1992Sep27.163008.18971@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>Does anyone make die-cut J-cards suitable for laser printers?  Avery makes
>great laser cassette labels, but now I need J-cards....
>
				my experiences with this have generally
been in much larger quantities than you seem to be referring to , but
here's a suggestion :

				most print shops have giant hydraulic
paper cutters that they use to trim stacks of printed material , such as
business cards ( the cutters can trim something like six inches of paper
at a time [ high ] , and do it accurately ) . it would only take a
minute , maybe less , to have them trim a stack of cardstock to the
correct size , and you'd have enough cards to last you for some time to
come . the printer might be more apt to do this for you if you bought
the cardstock from them ( they usually have a good selection ) .

-- 
       @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
       @       "Imagination keeps the shadows away  -  Xymox       @
       @~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~@
       @ a.stranger - CMS2839@ritvax.isc.rit.edu - PGP key on req. @
Newsgroups: rec.audio.pro
From: brent@terminus.gatech.edu (Brent Laminack)
Subject: Re: Does spaced omni ever really work?
Organization: Georgia Tech College of Computing
Date: Sat, 26 Sep 1992 01:00:13 GMT

gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:

Gabe writes:

>The Blumlein pair is great, but is severely limited in that you have
>only a 90-degree forward field.  With large ensembles this can be a
>problem, since you need to get the mics close enough so that the
>direct/reflected ratio sounds good (remember, they're as sensitive in
>the rear as they are in the front), but not so close so as to exceed
>the 90 degrees that the array gives you.  So, when blumlein works, it
>works very well.  Trouble is, you can't use it very often.

>My favorite flavor of intensity stereo is near-coincident hypers,
>angle and spacing of which is wholly determined by what's being
>recorded.  I find that it has much of the directional accuracy of XY
>without the loss of soundfield depth that one often finds in
>coincident mikings.  Hypers are also much better and pulling in
>distant sounds than omnis or cardioids are (great for
>chorus-in-back-of-orchestra jobs (though in those setups I'm inclined
>to put a separate pair on the chorus and mix it in on the fly)).  Of
>course, no directional mics have the low end oomph found in pure
>pressure mics.

Excellent points. I've talked to recordists who favor the so-called
"remote-control" mics such as made by Sony and a couple of others
that allow the recordist to vary the pickup pattern of the mics. This
allows a single mic to be changed from omni through the cardiod and
hyper-cardiod patterns all the way to figure-8. Thus the recordist
can change from omni to the above-mentioned hyers to Blumlein on the
fly. I've always wanted to play with a couple of these. Can anyone
lend us their experience on this count?


					
					-Brent Laminack (brent@cc.gatech.edu)
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Newsgroups: rec.audio.pro
Subject: Re: Monitors for small control rooms
Date: 30 Sep 92 21:42:13 GMT
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University

In article <1992Sep30.131610.10981@rambo.atlanta.dg.com> rjm@atlanta.dg.com (Randy Myers) writes:

>There are a confusing number of offerings in the range of $400-$800/pair.  Are
>there any clear preferences, I wonder?

Well, you could go with the industry standard NS-10M's I suppose, though
I'm partial to Tannoy monitors.  They come in all shapes, sizes, and 
prices, so find a dealer near you and have a listen.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.audio.pro
From: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Re: Printing cassette J-cards
Organization: DSO, Stanford University
Date: Fri, 2 Oct 92 17:02:19 GMT

One (only semi-cheesy) approach I've used for limited distribution J-card  
printing is to print out on a laser printer on regular paper and fold the  
paper over the cardboard J-card that came with the cassette.  This won't  
work with bulk cassettes that don't come with J-cards, and it's pretty  
tedious for hundreds of tapes, but it works OK for dozens of demo tapes.   
I've made templates in a drawing program that display the outer edge of  
the cards as dotted lines, then filled in the graphics and deleted the  
lines or cut them off on a paper cutter.  

Jay Kadis
jay@ccrma.stanford.edu
From: tony2@mcl.ucsb.edu (Tony Chan)
Newsgroups: rec.audio.pro
Subject: Re: Help
Date: 5 Oct 92 22:11:08 GMT
Article-I.D.: mcl.tony2.718323068

In <tony2.718314594@mcl> tony2@mcl.ucsb.edu (Tony Chan) writes:


>HELP !!!

>I would like your expert opinions on the following things....

>My situation:  I am a small business DJ with limited (currently) finances.
>Hence, I build a lot of my own speakers. I had to 'give back' the first set of
>speakers that I built, so I am looking to build another set.
>What I'm looking for is any catalogs or companies that sell drivers, cabinets,
>etc. Any recommendations???
>I'm also looking for any good reference book for speaker building (NOT the
>Radio Shack version for Home Speakers but a book about those used on the Club/
>Professional level).

>Any recommendations for the above and/or sources for other DJing equipment (amps
>, mixers, crossover, racks, etc.) would be GREATLY appreciated.

>Tony Chan
>7324 Hillsboro St.
>Goleta, CA
>805-685-7214


OOPS - Ok, I'm sorry. I forgot to include my e-mail address:

tony2@mcl.ucsb.edu


Thanks in advance...
Newsgroups: rec.audio.pro
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Does spaced omni ever really work?
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Mon, 28 Sep 1992 20:18:08 GMT

In article <5298@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
>
>One of the things that I look for  in mic specs is the polar plots at
>different frequencies.  I have mics that have good to very good off
>axis response.

So do I, but the problem I was indicating is that most manufacturers
don't provide these.  They give you the on-axis response curve, and a 
polar pattern taken in the midrange.  With most cardioids, no matter how
even the on-axis response is, the off-axis response is both boomy and peaky.
(There *are* mics that do not have this quality, but they aren't cheap).

Anyone reading this group knows that I'm generally a fan of hypers for
two-mike recordings because they have a much narrower front lobe,
 and their off-axis response is generally better than cardioid. 
I also favor near-coincident over coincident.

>I am very sensitine to the off axis response,  I believe that is is
>important in all cases.

Anechoic environments excepted...sometimes I think that microphone
designers forget that most recordists don't spend much time in
such places...

>Close micing, distance micing, recording or sound reinforcement the
>off axis response is very important to me!

Agreed, but you have to agree that off-axis response is *more* important
in two-mike stereo than it is in close-miking.


--
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: moskowit@panix.com (Len Moskowitz)
Newsgroups: rec.audio.pro
Subject: Re: Does spaced omni ever really work?
Date: 2 Oct 92 20:55:28 GMT
Organization: PANIX Public Access Unix & Internet, NYC


Brent Laminack writes:

>For those unfamiliar with it, the Blumlein method is crossed co-incident
>figure-8 (bidirectional) mikes. 
>
>Conclusion: speced omnis rarely, if ever 'work'.

Well, binaural recording is a variant on spaced omni, and I doubt
you'll ever hear a more realistic recording than a well recorded
binaural one.

Stax puts out a nice binaural sampler CD.  It sounds so real it'll
give you goosebumps!  Wait 'til Guenter whispers in your ear!


-- 
Len Moskowitz
moskowit@panix.com
Newsgroups: rec.audio.pro
From: Dave Jensen <djensen@claven.idbsu.edu>
Subject: L-C-R Panning Survey
X-Xxmessage-Id: <A6F61D2181010504@boise2.idbsu.edu>
X-Xxdate: Mon, 5 Oct 92 16:26:09 GMT
Organization: Morrison Center for the Performing Arts
X-Useragent: Nuntius v1.1.1d11
Date: Mon, 5 Oct 1992 22:25:00 GMT

Greetings All,

I have a question to put to all those mixers and sound designers out
there. I guess it's a mini-survey.

Q.  Assuming you had access to the three clusters, would you value the
ability to have true Left-Center-Right (L-C-R) panning and output
capability? (This means when then the channels pan control is panned to
center no signal goes to either left or right outputs; if panned to hard
left, there would be no signal to center or right outputs; halfway
between center and left would result in equal output to left and center,
etc.) Please briefly qualify your answer.

Thanks 


Dave Jensen               
Morrison Center for the Performing Arts
djensen@claven.idbsu.edu
Newsgroups: rec.audio.pro
From: tonyb@juliet.ll.mit.edu ( Tony Berke )
Subject: AKG Blue Line Mics seem interesting
Organization: M.I.T. Lincoln Lab - Group 43
Distribution: rec
Date: 6 Oct 92 08:56:40


Has anyone else played with the new AKG Blue Line mics?  It's a
modular series, with a transformerless pre-preamp body that runs of of
48V phantom, and a slew of 1/2" capsules with a pretty convenient
bayonette mount.

  I messed around with a demo the other day.  A violinist net-pal and
I did a series of side-by-sides of it with omni and cardioid capsules
against my 414/ULS.  We were miking his violin at about 8 feet in a
smallish room.  None of the recordings actually sounded good (the room
was dismal), but the thing that I found interesting was that it was
nearly impossible to tell the difference between the two mics.  The
414 sounded marginally warmer in cardioid mode, but the violin doesn't
go too deep so it was extremely subtle.  There was no detectable
difference at all between the Blue Line with omni capsule and the 414 in
omni mode.

The Blue Line was extremely quiet -- any difference between it and the
414 in that department was buried in the room.  I believe that the
published self-noise spec is 17dBA.  I assume that one wouldn't use
these things as close-vocal mics, but they look like they'd come in
handy everywhere else.

The price looks pretty attractive to me.  The mic body costs $215, and
most of the capsules are about $150, except the shotgun and the
figure-8, which are more ($300-$350, I think).  That could get you set
up with two bodies and a pair of cardiod or hypercardiod capsules for
ORTF stereo, plus a figure-8 for MS, for a total of about $1000.

My friend has since bought just such a setup.  I'm thinking of picking
up one body and a hyper capsule so I can start playing with MS (using
the 414 as the side mic).

Whatchuguys think?

Tony
Newsgroups: rec.audio.pro
From: Jay_Tobias@taligent.com (Jay Tobias)
Subject: Re: DAT sans AD/DA
Organization: Taligent
Date: Fri, 2 Oct 1992 19:18:25 GMT


Nakamichi offers a DAT consisting of two boxes, one is a tranport
and the other is a signal processor. I'm not sure what the
connection is like between them, implying that you may not be
able to use their transport with other converters.  Retail is 
about $11k for both units. 

In article <BvGAE6.Ko4@rice.edu>, caudle@owlnet.rice.edu (Chris Aaron Caudle)
writes:
> 
> Does anybody make a DAT transport only?
> I can get outboard convertors, and I don't
> want to pay for redundant convertors in
> a DAT.  
> 
> Alternatively, where can I get a dirt cheap
> (maybe used?) DAT.  Are there many used models
> moving yet from people who are upgrading?
> 
> Chris Caudle           
> caudle@owlnet.rice.edu 
> 
> 
Newsgroups: rec.audio.pro,alt.stagecraft
From: wisner@netcom.com (Bill Wisner)
Subject: Re: Theatrical Sound
Date: Tue, 29 Sep 92 02:32:01 GMT
Organization: Trailing Edge Technologies, Mountain View, CA

bernstei@romeo.cs.colorado.edu (Michael Bernstein) writes:
>It didn't use to be.

As I already pointed out to one person in mail, I wasn't talking about
history -- I was talking about today.

>                      But as amplification became first possible and then
>practical, and actors got more expensive, it became more and
>more attractive..especially so for musicals, because it's hard to get
>actors/singers who can be loud enough and musicians who can be quiet
>enough so that all can be heard in a large hall.  This gets harder and
>harder with more musicians.

You have a point.  But that's not the only explanation for amplification
of musicals.

Many shows today are set to rock and roll music, for which amplification
is a virtual requirement.  When a play is set to loud music, actors must
be reinforced in order to be heard.

Even in such shows, it is often the case that actors are only amplified
during musical numbers, and must project normally when speaking.

w. <wisner@netcom.com> <wisner@EBay.Sun.COM> Gryphon Gang Mountain View CA
Newsgroups: rec.audio.pro
From: bsanders@mrcnext.cso.uiuc.edu (Barry Sanders)
Subject: Re: DAT sans AD/DA
Organization: University of Illinois at Urbana
Date: Fri, 2 Oct 1992 22:24:17 GMT

bill@bilver.uucp (Bill Vermillion) writes:

>In article <BvGAE6.Ko4@rice.edu> caudle@owlnet.rice.edu (Chris Aaron Caudle) writes:
>>Does anybody make a DAT transport only?
>>I can get outboard convertors, and I don't
>>want to pay for redundant convertors in
>>a DAT.  

>The only unit I have seen that meets that spec is the Sharp
>RS-P1(GY).

>It is being sold as a complete unit, with car mounting bracket,
>car cassette player adaptor, car cigarette lighter power
>adaptor, AC adaptor, and connecting audio cables at $499
>through Damark.   

Sorry, friends, but unless things have changed in the last week or so, Damark
no longer stocks Sharp DAT products; and Sharp has discontinued their entire
line of DAT decks. Sorry.  I wanted one of 'em, too :-(  I guess there's a
possibility of finding one used.  Good luck.

Barry
bsanders@mrcnext.cso.uiuc.edu
From: grego@bit.UUCP (Greg Sanguinetti)
Newsgroups: rec.audio.pro
Subject: amp debug & lab v.s. the real world
Date: 29 Sep 92 00:43:36 GMT
Article-I.D.: bit.431
Organization: BIT, Portland, OR

Having followed the most recent (ongoing?) entertainment on rec.audio and
rec.audio.high-end (thanks Dick, Richard, Kurt, et. al.!), I had to laugh
at a recent debug session I had with my latest home brew power amplifier.

Here's an extreme example of the difference between lab measurements and
the real world. Along the lines of testing with a sine wave generator
v.s. real world music input.......

I just finished (?) building a "utility" audio amplifier. After testing the
power distribution and setting the output stage bias, I hooked up a signal
generator and my old trusty "don't care if I kill it" testing speaker.

After some initial "oops" I get a nice clean sine wave out the speaker that
sweeps nicely across the audio range (at least mine that is). The amp is
quiet and everything seems great.

Ok so I button her up and take it into the house to see how it does with my
electric bass and speaker cabinet.

The only thing I get out is a radio station. No signal from the bass comes
through!? The radio station is not a mystery. There was no RF filter on the
input, an easy fix. The no signal part is interesting. One of the more
extreme cases of fine in the lab but doesn't cut the real world!!!!!

I did find the answer but not until I drug out my less-than-portable (ugh)
old tektronix monster scope and started tracing the signal. As soon as I
connected the probe ground to the bass I got a signal out of the amp. The
bass is battery powered and so it floats with respect to ground. The
@*&#^*@!&^ input jack's ground lug was loosing contact with the jack's
barrel when it was torqued in on the pannel (I had the jack isolated with
a nylon gasket from the pannel so I could return the ground directly to the
central signal ground)! It looked like a solid piece and tested fine when
removed from the pannel. argh!

Yeah, should have figured it out right away, but, maybe just too many beers
that night, or....maybe not enough?

-grego
-- 
---------------------------------------------------------------------------
Grego Sanguinetti, Bipolar Integrated Technology | Water, water everywhere,
grego@bit.uucp or grego%bit%ogi.cse.edu          | but I'd rather drink
or bit!grego@ogi.cse.edu or ...!ogicse!bit!grego | beer.
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Newsgroups: rec.audio.pro
Subject: Printing cassette J-cards
Date: 27 Sep 92 16:30:08 GMT
Organization: Columbia University

Does anyone make die-cut J-cards suitable for laser printers?  Avery makes
great laser cassette labels, but now I need J-cards....

Any sources?


--
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
Xref: sparky rec.audio.pro:1898 rec.music.synth:16042
From: larryr@saturn.sdsu.edu (Larry Riedel)
Newsgroups: rec.audio.pro,rec.music.synth
Subject: PC-Based Hard Disk Recording
Date: 6 Oct 92 03:33:48 GMT
Organization: San Diego State University, College of Sciences
X-Newsreader: TIN [version 1.1 PL6]



I'm interested in a low-cost PC-based hard-disk recording system.

I want to be able to record at least two simultaneous inputs, and to
mix (via software on the PC) several tracks already recorded on the
disk (preferably, but not necessarily in real-time).  It would be
nice if I could play a track to a processing device and record the
returning signal simultaneously to another track.

Such a system would need to have a good signal-to-noise ratio - at
least 72dB in real usage.  I've tried some of the 16 bit "Multimedia"
cards (e.g. ProAudioSpectrum 16) and they don't even approach 72dB
S/N.  It would seem more logical to put the ADCs and DACs inside a
separate module to isolate them from the noise of the PC.

It would also be nice to be able to perform basic editing operations on
the recorded tracks, similar to those provided with MIDI sequencers.

Are there systems like this out there yet for the PC, for a price of
something like $1000, with added goodies for more money?  It certainly
isn't much of an engineering challenge, given the abundance of low cost
audio devices which have come about because of DAT technology, and the
relatively low bandwidth (.1MByte/s each track) of audio data.


Larry
Newsgroups: rec.audio.pro
From: bill@bilver.uucp (Bill Vermillion)
Subject: Re: Help !!!  How to clean a tape !!
Organization: W. J. Vermillion - Winter Park, FL
Date: Sat, 26 Sep 1992 15:26:24 GMT

In article <Bv53Az.G6x@news.larc.nasa.gov> kludge@grissom.larc.nasa.gov (Scott Dorsey) writes:
>In article <1992Sep25.125739.19050@bilver.uucp> bill@bilver.uucp (Bill Vermillion) writes:


>I believe that Tex-Wipes are alcohol and TCFE mixed together, with more
>TCFE than anything else.  They should do the job nicely.

I forgot that Tex-Wipes do come in individual packets moistened
with cleaning fluids. 

We used the plain cloth ones that are clean pre-cut squares -
about 3" x 3" that come 1000 to a box.  Those were the ones I
was thinking of.

I'd still keep any alcohol away from the tape

-- 
Bill Vermillion - bill@bilver.oau.org  bill.vermillion@oau.org
                - bill@bilver.uucp 
                - ..!{peora|ge-dab|tous|tarpit}!bilver!bill

Newsgroups: rec.audio.pro