HDTenEightyP/NetNews huggingface dataset:
From: DPierce@world.std.com (Richard D Pierce)
Subject: Microphones and Ears, was Re: Analog CDs, CD Sound Quality)
Organization: The World Public Access UNIX, Brookline, MA
Date: Sun, 27 Dec 1992 13:58:56 GMT

In article <1hjeinINNc3c@usenet.INS.CWRU.Edu> co940@cleveland.Freenet.Edu (Nicholas E. Damato) writes:
>
>For those rude folks who flamed my opinion that the ear is the
>most sensitive dynamic instrument created, I would like to say
>that i can't name any microphones with a 120+ Db Dynamic range
>at near zero distortion, (not to say the don't exist, I've just
>never encountered any...)
>

Well, by implication, are you saying that the ear DOES have a capability
of +120 dB dynamic range at near zero distortion? If so, then you'd be
dead wrong. Easily reproducableable examples of distortion effects at even
moderate levels were demonstrated conclusively by Helmholtz 100 years ago.
The ear is a horribly non-linear device as is very well documented. You
failed to note the fact that you yourself claimed that earlier in the
article (I deleted that rambling) when you proposed the whole issue of
weighting digital encoding according to the sensitivity of the ear.

Now, as to real microphones that have +120 dB dynamic range with near zero
distortion, may I suggest the following, admittedly incomplete, list:

    Make & model          Self noise   Maximum     Dynamic range
    B&K 4144, 4145 1"     11 dB SPL    146 dB SPL  135 dB
    B&K 4133, 4134 1/2"   26 dB        160 dB      134 dB
    B&K 4135 1/4"         39 dB        164 dB      125 dB

    ACO 7012 1/2"         35 dB        160 dB      125 dB
    ACO 7022 1"           10 dB        150 dB      140 dB

    AKG 460 + CK61        14 dB        134 dB*     120 dB*
    AKG 414 B/ULS         14 dB        146 dB*     132 dB*          

Where the self noise is the A-weighted 20-20kHz bandwidth noise due to
whatever internal sources (preamp, etc.), maximum SPL is the point where
the microphone distortion reaches 3%, and dynamic range is the difference
between the two. Note in the case of the AKG mics*, the maximum is
specified at 0.5% distortion.

This list compises the selection of microphones that I have direct
experience with, so that I can attest to the claims. Yeah, the figures
above are what the manufacturer claims, but I have been able to verify
them in actual use. Some of them are multi-thousand dollar laboratory
microphone systems, but some are also $500 relatively common studio mics
as well. My suspicion is that most studio condensor mics will easily pass
your criteria. 

I challenge you to find a similarily linear pair of ears. 

-- 
|                Dick Pierce                |
|    Loudspeaker and Software Consulting    |
| 17 Sartelle Street   Pepperell, MA  01463 |
|       (508) 433-9183 (Voice and FAX)      |
From: ch218@cleveland.Freenet.Edu (Erik A. Horn)
Newsgroups: rec.audio
Subject: A couple questions.
Date: 1 Jan 1993 04:52:40 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


I have a couple questions, if you have any knowledge
on either subject, please respond via email, or here
if needed..
 1. The few high end audio places in my town are way
over priced, so I have looked at mail order.  I am   
considering making a purchase from a company
called 6th Avenue Electronics.  Has anyone on here      
ordered from this company, or know anything about it.
 
2. I am ordering a Denon DRA-5455 reciever.  Is there
anyone out there that owns one that could tell me what
they think of it.  I have listened to it, and find it
a rather nice piece of equipment for the money.
 Thank you.
Newsgroups: rec.audio

>Be sure to stay light when reading rec.audio.  Otherwise, you are likely
>to take yourself and everyone else too seriously.
>==============================================================================
>Bob Neidorff; Unitrode I. C. Corp.  |  Internet: neidorff@uicc.com
>----------

Best damn advice I've read in a LONG time!

Thanks for the FAQ work Bob!

Kirk out
From: isbell@ai.mit.edu (Charles L Isbell)
Newsgroups: rec.audio
Subject: The real use of MD and DCC
Date: 22 Dec 92 09:02:26
Organization: MIT Artificial Intelligence Laboratory
NNTP-Posting-Host: pop-tarts.ai.mit.edu


Presumably, MD and DCC are not meant to replace CD's, but cassettes.
So, then, if this is the case, where would these boxes fit?  Easy, the
same places as cassettes (but not turntables):

- the home
- the walkman
- the car

Well, one of the main uses of cassettes is compilation tapes for the
car and walkman (we have CD's and turntable for prerecorded material),
so we HAVE to have a home unit.  Fine.  Now the problems assoiated
with cars and jogging/walking are the same, but tend to be larger in
the car, so we must ask the the following questions of both DCC and
MD.

- Given the noise of the driving environment, is there a difference
between them?  Will they be better than the cassettes we have?

- I live in Boston while I'm in school (I hate Boston so much, I could
cry).  Which handles bumps better?  Is there a difference?

- How many times can you rerecord on the damn things before they begin
to sound like oatmeal?

- How easy is it to delete and add new tracks (MD should be able to
walk all over DCC with this--especially if you could use your Mac, PC,
or NeXT box to do disk-style cleaning up for fragmentation and/or disc
copying made easy and/or easy editing, etc)?

- Which medium is more durable?  Can handle changes in temperature the
best?  Hey, does the head touch on MD during playback?  My tapes tend
to disentegrate over time.  I find this most annoying and would be
happy for something more durable.

- And, of course, will there be car models available?


I don't know the answers to these questions and would appreciate any
feedback; however, I suspect that--all other things like price and
marketing skill being equal--MD might be able to win.

On the other hand, I could just buy a DAT player and be done with
it....


--
Peace.
"What a terrible thing to have lost one's mind.  Or not to have a mind
 at all.  How true that is."
                -- Vice President Dan Quayle winning friends while
                   speaking to the United Negro College Fund
                                   -\--/-
    Don't just adopt opinions     |  \/  |       Some of you are homeboys
          develop them.           |  /\  | but only I am The Homeboy From hell
                                   -/--\-

Newsgroups: rec.audio
From: neidorff@uicc.com (Bob Neidorff)
Subject: Fried Speakers?
Originator: neidorff@makore.uicc.com
Keywords: Fried Speaker
Organization: Unitrode Integrated Circuits Corp., Merrimack, NH
Distribution: us
Date: Thu, 31 Dec 1992 16:00:08 GMT


Therre is a company that makes speakers.  I believe that the
owner is Bud Fried, and the company name is Fried.  I may have
the spelling of the name wrong.  Does anyone have their address, 
city, or phone number handy?  I'd like to contact them.

Thanks!

-- 
Bob Neidorff; Unitrode I. C. Corp.  |  Internet: neidorff@uicc.com
7 Continental Blvd.                 |  Voice   : (US) 603-424-2410
Merrimack, NH  03054-0399 USA       |  FAX     : (US) 603-424-3460
From: smee@bristol.ac.uk (Paul Smee)
Newsgroups: rec.audio
Subject: Re: How to tape a 1hr long pgm on an analogue tape deck...
Date: 21 Dec 92 10:00:51 GMT
Reply-To: P.Smee@bristol.ac.uk (Paul Smee)
Organization: University of Bristol

In article <1992Dec17.010713.965@nuscc.nus.sg> law40001@nusunix1.nus.sg (CHENG KWONG WING) writes:
>I'm not too sure how you're going to solve your problems, but IMHO I
>myself will not use a tape which is of more than 60 mins capacity.
>
>Tapes of more than that length usually have problems of getting stuck
>eventually in the long run.  I would welcome anyone's comments about
>this though.

Never had that sort of trouble with 90s (which I use almost
exclusively) and 120s (which I use occasionally).  Do buy good-brand
tapes, though.  I have had that sort of problem with cheap tapes,
regardless of length.

Problem I HAVE had with 120s, though, is that they may stretch
unevenly, lending a great deal of wow and flutter to the music.  Using
'fast' moves (FF, rewind, music search) seems to make them stretch
faster.  They're pretty OK if all you want to do is time-shift a
program, but if you're making a tape that you plan to keep and listen
to a lot, I'd stay with 90s and below.

-- 
Paul Smee, Computing Service, University of Bristol, Bristol BS8 1UD, UK
 P.Smee@bristol.ac.uk - ..!uunet!uknet!bsmail!p.smee - Tel +44 272 303132
Newsgroups: rec.audio
From: owen@emds.enet.dec.com (Steve Owen)
Subject: Re: DCC and MD Quality
Organisation: Digital Equipment Corporation, Maynard MA
Organization: Digital Equipment Corp.
Date: Mon, 21 Dec 1992 13:39:33 GMT


In article <BzHEF8.8r0@news.cso.uiuc.edu>, dmd39855@uxa.cso.uiuc.edu (Daniel DuBois) writes...
>owen@emds.enet.dec.com (Steve Owen) writes:
> 
> 
>>In article <1992Dec17.192744.86020@ns1.cc.lehigh.edu>, jap1@ns1.cc.lehigh.edu (JOSEPH ALEXANDER PADULA) writes...
>>>It is a sad day indeed when "CD quality" is the aspiration for new media. 
> 
>>Agreed... but 99% of the audio buying public has already been suckered into 
>>thinking that CD sound is the be-all end-all of sound quality.  They are 
>>mistaken.
> 
>>Later...
>>Steve
> 
>I'm not an audiophile.. Is there something better than CD?  Are you
>referring to live performances or something?
> 
>-Dan

No, I'm refering to the fact that CD quality is NOT perfect... even Sony now 
admits that with the development of their new "Super-bit mapping" process.  New 
media should shoot for higher goals... such as the sound quality of Analog with 
the convenience of CD.

Later...
Steve

Newsgroups: rec.audio
From: misha@abacus.uucp ( MISHA GLOUBERMAN )
Subject: Whereabouts of Seattle Sound speaker manuf.?
Organization: Cicma, Concordia University, Montreal, Quebec
Date: Sun, 3 Jan 1993 08:12:45 GMT

I'm trying to track down a speaker company called Seattle Sound
I have pair of their speakers (still supposed to be under
warranty) with a blown woofer. They company has either moved or
gone out of business. The Seattle better business bureau and the
retailer who sold me the speakers have been unable to help.
 
Any information would be greatly appreciated.
.
From: mtrostle@sdcc13.ucsd.edu (Mark Trostler)
Newsgroups: rec.audio
Subject: More subwoofer amplification & power
Date: 21 Dec 92 22:23:55 GMT
Organization: University of California, San Diego

First a big fat thanx to:
	grl@drutx
	al@qiclab
	lauri.uusitalo@ntc
for your much appreciated help, now on to more good stuff!

	Having determined that my 12V/2.5amp supply is totally
unacceptable to power a 140W mono amp (which is a car stereo amp
BTW) I decided to look into deep-cycle batteries (used by boats and
RV's - they recharge all the way & last longer) and just recharge it
when not in use.  At my local NAPA dealer those go for $70 minimum,
however, while browsing the battery rechargers I found one that puts
out 12V/10amps for $29!  Can I use this for a power supply instead
of a battery??  I suppose it would suck down major wattage from my
outlet, but other than that, would this work?  There are two fuses
on my amp, one 25amp and the other 3amp.  I assume the 25 is far
above what the amp needs to run normally, so the 10amps should be
okay it seems (120watts max.)  This all seems like it'd work to me,
what am I missing?
			Thanx a zillion again, in advance...
					Mark


Newsgroups: rec.audio
From: Richard.Chalk@launchpad.unc.edu (Richard Chalk)
Subject: Yamaha Hi End CD Player for sale
Organization: University of North Carolina Extended Bulletin Board Service
Distribution: na
Date: Fri, 25 Dec 1992 02:45:08 GMT

For Sale: Yamaha model CDX-820 CD Player.  Has the following features:

8x oversampling digital filter
18 Bit D/A Converter
Digital output
Fully programmable
Random play

Unit is remote controllable, but missing the remote.  Will work with all
Yamaha "RS" remotes, such as those which come with the receivers and amps.

Sold new in 1989/1990 for almost $500.00

Asking $175.00, or reasonable offers.

Richard Chalk

--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  laUNChpad.unc.edu or 152.2.22.80
Newsgroups: rec.audio
From: khang@vega.actel.com (khang tran)
Subject: For Sale: Sony DAT Deck
Organization: Actel Corporation
Distribution: rec.audio,rec.audio.pro
Date: Wed, 23 Dec 1992 03:14:21 GMT

[I am posting this for a friend, please reply to him directly if
possible]

For Sale: Sony DAT Deck
* Model DT-700
* Only 6 months old
* $500

And this is all I know.  For more info, please call Chinh at
(408)738-1301
or email to khang@actel.com then I will forward the message.

Newsgroups: rec.audio
From: chris@adx.adelphi.edu (Chris Chen)
Subject: front spearkers for Sony STR-D990
Organization: Adelphi University
Date: Tue, 29 Dec 1992 15:29:28 GMT

Hi there:

	I just bought a Sony STR-D990 receiver. Could somebody please
recommand what kind of speakers (front, rear, center). I plan to spend
about $300 for the front ones. Thanks in advance.

	BTW, Could somebody e-mail me (or tell me where I can ftp) the
FAQs for this group. Thanks.

--Chris
Newsgroups: rec.audio
From: winchebs@cda.mrs.umn.edu (Benjamin S Winchester 1429580)
Subject: Sony STR-790 *problems*
Organization: University of Minnesota - Morris
Date: Wed, 30 Dec 1992 22:09:41 GMT

  I own a STR-790 Sony surround sound receiver with the following
problem.  When the system is in somtheing other than surround mode (just
using the front and back speakers) and the music is turned up *kinda*
loud, the PROTECTOR jumps on and the system no longer functions.  The
idea of the protector is to keep the system from shorting out, due to a
short somewhere.  However, when it is in full surround mode (center
speaker included) it does get quite a bit louder, but the protector
still comes on.  I know, 1: there are no shorts in the system and 2: the
speakers are nowhere close to reaching maximum capacity.  This is my
second one (the first one had a constant hum until the system was warmed
up) and the problem persists.  My speakers are : Front) Scott (rated to
180 watts) and Back) Infinity 112's rated to 120 watts.  I even switched
them around and it still did it.  Is there something wrong with the
impedance needed for the system and the speakers I have?

Any ideas would be greatly appreciated.
From: shetline@bbn.com (Kerry Shetline)
Newsgroups: rec.audio
Subject: Please excuse-just a test
Date: 27 Dec 92 20:12:33 GMT
Followup-To: rec.audio
Organization: BBN
NNTP-Posting-Host: bbn.com

I getting some strange problems with the way my news software is handling
word-wrap. There are, unfortunately no user controls for this. I just have
to check if I should let it handle word-wrap automatically, or if I must
(sigh) manually wrap my text... I getting some strange problems with the
way my news software is handling word-wrap. There are, unfortunately no
user controls for this. I just have to check if I should let it handle
word-wrap automatically, or if I must (sigh) manually wrap my text... I
getting some strange problems with the way my news software is handling
word-wrap. There are, unfortunately no user controls for this. I just have
to check if I should let it handle word-wrap automatically, or if I must
(sigh) manually wrap my text...
From: chased@rbbb.Eng.Sun.COM (David Chase)
Newsgroups: rec.audio
Subject: Re:  CD Sound Quality
Date: 29 Dec 1992 20:21:01 GMT
Organization: Sun
NNTP-Posting-Host: rbbb

In article <vanz.02bd@tragula.equinox.gen.nz> vanz@tragula.equinox.gen.nz (Martin Nieuwelaar) writes:

>In the message David Chase wrote regarding oversampling, in which
>he explains a rather simpler form of interpolation, his idea
>about the brick wall filter seems obvious to me too.  Simply
>FT, apply the box filter, and IFT.  Providing you have the
>equipment, this seems to me a better way than using (say) an
>analog filter that will not have as much slope, and may introduce
>all sorts of phase distortions.  (Please tell me if I'm wrong).

You may be wrong, but it may be my fault.

1. I've had nagging suspicions about my glib explanation of
   oversampling at the playback end.  Some interpolation may be
   necessary.  What with all the other things I want to do with my
   time, I haven't grunged through the math to compare sample
   repetition with sample interpolation.

2. In general, the Fourier techniques are more often used as an
   analysis tool, rather than an actual filter implementation.
   Naively (or abstractly) speaking, the FT assumes a signal that
   has infinite duration.

3. (Corollary of 2) If you oversample at the recording end, it is not
   necessarily the case that you need to FT->filter->IFT.  More likely
   the filtering is performed digitally, but not necessarily using
   Fourier transforms.

4. The difference between analog and digital filters may only be one
   of cost and robustness (e.g., how sensitive to manufacturing
   tolerances or temperature variations?). -- so says someone via
   e-mail, though neither of us is certain.

5. Based on a shot-in-the-dark reconstruction of what "1-bit-DAC"
   means, I suspect that the difference here is also one of cost.
   (Do these use an exponentially shaped ramp, and use the bit
   stream to integrate pieces out of it?  That's what seemed plausible
   over lunch.)

David Chase
Sun
From: shetline@bbn.com (Kerry Shetline)
Newsgroups: rec.audio
Subject: Re:  CD SOund QUality
Followup-To: rec.audio
Date: 27 Dec 1992 07:35:40 GMT
Organization: BBN
Distribution: world
NNTP-Posting-Host: bbn.com

In article <24474@alice.att.com>, jj@alice.att.com (jj, curmudgeon and
really disguted scientist) wrote:
  ...
> The Nyquist and Shannon theorems still hold, folks, despite
> your misunderstandings.
  ...

First, I just want to assure you that I have no problems with CD sound, and
I
believe that I've got a good idea what the Nyquist theorem is about at a
qualitative, if not mathematical, level. But I do have a question for those
who
understand it better:

I wonder what happens to higher frequency signals as they approach half the
sample rate? It seems to me that at *exactly* half the sample rate, the
amplitude of a signal would be entirely dependent upon its phase
relationship
with the sampler, going from maximum amplitude when samples were taken at
the
peeks and troughs, down to nothing if the samples happened at
zero-crossing.

It seems then that slightly lower frequencies would slide in and out of
phase
with the sampler. What, if any, audible effect could this produce? Would
low-
pass filters eliminate such an effect? Wouldn't the end result be like
amplitude modulation, producing a spread of frequencies centered on the
original
signal frequency, +/- the beat frequency?

My apologies if this has already be brought up a sickening number of times.

-Kerry
Newsgroups: rec.audio
From: daniel@netcom.com (Sam Daniel)
Subject: Re: is pre-amp necessary for line-level input?
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Thu, 31 Dec 1992 09:15:30 GMT

cal@gsbux1.uchicago.edu (Cal Lott) writes:

>Youngjoon Kwon     (415)926-2761 <YKWON@SLACVM.SLAC.STANFORD.EDU> writes:

>>To be more specific, I am thinking of purchasing an Acurus amplifier
>>and I have two choices:
>>One is more conventional - get a pure power amp, such as A250 and a
>>separate line preamp, L10.
>>The other is to purchase a "direct-input-amp" DIA-100, which contains
>>passive control sections including source-switching and input attenuation.
>>
>	The short term may be fine, but I have a couple of more long-
>term items that you may want to consider:

>	-1) How will that delicate preamp stage fare over the next few
>	    years after it spends a great deal of time next to that
>            hot, noisy amplifier stage?

The preamp stage in the DIA-100 is all passive.  the only thing in the
signal path between the CD player and the amp is the source selector
switch and the volume control.  There should be no degradation in
quality due to proximity to the amp.
-- 
*
Sam Daniel          *   UUCP (Smart):  daniel@netcom.com
Paramax Systems     *         (Dumb):  {...}!uunet!netcom!daniel
1001 W. Maude Ave.  *          Voice:  1-408-235-2661
Sunnyvale, CA 95131 *     Disclaimer:  It's only my opinion, but it's
                                       a DAMN good one...
From: jcm11@po.CWRU.Edu (John C. Mackey)
Newsgroups: rec.audio
Subject: Paradigm
Date: 25 Dec 1992 06:52:27 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: jcm11@po.CWRU.Edu (John C. Mackey)
NNTP-Posting-Host: hela.ins.cwru.edu


I've been looking around recently for a center channel speaker for my
ProLogic Surround receiver.  I purchased a Bose VS-100 center speaker because
I assumed it would match well with my Bose speakers that I'm using for my
main front channel.  Wrong!  I seem to be the only remaining fan of Bose,
and even I couldn't stand the sound of this speaker.  Totally flat.  So, back
the Bose went.
Anyway, I've received a number of suggestions from people here on the
system, and one person recommended a pair of Paradigm Titans, which aren't
shielded.  After calling around town (here in Columbus, Ohio), I learned
that Paradigm is releasing a true center speaker within the next week or
so.  Now, I'm not much of an audiophile, and to be quite honest, I had never
heard of Paradigm until a few days ago.  
The salesman seems to think the Paradigm would be the way to go, and
that isn't even the store's most expensive speaker.
Does Paradigm generally produce a good product?  Any idea how they might
sound in a system with a pair of mid-end Bose speakers (301 III's)?
Thanks again, everybody...
Oh, and merry Christmas/happy Hanukkah!

-John
-- 
John C. Mackey  -  Music Composition major at Cleveland Institute O' Music
-----------------
From: andrew@alice.att.com (Andrew Hume)
Newsgroups: rec.audio
Subject: rotel 955
Date: 29 Dec 92 05:37:14 GMT
Article-I.D.: alice.24501
Organization: AT&T Bell Laboratories, Murray Hill NJ


	given my 7yr sony discman just died, i went out and
bought a rotel 955. initial sound was just ghastly. anyone
care to comment about how long it took to ``burn in'' or
for the sound to stabilise?

		andrew hume
From: rsud@sw.stratus.com (Rajiv Sud)
Newsgroups: rec.audio
Subject: Re: polarity inversion
Date: 31 Dec 1992 17:27:35 GMT
Organization: Stratus Computer, Inc.
Distribution: world
NNTP-Posting-Host: ernie.cac.stratus.com

In article <shetline-311292015736@128.89.19.85>, shetline@bbn.com (Kerry Shetline) writes:
> 
> Sound waves in air consist of radiating patterns of compression and
	.
	.	<lots of crap deleted>
	.

Kerry,
	Absolute phase does matter and is easy to hear. You and other
non-belivers might try it for yourself on something better than a mass
market system. Better than mass market is the key (but spare me the
arguements about not being able to afford $2000 components. If mass
consumers weren't so complacent and demanded better they'd get it).

..Rajiv
(rajiv_sud@sw.stratus.com)
Newsgroups: rec.audio
From: CSMSAXS@MVS.OAC.UCLA.EDU (CSMSAXS (Arnie Stodolsky))
Subject: rec.audio.faq
Date: 24 Dec 92 11:38:17 PST

Was a part 3 of the rec.audio.faq issued?  I received parts 1 & 2
but no 3.  If I missed it, could someone forward it to me.
Thanks in advance for your help.
Arnie