HDTenEightyP/NetNews huggingface dataset:
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re: Stereo Review (was Re: Very expensive cables)
Date: 15 Oct 92 00:50:25 GMT
Reply-To: lstowell@pyrnova.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corp., Mountain View, CA

In article <1992Oct13.192841.26902@mnemosyne.cs.du.edu> tlode@nyx.cs.du.edu (trygve lode) writes:
>>  4)    Guy IV who designed the @!#$%@#@#$% Porsche and is aware of
>>	how few drivers REALLY know enough about driving to know the
>>	difference in 0.5 lb tire pressure and how many drivers
>>	THINK they do.   
>
>Now, speaking as someone who couldn't be called a "serious driver" by any
>stretch of the imagination (I work out of my house and do little driving
>most weeks beyond a trip down the street to the grocery--and have never
>tried to do driving that pushed the limits of the car), I should point out
>that a difference of a few pounds of tire pressure very definitely changes
>the way my Porsche handles. 
 
     Pssst.  I think if you re-read that it said 0.5 lbs.  Since you
     drive a Porsche, that is also known as ONE-HALF OF A POUND.
     Got it now?

>
>On the other hand, on the various stereos that I own, the differences
>between Kimber Kable and Romex and Straightwire Maestro and Belden
>twinax are subtle enough that, if they exist at all, I would be very
>hard-pressed to tell them apart.  (As opposed to, for example, the
>much larger differences of moving the speakers a few inches or even
>rearranging the furniture in the room.)
>
>Trygve   (Hmmmm...maybe I ought to try inflating my speakers to a few
>          pounds above the recommended levels....)


   No, only half a pound.  
Newsgroups: rec.audio
From: andrewb@suite.sw.oz.au (Andrew Bettison)
Subject: Re: Golden Ears?
Organization: Softway Pty Ltd
Date:  9 Oct 92 06:16:41 GMT

In <1992Oct6.132800.11107@walter.cray.com> daw@cray.com (Dave Wright) writes:

> Can you hear the changes in temperature or humidity in you listening room?
> Can you hear thermal gradiants dispersing the sound in the room?

(Aren't these more or less the same question?)

I am not aware of audible differences in my living room caused by
different temperature or humidity.  If I do hear a difference from
day to day, I attribute it to variance in my physiological and
psychological condition.  I am generally quite aware of the effect
of my health and attitude on my hearing, which far exceeds those
that result from different temperature and humidity.  I haven't
conducted listening trials under controlled conditions, so I cannot
safely conclude that I have ever heard changes that can solely be
attributed to altered temperature or humidity.

I am acutely aware of differences caused by temperature and humidity
in some of the spaces in which I record music; for example, stone
cathedrals, churches, and especially outdoors.  In other venues,
such as studios and most performance halls, the conditions are either
well regulated by air conditioning, or the acoustics do not depend
on materials that are susceptible to temperature or humidity changes
and the reverberance is so short and cluttered as to be virtually
unaffected by humidity.

> Can you hear the difference with the door open or closed?

In my living room, yes.  In a church or cathedral, unless the open
door admits extra traffic noise, no.  Outside, nope :-).

If I was led blindfolded into my living room (there are two doors)
and had to decide whether the other door was open or closed just by
listening, I believe I could do so correctly.  I would be cued
primarily by the presence or absence of a slight echo from the hall
(which has wooden floors).

--
Andrew Bettison (andrewb@softway.sw.oz.au)
"Gravity.  Not just a good idea.  It's the law."
From: winalski@adserv.enet.dec.com (Paul S. Winalski)
Newsgroups: rec.audio
Subject: Re: DAT Royalty Bill, passed and sent to the President
Date: 14 Oct 92 18:19:49 GMT
Article-I.D.: nntpd2.1992Oct14.181949.22482
Reply-To: winalski@adserv.enet.dec.com (Paul S. Winalski)
Distribution: na
Organization: Digital Equipment Corporation, Nashua NH


In article <1992Oct13.134139.24060@porthos.cc.bellcore.com>,
whs70@dancer.uucp (22501-sohl) writes:
|>
|>
|>According to the folks at the Home Recording Rights Coalition (HRRC) in
|>Washington (1-800-282-TAPE), the DAT royalty tax bill was voted and passed
|>by congress just before it adjourned last week.  The bill is now before the
|>president for his signature or veto.  The HRRC folks dd not know as of
|>this morning (10/13) if the bill has been acted on by the president.

Given that Congress has adjourned, is the "pocket veto" option open to the
President on this bill?

--PSW
Newsgroups: rec.audio
From: itakura@angelo.amd.com (Eric Itakura)
Subject: SONY ES - OPINIONS?
Organization: Advanced Micro Devices, Santa Clara, CA
Date: Thu, 15 Oct 1992 03:48:52 GMT

hello out there,

just a question for those interested in voicing their opinions:

i know that sony mainstream stuff is generally looked down upon, and for
good reason (i know people who's stuff doesn't last very long).

but sony es?  trying to ignore the "sony" name for a moment, what do you all
think of their stuff?

i'm asking this for a reason:  basically, i bought a refurbished sony pre-amp
for $398 at a recent sale.  i got the tae77esd (that's close, anyway).  it
has it's own d/a converter and a billion inputs, but i could've spent an extra
$200 or so and got a B&K pro-10MC.  i can't return it now, but i don't mind
knowing i blew it.

and a side issue:  i get a semi-harsh click/pop when i turn on my pre-amp (amp
already on).  i know it's not due to the unit itself as i took it in and 
hooked it up in the store and it was fine.  the salesman said it could be
due to improper grounding of the house or something like that.  do i have to
do something radical to get rid of this problem, invest in a power-wedge, or
what?  it doesn't seem to affect the music when i'm just listening.  just 
when i power on/off or switch from cd to (say) tape1.

also willing to accept feedback on the system i ended up with.  in addition
to the sony pre-amp:  b&k ex-442 amp, paradign 11se mkii's.  suggestions
anyone for a cd player to match the level of the rest of the system.  a friend
was going to sell me his rotel 955ax for $325, but looks like he's backing out
of it.

eric itakura
itakura@brahms.amd.com

D
anyone for a good cd player to match the level of he

D
D
due to grounding of the house of something like that.  do i need to do some-    \\

during a recent sale.  i payed $398 for the sony ta-
Newsgroups: rec.audio
From: gfl@hera.uucp (22402-lenahan)
Subject: Re: cd player recommendations?
Organization: Bellcore, Livingston, NJ
Date: Tue, 13 Oct 92 12:56:44 GMT
Summary: rotel model number

> |> $300 - $500 range.
> |> Thanks
> 
> However, if you simply want the most
> musical CD player that can be had for that kind of money, Rotel is the
> clear choice.  They have a model (985 or something like that) for $450
> that blows the socks off everyone else in the price range.

The rotel you want is the 955 (NOT the 965 bitstream player
at the same price).  Its VERY good for $450 list.  remote.
metal chassis (stiff).

Grant
From: haverl@cats.ucsc.edu (Carl A Haverl)
Newsgroups: rec.audio
Subject: Re: CD skipping comment
Date: 15 Oct 1992 22:41:06 GMT
Organization: University of California, Santa Cruz
NNTP-Posting-Host: si.ucsc.edu


Older CD players that start skipping can usually be rejuvenated with
one or two drops of teflon containing oil on the rails that the optical
assembly slides on.  I use Tri-Flow, which is available in bike shops.
The aeresol is OK too, just don't hit the optics.


-- 
Carl Haverl
haverl@cats.ucsc.edu

305 Chace St.
Santa Cruz, CA 95060
(408) 458-3259
Newsgroups: rec.audio
From: nau@ssesco.com (William Nau)
Subject: Re: Regrets to this petty newsgroup
Keywords: none that I care to type
Organization: SSESCO
Date: Wed, 7 Oct 1992 12:32:43 GMT

<big flame deleted>

Everything you said was right.  A lot of people tout their 'superiority'.
Should they have been flamed?  Who knows?  Who cares?  I do know that
you received at least one piece of mail that tried its best to be helpful.
It made an attempt not to tell you that you should have bought something
else.  It just gave you recommendations for what you had.  I doubt there
was only one.  It's too bad that you only remember the negitive ones.
From: smee@bristol.ac.uk (Paul Smee)
Newsgroups: rec.audio
Subject: Re: optical vs. coax digital interconnects
Date: 14 Oct 92 08:57:57 GMT
Reply-To: P.Smee@bristol.ac.uk (Paul Smee)
Organization: University of Bristol

In article <Bw27t6.5ME@ssesco.com> nau@ssesco.com (William Nau) writes:
>I don't understand what difference that makes.  If it can get all of the
>bits right for $400, why not do the same in audio?  Even on a CDrom errors
>are not what one would consider frequent in the audio world.  This has
>always confused me.

We did this recently in rec.audio.high-end.  The point is that the
demands on audio CD and on CD-ROM are different.  With CD-ROM, the
precise timing of the bits coming into the io register to the computer
is not critical, as long as the line is in the proper (0 or 1) state
when the CPU clock pulse hits.  The precise timing is handled by the
computer, not by the CD-ROM drive.  With audio CD, it is important that
the bit transitions occur at precisely the right time, because the
clocking is under control of the CD 'drive'.  (You can argue whether
this can make any noticeable difference, but it is certainly a
difference in the principles of operation.)

CD-ROM is also less time-critical in that if it completely mis-reads a
block, or mistracks, the computer (or the device controller) can just
tell the drive to reposition and read it again.  Doesn't hurt anything
(or at least anything well-written) that you get the resulting small
time delay.  Audio CD drives get one try at it, have to get it right 
on that one try, and have to do it at precisely the right time.

There's some compensation in the fact that you REALLY want CD-ROM to
get ALL the bits right, where you can live with some errors corrected
by interpolation in the audio CD environment.  All in all, though, the
design parameters, what's important, are different between the two
uses.  Not surprising that they don't end up with identical prices.

-- 
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: tandean@cory.Berkeley.EDU (Tandean Tekno)
Subject: Help w/ Sony 1070 problem please!
Organization: University of California, at Berkeley
Date: Thu, 8 Oct 1992 22:45:20 GMT

My Sony 1070 receiver freezed up several time today. No sound and all buttons
stopped working, except the on/off button. And also the word "PROTECTOR" 
flashed on the display. It's okay after I turned it on and off again.

It happened when I turned up the volume up to 4. I use Cambridge Sound Works
speakers, which have 6 ohm impedance. Is this because of speaker impedance
mismatch (Sony -> 8-16 ohm)? How should I fix this?

Thanks,
Tandean
Newsgroups: rec.audio
From: itakura@angelo.amd.com (Eric Itakura)
Subject: Re: Sound City -- Mail Order
Organization: Advanced Micro Devices, Santa Clara, CA
Distribution: usa
Date: Sat, 10 Oct 1992 01:14:48 GMT

In article <1992Sep29.201102.18589@cbnewsi.cb.att.com> gds@cbnewsi.cb.att.com (glenn.d.strouse) writes:
>
> I also had a bad experience with Sound City. I bought a pair of Altec Lansing
> speakers from them. The speakers must have been a demo pair. The serial 
>numbers on the beat up boxes that they were shipped in did not match the
>numbers on the speakers. When I called they denied everything. After getting
>knowhere with them, they said that they would send a set of head phones to me
>that they were running a special on, free of charge. They told me that they retailed for $80.0
>. Since the speakers sounded fine, I thought why not. Well, the head phones
>looked like they cost about $2.00. They were junk. Needless to say they will
>never get my business again. 
>
>  A company that I have purchased from in the past and have had VERY GOOD 
>prices and service is W.D.S. (Wisconsin Discount Stereo). It now seems to
>be out of business. I tried to call and all the phone numbers I have used in the
>past are now disconnected.  Does anyone have any information?
>
>
>Glenn Strouse
>
>
>

just to add further confirmation to this "bad experience" story:

i also bought some stuff from sound city.  i bought the rockford fosgate
rf2000 amp and rf200 amp for $799.  they added $31 for shipping.

well, when i got it, the pre-amp was fine (thought not worth the $699 they
quoted as an original price.)  but the amp was not wrapped in plastic, the
unit had small nicks and scratches, there was no manuals or warrenty info,
and the serial number on the box didn't match the serial number on the unit.

when i powered it up, it sounded fine, but then it turned itself off.  when
i touched it, it was hot on the left side and cool on the right, clearly
defective.

i called them up and they eventually refunded my $799, but now i'm trying to
get the shipping back because i didn't want this used junk.  as of this time,
they won't refund it.

anyway, i certainly can't recommend sound city.  i did buy from j&r music
world and had no problems.  talked them down quite low in price too.

i ended up with a b&k ex-442 amp and sony tae-77es pre-amp.  anybody have any
opinions on these components?  using them with paradigm 11semkii's, kimber
cable 4tc, and for now a relatively cheap magnavox cd player.

eric itakura

D
D
D
eric itakura
D
D
eric itakuraZZ
From: kmr4@po.CWRU.Edu (Keith M. Ryan)
Newsgroups: rec.audio
Subject: Re: Science versus TechnoBabble and Golden Ears
Date: 16 Oct 1992 20:34:15 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: kmr4@po.CWRU.Edu (Keith M. Ryan)
NNTP-Posting-Host: thor.ins.cwru.edu


In a previous article, DPierce@world.std.com (Richard d Pierce) says:

>This country, through nothing short of simple business incompetence, has
>pissed away any mid- or high- end driver manufacturing capability, There
>is no domestic manufacturing source for semi-custom low and mid-frequency
>drivers suitable for use in moderate or high-end systems. There is
>absolutely no domestic source of even medicocre quality tweeters. 

Excuse me, there are several US companies who manufacture all major
components in the US. One example: McIntosh. Even though they're 
officially owned by Clarion, all major manufacturing remains in the
US. { that was part of the contract }
-- 
So there I was, snuggled in the leather seat of my brand new Ferreri [sic]
I had the oiled wood gear shift in one hands, and the leather wrapped Momo in
the other. And, I had the stereo cranking _Born to be Wild_...
	Only one problem, I was unside [sic] down, under six feet of water...
From: kuchar@buast7.bu.edu (Tom Kuchar)
Newsgroups: rec.audio,rec.video,misc.consumers
Subject: Re: Extended Warranties
Keywords: Electronic Wholesalers, Mitsubishi U57 VCR
Date: 7 Oct 92 17:44:08 GMT
Article-I.D.: bu.97879
Followup-To: rec.audio
Distribution: usa
Organization: Astronomy Department, Boston University, Boston, MA, USA


Here in Boston, Tweeter etc. includes tune-ups and cleanings as part
of these extended warrenties. Is this true of other plans?  Tweeter's
are also transferable if you sell the component.  I also may have read
in their brochure that the warrenties are extendable, but I'm
uncertain of this.  Their salsemen said they added the cleaning bit,
since many of their customers felt they got nothing for the warrenty
if the component didn't need any repairs.  Therefore they threw in the
cleanings too.  Bad thing about these warranties is that they run
concurrently with the manufacturers warrenties. The cleaning bit is
nice for the VCRs and Camcorders, since they do see a lot or usage.

Mitsubishi VCRs have a 1 year warrenty which is fairly nice (I own the
u55 and am very satisfied with the unit).  Also Mits has one of the
best (ie lowest) repair rates. It was # 3 or 4 in Consumer Reports,
but the top few had just about equal number of complaints.

-- 
Tom Kuchar			  
kuchar@buast7.bu.edu		  -or-                      kuchar@plh.af.mil
Department of Astronomy                              Phillips Laboratory/GPOB
Boston Univerity		                                  Hanscom AFB
Newsgroups: rec.audio
From: gfl@hera.uucp (22402-lenahan)
Subject: Re: Power Amp requested
Organization: Bellcore, Livingston, NJ
Distribution: na
Date: Tue, 13 Oct 92 13:02:22 GMT
Summary: Vandersteen "delicate"?

(Mohan R. Ramanathan) writes:
> Hi,
> After having just recently purchased a pair of Vandersteen 1b's
> I would really like to downgrade (that's right DOWN-grade) my amplifier.
> I currently own a Kenwood Basic M2A power amp which is rated by Kenwood
> at 200W/ch. Before they went out of business, I had the unit bench tested
> at Absolutely Sound in Rockville, MD, and it was tested clean to 260 w/ch.
> Because of the delicate nature of the Vandersteens, I would like to drop
> down to an amp in the 60-100 w/ch range.

Where, oh where did all the net get the idea that Vandersteens are
unusually "delicate".  I know TONS of people who use them for loud
rock, and I've personally used 400W monoblocks with 2Cs - extensively.

Point 2:
You generally damage speakers by clipping an amp at a high
level.  Clipping generates LOTS of high frequency junk (the
leading edge of the squared-wave), and this disproportionate
amount of energy goes to the poor, forlorn, tweeter, which can
lest take the abuse.

So go ahead, get a smaller amp.  Clip sooner, and consequently,
BLOW UP YOUR SPEAKERS.

And tell the salesman that gave you this line of doo-doo
to get his eyes off your wallat.

Grant


Newsgroups: rec.audio
From: DPierce@world.std.com (Richard d Pierce)
Subject: Re: Speaker building question
Keywords: speaker building
Organization: The World Public Access UNIX, Brookline, MA
Date: Thu, 8 Oct 1992 18:44:13 GMT

In article <marcel.718554527@convex.convex.com> marcel@convex.com (Marcel Bourque) writes:
>
>>Absolutely not correct. The formulas derive only the free volume of the
>>enclosure and do not (and cannot) account for aother things that might
>>take up valume, such as the driver itself, bracing and so on. So yes,
>>indeed, you do need to compensate accordingly. How such a formula might
>>know exactly what the volume of all these things are is a mystery. 
>
>What about ports? Do I increase the enclosure size to take into
>account just the material in the the tube used to make the port (PVC
>pipe) or must I take into account the total volume occupied by the
>port? 
>

Nope, it only accounts for the free volume. The volume the port takes up
(which includes not only the material itself, but the volume in the port
itself) is not accounted for, so you must increase the total volume to
account for everything you put in the box.


-- 
|                Dick Pierce                |
|    Loudspeaker and Software Consulting    |
| 17 Sartelle Street   Pepperell, MA  01463 |
|       (508) 433-9183 (Voice and FAX)      |
Newsgroups: rec.audio
From: caro@adobe.com (Perry A. Caro)
Subject: Tough Room/Sub-Sats The Answer?
Reply-To: caro@adobe.UUCP  (Perry A. Caro)
Organization: Adobe Systems Incorporated, Mountain View
Date: Mon, 12 Oct 1992 17:54:22 GMT

Executive Summary: I'm looking for recommendations for satellites and
bass module systems, like the Bose Acoustimass 7, for both hi-fi music
and surround soundtrack application.  Assume $1500 max for the system,
and I don't need rear speakers.

I'm stuck with a pretty tough listening room.  Actually, it isn't so
much a room as a 19x11 open space in the center of the house.   The
left "wall" is really openings into other rooms, the back wall is a
curtained sliding glass door.  Due to various constraints of furniture,
outlets, and doorways, the only viable setup for A/V equipment is at a
45 degree angle in one corner of the room (front/left).  Maximum
separation for floor standing or bookshelf speakers is about 4 feet!
Not great for stereo imaging.  This and other constraints (like the A/V
cabinetry) have forced me to consider other loudspeaker options besides
the floor standing or bookshelf pairs I would normally consider.

Of course, the best thing I could do to improve my setup is to use a
different room!  Assuming that's impossible, what about satellite and
bass module systems?  I could mount the satellites above the A/V
cabinetry and put the bass module (subwoofer) beside or behind the
couch.

Are these systems any good?

The music I like best has upfront vocals.  Do the tiny drivers in the
satellite units have good midrange response?

What about sound stage and imaging?  Will my music sound like it's
coming out of a corner of the ceiling (undesirable)?

I've already (perhaps foolishly) invested in a good pair of surround
(rear) speakers.  Are there any systems that don't include surround
units?

I don't enjoy seismic activity in my home, so I'm not looking to rock
the house with the subwoofer.  I do want good bass so that kick drums
and organ solos sound "real".  Is this possible?

Would putting the satellites in the A/V cabinetry be okay, say on an
open shelf at ear height?

Any comments, particularly specific product recommendations, would be
welcome.  I've got plenty of reviews (from Audio and Stereo Review), and
specs, and I plan to audition systems, so assume I've got all that under
control.

Perry
-- 
caro@adobe.com	...!{sun,decwrl}!adobe!caro   Contents: my opinions, no others
From: kfriedman@desire.wright.edu
Newsgroups: rec.audio
Subject: Re: optical vs. coax digital interconnects
Date: 15 Oct 92 20:29:34 EST
Organization:  Wright State University 

In article <1992Oct14.052110.25093@lugb.latrobe.edu.au>, MATGBB@LURE.LATROBE.EDU.AU (BYRNES,Graham) writes:
> In <ldhvk5INN7bp@appserv.Eng.Sun.COM> bender@oobleck writes:
> 
>> When I used to work on Prime computers, they used twinax, i.e. two center
>> conductors wrapped in a braided shield, for their network connections.  If I
>> decide on balanced coax, I would rather twinax cable than two seperate coax
>> cables.
>> 
I hope this isn't a dumb question but....with all the discussion on coax vs.
Toslink, etc., is it correct to say that even a Toslink connection would give
better results than a standard pair of audio cables with RCA connectors?
From: schludermann@sscvx1.ssc.gov
Newsgroups: rec.audio
Subject: WANTED:Trntbl dust cvr for Luxman pd275
Date: 8 Oct 92 20:27:58 GMT
Organization: Superconducting Super Collider Laboratory


  I need a dust cover for a luxman pd275 turntable. I contacted a local dealer
and got some strange sounds over the phone. thanxs in advance.   Kris
Xref: sparky rec.audio:13524 rec.video:12147 misc.consumers:17615