HDTenEightyP/NetNews huggingface dataset:
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re: Re: A receiver as a wake-up alarm? (also: FM time-shifting)
Date: 8 Jan 93 19:09:07 GMT
Reply-To: lstowell@pyrnova.pyramid.com.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corporation

In article <350004@hpkslx.mayfield.HP.COM> seghers@hpkslx.mayfield.HP.COM (David Seghers) writes:
>Sorry to be the one to break the news, but most any appliance timer
>(available at yoour local hardware store, and many drugs stores)
>will do the job nicely.  I have been using my stereos this way for
>many years.  Works Great!  I have wished for a more sophisticated
>version where changing the time was a bit easier.  How about it -
>anyone out there know of timers made specifically for this?
>
   Yeah, but as someone else pointed out, there are some receivers
   that don't keep presets, etc, in NVRAM or capacitor backed
   storage.  Of course if these have a mute that can be disabled,
   the interstation noise at high volume STILL ought to do the
   trick.  >:-)   .
Newsgroups: rec.audio
From: shrum@eos.arc.nasa.gov (Rick Shrum)
Subject: Address Wanted
Organization: NASA Ames Res. Ctr, Calif.
Date: Mon, 11 Jan 1993 20:48:44 GMT


Does anyone have the address/phone # for Toshiba? I need to buy some
parts for a (Walkman style) personal stereo so I can make some repairs.

Thanks,


                            R ****
                             I
                              C
                          **** K
From: shetline@bbn.com (Kerry Shetline)
Newsgroups: rec.audio
Subject: Re: A receiver as a wake-up alarm?
Followup-To: rec.audio
Date: 7 Jan 1993 22:28:50 GMT
Organization: BBN
Distribution: world
NNTP-Posting-Host: bbn.com

In article <184842@pyramid.pyramid.com>, lstowell@pyrnova.mis.pyramid.com
(Lon Stowell) wrote:
>     A simple electronic timer will do this.  The electro-mechanical
>     ones come with accuracy of 1 hour down to 15 minutes.  The
>     electronic ones can be accurate to within seconds.  All they are
>     is a device which controls the AC power to the receiver.  You
>     preselect the station, set the volume, plug the receiver into a
>     simple timer (about $10 up to thousands), plug it into the wall,
>     and snooze out.

A couple of things to look out for: if you've got a receiver with
electronic presets, or anything else that requires power to preserve memory
or a clock (like a VCR), switching by AC will cause you to lose memory or
time. Also, many devices that are electronically switched, typically
remote-controlled devices with remote power control, will not respond to
simply having their AC power switched on.

-Kerry
From: mikef@hpcss01.cup.hp.com (Mike Forman)
Date: Wed, 6 Jan 1993 15:59:17 GMT
Subject: Re: What the heck is a Scoopman?
Organization: Hewlett Packard, Cupertino
Newsgroups: rec.audio

I first heard about the Scoopman (AKA Sony NT-1) on a flight back from Japan
last April.  Steve Wozniak was on the flight, and he'd just bought one...
It's really cool.  It, as you know, uses stamp sized cassettes for recording.
Each cassette is 60, 90, or 120 minutes in length (two-sided) with _digital_
recording.  It can record from a supplied microphone or from an analog
source.  It uses one AA battery, with about six hours of life in continuous
playback.  

I bought one on my next trip to Japan, and I've been using it for travel.
You can copy your CDs (of course, with one extra digital-analog-digital
conversion) to the tapes easily.  The player fits in a shirt pocket, and the
tapes come in sleeves that can hold four tapes nestled next to each other.
Since I've been using the 90 minute tapes, that means I can carry the player
and six hours of music in my shirt pocket.  I've currently recorded 24 tapes.

The sound quality is "near CD" quality.  With my failing ears, I can't hear
the difference.  I'm sure there is some, though.  They're certainly better
than normal cassettes with no hiss between songs, etc.

There are two versions available, Japan-only and export.  The only physical
difference is the AC adapter (which you only really need for recording). 
The Japan-only version comes with a 100V ac adapter, while the export version
has a multi-voltage adapter.  Last time I looked, they were charging $100
more for the export version.  I have the Japan-only version (It was the only
one available at the time), and it works fine from 115V power.  The manual is
in Japanese, but there is an English supplement.

The price at Yodobashi Camera in Shinjuku (Tokyo) is currently about $600
for the Japan-only version.  It comes complete with AC adapter, case, battery,
cables, microphone, and one tape.

I haven't seen any in the stores here, but some mail order places have picked
them up.  

Good listening.

Mike Forman
The opinions above are my own and do not reflect those of my employer.
Newsgroups: rec.audio
From: gfl@herahera.cc.bellcore.com (lenahan,grant f)
Subject: Re: Vandersteen 2c Questions
Organization: Bellcore, Livingston, NJ
Distribution: na
Date: Mon, 11 Jan 93 18:27:18 GMT
Summary: answers

Bruce@plato.ds.boeing.com (Bruce Stock) writes:
> A few months ago I acquired a pair of used  Vandersteen 2c speakers.  
> Unfortunately, they came without any manuals, so I have developed 
> some questions about them:
> 
> 1.  What does Vandersteen recommend for positioning the speakers 
> (toe-in, separation, distance to wall)?  I have a rather live listening 
> room and would like to hear what positioning worked well for you if 
> you have a similar environment.
Vandy 2s like to be "dead ahead".  The usual wall / back caveats
apply (don't crowd the wall).  Don't seperate them too wide or
you will get a "hole" in the middle.
> 
> 2.  The speakers seem to have no obvious fuses or other protection.  
> Are they indeed at the mercy of whatever I throw at them?

Yep, they are.  Have you ever seen a high end speaker tht wasn't?
Is this really a surprise?
> 
also- the "flat" position on the mid and high drivers seems, IMO,
to be a treble/mid _boost_ position.  I always ran mine at least
1-1.5 dB down, depending on the room.  BTW I measured this small-
signal with close mic-ing and a pulse carrier type spectrum analyzer.

Maybe someone can send a manual.  Jave you offered to buy one from
Vandersteen?  They're in HANFORD, CA.

Grant
From: hm002b@uhura.cc.rochester.edu (PRIMUS SUCKS!)
Newsgroups: rec.audio
Subject: Re: Sony STR-790 *problems*
Date: 4 Jan 93 05:42:37 GMT
Organization: University of Rochester (Rochester, NY)

In article <1i0g77INN771@usenet.INS.CWRU.Edu> ch218@cleveland.Freenet.Edu (Erik A. Horn) writes:
>
>Don't buy Sony.  Their entire STR line seems to have 
>problems.  I ran the one I had into the ground and now
>have to buy a new reciever. If you can, I would take it
>back.  The problem with mine though, was in the heat
>sink I believe, due to the massive heat it produced,
>and it constantly shorted out.  Good luck with yours
>though.
 
I have owned my Sony STR-D1090 for over 3 months now and have not had one
single problem, I love it!
Newsgroups: rec.audio
From: edw@boi.hp.com (Edward Walsh)
Subject: How do 1 bit (or bitstream) CD's work?
Date: Sat, 9 Jan 1993 01:31:49 GMT
Organization: Hewlett-Packard / Boise, Idaho
X-Newsreader: Tin 1.1 PL4




So how do 1 bit players work? So far I have only received vague answers.
It doesn't appear to be in the FAQ, and I have missed any answers about
this that might have been given in this group. So far the only insight I
have is that it might involve pulse width modulation and a counter. This
still doesn't answer what would be done with the pulse width modulated
signal to get audio out, or how the pulse width is determined in the
first place. A counter would have to have a mighty speedy clock. Thanks
for any insights.
Even the magazine articles I have seen have omit the technical description.
------------------------------Edward Walsh----Hewlett-Packard Company-------
                              edw@boi.hp.com  Disk Memory Division, MS475
                              (208)323-2174   P.O. Box 39  Boise,Idaho 83707
                              FJ1200'89,XZ550RJ(Vision)'82,DoD#98
From: Matt.Ion@p106.f7040.n153.z1.ship.wimsey.bc.ca (Matt Ion)
Sender: UUCP@ship.wimsey.bc.ca
Newsgroups: rec.audio
Subject: Stereo Review's critical judgement
Date: Tue, 05 Jan 1993 08:05:00 -0800

 PG> You see, CD is very simple. 16bit audio samples (linear) played back
 PG> at 44.1Khz. Now, each 16bit value corresponds to a particular voltage
 PG> level, which makes the sound we hear.  As long as the D/A converter is
 PG> linear, the sound will be essentially perfect.

 PG> As for those of you buying $1000+ CD players, I'm afraid you are getting
 PG> taken for a big, expensive ride.

 PG> It's like buying a Compaq 486 whatever vs. buying a quality clone. Once
 PG> the system is set up, SOFTWARE is SOFTWARE and will perform identically
 PG> on both computers.  The guy with the Compaq is getting a better casing
 PG> and potentially a better warranty. He's got a computer that's better
 PG> built, but NOT one that performs better.

There's a serious flaw in this logic... the digital "quality" of $50 vs $500
CD players may be the same, but (to follow your analogy) there's a world of
difference between a Compaq 486 with a PC speaker for sound and CGA video, and
a cheap 286 clone with a SoundBlaster and SVGA.  There may (note MAY) be a
WORLD of difference between the quality of the ANALOG audio sections of $50
and $500 CD players, and THAT'S where you start to notice the difference.
From: mbk@lyapunov.ucsd.edu (Matt Kennel)
Newsgroups: rec.audio
Subject: Re: How can different digital cables sound different?
Date: 6 Jan 1993 23:23:41 GMT
Organization: Institute For Nonlinear Science, UCSD
NNTP-Posting-Host: lyapunov.ucsd.edu
X-Newsreader: Tin 1.1 PL3

joe@avs.com (Joe Peterson) writes:
: Maybe I'm missing something, but I cannot figure out how different digital
: cables can sound different.  I can imagine that a poorly shielded cable
: could cause interference, or a badly impedence-matched one could distort
: the square wave, but: it's carrying bits!  As long as a zero is a zero
: and a one is a one, how can the DAC get confused?  Can a cable add jitter?
: If I were to load the digital info into a computer instead of a DAC, and
: there were no errors, I would have an exact duplicate of the digital music
: samples in the computer's memory.  Unless the cable is really bad and
: causes errors/jitter, how can it matter?

One off the wall possiblity.

Different types of digital cables transmit or block RF radiation ( of higher
frequency than the data, perhaps) into the DAC section.  Depending on the
design of the DAC this might have deleterious effects.

Of course, if this were a problem, then maybe digital cables with not
"too much" excess bandwidth beyond the requirements for correct data
retrieval would be superior.  I.e. you want a rounded "weak edge" to your
digital pulses and not sharp ones.

: 						Joe


--
-Matt Kennel  		mbk@inls1.ucsd.edu
-Institute for Nonlinear Science, University of California, San Diego
-*** AD: Archive for nonlinear dynamics papers & programs: FTP to
-***     lyapunov.ucsd.edu, username "anonymous".
Newsgroups: rec.audio
From: CSMSAXS@MVS.OAC.UCLA.EDU (CSMSAXS (Arnie Stodolsky))
Subject: 3 Head Tape Deck Recommendations
Date: 12 Jan 93 14:00:35 PST

I'm looking to purchase a 3 head tape deck soon.  In a local store
I saw:
Philips FC950 for $350 + $65 for 5 year warrantee
SONY TCK690 for $270 + 65 for 5 year warrantee

The prices are right, but one feature that I have on my present
2 head deck, lets me adjust the record levels individually for each
channel.  These decks just have a record level knob that I guess
affects both channels.  (Question: can one then use the balance
knob to even out the sound level on both channels or is balance
just for output?)  is the lack of this feature a real handicap?

Does anyone have any experiences to share about these decks?  I do
trade tapes so I'm looking for a high quality, low maintenance deck.
Am I fooling myself with these units, i.e. too cheap?  What other
decks are recommended say in the under $500 category.

Please email to me and I post a summary later.
Thanks in advance to all who reply.
Arnie
From: jj@alice.att.com (J. Johnston)
Newsgroups: rec.audio
Subject: Re: How can different digital cables sound different?
Date: 5 Jan 93 16:49:11 GMT
Article-I.D.: alice.24557
Reply-To: jj@alice.UUCP (J. Random Grouch)
Organization: NJ State Home for Bewildered Terminals

In article <C0DCtn.4vL@CAM.ORG> pascal@CAM.ORG (Pascal Gosselin) writes:
>Rise and fall times have to do with TRANSISTORS, NOT CABLES!!!!
Pardon me?  Are you saying that all cables have infinite
bandwidth and no dispersion whatsoever? If you're not claiming
that, you're stipulating that cables have rise and fall times.
If you need to be sure, go read OLD Bell Labs Records on the
characterization of signals down a twisted pair.  

>In this case, we were refering to a 1meter long coax cable.  There is
>nothing short of an EF-111 (electronic countermeasures aircraft) in
>the garage that going to screw up bits on a coax at less than 1megabits
>per second (which CD is).
CD is 1.4114 MegaBits per second FOR THE DATA. The base  rate on
the SPDIF link is about twice that.  The cable isn't much of a problem,
but it would seem from reports here that some designers made the
same assumption and took it to extremes, and as a result
we can see the problems with bad clock recovery in DAC
reconstruction. The problem of bad clock recovery on a commercial
DAC was seen, for instance, in the first SR test for ISO-MPEG-Audio 1.

It's real, that's for sure.
-- 
Copyright alice!jj 1992, all rights reserved, except transmission by USENET and like facilities granted. Said permission is granted only for complete copies that include this notice. Use on pay-for-read services specifically disallowed.
---------
Member HASA - Athiest Scum Division
"Extremism in the defense of liberty is no vice" - AuH2O for President
From: shetline@bbn.com (Kerry Shetline)
Newsgroups: rec.audio
Subject: Re: polarity inversion
Followup-To: rec.audio
Date: 4 Jan 1993 17:32:10 GMT
Organization: BBN
Distribution: world
NNTP-Posting-Host: bbn.com

In article <24547@alice.att.com>, jj@alice.att.com (J. Johnston) wrote:
> 
> In article <shetline-030193195953@128.89.19.85> shetline@bbn.com (Kerry Shetline) writes:
> >A "low-frequency transient" would consist of a low-frequency fundamental
> >and a set of higher-frequency harmonics.
> Ok, so tell me.  It's a transient, so how can it have
> harmonics?
> 
> A transient has a continuous spectrum.  A PERIODIC signal
> can have "harmonics".
> 
> Sheesh

I was merely given the person who originally wrote the phrase
"low-frequency transient" the benefit of allowing his sloppy terminology,
and then interpreting what I thought he meant -- sounds like base drums
that are sudden but have a low frequency fundamental.

I'm on your side. You shouldn't "Sheesh" at me so much. Twice already! But
then again, you are a self-proclaimed grouch, so I guess I should expect
it. ;)

-Kerry
-
-
-
-
Newsgroups: rec.audio
From: kong@leland.Stanford.EDU (Kong Kritayakirana)
Subject: Mechanical JItter
Organization: DSG, Stanford University, CA 94305, USA
Date: Tue, 5 Jan 93 02:51:46 GMT

Dear Netters:
 
I have read some great arguments about "mechanical jitter" introduced during 
reading data from CDs/LDs and would like to ask whether this is the real cause 
of the so called "jitter?" Seems like properly executed mechanical servo and 
small amount of buffer memory (much smaller than a row of DRAM of SRAM) is all 
that is needed to get the jitter level down to the accuracy of the crystal 
oscillator. Is this currently being done? If not so, what's the problem with 
this approach then? Or am I just so smart I am the first one to think about 
this? I don't think so. Any illumination on this subject is appreciated.
----------------------------------------------
Kong Kritayakirana  (kong@leland.stanford.edu)
Remotely reading and posting to rec.audio from
a nice beach somewhere in south pacific.  Damn
the technology that helps  us to get in touch.
----------------------------------------------

Newsgroups: rec.audio
From: Jonas.Palm@orgk3.lu.se (Jonas Palm)
Subject: Re: DB meter problems on Teac Recorder
Followup-To: rec.audio
Organization: University of Lund, Sweden
Date: Thu, 7 Jan 1993 15:24:28 GMT

In article <34866@twics.co.jp>, arenson@twics.co.jp wrote:
> 
> I have a TEAC V8000S--don't know if this is sold in the
> US market, but it is based on their recent series (3000, 5000,
> 7000.  The 8000S is 7000 plus DOLBY S).
> 
> My question may be general enough to be answerable by anyone,
> so let me try.
> 
> #1 may or may not be a problem.  DB Peak level meter readings
> differ on source and tape monitor.  Seems to be normal if I check
> my older decks' VU meters--record is always at a lower level.  A
> differnce is that playback DB level depends on output level, which is
> fixed on this deck but not fixed on my older TEACs (4 channel reel
> deck and old two head model).
>     Question is, do I set record levels for what the DB meters say
> on record pause (source monitor) or do I sent them on off-tape
> readings.  FOr example, depending on the tape they have an ideal
> record level of plus X decibles.  But if I aim for that in setting
> the meter off of record/pause, they are belwo that on actual recording.
> 

I can think of two mechanisms. Hope one of them helps.

This sounds as if you haven't calibrated your TEAC to the tape 
you are using. The deck you are using allows you to adjust both
BIAS and LEVEL. The LEVEL adjustment is what may be required.
If this is the source of the problem, adjusting levels should
change and correct the picture.

Analog tape doesn't clip on overload, it compresses the signal 
rather softly.
If you are recording at high level, the tape may compress the 
signal slightly, say 1-2 dB, which would show on your meters.
If this is the problem, the level discrepancy should disappear at 
lower recording levels. (3%THD is very roughly equal to 1dB 
compression.)

I may have misunderstood the picture totally however. The statement
'playback DB level depends on output level, which is fixed..' I do
not understand at all. How can the level change with output level
when the output level is fixed?

Good luck, anyway                         Jonas Palm
From: yuehan@stein.u.washington.edu (Jonathan Mesler)
Newsgroups: rec.audio
Subject: Need advice on a bookshelf or mini system
Summary: bookshelf or mini system
Keywords: bookshel or mini system
Date: 5 Jan 93 00:42:18 GMT
Article-I.D.: shelley.1ialhaINNbk7
Organization: University of Washington
NNTP-Posting-Host: stein.u.washington.edu

I am interested in purchasing a bookshelf system or mini system.  My knowledge
is limited in the area of audio electronics.  I would greatly appreciate any 
help provided by audiophiles that know what they're talking about. 
 
I most frequently listen to classical music, but enjoy a wide variety of 
genres.  I would like a system which enhances the tonal qualities of this type
of music especially.  My power requirements are not of great importance,
mainly because I don't want to annoy my neighbors.  I don't want a wimpy 
system, however.  A wireless remote is a  must.  Video capabilities isn't 
necessary, but would be nice. Since I play primarily CD's, the tape deck need
not be extremely fancy.  Dual cassette would be nice, but is not a necessity.  
In all I would like a space saving system that is elegant in design and easy
to use that provides a true sound to my classical music in the range of $750.
A little more or a little less than $750 is tolerable.  All the bells and 
whistles isn't want I want.  I have found that this causes confusion on how 
to use the equipment.  

In your suggestions try to be as specific as you can (makes and model numbers)
Also, if you could direct me to some literature which has extensively reviewed
this type of equipment, that is easy to understand, that would much
appreciated.  Thanks in advance.  

	Direct replies to yuehan@stein.u.washington.edu
From: ketil@edb.tih.no (Ketil Albertsen,TIH)
Newsgroups: rec.audio
Subject: Re: How can different digital cables sound different?
Date: 7 Jan 93 11:39:32 GMT
Organization: T I H / T I S I P
Posting-Front-End: Winix Conference v 92.05.15  1.20 (running under MS-Windows)

Alarming observation - bank accounts on SCSI disks "leaking":

For the last 5 months, I have noticed that the saldo in my bank account 
has dropped significantly faster than during the previous months. It
turns out that all the bank's customers having account numbers with
2 as the last digit have experienced the same thing, starting at about
the same time.

Private investigation has revealed that five months ago, the bank 
replaced their old CDC disks, using an SMD interface, with new disks
using SCSI interfaces. Scientists suspect that the asynchronous nature
of the SCSI bus is responsible for the loss of money on in certain
accounts. The most likely explanation is that the disks react too slowly
so when an amount is added to certain accounts, a certain fraction of the
amount has already passed on the bus before the disk catches the rest
for storage.

We have now hired people who have designed several disk interfaces to
find explanations of why this happens with some accounts only; it is
particularily puzzling as the account number is transferred correctly,
before the new saldo value. A certain register design used in the
controller has the unusual property that it stabilized more slowly
with some bit patterns than with others, and the nibble value for 2,
0010, are among these slow ones. The delay is sufficient to interfere 
with the reading of subsequent data. Investigation continues.

In discussions with the bank, the bank has suggested replacing their
nibble representation of account numbers with binary. We have rejected
this, as it would simply move the problem to customers having the same
bit pattern in their binary account number. The disk/interface vendor
claims that the problems of disappearing money cannot possibly be caused
by the disk subsystems, but neutral observers can confirm that the
accounts *have* had a tendency to "leak", without any traces.

If others have had similar experiences, in particular with banks using
SCSI disks, I would like to hear from you.

Ketil.
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re: Upgrade suggestions?
Date: 12 Jan 93 00:27:56 GMT
Reply-To: lstowell@pyrnova.pyramid.com.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corporation

In article <1imrpbINNf7@umbc4.umbc.edu> marklc@umbc3.umbc.edu (Mr. Mark L. Cohen) writes:
>I guess I have several options:
>1) Move the JBL's to the rear channels and buy a real center speaker.
>2) Get a subwoofer to add to the bass (the Infinities sound fantastic down
>   to around 40 hz but that's their limit).

    If you have limited budget for toys, you'd likely get more
    enjoyment out of a subwoofer...particularly if you like Star
    Wars, Star Trek, Top Gun, or Batman II movies.  

    May want to do a "neighbor check" first tho.... 

>3) A combination of 1 and 2.

    But of course...if you have the bucks.

>4) Any other wacky ideas.
>
Newsgroups: rec.audio
From: rsd@sei.cmu.edu (Richard S D'Ippolito)
Subject: Re: How can different digital cables sound different?
Organization: The Software Engineering Institute
Date: Fri, 8 Jan 1993 13:58:02 EST


DPierce@world.std.com (Richard D Pierce) writes:

|> >
|> >Nonsense, rise and fall times are related directly to bandwidth, no matter
|> >how that bandwidth is achieved.

Nope -- it also depends on the order of the system.  Two systems with the same
bandwidth can have different rise and fall times.

Rich