HDTenEightyP/NetNews huggingface dataset:
From: jeh@cmkrnl.com
Newsgroups: rec.audio
Subject: Re: Dolby C
Date: 17 Nov 92 19:11:06 PST
Organization: Kernel Mode Consulting, San Diego, CA

In article <1992Nov16.220518.348@cypress.com>, ssr@cypress.com (Bapcha/FPGA) writes:
> In article <1992Nov16.140041.23154@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>>
>>Dolby C is dynamic, Dolby B is static.  The compression effect changes
>>throughout a Dolby C recording.  As such, you *cannot* readily play it
>>back on a machine without Dolby C, whereas you certainly can play a Dolby
>>B tape back on a machine sans Dolby.
>>
>>Playing a Dolby C tape back w/o Dolby C will give, ah, less than desirable
>>results.
>>
> 
> NOOOOOOOOOOO!!!!!!!!!!!!!!  Dolby B and C have similar ways of compensating
> for the hiss on a tape (assuming a zero noise source).  B compensates by
> 10dB and C; by 20dB.  Hence if you record Dolby C,  and play it back on Dolby
> B,  just use the treble control to cut 10dB (oh well - till it sounds less
> "shrill"),  and you'll be all set !!

Er, not quite.

Playing a Dolby C-encoded tape on a deck set to decode Dolby B will give a
result not unlike playing a Dolby B-encoded tape on a deck with no Dolby at
all.  The treble will not be uniformly 10 dB too high; the difference between
the actual and correct treble level depends on the amount of treble in the
original material. 

It's true that you can make either sound less shrill by cutting the treble, but
the result is going to be pretty far from the original.  

	--- Jamie Hanrahan, Kernel Mode Consulting, San Diego CA
Internet:  jeh@cmkrnl.com, hanrahan@eisner.decus.org, or jeh@crash.cts.com
Uucp:  ...{crash,eisner,uunet}!cmkrnl!jeh
From: jliao@mensa.usc.edu (Jason Liao)
Newsgroups: rec.audio
Subject: "Hi-end" audio tape
Date: 23 Nov 1992 14:41:32 -0800
Organization: University of Southern California, Los Angeles, CA
Distribution: world
NNTP-Posting-Host: mensa.usc.edu

I have own couple of those "Hi-end" cassette tapes from various brand.
Here is a short summary based on my experience with my Nakamichi 
Cassettedeck 2:

Dennon MG-X
  This one is very similar to the Sony.  The white shell is made by some
  kind of unkown composite and it has a transparent V shape across the 
  center part of the cassette.  The recorded sound is similar to the
  sony metal master.  ~$6.
  
Maxell Vortex
  I have one of these heavy, brass looking cassette.  It is made of
  some kind of plastic composit for shell, and a piece of copper in the
  middle, assuming for stablizing the tape.  It make good recording but
  not as great as TDK.  I can't record the treble as high. ~$15.

Sony Metal Master
  I have couple of these very nice looking white ceramic shell tape.  I
  have always like the "sony" look on many products.  However, many of
  their audio product does not match well with their sound.  This one
  fall short of exellent sound. I got it from Tower Record for ~ $6.00

TDK MA-XG
  This is the best sounding cassette of the whole bunch, nice contruction
  excellent recorded sound.  2 years ago, Audio did a survy on many audio
  cassettes, this one came out on top.  The tape formulation is actually
  the same as MA-X, but the shell is a much much nicer. I got it for about
  ~$15.

For the inexpensive tape <$2.00 , I like the Sony metal SR which cost me
around $1.80 each or TDK SA-X for the similar price.


Jason
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re: Re: DCC -- JUST SAY NO!  (was: The end of cassettes,
Date: 23 Nov 92 21:18:28 GMT
Reply-To: lstowell@pyrnova.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corp., Mountain View, CA

In article <3340276@hpcc01.corp.hp.com> kirk@hpcc01.corp.hp.com (Kirk Lindstrom) writes:
>>
>That was probably BEFORE the VCR-Plus.  Most people I know don't record because
>they say it is too difficult.  I love it going to nontechnical friends homes
>and seeing if they have black tape over their VCR clocks (blinking!).
>
   But most homes have 8-year olds.  Just ask them to program the
   VCR.

   I've had pretty mixed flames on whether VCR's are used more for
   playback only or for record.

   Depends on who you ask.  Folks like Blockbuster Video claim that
   playback of rented tapes is still the primary market.  Folks like
   cable companies claim that off-air taping for time-shifting or
   recording of movies is slightly larger.

   I still stick with the statement that cassettes are largely
   playback...IF you count the number of devices, not the number of
   audio systems.   

   And even though the quality is garbage compared to home
   recordings off LP or CD's, most playback is still pre-recorded
   tapes.  Go figure.

>>   It is really only the "lunatic" or enthusiast fringe of audio
>>   that does any appreciable home audio taping--self serving
>>   statements from the record companies to the contrary.
>
>Call me a looney, Lon! 8-)  Funny, I've purchased ONE prerecorded cassette
>tape in my life and regretted it for the poor sound quality.  Luckily it was
>stolen some 20 years ago from a friends car.  I do believe that many non-
>technical people use tape decks to record CDs for auto and walkman use:  my
>barber, both brothers (shoe salesman and liquor salesman), and my dad are four
>examples.  I think tape decks get used for recording since they are much 
>easier to use (until the VCR+ which the shoesalesman owns).
>

   Actually if you are reading this board, you are part of the hi-fi
   lunatic fringe.  I doubt if many readers buy pre-recorded tapes,
   other than the audiophile brands...an EXTREMELY small segment of
   the market.  

   But the typical cassette user doesn't read this board, and does
   buy the garbage.   

   But remember that the typical cassette owner has a boombox or
   "packaged" stereo.   Most with even a modest LP or CD player and
   cassette recorder do cut their own tapes....but amongst the
   masses, hi-fi is just not a concern.   Have you ever LISTENED to
   one of those scrungy little portables?   How does anyone stand
   the noise?


Newsgroups: rec.audio
From: znpt01@trc.amoco.com (Norman P. Tracy)
Subject: Re: Interesting function on an old Dennon CD player
Originator: znpt01@gpss43
Organization: Amoco Production Company, Tulsa Research
Date: Wed, 18 Nov 1992 16:53:04 GMT


In article <kmr4.255.722094230@po.CWRU.edu>, kmr4@po.CWRU.edu (Keith M. Ryan) writes:
>	However, very very few CD's were ever made with indexing. My father 
> owns an older Denon with the index feature. I believe he only has one CD 
> with indexing. 
> 
> 	So now, if you have a long track (10-70 min), and if you want to 
> listen to only part of it, you have to fast forward it, instead of just 
> skipping indexes.

Keith is correct that very few POP, ROCK, and Jazz CDs use indexs. However
they a quite common on Classical CDs.  On some of my Telarcs not only are
movements indexed but also phrases within the movements.

Norman Tracy znpt01@trc.amoco.com
From: jberger@novell.com (John Berger)
Newsgroups: rec.audio
Subject: Re: Re:
Date: 19 Nov 92 20:58:38 GMT
Organization: Novell, Inc.

In article <1992Nov18.151555@trc.amoco.com> znpt01@trc.amoco.com (Norman P. Tracy) writes:
>
>With apologies to victims of hurricane Andrew, but as a victim of Stereo
>Review I can't resist.
>
>In article ,  writes:
>> In rec.audio, jj@alice.att.com (jj, curmudgeon and all-around grouch) writes:
>
>> I just got done reading the review of the Philips DCC900 DCC deck in
>> this month's Stereo Review (everyone interested in DCC and MD should
>> pick up a copy of this).  The reviewer concludes: "...anyone who
>> expects to find that perceptual coding is hokum, or that their ears
>> transcend the physiological constraints upon which it is based, will be
>> shocked by the very high-fidelity sound DCC actually delivers.  There
>> is..............
>> 
>> In his few hours of testing (before Hurricane Andrew hit his office),
>         ------------------------------------------------------------
>> he basically couldn't hear a difference between the CD and the DCC
>> recording of the CD.  

Keep in mind, he was trying to hear the difference between these systems 
with 90+ mph winds and torrential rainstorms going on outside.  Ideal 
listening conditions??
Newsgroups: rec.audio
From: yxl5388@ultb.isc.rit.edu (Y.X. Liu)
Subject: Sony D-515 opinions?
Originator: yxl5388@ultb
Organization: Imperial Klingon Fleet
Date: Mon, 23 Nov 1992 00:37:33 GMT


I'm thinking about replacing my current portable CD player with Sony's
D-515. I noticed in ads that the D-515 has ESP (electronic shock
protection) which is also present on the MD. Are they using identical
technologies? Can someone who has this player give me some opinions and
how much you paid for it? The prices I see right now is around $450.
Thanks in advance.

=Fractalman
yxl5388@ultb.isc.rit.edu

From: kirk@hpcc01.corp.hp.com (Kirk Lindstrom)
Date: Thu, 19 Nov 1992 21:10:56 GMT
Subject: Re: Does anyone have Yamaha DSP-E200 or similar model?
Organization: Shredding the water of SF Bay, HP-OCD
Newsgroups: rec.audio

>Does anyone own Yamaha DSP-E200 or similar Yamaha model?
>I like to know how you like the model for surround system.
>
I have the E1000 and like it alot.  I think it does a bit more and has
5 channels, but is basically the same idea.  For pure listening enjoyment,
I just run CD thru my preamp and main amp as I notice some degradation (sort
of how the music feels) with the DSP.  For playing around with all the
effects or watching Dolby Video stuff, it is FANTASTIC.

>E200 model has 3 channel amps and can the master volume
>control the front left and right speakers since it will be
>amplified by other amp?
>
My main amp does 250/8 or >400 into 4 (Acurus A250) and I thing the
25 Watts for the surrounds works fine.  The trick is to balance the levels
first with a RS SPL meter.  Before I did that, I was in the dark so to 
speak.  You can always run efficient speakers for the surrounds and get
several db back that way.

>How about the Yamaha surround speakers?
>
I don't like Yamaha speakers.  I got a Mirage front and use some of my
old speakers for the rest.

>Someone posted that he did not like the sound when he played
>CD. Someone suggested to use other mode. Did it work?
>----------

Hope this helps. 
Kirk out
From: jeh@cmkrnl.com
Newsgroups: rec.audio
Subject: Re: More CD skipping...
Date: 17 Nov 92 18:32:54 GMT
Organization: Kernel Mode Consulting, San Diego, CA

In article <1992Nov16.235544.24722@raven.alaska.edu>,
 fsgab@ix.acf-lab.alaska.edu (Grant A Beaugard) writes:
> What about near-new, unscratched CDs which skip?
> 
> I've noticed that some of my european import CDs, especially ones from  
> small record labels, skip on some finicky players.  I have domestic CDs,  
> some of which are pretty well scratched up, and they seem to work fine on  
> the same players... 
> Of course, some of my domestic CDs skip too, and they aren't scratched.
> 
> Is this an error in encoding? A slightly different type of encoding?  
> Error-correction errors? Enquiring minds want to know.

This is due to small differences in the track pitch between European and
domestic CD mastering plants.  CD players and disks intended for the U.S.
market are set up based on the Engligh system of measurements, while European
ones go by metric-based standards.  You can often get a metric CD to play on an
English player, or vice versa, but it's like trying to use an SAE socket wrench
on the head of a metric-sized bolt... it just doesn't fit very well. 


:-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) 

	--- Jamie Hanrahan, Kernel Mode Consulting, San Diego CA
Internet:  jeh@cmkrnl.com, hanrahan@eisner.decus.org, or jeh@crash.cts.com
Uucp:  ...{crash,eisner,uunet}!cmkrnl!jeh
Newsgroups: rec.audio
Subject: Thorens TD125 Mk II Motor for sale
From: Willie Sanchez <PCZBH@CUNYVM.BITNET>
Date: Monday, 16 Nov 1992 09:46:06 EST
Organization: City University of New York/ University Computer Center

Above motor for sale for $35.  May fit other Thorens models but you'd have to
find that out.
Newsgroups: rec.audio
From: David Brady <Brady_David@Tandem.Com>
Subject: Re: Where can I find an 8-track player
X-Xxdate: Mon, 16 Nov 92 19:08:05 GMT
Organization: Tandem, Inc.
X-Useragent: Nuntius v1.1.1d11
Date: Mon, 16 Nov 1992 19:07:39 GMT

In article <1e4u3sINN64b@usenet.INS.CWRU.Edu> Michael O. Bartz,
cg656@cleveland.Freenet.Edu writes:
>Yes the subject is correct.  I am looking for an 8-track player so that I
>can play the few 8-tracks that I have.  It's really just for the novelty of
>having one that I want it.
>
>Now I know a lot of older stereos had them built in, but I have also seen
>some standalone models.  And I know some even had fast-forward and DOLBY!!!
>So I just basically to know where to go about getting one.  There just
>isn't any store I can think of who still has them.

This probably isn't QUITE what you are looking for, but...

You can buy a brand NEW 8-track player with a warranty.  Problem is is that you
have to go to a  toy store to get it and it looks like a robot.

Anybody remember 2XL?  Basically he is a 'educational' robot with 'lessons' on
8-tracks.  You pick your answers to his questions by pressing a track number
button.  I sold them when I worked at a toy store in the early eighties and,
boy, was his voice IRRITATING.

He's back in a new version - same basic software though.  I thought it was
really interesting that they (Tomy, I think) brought him back.

Your best bet for an eight-track would be the electronics section of
Goodwill/Salvation Army retail stores.  (Bring your own 8-track to test 'em
first, though.)  You can also find lots o' 8-track copies of Peter Frampton
"Comes Alive" albums.  Fun fun fun...
--
email: Brady_David@Tandem.Com
(Note: This message is from me, not my employer.  React accordingly.)

Always remember -  David Brady IS Lee Harvey!
Newsgroups: rec.audio
From: winalski@adserv.enet.dec.com (Paul S. Winalski)
Subject: Re: Defeating SCMS
Reply-To: winalski@adserv.enet.dec.com (Paul S. Winalski)
Organization: Digital Equipment Corporation, Nashua NH
Date: Sun, 15 Nov 1992 21:51:44 GMT


In article <1992Nov14.222358.12379@porthos.cc.bellcore.com>,
whs70@dancer.cc.bellcore.com (sohl,william h) writes:

|>>In article <1992Nov13.185500.20300@nntpd2.cxo.dec.com>
|>>winalski@adserv.enet.dec.com (Paul S. Winalski) writes:
|>>
|>>> The biggest problem is that it soon will be illegal to build or use such
|>>> devices in the US.  The Home Recording Rights Act is now law.
|>
|>So....all this isn't meant to flame anyone, I intent is to just
|>show that while the HRRA may make a "defeat SCMS" black box
|>illegal, they'll likely show up anyway.  Heck, they could be sold
|>to anyone as a "PRO" device.  There's no legal definition as to
|>who is or isn't a PRO, so how can that even be controlled.

The HRRA contains a definition of what it means by "professional equipment".

I'm inclined to agree with you and other posters, however, that whatever the
HRRA may say, it's unlikely that anybody's going to use these provisions to go
after individual home tapers.

--PSW
Newsgroups: rec.audio,aus.hi-fi
From: falcon@camelot.bradley.edu (D. Nathan Hood)
Subject: Re: Tape head demagnitizing...
Organization: Bradley University
Date: 19 Nov 92 21:14:22 GMT

In <1992Nov19.151846.5162@tc.fluke.COM> strong@tc.fluke.COM (Norm Strong) writes:

>The act of recording demagnetizes the record head.  If your deck uses
>the same head for recording and playback--and if you do plenty of
>recording--your heads will never need demagnetizing.  Of course, the
>capstan and guides might.

>If you have a 3-head deck, the playback head might very well need
>occassional demagnetizing.  Just one of the disadvantages of a 3-head
>deck.  


what about a two-head (?) deck... separate record and playback... hte
playback will be magnetized right???  i always thought that a magentized
head just lowers response i don't know if the capstans have anything to do
with it... will they change the magnetic coating on the tape??? i have
never had this problem but...
From: winalski@adserv.enet.dec.com (Paul S. Winalski)
Newsgroups: rec.audio
Subject: Re: DAT and SCMS, some info
Date: 19 Nov 92 18:16:29 GMT
Reply-To: winalski@adserv.enet.dec.com (Paul S. Winalski)
Organization: Digital Equipment Corporation, Nashua NH


In article <27653@oasys.dt.navy.mil>,
curt@oasys.dt.navy.mil (Curt Welch) writes:
|>
|>What happens when an SCMS DAT deck is sent a digital source that's
|>marked "unrestricted"?  Does it create an unrestricted copy or
|>does it treat it the same as the analog input - i.e marking it with
|>the code that allows one digital copy?

SCMS code 00 is "unrestricted".  A SCMS-compliant DAT deck will allow
recording and the output DAT will have SCMS code 00.

|>If so, are they any outboard A/D converts that produce a data stream
|>with the SCMS code set to unrestricted?  I guess that even if these do
|>exist, they will cost more than a pro (i.e., non SCMS) DAT deck so it's
|>not really an option for someone that wants to make their own
|>unrestricted recordings.

I think this is what a lot of the real pros use.

|>I have a pre SCMS DAT deck.  What happens when I feed the digital
|>output of this deck to an SCMS deck?  Does it look like an unrestricted
|>source?

It depends on the bits that are in the digital data stream.  Some pre-SCMS DATs
appear to some SCMS-compliant DATs as "digital from an unknown source" and so
the output is given SCMS code of 11 (same as for analog input).

|>Is the coding of the SCMS data such that the receiving deck can tell
|>that there is "no SCMS code" in the data stream and treat the input
|>differently?  Or is was the SCMS code just assigned to bits that
|>were always set to a constant value (like 0) in older equipment?

I think there's a bit in the ID field that says "this is a SCMS-compliant data
stream".  A SCMS deck that sees this in the ID then will expect SCMS codes in
the subcode 6 field.  If the data stream either doesn't contain the SCMS ID or
doesn't have a subcode 6, then the receiving deck can detect this.  In that
case, it's supposed to record a SCMS code of 11.

--PSW
From: kmr4@po.CWRU.edu (Keith M. Ryan)
Newsgroups: rec.audio
Subject: Re: DCC -- JUST SAY NO!  (was: The end of cassettes,
Date: 19 Nov 92 21:38:00 GMT
Organization: Case Western Reserve University
NNTP-Posting-Host: b64746.student.cwru.edu

In article <27692@oasys.dt.navy.mil> curt@oasys.dt.navy.mil (Curt Welch) writes:
>In rec.audio, whs70@dancer.cc.bellcore.com (sohl,william h) writes:
>>I see almost NO "play only" equipment in the analog cassette arena and
>>I have little doubt that a "play only" DCC or MD deck will not have
>>a big sales market.
>
>Car cassette players and alsmot all walkman type cassette players
>are play only.  I'd bet that if you added up all the units you'd
>find at least 3 play only units for every cassette player that
>could record.

	Okay, virtually no home units will/have be/en sold which can not 
record. The main reason for walkman's not being able to record, nor auto-
mobiles; is that the enviroment is not well suited for recording. Not many 
people would want to record songs off the radio or a cd while driving 60 mph 
down the highway, nor carrying two units while jogging or riding a bicyle. 
Also, that would make the walkman's a little larger, and more complex. But, 
I know many people make cassette as home, specifically for the car, or 
jogging. Heck, I do so too!
Newsgroups: rec.audio
From: weichung@wam.umd.edu (Weichung Wang)
Subject: Suggestion need
Organization: University of Maryland, College Park
Distribution: usa
Date: Sun, 22 Nov 1992 23:58:53 GMT
Newsgroups: rec.audio
Subject: Re: Recoton MTS Decoder for sale
From: Willie Sanchez <PCZBH@CUNYVM.BITNET>
Date: Tuesday, 17 Nov 1992 10:14:04 EST
Organization: City University of New York/ University Computer Center

Since my only basis for pricing the above unit was what I paid for it and
I made no effort to look through every know discount price catalog, I
hereby remove it from consideration as a 'for sale' item.
Newsgroups: rec.audio
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: ELITIST SNOBS
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Mon, 16 Nov 1992 22:42:26 GMT


|> |> In <1992Nov15.104325.22786@henson.cc.wwu.edu> n8846069@henson.cc.wwu.edu (BarryB) writes:
|> |> 
|> |> >OK, DUDEZ, LET ME FIRST STATE THAT I AM IN TOTAL AGREEMENT WITH
|> |> >THE DUDEZ THAT WHO ARE FEED UP WITH THE HIGH-END ELITIST SNOBS
|> |> >WHO SIGNON TO THIS BBOARD.  THESE IDIOTS THINK YOU NEED TO
|> |> >SPEND A ZILLION DOLLARS ON A SYSTEM TO GET GOOD SOUND.  WELL
|> |> >THE JOKES ON THEM!  AND DON'T TELL ME I HAVEN'T HEARD A GOOD
|> |> >HIGH-END SYSTEM!  MY FRIEND HAS A $1000 SONY RACK SYSTEM.
|> |> >IT HAS BIG MOTHER SPEAKERS WITH 15 INCH WOOFERS THAT REALLY
|> |> >VIBRATE THE WHOLE ROOM!  AND TO TOP IT ALL OFF, THESE BABIES
|> |> >ARE RATED FOR 500 WATTS!!!  OK, SO DON'T GIVE ME THIS SHIT
|> |> >ABOUT NOT KNOWING WHAT I'M TALKING ABOUT.
|> |> 
|> |> >TO TELL YOU THE TRUTH, MY $200 SOUNDESIGN SYSTEM SOUNDS
|> |> >JUST AS GOOD.  THE BASS SOUNDS JUST AS BIG!  THE SECRET
|> |> >IS TO ADJUST THE BASS CONTROL TO MAX.  TRY IT ON SOME
|> |> >OF THESE CHEAPER SYSTEMS.  IT REALLY CAN MAKE A DIFFERENCE!!!!
|> |> >ADJUST THE SYSTEM BEFORE YOU JUDGE!  GEEESH HOW HARD
|> |> >CAN IT BE???
|> |> 
|> |> >LATER DUDEZ.....

You really like bass ? The best way to get it is with explosives. I'm
talking about industrial grade stuff that packs a real whallop. There's
nothing like it if you're into very low frequencies. Trust me.
Newsgroups: rec.audio
From: chrz@tellabs.com (Peter Chrzanowski)
Subject: Re: Help!
Organization: Tellabs, Inc.
Date: Wed, 18 Nov 1992 18:51:15 GMT

In article <1992Nov14.202759.15031@sol.ctr.columbia.edu>, clueless@bradley.edu (Matthew Simmons) writes:
> Could somebody tell me the names of the inventors of:
> 
> 	The record
> 
Thomas Edison invented the cylinder record; I don't know who invented
the disc record.  Peter Goldmark of CBS is usually credited with
inventing the LP record (1948).

> 	The 8-track

For some years Lear Seigler, Inc., owned rights to it but I don't
know who actually invented it.  Who would want to take credit for it?
> 
> 	The cassette

Was developed at Philips.  It wasn't the first attempt to put two
reels inside a plastic housing, but Philips offered others licenses
to use the design for free.
> 
> 	The CD (phillips & sony?)
> 
> Could somebody also tell me how the 8-track works?  

There is a single reel of (1/4 in. wide) tape inside; tape is pulled
out of the center of the reel, and fed back on the outside.  The inside
and outside diameters are not so different as the hub is very large.

One end of the tape is joined to the other, so the thing will play
"forever".  Although it is possible to "fast forward" the tape
somewhat faster than normal, there is no way to move it backwards
(because that would require the tape to be stuffed into the
center of the reel).

There are four stereo programs on the tape stacked vertically (thus
eight tracks).  There's a piece of foil attached where the tape
is joined to itself; when this foil runs across a pair of contacts
in the player a solenoid is energized which moves a spiral ramp
under the tape head.  That is, the tape head moves up and down
to access each of the four programs on the tape.

> and also, how do you get stereo out of an lp?

This is a perennial question.  The two sides of the groove are at
right angles to each other; the stereo pickup (cartridge) has  two
elements (magnetic or piezo) oriented to detect motion in one
direction or the other.

BTW, stereo records were first manufactured in 1957.

BBTW, in 1974 or thereabouts they made four-channel records.  They
had an ultrasonic carrier on the left and right channels (similar
but not identical to stereo FM) which contained (front minus back)
information.  To hear all four channels you had to have a special
cartridge, a decoder box, and four channels of amplification.

Amazing what can be done with primitive technology.

Newsgroups: rec.audio