HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.audio
Date: Sun, 27 Sep 1992 19:27:53 -0400 
From: Chinarut Ruangchotvit <chinman+@CMU.EDU>
Subject: Re: Rewriting a Sony MD
	<7640098@hpfcbig.SDE.HP.COM>

> Yes.  The format employed is similar to a standard computer disk.  If you
> have two tracks and re-record track #1 with something longer in duration
> the "extra" portion will be located elsewhere on the disk.

> Since the MD unit has a 3 second buffer it can seamlessly splice the
> disjointed segments togather.

If this is true...wouldn't that decrease playing time on many of the
portables reading fragmented disks because of the high frequency of
seeks?  It's as if there should be an optimization program like PCs have.


--
Chinarut Ruangchotvit
<cr2p+@andrew.cmu.edu>
<chinman+@cmu.edu>

	"Learning that we're only immortal - for a limited time"
							-Rush, Dreamline
From: kritchie@donald.cs.umn.edu (Kent C. Ritchie)
Newsgroups: rec.audio
Subject: Re: Hi-Fi VCRs
Date: 27 Sep 92 15:27:23 GMT
Article-I.D.: news2.1992Sep27.152723.27709
Organization: University of Minnesota, Twin Cities ACM


From what I have heard a good Hi-Fi VCR has the potential for a greater s/n
ratio.  Especially if you are using DBX...  You mention a problem with a 60Hz
hum... maybe it does exist... but what about those whining problems on DAT?
Each format has it's problem...  For optimum use of your VCR for recording live
music get a PCM encoder/decoder and run 2 digital tracks on the video tracks 
and 2 analog tracks on the Hi-Fi tracks and you have a 4 track recording.  
works great for mixing between a board feed and live mikes.  You can mix it
down after the show.                


--Kent 
Newsgroups: rec.audio
From: huston@mksol.dseg.ti.com (William A. Huston)
Subject: Sony STR AV1070 Receiver owners sought 
Followup-To: rec.audio
Organization: Texas Instruments
Date: Mon, 28 Sep 1992 22:32:11 GMT

If you are a owner of this receiver, I would very much 
like to hear from you (email please). 

Specifically, have you had trouble with any of the
following:

   1) Surround channel intermittant
   2) Surround channel noisy in non-Surround programmed
      sources
   3) Loud crackling noise from certain or all inputs
      after sever hours of use
   4) Power relay chattering or power shutting off 
      unexpectedly, or power coming on unexpectedly.

I would also like to hear from you if you have ** not **
had these troubles. 

Thanks,
Bill

-- 
Bill Huston      214-480-4610 
Texas Instruments (Dallas/Forest Ln), ICC
MSG: ZAPA    email: huston@ap040.dseg.ti.com
From: U37426@uicvm.uic.edu
Newsgroups: rec.audio
Subject: CARVER
Date: 5 Oct 92 22:06:58 GMT
Organization: University of Illinois at Chicago


  .                       ACCEPT NO SUBSTITUTE!!!!!!!!!!!!!!!!!!!!!!
From: qemx@vax5.cit.cornell.edu
Newsgroups: rec.audio
Subject: FOR SALE:  Bose AM-5 II Satellite system
Date: 2 Oct 92 17:32:38 EDT
Distribution: rec
Organization: Cornell University

For sale:

*** Bose AM-5 Series II satellite system ***

This is Bose's 3 pc. system featuring an Acoustimass bass module and
two micro satellites.

These speakers are about a year old, and in excellent condition.  I've
been meaning to sell them off, but haven't found time to advertise locally
and on the Net until now.

Asking:

$400 for the system   (retails at $799)

Please respond to qemx@vax5.cit.cornell.edu

				-Philip
From: billn@hpcvaac.cv.hp.com (bill nelson)
Newsgroups: rec.audio
Subject: Re: In-wall speaker question
Date: 5 Oct 92 22:47:29 GMT
Article-I.D.: hpcvaac.1992Oct5.224729.25238
Organization: Hewlett-Packard Company, Corvallis, Oregon USA

peted@apollo.HP.COM (Peter DelMastro) writes:
: 
: 	I'm considering installing a speaker in a wall that
: 	divides two rooms but I'm concerned about the sound
: 	level in the 'other' room (ie. the room the speaker 
: 	isn't facing). If you play music at a low or moderate
: 	level can you hear it in the other room ? Is is enough
: 	to disturb someone who is sleeping or reading ?

It depends greatly on the structure of the wall. However - in
general, mounting a speaker in a wall dividing two rooms is not
a good idea. It is hard to eliminate the noise transmission.

Bill
From: ritc0003@student.tc.umn.edu (Kent C Ritchie)
Newsgroups: rec.audio
Subject: JBL PROGRAM FOR IBM
Date: 28 Sep 92 17:20:28 GMT
Article-I.D.: news2.1992Sep28.172028.9315
Organization: University of Minnesota


In case anyone is interested I will be uploading a program that calculates
various parameters for low frequency speaker enclosures.  The program
comes with a good number of JBL driver specs already entered.  I am not 
sure as to the accuracy of the program as I haven't built any cabs yet...
The program will be called JBL.ZIP and will be uploaded to wuarchive
in the /pub/MSDOS_UPLOADS directory soon!  Hope someone finds this
useful.

Kent
Newsgroups: rec.audio
From: jyoung@Cadence.COM (John Young)
Subject: Turntable troubles!
Organization: Cadence Design Systems, Inc.
Distribution: na
Date: Wed, 30 Sep 1992 20:43:21 GMT

Hello,
I need some help.
Last night I went to listen to a record,and when I went to grap the
arm,I pushed it towords the back of the unit accidently.Then when
I tried to play the album,the arm just skated across the vinyl.
My question is:
Could doing that push back the arm far enough to un-balance it?
and
If this is the case,can I just pull it forward a little bit to fix
it???
		John
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re:  Dolby C vs. dbx
Date: 2 Oct 92 20:02:45 GMT
Reply-To: lstowell@pyrnova.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corp., Mountain View, CA

In article <1992Oct1.185829.10974@pilot.dmg.ml.com> steveh@pilot.dmg.ml.com (Steve Hannoford) writes:
>I can tell you how Dolby works, but I can't really say how dbx
>works, but my understanding (explained by more than one audio
>engineer) is that Dolby is a reduction system which requires
>the same implementation during playback that was used during
>recording, where-as dbx will improve the quailty of the tape
>even if you do not have dbx at playback (in fact I think that
>dbx is only effective during recording).
>
    You've confused dbx with HX-Pro.  HX-Pro is an adjustment of
    record bias based on the amount of treble signal present...to
    avoid treble losses due to saturation.  

    HX-Pro is a record-only technique.

    DBX is a compression scheme on record and a expansion on
    playback.  There are several different DBX units, but the type
    included in deck with built-in DBX is a non-frequency dependent
    compression and expansion.  It sounds like heck if not played
    back on a decoding deck.                   

    Dolby B just sounds a bit bright if played back on a non-Dolby
    deck.  Also Dolby C sounds a bit bright if played back on a
    Dolby B deck.  Dolby C on a non-Dolby deck gets rather annoying
    due to excessive treble....but even that is more listenable
    than undecoded DBX.  (you can always just turn down the treble a
    bit...)


>
>Dolby has two classes of NR:  Type B and the newer Type C.
>Manufacturers can buy Dolby NR at several price levels, so
>no all Dolby C are the same.  The type refers to how it reduces
>noise, the level determines the quality of circuitry used, etc.

    Although this might have been true in the very early days of
    Dolby C, I'd have to take issue with the statement...other than
    for individual quality differences in decks NOT related to
    Dolby.   

    And the level of Dolby doesn't determine the "quality of the
    circuit".  There are superb Dolby B decks and horse-apple Dolby
    C ones.  
Newsgroups: rec.audio
From: shu@maestro.bellcore.com (Stephen Shu)
Subject: Re: DMX, DCC, psychoacoustics
Organization: Bellcore (Red Bank, NJ)
Date: Wed, 30 Sep 92 14:15:36 GMT

In general, I agree with Peter Monta.

>Any coder can achieve high quality at high rates.  If I interpret
>the 20% number correctly, then it runs at about 14 bits per sample.
>Even trivial block-companding schemes are transparent at this rate.

This is a very fine point which varies from listener to listener. 
It is not the opinion of FSLI that all block companding schemes 
are transparent to the audiophile.  It is true that very high-quality 
coders can be designed for bandwidth-hog rates.  However, even those 
coders did not make the cut for use in DMX.  At this point, I should 
make the correction that Supersound yields roughly 30% reduction (11bits),
which is still considered "trivial" by today's standards.  I completely
agree.  People utilizing psychoacoustics, in conjunction with
correlating stereo channels, are even targeting 1.0-1.2 bits/
sample.  These are much more complicated encoder/decoder
configurations.  They sound good too.  But in FSLI and it clients'
opinions, psychoacoustics does not completely cut it for audiophile
grade music.  One can then argue that any lossy compression scheme
will not cut it for audiophile (Martian) grade music.  This
may be true too.

Newsgroups: rec.audio
From: ritc0003@student.tc.umn.edu (Kent C Ritchie)
Subject: JBL Enclosure program for IBM
Organization: University of Minnesota
Date: Mon, 28 Sep 1992 17:16:43 GMT

In case anyone is interested I will be uploading a program that calculates
various parameters for low frequency speaker enclosures.  The program
comes with a good number of JBL driver specs already entered.  I am not 
sure as to the accuracy of the program as I haven't built any cabs yet...
The program will be called JBL.ZIP and will be uploaded to wuarchive
in the /pub/MSDOS_UPLOADS directory soon!  Hope someone finds this
useful.

Kent
From: brendan@otc.otca.oz (Brendan Jones)
Newsgroups: rec.audio
Subject: Re: Very expensive cables
Date: 1 Oct 92 03:50:34 GMT

It's time to cut the fog.  Cables.  Well, some time ago I measured a number of
electrical characteristics of a couple of cables (zip cord, Monster cable, and
12 gauge mains flex) to see what electrical differences I could find that
could explain differences in sound.  I mean, we are just carrying electricity
aren't we?

In terms of R, L and C there certainly were differences.  In terms of
frequency and phase response, the cables were very similar, and basically
flat within tenths of a dB out to 10 MHz.

In terms of dispersion, there were some differences, but the dispersion was
tiny (order of fractions of a ps/Hz/m) and the zip cord in fact had the lowest
dispersion.  So I think we can count that one out.

In terms of rise time and ringing, the Monster had the slowest rise time but
best transient response, but it was still 9 octaves up on what normal human
beings can hear.

So the biggest electrical difference was only in the passives.  It's hard to
believe that a 1% difference in frequency response parameters should lead to
sound colouration whilst a 50% difference in capacitance wouldn't.  So I'll
stick with the passives as being the culprit (if one exists at all).

The German magazine _Audio_ did similar tests on cables much more exotic and
expensive than the ones I looked at, but the results were little different.
Even *really* expensive cables ($100+/m) essentially only differed in their
R, L and C.

So if there are audible differences between cables, it's probably due only to
the differences in R, L and C of the different cables, which are not only
easily measurable but totally unexotic and can be designed to spec.

Sorry, I refuse to believe that electricity conduction in copper wires is a
black art of which "we can't possibly measure everything".  If this were true,
then we'd have no hope of building anything as complicated as an amplifier.
Hi-Fi would not exist.  Circuits aren't built through guesswork.  Engineers
might actually know a little bit about electricity and its conduction.

So, if you were serious about Hi-Fi, rather than haphazardly try cables, and
refuse to contemplate that science can help you (even though you're dealing 
with a product *of* science) try characterising your source and load impedance
and putting an R, L and C between them that gives you what you want to hear.

It's not religious, not emotional, and not mysterious, and for that I'll
probably be flamed to death.  Rationality has no place in Hi-Fi.

-- 
Brendan Jones  | ACSnet:  brendan@otc.otca.oz.au               | What does
R&D Contractor |   UUCP:  {uunet,mcvax}!otc.otca.oz.au!brendan | your
Services R&D   |  Phone:  (02)287-3128    Fax:  (02)287-3299   | company
|||| OTC ||    |  Snail:  GPO Box 7000 Sydney 2001, AUSTRALIA  | export?
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio
Subject: Re: DDD and AAD
Date: 27 Sep 92 23:02:27 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <Bv5n5q.7L3@news.cso.uiuc.edu> ec49726@uxa.cso.uiuc.edu 
(Manny C. ) writes: >Hi all,

>I was just speaker shopping a week ago and a salesman told me something that
>struck my curiosity (no, not about sepeakers). As we were listening to 
>different varieties of music, the subject came up about digital recordings 
>and he had told me that in DDD recordings, there is a low injection hiss
>that is added to the music and thus, his opinion was that analog to digital
>as opposed to all digital recordings are supposed to be better. Yes, I know,
>he's just a salesman, but I thought I'd just bring it up. 
>Is there anyone out there who has any knowledge, comments, opinions, ...etc
>about this?

You believe a SALESMAN!  Actually he is right and wrong,  Dither is
added to the A-D usually in the digital domain.  During the D/A it is
subtracted out......Read on.

The second point is that not all DDD discs are done totally in the
digital domain.  The input to the Digital tracking deck may actually
come from and in the analog domain.

If there is a mix down step then the Digital tracking master may go
through another analog desk to the Digital master deck.

In most cases the digital mix master tape is transfered to the
"cutting" master in the digital domain.

The intermediate analog mixing steps, if used are usually top quality
analog desks and the addition of noise is minimal.  Ya se the whole
noise problem in analog recording traces back to the real limiting
factor,  the residual noise of the tape it's self!

In the days of old when the first digital deck was introduced by 3M
the analog input amps were noisy but the S/N build up was orders
better than analog.   I am told that they sounded great!

Later on 3M redesigned the input amps and the rest is history,  the
"harshness"  etc of digital....A generation of bickering!

We have come full circle and improved the digital process so thet it
sounds almost as good as a great analog recording with a lot lower
noise floor......

-- 
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
From: alh@einoed.in-berlin.de (Adrian Le Hanne)
Subject: Buying Speakers (Infinity Kappa 7a?)
Organization: Einoed Unix & Netzwerke, Berlin (FRG)
Date: Fri, 02 Oct 1992 11:26:16 GMT

Hi,
while looking for a pair of new speakers, i found out that some mail order
company here sells the Infinity Kappa 7a for $1655 a pair. So, i don't know
anything about this speaker. How does it compare to, say, the B&W DM640?
Also, what is the difference between the 7 and 7a (i have a review in some
hifi magazine for the Kappa 7). Should i buy/avoid this one? Please e-mail.
(Someone told me that the Kappa speakers have a great sound but need some
very stable amps for delivering a good bass response. I will use two Denon
POA 4400 amps, would this work?).

thanks for your time,
Adrian
-- 
Adrian S. Le Hanne        Einoed Unix & Netzwerke, Koepenicker Str.154, D-1000
alh@einoed.in-berlin.de   Berlin 36. Tel.: 030/611 31 26,  Fax.: 030/611 32 86
  "On a day such as this you should insist on more than the truth" -Pere Ubu
From: cs108069@pandora.sdsu.edu (DeRose)
Newsgroups: rec.audio
Subject: Re: Klipsch Again
Date: 6 Oct 92 05:50:47 GMT
Organization: San Diego State University, College of Sciences
X-Newsreader: Tin 1.1 PL5

Dear Jim:

If you're contemplating a pair of Klispch, buy 'em!  In my opinion they're some of
the most accurate loudspeakers available at any price.  I personally have a pair of
Forte II and have no complaints what so ever.  They retail for $1,300, but if you
compare them to the Boston Acoustics T-1030's or any of the Polk or Bose speakers
you'll instantly realize just what a bargain they are.

My advice regarding the 4.2/5.2's is to go with the 5.2's.  If you're like me, you
listen to a vast range of music.  When you want reggae, rock or modern jazz, you'll
appreciate the added bottom end.  Either model would be just fine for chamber music.
The way I look at it is if I spend what it takes now, I save myself the some money
in the long run.  Plus I have a great set of speakers.  No other home electronics
purchase has brought me as much joy.

Please let me know whatever you decide!

John :)
Newsgroups: rec.audio
From: billn@hpcvaac.cv.hp.com (bill nelson)
Subject: Re: Choosing Cables (Was  Re: Very expensive cables)
Organization: Hewlett-Packard Company, Corvallis, Oregon USA
Date: Mon, 5 Oct 1992 23:52:14 GMT

jj@alice.att.com (jj, all-around skeptic and curmudgeon) writes:

: >real PhD, I must have mistaken you for someone important.   Now as far
: >as I'm concerned, your ass is history.  So piss off, boy. 
: 
: Well, I won't claim that we're discussing religion, but I will
: point out that this is the same reply to a skeptic when a religious
: person finally gets tired of loosing to reason.  Basically,
: it goes "I will shun the unbelievers".
: 
: Shun me too, Kurt.

Yeah. And all the rest of us who rely on logic, analysis and evidence
instead of simple blind faith.

Bill
Newsgroups: rec.audio
From: qaea@cbnewsh.cb.att.com (ernest.anglade)
Subject: Recommendations for High Sensitivity Tuner?
Organization: AT&T
Distribution: usa
Date: Tue, 6 Oct 1992 22:37:07 GMT
Followup-To: qaea@hoqax.att.com


I'm looking for a reasonably high sensitivity tuner in the $300 range.
Is there such an animal?    Your input on this would be much
appreciated.     Thanks.

Ernie Anglade
qaea@hoqax.att.com
Newsgroups: rec.audio
From: covingc@ee.tamu.edu (Mouse)
Subject: ReVox A-77 Question
Organization: Texas A&M University
Date: Sun, 27 Sep 1992 20:22:57 GMT


I recently obtained a ReVox A-77 reel-to-reel, and I would be interested
in getting some a operation or service manual for it.  Does anyone out
there have on of these, or an address or phone number for ReVox?

Thanks in advance, 
Eric Covington
covingc@ee.tamu.edu
Newsgroups: rec.audio
From: gerritse@sci.kun.nl (Bart Gerritse)
Subject: Re: DCC and the built in cassette recorder
Organization: University of Nijmegen, The Netherlands
Date: Mon, 5 Oct 1992 09:06:39 GMT

In <26480@castle.ed.ac.uk> sss@castle.ed.ac.uk (S S Sturrock) writes:

> [..]  From listening I have done you could spend the same money as a DCC
>deck on an analogue deck and get better sound with analogue tapes than the
>DCC deck can manage with DCC tapes.  Get a Nakamichi or the likes.

HVT (= a dutch high - end magazine) claims that DCC sounds better. Specially
when using an external DAC. Taking into account that:
a)  a growing number of people have an external DAC for their cd - player
b)  DCC prices can drop to < $200 when mass production gets off the ground
c)  it is very likely some firms (Marantz?) will develope a DCC recorder with 
    an analogue recording facility
I would say the wisest thing to do is to wait for another year, and then
give the second generation DCC decks a good listen. I hope that by that time
you can buy a DCC + an external DAC for the price of a Nakamichi.

Bart Gerritse
Newsgroups: rec.audio
From: wcsanil@superior.carleton.ca (Anil Prasad)
Subject: Maxell XL-II better than Maxell XL-IIS?!
Organization: Carleton University, Ottawa, Canada
Date: Fri, 2 Oct 1992 06:19:16 GMT


The new issue of Audio magazine claims that Maxell XL-II cassettes
are overall, better than XL-IIS. Does anyone know what they're
talking about?

Please e-mail me if you can shed some light on this for me.

Thanks,

Anil Prasad
wcsanil@ccs.carleton.ca
Newsgroups: rec.audio
From: ritc0003@student.tc.umn.edu (Kent C Ritchie)
Subject: JBL PROGRAM FOR IBM 
Organization: University of Minnesota
Date: Tue, 29 Sep 1992 02:35:10 GMT

Ok!  It should be at wuarchive.  For those of you with the ability to ftp...
ftp to wuarchive.wustl.edu (login:anonymous) and go to the /pub/MSDOS_UPLOADS
directory (caps count!) and type "get jbl.zip"  Mkae sure you are using
binary format to transfer.  For those of you who don't have access to ftp...
Would someone please send me mail on how to send to other people.  I have no
idea.  Hope you all like it.

Kent
From: stud1b53@bnr.ca (Anshu Prasad)
Newsgroups: rec.audio
Subject: NHT Surround Sound Speakers?
Date: 28 Sep 92 15:30:35 GMT
Reply-To: stud1b53@bnr.ca (Vilhelm Boggild)
Organization: Bell-Northern Research Ltd.


  I am planning to buy the Yamaha RX-1050 Amplifier for use
in a Dolby Pro-Logic home theater.  To complement this, I am
seriously considering an NHT surround speaker package which
includes:

   VT-1 Towers for the left and right
   VT-1C Centre Channel speaker
   HDP-1 (dipole) Surround Channel speakers

  I understand that the NHT's are American speakers so the
Canadian prices are rather inflated (about $1100 US for the set).
However, I'm willing to pay a premium if they're worth it (and
they sound like they are).  Could anyone give me any comments
or suggestions regarding these speakers, or even possible
alternatives?  Is the price ridiculous?  To be honest, I hadn't
even heard of NHT until last week so I would really appreciate
it if someone could clue me in.

  Unfortunately, I am not properly set-up to receive external
(ie: non-corporate) e-mail so please post replies to the net.
I'd like to make the purchase in about a week or two...

  Thanks very much.

-- 
Anshu Prasad
Ottawa, Ontario, Canada
Newsgroups: rec.audio
From: fag2@cunixb.cc.columbia.edu (Farul A Ghazali)
Subject: Yamaha CD Changer.
Reply-To: fag2@cunixb.cc.columbia.edu (Farul A Ghazali)
Organization: Columbia University
Distribution: usa
Date: Sun, 27 Sep 1992 05:34:30 GMT


I'm planning to buy a Yamaha CD changer, the CDC 735 model. Anyone
have any good/bad comments about this particular model? What other CD
changers should I look for in the price range ($300-400)? Thanks for
any help.


---
Farul Ghazali. (Columbia University, Class of '95)
206 Ruggles Hall, 1116 Amsterdam Ave. New York, NY 10027.
"... then you die, she dies, everybody dies!"  - Heavy Metal the Movie.