HDTenEightyP/NetNews huggingface dataset:
From: marc@venus.clearpoint.com (Marc Gregory Washburn)
Newsgroups: rec.audio
Subject: Pro-Logic rear speakers
Date: 16 Nov 92 17:29:54 GMT
Organization: Clearpoint Research Corporation

I have recently moved, and my new entertainment room has shrunk considerably.  This has forced me to purchase new rear speakers due to space consideration.  My previous rears were an old set of Technics (junk), and hoping to better my system I invested in KEF-120s'.  BTW I listened to Polk, Boston Acoustics HD-7s, and Mirage equivalents and none of them sounded right with exception of the Polks which were a bit more expensive ($240 vs $200).  

  I am really disappointed.  I am driving them with a Denon AVC-1000 Pro-Logic amp, running 25 watts per channel to the rears.  For some reason, the sound really hasn't improved very much.  Why is the quality of rear sound from surround movies such as 'Waynes World',  'Batman', 'Dances with Wolves' etc. so awefull?  It gets better switching to Hall or Live mode, but even there the sound is unbalanced.  Running a CD or other music sound source through the system, the front speakers seem to get the clear sou











nd and with a good balanced spectrum of sound all the way from treble to bass.  The rears on the other hand seem to drive only certain parts of the sound spectrum.  Is this due to the nature of a surround sound amp?  

  I am happy with how the movies sound,  its just as good as any theater system,  just the quality of sound coming from the rear speakers is not as good as i would have expected it to be.  

  At this point I'm still convinced listening to music sounds only right by switching the rear and center channel off (no matter what surround mode I'm in).

Am i suffering from an un-balanced speaker system?  

(BTW I have tried switching the rear speakers to the front etc. with same results.)

Marc Washburn
Marc@venus.clearpoint.com
Clearpoint Research Corporation
Newsgroups: rec.audio
From: fineberg@win31.nas.nasa.gov (Samuel A. Fineberg)
Subject: Re: Why filter D/A output?
Organization: CSC, NASA Ames Research Center, NAS Division
Date: Sat, 21 Nov 92 22:39:00 GMT
Reply-To: fineberg@nas.nasa.gov

In article <1992Nov21.132015.8881@bilver.uucp>, bill@bilver.uucp (Bill Vermillion) writes:
|> In article <1992Nov20.080807.1@fencer.cis.dsto.gov.au> st_waldman@fencer.cis.dsto.gov.au writes:
|> >> You have a good point regarding filtering ... The best that I can come up with in
|> >> terms of explaning why filtering is needed is that the distortion products at
|> >> higher frequencies have images that 'fold' back into the audio band. Therefore
|> >> filtering is required to suppress noise in the audio band.
|> >
|> >When an output signal is generated by a DAC, it looks more like a
|> >stair-case type of signal. eg. for a sine wave we might get:
|> >
|> >            --        --        --
|> >           -  -      -  -      -  -
|> >          -    -    -    -    -    -
|> >         -      -  -      -  -      -
|> >        -        --        --        -
|> >
|> 
|> 
|> 
|> Wrong. Wrong. Wrong. Wrong. Wrong.
|> 
|> It looks like the sine wave that went in!
|> -- 
|> Bill Vermillion - bill@bilver.oau.org  bill.vermillion@oau.org
|>                 - bill@bilver.uucp 
|>                 - ..!{peora|tous|tarpit}!bilver!bill
|> 
He is right.  Think about it this way, there is one level encoded on the
CD for every 22.68 usec.  What do you do with the output of the DAC during 
these intervals?  Usually, the ouput level is held at the sample level, and
then the signal is lowpass filtered to remove the stairsteps (which add high
frequency distortion).

Sam
Newsgroups: rec.audio
From: derk@shell.portal.com (Derk Allen Gates)
Subject: Re: Klipsch Forte II - Opinions?
Organization: Portal Communications Company
X-Newsreader: Tin 1.1 PL3
Distribution: usa
Date: Fri, 20 Nov 1992 02:46:10 GMT

msiegall@OAVAX.CSUCHICO.EDU (MARC SIEGALL) writes:
: Any opinions on Klipsch Forte II speakers?  How good of a value at
: $800 vs. other options?

I have the Forte's and love them.  In Indiana I paid $649 each rather than
your price of $800.  They don't have the quality of Polk(My all time
favorite speakers), but close...  I traded in my Polk 10B's to gain a
bit more volume.  Klipsch seem to have a LOT of midrange if that's
a factor for you.

Derk@shell.portal.com

Newsgroups: rec.audio
From: grcg1482@uxa.cso.uiuc.edu (Gabriel Cueva )
Subject: Re: "emphasis" indicator on Denon CD player
Organization: University of Illinois at Urbana
Distribution: rec
Date: Mon, 23 Nov 1992 15:05:37 GMT
Keywords: Denon

hsu@acuson.com (William Hsu) writes:

>I have a Denon DCD 820 CD player and it has this "emphasis" indicator on
>the front panel.  When I play some of my classical CDs it would turn on
>automatically.

>No where in the instruction manual does it explain what this feature does.
>It only mentions "emphasis" feature in the description of the front panel
>display layout.  Does anyone know what this feature is or what it does?

>William
>-- 
>/-----------------------------------------------------------------------------\
>| William Hsu				If it is bug-free, then it hasn't     |
>| Acuson, Test Engineering		been tested by William Hsu	      |
>+-----------------------------------------------------------------------------+

The "emphasis" indicator should be labeled "de-emphasis" since it indicates
that the de-emphasis circuitry in the player has been activated. Some CD's
are recorded with the high frequencies boosted or "emphasized". Since this
is done prior to the signal storage (or transmission as is done in FM) it is
known as "pre-emphasis." The presence of the pre-emphasis is recorded in the
sub-code on the CD, and this information signals the CD player to turn on the
circuitry that rolls off the highs, restoring the original tonal balance.

Gabriel
--
Newsgroups: rec.audio
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: 4-track recommendation sought (USA)
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Wed, 18 Nov 92 17:37:15 GMT

In article <92322.220516LLH111@psuvm.psu.edu>, <LLH111@psuvm.psu.edu> writes:
|> Hi all.  I posted a simular request to rec.audio.pro, and got a
|> small response.  I'm hoping that due to the larger domain of this
|> group I'll get more replies.  Thanks in advance for recommendations.
|> .
|> My situation is this:
|> I play guitar, sing, and write songs for fun.  I want to buy a
|> 4-track which will last and give me decent sound.  I'm prepared to
|> spend $400 or less.  Bells and whistles are not important to me;
|> a 4-track w/noise reduction, and other standard 4-track functions is
|> fine.  Thanks again.
|> .
|> Richard (Feel free to reply to this acct.)

There are several manufacturers making 4-tracks: Tascam, Yamaha, Fostex,
Vesta, Marantz, and others. And each manufacturer has numerous models
in their line up. Tascam invented the portstudio with their 144, and
I owned a 244 for many years with no problems. Yamaha also has some
excellent models, though I have no direct expeience with their 
portastudios.

If you want a good price, try Sam Ash Music in NY at 1-800-4-SAMASH.
The guys answering the phone are fairly knowledgeable and you can ask
them for reccomendations as well.
Newsgroups: rec.audio
From: stud1b53@bnr.ca (Anshu Prasad)
Subject: Re: NEWS FROM CONCERNED AUDIOPLEBE (was Re: ELITIST SNOBS)
Reply-To: stud1b53@bnr.ca
Organization: Bell-Northern Research Ltd.
Date: Mon, 16 Nov 92 19:58:37 GMT

In article <1992Nov16.151840.26734@galileo.cc.rochester.edu>, eric@prodigal.psych.rochester.edu (Eric Hansen) writes:
|> 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.....
|> 
|> 
|> WELL ALRIGHT, DUDE!!  I'LL TELL YOU MY SECRET TO KILLER SOUND -- FORGET
|> THIS RACK STEREO CRAP, I GET REAL AUDIOPHILE SOUND FROM A COUPLE OF
|> MARSHALL 500W BASS GUITAR AMPS!!  AND DISTORTION?  WHO CARES?!  THE MORE THE
|> BETTER!  IN FACT, I RUN MY CD PLAYER THROUGH A DOSTORTION EFFECTS PEDAL
|> ANYWAYS,  SO 5% THD DOESN'T MEAN SQUAT!!!
|> 
|> HERE'S A SERIOUS QUESTION, THOUGH, DUDEZ... YOU KNOW THAT **HUGE** SPEAKER
|> THAT MICHAEL J. FOX USES TO PLAY HIS GUITAR THROUGH IN "BACK TO THE
|> FUTURE"???  DOES ANYONE KNOW WHERE TO GET ONE OF THOSE?!  I WAS HOPING TO
|> HOOK UP MY EMERSON BOOM BOX TO IT AND CRANK IT UP AT THE BEACH!!  KILLER!!!
|> 
|> - EH

  Uh, would you mind turning the caps lock off? :-)

-- 
   __ ___  
  /\ \ \ \  Anshu Prasad                        stud1b53@bnr.ca
 /--\ \/_/  Ottawa, Ontario, CANADA
/_/  \_\    All opinions are my own, not my employer's, BNR Ltd
From: jhenders@jonh.wimsey.bc.ca (John Henders)
Newsgroups: rec.audio.pro
Distribution: na
Organization:  One of these days for sure
X-News: HERMES MMAIL 1.04 Rev. Sep  5 1992
Subject: Re: * Want opinions on cassette deck <$500 for home studio
	<H.ea.PbvzO5YLunA@jonh.wimsey.bc.ca>
	<1e8ev0INNii6@rave.larc.nasa.gov>
Date: Tue, 17 Nov 1992 14:52:20 -0800

In <1e8ev0INNii6@rave.larc.nasa.gov> kludge@grissom.larc.nasa.gov (Scott
				Dorsey) writes:

>In article <H.ea.PbvzO5YLunA@jonh.wimsey.bc.ca> jhenders@jonh.wimsey.bc.ca (John Henders) writes:
>>	Must have been something wrong with it, because both the 122 and the
>>122mII are two of the nicest cassette decks I've ever used for pro use.
>>Even the 112 isn't bad, though not quite as nice as the other 2.

>The 122 is definitely the worst piece of junk I have ever used.  The eject
>button is horribly designed, and breaks frequently.  At one point, the
>Master Sound studio had eight 122s, all with broken eject buttons.  When I
>went to the Teac service rep to buy replacements, the guy had a huge box
>of them right under the front desk, and said "Not engineering problem!
>No!  Must use exact replacement!"

	Weird. Are we talking about the same thing here? We had Tascam 122's
at every mixing location at the world's fair here, and not one had a
problem throuh the entire 4 1/2 month run. This included getting rained
on, getting baked in one of the hottest summers Vancouver has had, and
being run by 3 or 4 different operators a day. The Soundcraft 200 mixing
desks had solder joints going from the heat, but the ascam's worked
fine.

	This was in '86, and I don't think they even had hx-pro, so
maybe the quality went down during a design change, but the ones we had
were built like tanks, and I even know of a few still in daily use in
clubs that were bought at the wrap auction. 


-- 
                    John Henders              " Read the guideline, Luke"
           Just another elitist Usenet user        Obi Wan Spaf
From: mruddick@joule.elee.calpoly.edu (Michael Ruddick)
Newsgroups: rec.audio.pro
Subject: Re: 4-track recommendation please (USA)
Date: 17 Nov 92 08:32:56 GMT
Organization: Cal Poly, San Luis Obispo

In article <92318.232545LLH111@psuvm.psu.edu> <LLH111@psuvm.psu.edu> writes:
>Hello pro-audio people!
>I'm one of the myriads of people who play guitar, sing, etc.,
>and want to get creative with a 4-track.  Is there a model which
>is durable, sounds good, and isn't necessarily full of bells and
>whistles, for around $400?

I've found that the Tascam 424 is an excellent choice for what you are wanting.
It may be a little bit more than 400 bucks, however.  I've seen ones that are
in great condition for like 350 bucks, though.  I think Musician's Friend
(a mail order company) has them for around 480 or so.
 
I currently use a Tascam Porta-1 which works just fine for me.

The 424 has the advantage of higher tape speed which results in a little bit
better quality.  It also allows simultaneous recording of all 4 tracks, whereas
mine (Porta-1) only allows you to record two at a time.

Basically, anything made by Tascam is good.  Be sure to get something with dbx.
Newsgroups: rec.audio.pro
From: rwc@corwin.ccs.northeastern.edu (Ronald W Conti)
Subject: Acoustic Speaker System for sale
Organization: /u4/permanent/rwc/.organization
Distribution: misc
Date: Wed, 18 Nov 1992 18:45:52 GMT

+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+              ACOUSTIC LOAD SPEAKER SYSTEM FOR SALE                  +
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
 
	FEATURES:

		Professional Quality
		200 Watt
		8 Ohm
		3 way system 
			12" woofer
			5.25" midrange
			3.75" tweeter
		Liquid Cooled
		
	1 Pair: $350.00

rwc
(rwc@ccs.dworkin.northeastern.edu)
From: grego@bit.UUCP (Greg Sanguinetti)
Newsgroups: rec.audio.pro
Subject: Re: * Want opinions on cassette deck <$500 for home studio
Date: 16 Nov 92 16:22:21 GMT
Article-I.D.: bit.487
Reply-To: grego@bit.UUCP (Grego Sanguinetti)
Distribution: na
Organization: BIT  Portland, OR

>In article <1992Nov15.172209.14601@nevada.edu> johann@bach.nevada.edu () writes:
>I really need to get a decent deck for my humble studio.
>The Tascam 202 MkII (dual deck) looks interesting ($350), but I am
>a dual-deck bigot.  Anyone use one of these?  I've had bad luck with

I recently baught a 202WR, since it is being replaced you can pick them up
cheap. I paid $230. I wanted a resonable deck that could make dubs and
had the basics. The tapes sound fine when I play them back on my Nak.
It's a good solid deck if you don't want to pay for extra features.
-grego
-- 
---------------------------------------------------------------------------
Grego Sanguinetti, Bipolar Integrated Technology | Water, water everywhere,
grego@bit.uucp or grego%bit%ogi.cse.edu          | but I'd rather drink
or bit!grego@ogi.cse.edu or ...!ogicse!bit!grego | beer.
From: chrisk@hpfcso.FC.HP.COM (Chris Kennison)
Date: Mon, 16 Nov 1992 19:19:21 GMT
Subject: Re: Feedback on Peavey DPC-750 amp ?
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.audio.pro

> 
> ....... what other amps would you recommend for
> driving stereo mains in a nightclub/bar setup?

Crown.
Newsgroups: rec.audio.pro
From: dj@pixar.com (Dennis Jennings)
Subject: Looking for used JBL monitors
Originator: dj@valkyrie.pixar.com
Organization: Pixar -- Point Richmond, California
Distribution: usa
Date: Wed, 18 Nov 1992 00:39:27 GMT

I am looking for a pair of used JBL 4430's, 4435's, 4344's, 4340's or
4350's. I prefer the 50's the most from the preceding list but would be
willing to buy a pair of any that I've listed. Please email dj@pixar.com
if you happen to have a pair you're looking to sell or know where I might 
locate a pair.

Thanks...........
Newsgroups: rec.audio.pro
Subject: Re: Whatever happened to biasless recording
From: MATGBB@LURE.LATROBE.EDU.AU (BYRNES,Graham)
Date: Mon, 23 Nov 1992 03:22:21 GMT
Organization: La Trobe University
X-News-Reader: VMS NEWS 1.24

In <1992Nov18.184558.22249@leland.Stanford.EDU> jay@cmn19.Stanford.EDU writes:
> 
> The signal does not have to be digitized to take the cube root.  It can be  
> accomplished with log and antilog analog circuitry, although noise would  
> be a consideration.
> 
> Jay
Now I'm intrigued! How does one take the log of a signal that passes through
zero? If you use a dc offset, the non-linearity will mix it in with the
original signal, no? 
Pardon my ignorance,
Graham
Newsgroups: rec.audio.pro
From: Dave Jensen <djensen@claven.idbsu.edu>
Subject: Re: cross-talk in a snake
Organization: Morrison Center for the Performing Arts
Distribution: usa
Date: Tue, 24 Nov 1992 02:04:13 GMT


>In article <1992Nov20.173110.17530@ncar.ucar.edu> kauff@neit.cgd.ucar.edu
(Brian Kauffman) writes:
>>How real is the problem of mike-level/line-level cross-talk in a snake?
>>It's seems rather common that 100', 12/16/24 channel snakes contain both
>>balanced mike inputs & balanced board outputs all bundled together.
>>Perhaps cross-talk would only occur in larger/longer snakes?

Although I have never experienced objectionable audio crosstalk, I have had an
ultrasonic oscillation develop when feeding +4 balanced line output within the
same bundle of wires that are feeding mics to the console. This is not with a
snake but multiple pairs in a conduit, and, in most instances, I have had one
or two channels of input gain pretty much wide open. 

One reason this might not be such a common problem with snakes is there are not
that many circumstances requiring long and large snakes that combine the
extremes of maximum input gains (real quiet sources) with high output levels
(loud monitors or mains). I would wager that such situations would benefit from
separate lines. 

If combining mic and line levels created noticable degradation in more than a
few instances, manufacturers would not have continued the practice for as long
as they have.
Newsgroups: rec.audio.pro
Subject: recording guitar
From: derijk@elc1.lat.oz.au (Marc De Rijk)
Date: Thu, 19 Nov 1992 06:25:40 GMT
Organization: Comp Sci, La Trobe Uni, Australia


I am getting prepared to record my band once again, but I would
like to improve on the quality of the guitar sound that I have 
previously not been entirely happy with. This includes both
clean and distorted guitarts.
What I'm looking for is some tips on whether to DI the guitar, when to
use DI, when not to use DI, whether to use the amp, or just a preamp, and
if using an amp, what positions work with the microphone etc etc....

Any tips would be much appreciated...

Cheers, Marc.

ps. either reply  here, or email at derijk@latcs1.lat.oz.au



-- 
Cheers, Marc.


Newsgroups: rec.audio.pro
Organization: large
Date: 22 Nov 1992 23:32:45 EST
Expires: 1 Apr 93 12:34
Subject: the usual silly test levels question, revisited
From: hobbit@babyoil.ftp.com (*Hobbit*)

Sigh.  Shortly after I asked this, our news system deep-spaced and I came
back to the tail end of what looked like an involved debate about what
the various signal levels are across 600 ohms and what units you're
reading.  Maybe I didn't want *that* much of a rundown -- all I really
wanted to know was what amplitude of 1K sinewave to feed into my little
consumer-grade cassette deck such that it recordeth and playeth back what
the manufacturer considers "0dB" on the meters.

Therefore, I may have missed the simple answer.  *WHAT WAS IT*???

But since people brought it up, here's another question: What is a VU
meter supposed to be measuring, dBu, dBV, or dBm??

_H*
From: larry@bach.udel.edu (Larry Larraga)
Newsgroups: rec.audio.pro
Subject: RE: PSB Alphas (WAS Re: RS Minimus-77's as NF...)
Date: 18 Nov 92 13:55:16 GMT
Distribution: na
Organization: University of Delaware

In article <92322.135031FCTY7402@RyeVm.Ryerson.Ca> Andrew Ball <FCTY7402@RyeVm.Ryerson.Ca> writes:
>re: near-field monitors...
>
>We just acquired a pair of PSB Alphas for use in our _tiny_ booth.
> ...

Can you elaborate?  What are these?  Who/where is PSB?  Relatively
flat?  Question, questions, questions...  ;-)

Thanks!
-- 
Larry Larraga	University of Delaware Microcomputing Resource Center
Senior Analyst	040 Smith Hall  Newark, Delaware  19716  (302) 831-8895
Internet:  	larry@brahms.udel.edu 
Newsgroups: rec.audio.pro
From: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Should tube equipment be left on?
Organization: DSO, Stanford University
Distribution: usa
Date: Fri, 20 Nov 92 00:00:08 GMT

We recently acquired a vintage Teletronix LA-2A limiter.  The question  
arises: should it be left on all the time as most of the solid-state stuff  
is or should it be turned off when it's not in use.  I guess I'm mainly  
concerned with the 12AX7As and their useful lifetime.  Any ideas?

Jay Kadis
jay@ccrma.stanford.edu
From: jhenders@jonh.wimsey.bc.ca (John Henders)
Newsgroups: rec.audio.pro
Distribution: na
Organization:  One of these days for sure
X-News: HERMES MMAIL 1.04 Rev. Sep  5 1992
Subject: Re: * Want opinions on cassette deck <$500 for home studio
Date: Sun, 15 Nov 1992 11:54:18 -0800

In <1992Nov15.172209.14601@nevada.edu> johann@bach.nevada.edu () writes:

>I really need to get a decent deck for my humble studio.
>I want to spend as little as necessary (under $500).
>Anyone have any opinions on various brands/models such as Tascam,
>Nakamichi,...

>................ I've had bad luck with
>a Tascam 122-B at the radio station where I work (could have been
>from misaligned or dirty heads..tho' the engr. insists it's maintained).

	Must have been something wrong with it, because both the 122 and the
122mII are two of the nicest cassette decks I've ever used for pro use.
Even the 112 isn't bad, though not quite as nice as the other 2.
	The only reason I'd have reservations about the 122mII, is that it's
well into the pro dat price range, so unless you need super high quality
dubs for people to take home at night, you might want to look at a DAT
deck.
	One of the studio mags did a reveiw of the 122, and several other 
decks , one of which was by Aiwa. The Aiwa (ad-f800) was 1/2 the price
of the Tascam, and the sound is not notlicably bad. Like the Tascam,
it's amazingly lacking in bells and whistles, but it's a good solid 3
head deck. I borrowed a 122mII from a friend for some direct a-b tests,
and was impressed enough to buy one.

>Features I require:
	<deleted>
  The Aiwa has all the mentioned features.



-- 
                    John Henders              " Read the guideline, Luke"
           Just another elitist Usenet user        Obi Wan Spaf
Newsgroups: rec.audio.pro
From: Dave Jensen <djensen@claven.idbsu.edu>
Subject: Console Question
Organization: Morrison Center for the Performing Arts
Date: Wed, 18 Nov 1992 18:29:58 GMT

I recently posted a request, which was a little too ambiguous, for dialogue
concerning future console features. Let me begin anew.

1) Do you perceive a need for stereo on-stage monitoring (In-The-Ear personal
monitoring being a prime example)?

2) Assuming you desire to, or are required to, provide multiple stereo monitor
sends, would you prefer to:

  a)  create on each channel, in the same manner presently used for monitor
sends,      several redundant stereo mixes (one for each auxiliary send). For
instance, on each  of 8 drum channels, set levels and pan positions for 6-8
different aux sends.   

  b)  create a single stereo subgroup for each group of related sources, which
in turn feeds (pre- or post-fader) into a stereo matrix field. For instance,
assign and pan each of 8 drum channels into one stereo submaster. That one
stereo mix is then available (pre- or post-submaster fader) at each of 8 matrix
outputs along with any one of 4 aux busses.

I perceive b) to be a major advantage and simplification for the purpose of
stereo monitor mixes. I also wonder if having eight stereo subgroups, as
opposed to the present situation of using 8 mono subgroups to create 4 stereo
subgroups, is as attractive to others as it is to me.

Finally, I am surprised that apparently no one sees any potential for
left-center-right outputs. Are there no takers?      
Newsgroups: rec.audio.pro