HDTenEightyP/NetNews huggingface dataset:
From: jim@fuji.eng.yale.edu (James J. Szinger)
Subject: Re: Comments on analog music
Organization: Yale University, Intelligent Sensors Lab, Elect. Eng.
	<1k6kjtINNqf5@transfer.stratus.com>
Date: 27 Jan 93 15:29:18

In article <1k6kjtINNqf5@transfer.stratus.com>
rsud@sw.stratus.com (Rajiv Sud) writes:

>> Of course, I could also find a certain 2.8 year old who likes
>> McDonalds (tm) better, but what does that show?

>> Or why the teenager who sits for my kids prefers harlequins
>> to 'War and Peace', either.  Preferece.

	   Are you implying that the food preferences of a 2.8 year
>old and the literature preferences of your baby sitter are as
>"good" as the preferences of a gourmet cook or one who has
>studied literature? Am I a "bigot" for suggesting that the 2.8
>year old and your baby sitter have a lot to learn? (this is a
>joke, right?

The preferences of the child and the baby-sitter are just as
real, and therefore just as good, as the preferences of the
gourmet or the literature student.  There are no absolute
standard for taste.  Those who hold their own preferences as
inherently superior are indeed snobs and bigots.

	   As to whether this current application of nyquist "gets
>it all" remains to be seen. Robert Fulton suggested that a
>sampling rate of 44.1k does not adequately handle the rise
>time of a dynamic audio signal (does wonders for sine waves
>below 20k, but I don't listen to sine waves).

Yes, you do listen to sine waves.  Fourier showed a long, long
time ago that any signal is a sum of sinusoids.  This facilitates
the analysis and systhesis of linear systems.  (Unfortunately,
the human auditory system is non-linear.)

Ciao,

Jim
--
James Szinger                        jim@fuji.eng.yale.edu

"He was born with a gift of laughter and a sense that the world was mad."
Newsgroups: rec.audio
From: mutrh@uxa.ecn.bgu.edu (Todd R. Haverstock)
Newsgroups: rec.audio
Subject: need HELP in eliminating TURNTABLE hummmmmmmmmmm
Date: 28 Jan 1993 12:50:46 -0600
Organization: Educational Computing Network
NNTP-Posting-Host: uxa.ecn.bgu.edu

I currently have a Pioneer PL-2 connected to my Sansui AU-555A amp.  The amp
has TWO Phono inputs, and the turntable is connected to input 1.  The
turntable connectors come from the turntable case (i.e. no jacks, the wires
run straight inside) and I have a ground, L & R plugs.  The problem is
whether the TT is connected to either amp input, I get a noticable hum.  If
I disconnect the TT and crank up the amp, the hum is gone.  Now, the ground
is connected via a soldered lug to the ground screw on the amp, and I tried
reversing the power plug (it is non polarized and plugged into the switched
outlet on the back of the amp) and that has not helped.  Does anyone have
any suggestions as to what else I should try to eliminate this awful hum
(outside of getting new equipment :)).  

P.S. The amp is about 18 yrs old with VERY LOW mileage and the TT is about
10 years old (estimate).  Maybe that makes a difference but it shouldn't.

Todd R. Haverstock
mutrh@uxa.ecn.bgu.edu
mutrh@ecnuxa.bitnet

From: kirk@hpcc01.corp.hp.com (Kirk Lindstrom)
Date: Thu, 21 Jan 1993 21:38:48 GMT
Subject: Re: Digital critics - sampling argument is nonsense
Organization: Shredding the water of SF Bay, HP-OCD
Newsgroups: rec.audio

>The thing is, I don't really care if some people prefer analog sound to
>digital. I just dislike the bogus reasons and unfair trouncing of digital
>that often follows. Chances are that most analog appeal comes from
>euphonius distortions that could be simulated in digital if anyone wanted
>to try.
>
>-Kerry
----------
Been done.  Pretty sure it was done by Mr. Dolby.

I don't debate TT vs. CD anymore, just make fun of the arguments and try
to learn something.  What I remember about LPs is you needed to spend
2 to 3 times the amount of a std LP to get really good sound in most
cases unless you happened to be lucky and got an LP from an early
pressing.  (I'm thinking of Direct to disc type stuff which I have a few
of).

Kirk out
From: v114qgu3@ubvmsd.cc.buffalo.edu (Henri Defense)
Newsgroups: rec.audio
Subject: Adding an optical output yourself
Date: 26 Jan 93 20:45:00 GMT
Organization: University at Buffalo
News-Software: VAX/VMS VNEWS 1.41


	I own a JVC XL-P50 portable CD player.  Although I am extremely
satisfied with it, it unfortunately lacks a digital output-- like many of the
reasonably priced "discmen" today.  My XL-P50 has a minijack for JVC's Compu-
Link system.  Personally, I have no use for it.  I was wondering how difficult,
and how feasible, it would be to turn it into a coaxial digital output.  Would
it be a reasonably simple job like soldering a few connections or a extremely
difficult job like adding a SPDIF chip (i.e. just buy a new discman)??  Feel
free to mail me.
Newsgroups: rec.audio
From: jlt@chicago.cray.com (John Tverdik)
Subject: Re: Bad CD Remastering (was: Comments on analog music)
Organization: Cray Research, Inc.
Date: 26 Jan 93 17:38:46 CST

In article <shetline-250193200523@128.89.19.90> shetline@bbn.com (Kerry Shetline) writes:
>In article <1993Jan25.203551.7856@bmerh85.bnr.ca>, shiv@bnr.ca (Shiv
>Naimpally) wrote:
>> Agreed. There are lots of horror stories about the early days of
>> CD when companies would find a 'master' tape and rush it out on CD.
>> There were some complete disasters. Some of the tapes were backups
>> and several generations old and not the original masters. I heard
>> of some that were done using master tapes that had RIAA equalization !
>> Ouch ! 
>
>One of the favorite examples of bad mastering from the early days of CD was
>Jethro Tull's _Aqualung_. Does anyone know if this has been re-remastered?
>I know that even the original LP was murky, but I would hope that the
>original multitracks are still around. Someone like Mobile Fidelity should
>have a go at it. (Of course, maybe they feel it's hopeless and would mar
>their reputation.)
>
>-Kerry
>
Careful how you use the word 'original'(country of origin, first pressing) 
concerning LPs.  THE original, a UK Chrysalis pressing of "Aqualung" is 
definitely not murky.  The first American pressing of this album, on Reprise I 
believe, is sonically inferior in comparison.  Mobile Fidelity did have "a go 
at it".  They issued it on vinyl quite awhile ago.  The MoFi vinyl is better 
than the Reprise, but not as good as the original UK vinyl issue.  I'm not sure 
if MoFi has subsequently issued it on their series of gold cds.  

Another comparison.  Compare an original UK "pink" Island pressing of "Stand Up"
to the MoFi gold CD.  As good as the CD is, I still give the edge to the 
ORIGINAL vinyl version.  That CD does, however, sonically best any other version
on vinyl that I've ever heard.

John Tverdik
Cray Research, Inc. 
c/o Minnesota Supercomputer Center 
1200 Washington Avenue South, Minneapolis, MN. 55121
email: jlt@sequoia.cray.com OR jlt@uc.msc.edu
phone: 612/626-1354
Newsgroups: rec.audio
From: pburke@vms.macc.wisc.edu (Peter Burke, MIC, 608-263-7744)
Subject: Re: AV Receiver Recommendations
Organization:  University of Wisconsin Academic Computing Center
Distribution: usa
Date: 27 JAN 93 12:04:46    

In article <1993Jan25.205018.3346@athena.mit.edu>, fred@mtl.mit.edu (Fred Trusell) writes...

>My friend brought home a Sony 1090 this weekend and the rear channels died 
>after 15 minutes.  It does look to be a very flexible piece of equipment
>when it functions properly.
^^^^^^^^^^^^^^^^^^^^^^^^^^^

I like this phrase!  Last week I traded in my Sony 1070 for an Onkyo - 
the Sony was the worst piece of consumer electronics I ever owned.  The 
list of problems included for example that it turned itself on and moved 
the motorized volume to max!  At lest the speaker switch was still a 
mechanical switch and didn't turn itself on....

Avoid the consumer-grade Sony gear! Just listen to their new "invention" 
- the minidisk player.  Sounds worse than a decent walkman!

Peter Burke                           | PBURKE@MACC.WISC.EDU 
Microcomputer Information Center      | PBURKE@Wiscmacc.BitNet
Madison Academic Computing Center     | 608-263-7744
1210 W. Dayton St., Madison, WI 53706 |
From: hughesl@atlantis.CS.ORST.EDU (Larry Hughes)
Newsgroups: rec.audio
Subject: Wanted: Old Nakamichi 600 cassette deck
Keywords: tape-deck cassette stereo audio
Date: 22 Jan 93 15:36:45 GMT
Article-I.D.: leela.1jp4adINNq3d
Organization: OSU CS Outreach Services, Corvallis, Oregon
NNTP-Posting-Host: atlantis.cs.orst.edu



Title says it - I am looking for a (preferably) working Nakamichi 600
cassette deck.  The motor finally froze in mine, and Nak doesn't sell
or offer replacements.  I intend on buying a *newer* deck, but I have
the entire rack system of this series, and I'd at least like to keep
it all together.  Nak also made a 700 (?) cassette deck with the same
dimensions, and I would be interested in that too, but I don't exactly
know the model number.  

Okay, but it is still a nice looking dinosaur.



_   /|                 larry e. hughes
\`0_o'' Oop,           hughesl@atlantis.cs.orst.edu
 -( )=  Ack!           hughes@fsl.orst.edu
   U                   CI$: 70012,2213
From: cmh@eng.cam.ac.uk (C.M. Hicks)
Newsgroups: rec.audio
Subject: Re: A wire with loss
Date: 27 Jan 93 16:44:51 GMT
Organization: cam.eng

BARRON@RHQVM14.VNET.IBM.COM writes:

>Some have refered to an ideal amp as a wire with gain.

>Along with a previous appender, I would like a 'wire with loss'.

>This would go directly between my CD player and my amp for
>'reference listening'.

>Assume my amp and CD have input/output impedances of 50k.

I thoroughly doubt that the output impedance of your CD player is anywhere
near 50k - between 100 ohms and 1k0 seems more likely.

>Can I simply use a few 1% resistors and construct a voltage divider?

Yes, you can do this fine - just keep the overall load on the CD above
about 10k. The easiest way is to use the input impedance of the pre-amp
as the lower half of the divider by putting a resistor in series with
the CD player output.

Assuming 50k input impedance, and <1k0 output impedance, the following table
is approximately correct:

       Attenuation         Resistance
       ==============================
          3dB                  20k
          6dB                  50k
         12dB                 150k
         20dB                 450k

>Anything else I should know?

Audiophiles who use cables costing $xxx.xx will faint at the suggestion
that you could possibly put anything as horrible as a resistor in the signal
path... :-)

Christopher Hicks

--
 ==============================================================================
 Christopher Hicks    |    If it doesn't fit...
 cmh@uk.ac.cam.eng    |                        ...you need a bigger hammer.
 ==============================================================================
Newsgroups: rec.audio
From: graeme@labtam.labtam.oz.au (Graeme Gill)
Subject: Re: DAT, DCC and MD
Organization: Labtam Australia Pty. Ltd., Melbourne, Australia
Date: Wed, 27 Jan 1993 03:01:52 GMT

In article <C1EuKp.3wq@fulcrum.co.uk>, igb@fulcrum.co.uk (Ian G Batten) writes:
|>Au contraire, VCR technology is expensive.  Cheap, nasty cassette
|>players cost ten pounds.  DCC's only expense over a grungy cassette
|>mechanism is the head, which isn't a moving part but is more complex
|>than a standard analogue head.  But in the digital domain problems like
|>wow and flutter can be addressed by buffering, and high mechanical
|>accuracy is what costs money.

	I came across an article recently from Sony in which they describe
a play only DAT mechanism that uses a non-tracking technique combined with
memory buffering. By "non-tracking" they mean that the play head doesn't 
track the helical tracks but may read them at a slight angle, and may read
the same track several times. As a result they don't need a fancy rotating
head motor, and mechanical tolerances need not be as fine. They
claim this design leads to a low cost, low power consumption mechanism
that is very rugged. It is intended for car DAT players and walkermans.
	Experience with my own DAT recorder indicates that it is less
sensitive to mechanical movement and shock than normal cassette or
CD players.
	
	Graeme Gill
	Design Engineer
	Labtam Australia


Newsgroups: rec.audio,rec.video
From: mike%jim.uucp@wupost.wustl.edu (Mike S.)
Subject: Surround speakers--Definitive Tech vs. Cambridge Soundworks
Organization: BITS, St. Louis, MO
Date: Mon, 25 Jan 1993 05:52:09 GMT
Summary: Looking for surround speakers--Definitive vs. Cambridge SoundWorks
Keywords: surround speaker definitive technology versus cambridge soundworks dol

Right now, I have Definitive Technology mains, and Cambridge Soundworks
surround speakers ("The Surround II").  I am probably going to get a
Definitive center channel (C1) soon (thanks for the reco's on that one!).

However, in my never-ending quest to spend as much money as possible
(which I should be saving), I am wondering if I should go with the
rather [ahem] pricey Definitive surround speakers rather than the
Cambridge speakers.

The Surround II (which I have) is a dipole radiator; that is, there
are drivers on each side of the cabinet aimed in opposite directions,
wired out of phase, so that the source of the sound is harder to
pinpoint (due to the "null" created by the cancelling driver movement).

The Definitive surrounds (BP2) also have drivers aimed in opposite
directions (bipolar), but the Definitive brochure makes no mention
of the drivers being wired out of phase. 

Does anyone know if the Definitives are indeed wired out of phase 
internally?  (this is presumably closer to the THX spec)  How
do they sound?  Are they worth it?  It would be nice to have an
all-Definitive system for an ideal tonal match, but $250 EACH for
surround speakers?!

Mike
-- 
mike%jim.uucp@wupost.wustl.edu
Newsgroups: rec.audio
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Snap, Crackle, and Pop (was Re: Digital critics ...)
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Fri, 22 Jan 1993 23:14:21 GMT


In article <1993Jan22.130811.1@tnclus.tele.nokia.fi>, lauusitalo@tnclus.tele.nokia.fi writes:
|> 
|>         Is that why they are adding Snap, Crackle and Pop (tm)  to
|>         new CD's? Imagine CD snapping like LP.
|> 
|>         Lauri
|> 
Actually, they sometimes do. I recently auditioned some speakers in a
stereo shop, and their demo CD looked like someone had cleaned it with
sandpaper. A Carver CD player played it without skipping, but with a 
great deal of snap, crackle and pop. I was intrigued by this, I didn't 
think a CD player would react to scratches this way. Another player,
which I don't recall the maker of, played the same CD with no skips
*and* no noises. I think I have an unfortunate form of selective memory.
But I suppose having the surname Kellogg would make me tune in to 
snap, crackle, and pop :-) Maybe this was a subconcious motivation
when I bought my Carver CD player a while back :-)

The best to you each morning,

- BK
Newsgroups: rec.audio
From: A10035@email.mot.com (Scott Lindsey)
Subject: Re: surround sound recording on VCR
Organization: Motorola Corp. Man. Res. Ctr.
Distribution: usa
Date: Tue, 26 Jan 1993 22:44:23 GMT

In article <74363@cup.portal.com>, gb@cup.portal.com (Greg A Buechler) writes:
> 
> I have a high-fi VCR that plays surround sound movies quite well, but I 
> seem to not be able to record a surround sound show off the TV and get
> the effects.
> 
> Any suggestions?
> 
> gb
> 
It sounds like you have the a VCR with HIFI but does not have an MTS decoder.
You need to pull a stereo signal off of either your TV or another VCR which
does have and MTS decoder. You will have to run the VCR in simulcast mode
to catch the audio signal off of the MTS source.
From: pascal@CAM.ORG (Pascal Gosselin)
Newsgroups: rec.audio
Subject: WANTED: JBL Control 1 mounts (+ impressions)
Keywords: JBL
Date: 25 Jan 93 01:20:26 GMT
Organization: Communications Accessibles Montreal, Quebec Canada

Well I've had my JBL Control 1's for two weeks now, and I remain VERY
impressed.  I got them 40% off retail, a deal IMHO.

The problem is that I need wall/ceiling mounts (part no. MTC-2) in WHITE.

It seems that JBL (or at least their canadian distributor) has gone under.
I can't get a store to order them for me locally. The prices quoted to
me (from obsolete price lists) were outrageous ($150 cdn for the pair).

So if you know of a decent place where I can mail order these, please
email me.

I've done blind tests of the Control 1's against two other small pairs that I
have (one-way square sony speakers SRS-015, 8ohms  and ADS L 300 C , 4 Ohm) and
they're incredible for the type of music that I listen to (progressive Rock,
Hard rock, Hi-Fi movies).  Even the more expensive ADS speakers just can't
cut it. Despite identical driver sizes, the JBLs have incredible response
to subtle hi-hat action. The ADS seem to have a richer bass, but I think
this is a bogus side-effect of them having inferior tweeters. The Sonys ?
Well, anobody want a pair of cool-looking paperweights ? 

To be honest, I bought the JBL's because they were so cheap, without having
heard them. I think it's the best $250 Cdn (175$ U.S.) that I ever spent
(please realise that Hi-fi equipment is 50 to 100% more expensive here).

I have but one question on these speakers (no manual came with them):

-What's the light that glows inside the speakers (seen from baffle) when
I REALLY crank up the volume?  I suspect that it's a protection mechanism
(resistor?) to limit the current sent to the drivers, but I'm not sure.

-Pascal (not in the mood for another CD flamewar today :-) )

-- 
+--------------------------+-------------------------------------------------+
    Pascal Gosselin        |     Communications Accessibles Montreal  
    pascal@CAM.ORG         |  A non-profit corporation.  Newsfeeds & More.   
  Apple Support Specialist |  For info: info@CAM.ORG or Voice (514) 923-2102 
Newsgroups: rec.audio
From: DPierce@world.std.com (Richard D Pierce)
Subject: Ferrofluid Facts and Fiction, was Re: Liquid Cooled Speakers?
Organization: The World Public Access UNIX, Brookline, MA
Date: Sat, 23 Jan 1993 01:03:35 GMT

In article <5070326@hplsla.hp.com> kens@hplsla.hp.com (Ken Snyder) writes:
>
>    Many speakers nowadays have what is know as ferrofluid injected
>into the area between the voicecoils and magnet assemblies.  This
>normally is an air gap.  The ferrofluid is a light oil with small
>magnetic particles in it.  It has the advantages of improving the
>magnetic coupling between the magnet structure and voicecoil and
>the thermal coupling as well.  

This is simply not true, nor does the manufacturer make any such claims.
The saturization magnetization of ferrofluid is typically on the order of
100 Guass. You'll find, on the other hand, that the
typical tweeter magnetic gap has a field up around 10 kiloGauss, around
100 times higher. Also, the effective desnity of the magnetic particles is
quite low, and does little to reduce the reluctance in the gap. Thus there
is effectively no change whatsoever in the magnetic coupling. The only
function of the magnetic properties of the fluid is to keep it in the
gap where it belongs.

The benefits of ferrofluids in loudspeakers are mechanical and thermal
only. Period

>It is typically only used in tweeters whose voice coil movement is very
>small.

Generally true, although there are design techniques that allow
ferrofluids to be used in midranges and woofers.
-- 
|                Dick Pierce                |
|    Loudspeaker and Software Consulting    |
| 17 Sartelle Street   Pepperell, MA  01463 |
|       (508) 433-9183 (Voice and FAX)      |
Newsgroups: rec.audio,rec.music.phish
From: phr@telebit.com (Paul Rubin)
Subject: Re: type III tapes
Organization: Telebit Corporation; Sunnyvale, CA, USA
Date: Thu, 28 Jan 1993 05:33:04 GMT

Type III was ferrichrome tape.  I don't think anyone makes it any more.
Newsgroups: rec.audio
From: wakeland@silver.ucs.indiana.edu (ray s wakeland)
Subject: Speaker vent placement question
Organization: Indiana University
Date: Fri, 22 Jan 1993 20:20:12 GMT

Recently someone asked how the placement of a speaker port affected its 
performance.  Dick Pierce wrote that the placement of the port has little 
effect, and also that it is a bad idea to put the port on the back of a 
bookshelf speaker which will probably be put against a wall.  (I hope I got 
that right!  I've seen what happens to people who mis-quote Pierce.)  I can 
also see why a designer of a larger floor-standing speaker would put the 
port in back.  For example, the drivers of my B&W DM640's cover most of the 
front surface of the speaker, so it is probably just easier to put the port 
in back.  This speaker is not meant to go near the wall.

I am mistified, however, by the Energy 22.3's.  These speakers have TWO 
ports, one in front, below the woofers, and one in back in the center of the 
speaker.  Why would they do this?

Another question:
About the same time, there was much bashing of piezo tweeters.  My last 
speakers were a used pair of Dalquist DQ-10's, which I believe made quite a 
splash in the mid 70's.  They were 5-way speakers, with a piezo tweeter at 
the very top.  Why? (multiple choice)
a) Dalquist was foolish.
b) It was 1973, and the piezo was the best he could get.
c) Dalquist was an exceptional designer who managed to use the piezo tweeter 
effectively dispite its drawbacks.
d) Other

Thanks,
Ray Wakeland
wakeland@ucs.indiana.edu
From: kens@hplsla.hp.com (Ken Snyder)
Date: Fri, 22 Jan 1993 19:12:33 GMT
Subject: Re: Liquid Cooled Speakers?
Organization: HP Lake Stevens, WA
Newsgroups: rec.audio

/ tony@hpcupt1.cup.hp.com (Tony Marriott) /  asks:
> I have some speakers which claim that the tweeters are "liquid
> cooled". Can anyone out there help me understand what this
> means and how this effects the sound that the speakers
> generate? I assume that this process should somehow make the 
> speakers sound better. Or does it just allow the speakers to
> be more efficient, prolong the life of the speakers, or what?

    Many speakers nowadays have what is know as ferrofluid injected
into the area between the voicecoils and magnet assemblies.  This
normally is an air gap.  The ferrofluid is a light oil with small
magnetic particles in it.  It has the advantages of improving the
magnetic coupling between the magnet structure and voicecoil and
the thermal coupling as well.  (hence the "liquid cooling")  In
reality it can be a good thing.  It does, however, change the Q
and damping of the speaker due to the mechanical reaction it poses
to movement of the voice coil.  It is typically only used in tweeters
whos voice coil movement is very small.

Ken
From: jyk50@quts.ccc.amdahl.com (J Kretschmann III)
Newsgroups: rec.audio
Subject: Re: Audio Concepts Sapphire IIti and Sub-1 Speaker Kits.
Date: 21 Jan 93 00:48:46 GMT

How much did this kit cost you, where did you get it, and was it easy
to put together??