HDTenEightyP/NetNews huggingface dataset:
From: jabbi@ninerfan.Eng.Sun.COM ()
Subject: Unclean Power/ Humming Krell/ Hissing Vandersteens
Originator: tjk@csd4.csd.uwm.edu
Reply-To: jabbi@ninerfan.Eng.Sun.COM ()
Organization: Sun Microsystems, Inc.  Mt. View, Ca.
Distribution: na
Date: Mon, 31 Aug 1992 13:12:47 GMT


	Hurt me, punish me, make me listen to mid-fi :-(  (CP)
	--------------------------------------------
	
Hi,

This is a problem that has arisen ever since I moved to a 
new apartment. 


- I have only 2-way plug-ins in my wall i.e. no ground. 

- bought a 2-3 converter (fake i guess where the neutral and 
  GND are shorted) from radio shack and plugged in 
  my power strip.
 
- During the *night* typically after 7/8 pm, my krell 32x DAC 
  starts to hum i.e the power supply side - there's a slight hum
  if i place my ear within a foot. This *does not* happen during
  daytime hours. I suspect that neighboring apartments have 
  those variable resistance lamps etc. 

- No other equipment hums - only the DAC. Note also that it is
  only the krell DAC whose power cord is a 3-way.

- Another screw up - there is a hiss from my speakers - which I 
  can hear from within 2 feet of them. The tweeter basically.
  On increasing the volume control on the preamp, the hiss level 
  goes up when the krell DAC is in the signal path. This level 
  does not go up as much if I select say a tape/video path on my 
  pre-amp (although nothing is connected here). But it *does* go up 
  a little.

- I had the apartment management change the wall plug in to a 
  3-way but that was a *fake* job too. The handy-man was not 
  able to locate a ground line in the wall.


So that's the scenario. Can ANYONE please give me an objective
explanation to what's going on here - lots of details will be 
appreciated. What are the possible solutions to these problems?
Why is the Krell behaving so sensitively - inspite 
of the fact that it has the most well designed (supposedly)
power supply unit of all the equipment that I have. Also - 
the speaker hiss is driving me nuts. 

I have never had these problems before!!!


Your time and suggestions are appreciated. e-mail me

Aman

(jabbi@eng.sun.com)

Newsgroups: rec.audio.high-end
From: jas@proteon.com (John A. Shriver)
Subject: TAS article on CD audio
Originator: tjk@csd4.csd.uwm.edu
Cc: rsud@lectroid.sw.stratus.com
Organization: University of Wisconsin - Milwaukee
Date: Wed, 26 Aug 1992 13:07:03 GMT

Yes, but that TAS article (by someone from a Canadian magazine) is
well below the typical editorial standards of TAS.  It is surely going
to be used by the "digital is perfect" crowd as another example of
"what idiots these subjectivists are".  It is really sad to see an
atricle in TAS with such butchered technical content.

First of all, the 16th data bit (per sample) is not a parity bit, it
never has been, and never will be.  There is phenomenal error
detection and correction back at the CIRC (Cross-Interleaved
Reed-Solomon Coding) level, but the S/PDIF data stream is slow enough
not to need any error detection or correction.

Second, his explanation of jitter is way over-simplified.  He totally
misses the large FIFO in the player, which is needed for speed
buffering reasons, and to implement the CIRC error correction.  He's
right that there are jitter problems in the S/PDIF data stream, but
he's got the causes all wrong from a total lack of understanding how
CD audio works.

He's just piecing together tidbits of knowledge he's picked up from
various people in the industry, but his synthesis is totally faulty
due to a lack of understanding of the underlying system.

Newsgroups: rec.audio.high-end
From: bilver!bill@peora.sdc.ccur.com (Bill Vermillion)
Subject: Re: Studio monitors/history of turntables
Originator: tjk@csd4.csd.uwm.edu
Organization: W. J. Vermillion - Winter Park, FL
Date: Fri, 28 Aug 1992 13:01:02 GMT
  (5.67a/IDA-1.5 for uunet!rec-audio-high-end); Thu, 27 Aug 1992 12: 10:35 -0400
	id <m0mNm3x-00013HC@tous.oau.org>; Thu, 27 Aug 92 11: 47 EDT

In article <9208251620.AA06599@sonny.proteon.com> jas@proteon.com (John A. Shriver) writes:
>The studio we're doing some recording at has the obligatory JBL and
>Yamaha NS10 speakers.  They know that the NS10's are tonally dreadful.
>They are there to be "the crap the typical customer listens on".
...
>Not that the JBL is flat either.  When we were choosing the vocal
>microphone, I bought in my old LS-3/5A's, which made both speakers
>seem very colored.

Boy does that sound familiar.  When we built our studio years
ago, I think we were the only one in the state of Florida NOT
to use JBLs (or MCI tape recorders).   I was not a fan of the
NS-10's either.

But I do have a question.  You say LS3/5A's.   I own a set of
LS3s by Fostek.  Another studio in town has LS3As and another
the LS4s (talk about big - these are about the size of a
standard 20 cubic foot refrigerator), and another has the LS2s.
(Those suckers aren't cheap either - the LS4s - about $4k each)

Is the LS3/5A a Fostex or another brand.


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


Newsgroups: rec.audio.high-end
From: exulme@exu.ericsson.se (Michael Englund, T-TDT, x0996)
Subject: Carver preamp/tuner, good or bad?
Originator: tjk@csd4.csd.uwm.edu
Reply-To: exulme@exu.ericsson.se
Organization: Ericsson Network Systems, Inc.
Date: Wed, 26 Aug 1992 13:06:46 GMT

I have been looking for a preamp for some time and have noticed that the Carver
CT17 seems to have the "features" I'm looking for, like:

- 6 or more line inputs 
- Separate controls for listening and recording source
- Remote
- Large volume knob!!

It also has a built in tuner, which is not a requirement, but I need
one anyway.

However, I don't know much about Carver and I'm  worried about all that
hype in his ads. I'm an EE engineer and I don't understand half of the
terms used in the ads, like Sonic Holography!! Magnetic Field
Amplification! Soft Equalization etc. etc.  This really makes me
worried, did I miss some Eletronic revolution or something, or are the
use of these terms just an attempt to sell an inferior product.  The
cabinets also appear somewhat plastic to me.

The question: is Carver a High end product, or would I be just as well
off bying that Oshimmurayaki brand at Sears :-) (Note: I have nothing
against japanese products, have a few good ones myself)

/Michael



---
Michael L. Englund
Ericson Network Systems, Software Verification Techniques
Richardson, TX  75081, USA
Internet:  exulme@exu.ericsson.se   phone:  +1-214-997-0996


Newsgroups: rec.audio.high-end
From: dancer!whs70@uunet.UU.NET (22501-sohl)
Subject: DAT Tax update requested.
Originator: tjk@csd4.csd.uwm.edu
Organization: Bellcore, Livingston, NJ
Date: Tue, 1 Sep 1992 12:54:19 GMT
  (5.65c/IDA-1.4.4 for rec-audio-high-end@uunet.uu.net); Mon, 31 Aug 1992 11: 28:34 -0400

Could someone please update us on the latest status of the pending
DAT tax legislation?

Thanks,

Standard Disclaimer- Any opinions, etc. are mine and NOT my employer's.
------------------------------------------------------------------------
Bill Sohl (K2UNK) BELLCORE (Bell Communications Research, Inc.)
Morristown, NJ             email via UUCP      bcr!dancer!whs70
201-829-2879 Weekdays      email via Internet  whs70@dancer.cc.bellcore.com

Newsgroups: rec.audio.high-end
From: TIM LAPIN <timl@vax2.concordia.ca>
Subject: Re: which headphones are best?
News-Software: VAX/VMS VNEWS 1.41
Originator: tjk@csd4.csd.uwm.edu
Organization: Concordia University
Date: Fri, 28 Aug 1992 13:01:34 GMT
          27 Aug 92 18: 35 GMT


In article <1992Aug21.202329.1286@cco.caltech.edu>, keith@cco.caltech.edu (Keith Allan Schneider) writes...
>I am going to soon buy a pair of headphones (willing to spend up to
>$250).  Which ones are the best?  Some people have recommended
>some Beyers, while others claim that Grados are the best.  Recently,
>I heard a pair of AKG's that didn't sound too bad (I haven't heard
>the Beyers or Grados, though).
> 
>So, which are the best headphones?  Could someone post a review?
>Or, you could mail me...
> 
>keith

A review, eh?  Well here goes... :-)

A month ago I purchased a pair of STAX Lambda Juniors (Model SR 84).  These 
headphones were to replace my inexpensive Sennheiser HD-40.

The SR84s are what they call "electret", sort of in between a standard 
dynamic pair and full blown electrostatics.  They are "supra-aural" i.e. 
they press against the outer ear as opposed to encompassing the entire ear 
or fitting in the ear like portables do.  They are also open backed.

The difference is astounding.  The sound is sure and steady all the way up and 
down the frequency range, at least compared to the Sennheisers.  The sound 
is also very open.  There is no sense of boxiness or of missing out on a 
note here or there.  In certain instances, they are more accurate than my 
speakers!  This is important as I do recordings for other people, and have 
to make sure that the music is being recorded faithfully.

The only problem I had wasn't even musical in nature.  Since they are 
designed to press against the ear, the headband is quite stiff.  After 
only 10 minutes of wearing them, I had to take them off!  Fortunately, 
there is a fix.  Rest the headphones on mannequin head or similarly sized 
object and the headband will relax and become comfortable.  I now listen to 
them without a problem.

The price:  $289.00 (Canadian) reduced from $489.00 (Canadian).

The dealer had reduced the price because no one was biting at $489.00!


--
Tim Lapin
Computing Services        Concordia University     Montreal, Quebec, Canada
timl@vax2.concordia.ca    TEL:  (514) 848-7639         FAX:  (514) 848-7622

Newsgroups: rec.audio.high-end
From: crabe@evans.den.mmc.com (CJ Rabe)
Subject: Re: Power conditioners, e.g. Tice, PowerWedge,...
Originator: tjk@csd4.csd.uwm.edu
Organization: Martin Marietta A. G.
Distribution: rec.audio.high-end
Date: Mon, 31 Aug 1992 13:13:00 GMT

In article <2547@exua.exeter.ac.uk>, SJKlyne@exua.ex.ac.uk (S.J.Klyne) writes:
> 
> 
> In article <Aug.13.15.09.11.1992.27006@gandalf.rutgers.edu>
> tcheung@gandalf.rutgers.edu (Tak Cheung) writes: [...]
>    from the street to their abodes) ??  If so, then how about those
>    in-line fuses or circuit breakers ??
> 
> When I bought my Naim Nait about 5 years ago a tweak i was recommended
> to try was to replace the internal 1A fuse with a 10A, which after
> installation and listening for a few days I did and yes it was
> better...
> 
> simon
> 
> [The technician in me says if you do this, kiss your warranty good-bye, 
>  and if the amp blows up, you can't say I didn't warn you. -tjk]
> 
The engineer in me, as well as a little common sense, says you can kiss
more than your warranty goodbye.  By replacing a 1 amp fuse with a 10 amp
fuse you are increasing the available power by a factor of 100.  If you
are hell-bent on doing something stupid this is just the stunt for you.
Fuses are sized not only to protect the equipment but the user as well.
I cannot imagine any subjective improvement in perceived sound quality
being worth the risk.  Proceed with caution.

Carlyle

Newsgroups: rec.audio.high-end
From: philg@zurich.ai.mit.edu (Philip Greenspun)
Subject: Re: TAS article on CD audio
Originator: tjk@csd4.csd.uwm.edu
Reply-To: philg@martigny.ai.mit.edu
Organization: M.I.T. Artificial Intelligence Lab.
Date: Wed, 2 Sep 1992 12:53:16 GMT


In article <9208251632.AA06731@sonny.proteon.com> jas@proteon.com (John A. Shriver) writes:

   First of all, the 16th data bit (per sample) is not a parity bit, it
   never has been, and never will be.  There is phenomenal error
   detection and correction back at the CIRC (Cross-Interleaved
   Reed-Solomon Coding) level, but the S/PDIF data stream is slow enough
   not to need any error detection or correction.

AES/EBU digital audio, of which the Sony Products Digital Interface
Format is a subset with different levels and connectors, provides for
a 32 bit word to transmit each digital audio sample.  There is in fact
a parity bit for each word, although one could probably safely ignore
it in 99% of applications.

Philip Greenspun
MIT Department of EE

Newsgroups: rec.audio.high-end
From: Andy Sheen <sheen@src.bae.co.uk>
          Wed, 2 Sep 92 10: 38:32 BST
Subject: Re: Questions on Digital Cable
Originator: tjk@csd4.csd.uwm.edu
Organization: University of Wisconsin - Milwaukee
Date: Wed, 2 Sep 1992 12:56:04 GMT
          id <g.14680-0@ben.uknet.ac.uk>; Wed, 2 Sep 1992 10: 47:47 +0100
          id <10812-0@eros.uknet.ac.uk>; Wed, 2 Sep 1992 10: 47:37 +0100



jrb@uxv.larc.nasa.gov (Jim Branstetter) writes:

>... as to whether the "phase" or conversely, the physical length of the
>cable becomes critical.

The theory states that if the impedances are *precisely* matched, then
whatever the cable length, the impedance seen is exactly the same and
nothing gets returned to the sender, so cable length isn't important.

If the impedances aren't exactly matched, then what happens is that a
certain amount of signal is reflected at the output of the cable, back
towards the sender. The amount that gets reflected depends on the
impedance mismatch (in fact so does the phase of the returned signal).
This is when cable length becomes important since the signal you see at
the sender (which ultimately gets to the rx and gets reflected etc...)
is dependent on whereabouts in the phase of the returned signal the
sender actually is - corresponding to how long the cable actually is.
This is not only cable length dependent, but frequency dependent (since
different frequencies will be at different phases as they travel up the
wire. So for a complex signal - like that of a CD signal - any mismatch
will cause smearing of the signal and will become apparent as either a
lowering of the slew rate of the signal or as "ringing" after the
transients - it entirely depends on the mismatch of the cabling/i/o
system.

BTW I think it is impossible to cut the cables to a pre-determined
length since the signals that are going down the cable will all have
differing frequencies (Fourier analysis into sine waves only holds for
continuous, repetitive square waves I believe)

BTW2, if you have access to a video monitor that has a 75ohm termination
switch on the back, try switching it and look at the picture, you'll see 
the image ghosting. Imagine if that was a digital signal - uuggh :-)

Andy Sheen                                 Email: sheen@src.bae.co.uk
FPC 267, British Aerospace PLC,            Tel:   +44-272-363547
P.O. Box 5, Filton,                        Fax:   +44-272-363733
Bristol. BS12 7QW                          #include <disclaimer.h>
From: johno@sdd.hp.com (John Ongtooguk)
Newsgroups: rec.audio.high-end
Subject: Re: Tube sources
Date: 2 Sep 92 12:54:49 GMT
Distribution: usa
Organization: Hewlett-Packard, San Diego Division
Originator: tjk@csd4.csd.uwm.edu

In article <1992Aug31.135044.10787@ncsu.edu>, kester@mat.mte.ncsu.edu (Dan Kester) writes:
|> Having recently bought a hybrid-tube preamp (Counterpoint with 3 tubes)
|> I have started to pay attention to tubes.  What I'm wondering is how
|> different are the different tubes?  What is a good source of tubes ? 
|> The tubes in the preamps are 6DJ8 and 12AX7.  
|> 
|> Any advice on how to tell if a tube is running as well as possible?
|> 
|> Is it desirable to mechanically isolate a tube preamp

   lots of editing above. I've noticed the biggest difference in the
   phono section of the preamp but noisy/microphonic tubes aren't
   wanted anywhere. I have a simple set of requirements for tubes
   and I usually buy a batch of them cheaply and sort them out myself
   using a 'scope and a wooden q-tip. If you buy selected tubes only
   buy the best ones as otherwise you'll get the rejects from the
   other grades....I returned a bunch for this reason. I recall paying
   about $8 to $10 for Amperex 6DJ8's and some other brands that I
   don't recall. 

   Since the phono section preamp seems to be the most senstive to
   tube problems I do my sorting there. After powering up the gear 
   and letting it warm up for awhile I check for noise, running the
   signal thru a solid state receiver to my 'scope, and then I check
   for microphonics by tapping the tube...ideally it should show a
   spike and quickly dampen. Some mil-spec JAN 6DJ8's that tried
   would ring forever; thru the speaker they sounded like chimes.
   Not the most rigorous way to sort but it seems to work. 

   I like to use four large Sorbothane feet beneath my preamp and
   I've built some little 1/2 in square stacks of the stuff to
   dampen the board at several places. It produced a marked
   difference although some people would say that there isn't
   enough 'room effect' or ambience, due to microphonics. The
   imaging is very good and the ambience comes thru when it's
   in the music.
 
   Have fun and experiment...but be careful as there can be a lot 
   of current running around tubes. 

   John Ongtooguk (johno@sdd.hp.com)
From: DPierce@world.std.com
Newsgroups: rec.audio.high-end
Subject: re: Direct Drive ESL
Date: 4 Sep 92 14:05:56 GMT
Organization: University of Wisconsin - Milwaukee
Originator: tjk@csd4.csd.uwm.edu


Hiroshi Motoyama writes:
>
>I wrote my article just as an individual amateur. So, all the words written
>there have nothing to do with my employer, HITACHI Ltd. 
>
>   >Does Mr. Motoyama and his employer of record have a hidden agenda here? 
>   >If so, would Mr. Motoyama come clean on it?
>
>So, these questions make no sense.

They only make no sense in the context of your answer!

>By the way, dose Mr. Dick Pierce wrote his articles on loudspeakers secretly
>motivated by commercial interest as a "Loudspeaker and Software Consulting"
>professional?  
>
>In fact, I do not think so. Mr. Dick Pierce is just talking on his favorite
>topics. The reason why I ask this question is to show it's rhetorical power
>to suggest the possibility in that he may have hidden commercial motivation,
>no matter how he denies it. Wores than that, a person can ask questions of
>this type paying nothing, without any cost, without any responsibility, 
>without any evidence; it's just a question, if no, please say no.

I believe my .signature makes no secret whatsoever of my commercial interests.
I have never made any attempt to hide these interest. If you accuse my of
having some commercial motivation, then you're accusations are well founded.

On the other hand, if you are accusing me of having, as you say, "hidden
commercial motivations" that I have denied, then I would suggest you present
both the evidence of both the hiding and the denials. You will be hard
pressed to find either.

If you are offended by my questions of the possible commercial interests of
your employer, that was not my intention. If your employer was interested
in a real commercial product, AS I SAID IN MY ARTICLE, that, in and of itself
would not be bad. Let's just be upfront about it, AS I HAVE BEEN.

Your shrill denials, however, gloss over the majority of the issues I raised.
I posed several technical objections to your assertions. I think that the
readership is far more interested in your relies to the objections I raised
than to your offended sensibilities (for which I will apologize, though they
are offended through no intent of mine).

I and others eagerly await your technical reply...

.
|                Dick Pierce                |
|    Loudspeaker and Software Consulting    |
| 17 Sartelle Street   Pepperell, MA  01463 |
|       (508) 433-9183 (Voice and FAX)      |
Newsgroups: rec.audio.high-end
From: shiva@vega.Stanford.EDU (Marcos Javier Polanco)
Subject: MiniDisc: The future of Rock & Roll
Originator: tjk@csd4.csd.uwm.edu
Organization: DSO, Stanford University
Date: Fri, 28 Aug 1992 13:01:17 GMT



Hello.

Does anybody know the specs to the fabled MiniDisc?

For computer applications, what would be the data-transfer rate?

I am also interested in the disc-duplication processes for the Mini,

and the way it gets to be a read/write medium. Thanks.


-Marcos J. Polanco
-shiva@vega.stanford.edu
-415-691-2255

Newsgroups: rec.audio.high-end
From: dmoran@world.std.com (david r moran)
Subject: Re: What ever happened with Stereophile?
Originator: tjk@csd4.csd.uwm.edu
Organization: The World Public Access UNIX, Brookline, MA
Date: Fri, 4 Sep 1992 14:10:34 GMT
	(queueing-rmail) id 000114.27646; Fri, 4 Sep 1992 00: 01:14 EDT

In article <RUST.92Sep2102407@rs049.intel.com> rust@rs049.intel.com (Camron Rust) writes:
>                            I for one have never put anything on my
>CD except for a soft cloth to clean 1 or 2 occasionally.

If one's CDs are really badly boogered, soap and warm water work just
fine. Dry with a paper towel or clean washrag and blow off any little
lint stuff afterward. Lots of skips and mistracking disappear this way,
and no, I don't eat off my CDs, but I do lend and borrow....


Newsgroups: rec.audio.high-end
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Subject: Re: Studio Monitors
Originator: tjk@csd4.csd.uwm.edu
Organization: Grass Valley Group, Grass Valley, CA
Date: Wed, 2 Sep 1992 12:51:25 GMT


In article <31AUG92.13688173.0066.MUSIC@CATCC> AA10%CATCC.BITNET@VTVM2.CC.VT.EDU (AA10000 Wally Knapp Computer Services x4461) writes:

>My question to Dan is how does a studio wire up these many sets of
>speakers? Does each have its own amp?  Is there some kind of
>passive switching setup available that takes into account the various
>efficiency ratings of the speakers?  I would like to install
>similar sets of speakers but am at a loss how to handle the
>linkage of them to the same program source.  Thanks for some info.

I won't let the fact that I'm not Dan stop me from putting in my
comments :-)

One of the ways that I have seen this done,  and it makes the most
sense is to operate the nearfields and main monitors off different
amplifiers.  The switching is then done at line level and not at
speaker level,  dangerous and inconvenient.....

The reasoning is that if you have the control room out cranked up for
the nearfields and switch to the mains monitors you avoid the
bottoming out of your ear drums!

Few mixing desks have multiple CR outs so most people wire up a custom
monitor switching box.  While you are at it include a mono'ing switch
so you can mix in mono ( for level only.....try it!  It is great!) after 
you have decided on the pan positions.  Oh and the custom box can be set up to
compensate for the level differences between the main and nearfiels
monitor levels.......  :-)
-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.

Newsgroups: rec.audio.high-end
From: ampex!gee@decwrl.dec.com (Tom Gee)
Subject: FOR SALE: Sony TAE1000ESD Preamp 
Originator: tjk@csd4.csd.uwm.edu
Organization: Ampex Corporation
Date: Tue, 1 Sep 1992 12:54:26 GMT

Sony Hi-End Digital Signal Processing Preamp forsale
        Hall Emulation
        Dolby Surround Sound
        Fiber Input
        Digital Delay
        Dynamic Expander
        Parametric Equalizer
        Video input and output controller

Price $600 or best offer over trade-in price in upgrade to TAE2000ESD. 

Please email gee@ampex.com 


Newsgroups: rec.audio.high-end