HDTenEightyP/NetNews huggingface dataset:
From: mike%jim.uucp@wupost.wustl.edu (Mike Suter)
Subject: Re: QSound?
Keywords: QSound
Organization: BITS, St. Louis, MO
Date: Thu, 03 Sep 1992 17:34:39 GMT

>>What exactly is the QSound system and how does it work?  Are there any
>>opinions on the system?

>The Qsound system basically has a pair of digital delay lines for each
>channel with permits the engineer to adjust the phase as well.  Unfortunately
>the system is extremely crude.  There is no attempt at matching phase and
>volume cues either; it's left up to the fellow doing the mix.

Isn't this also approximately how the Hughes SRS (Sound Retrieval
System) works--namely, preserving phase differences?

Mike
-- 
mike%jim.uucp@wupost.wustl.edu
Newsgroups: rec.audio.pro
From: smills@news.weeg.uiowa.edu (MuffinHead)
Subject: Re: drum mic hardware
Keywords: drum, mic
Organization: University of Iowa, Iowa City, IA, USA
Date: Thu, 27 Aug 1992 22:39:04 GMT

bobdavis@mighty.viewlogic.com (Bob Davis) writes:

>If any of you have info on the sturdy-type mic "holders" --
>small mic "stands" which mount directly to toms/snares -- I would
>appreciate info on who makes these and how to get some.
>I've seen some cheapo plastic types which look like they'll survive
>2-3 gigs, as well as some cool looking sturdy metal devices which
>look more promising.

   Latin Percussion makes a mic clamp called The Claw. It works very nicely
in most cases. It consists of a aluminum clamp that screw-tightens to a
rim or other things, a rod shaped like: |_  that can be swiveled, raised,
or lowered, and the clip mount. (Clip     | not included.) They clean up
a drum set a lot and make it very easy to squeeze a mic into tight places.
List price is about $35 - I got mine for about $18.
   Oh, they also have shock absorbing material in the clip mount.

Newsgroups: rec.audio.pro
From: Dave J <djensen@claven.idbsu.edu>
Subject: Re: riding the faders
Organization: Morrison Center for the Performing Arts
Distribution: usa
Date: Thu, 27 Aug 1992 17:11:59 GMT

Jim Muller brings up an interesting point about the different SR requirements
for different styles of music.

I started out many years ago doing reinforcement for bluegrass festivals so I
can easily understand his point of view. I have never lost my appreciation for
those acoustical musicians who assume responsibility for their place in the mix
by learning to use their mic. To me it is one of the purest and most enjoyable
forms of music.

There is one instance I can think of that would require a mixer to ride the
mics in a manner described by Jim (although I doubt this was the reason in this
case). Quite often the combination of mic type, inexperience and limitations of
the console will be too susceptible to wind noise. It only takes one or two
occurances of having the wind create havoc before one learns appreciate, and
make sure he has on hand, an ample supply of appropriate wind screens.

I think the most likely explanation of Jim's situation is innocent ignorance on
the part of the mixer. I happen to believe that the multiple monitor mixes,
pick-ups and direct boxes prevalent in rock are there, to a large degree, as a
result of the rock musicians willingness to turn over to a sound man his
individual contol of his participation in the ensemble.

I can state that jazz also usually suffers under the hand of the typical "rock"
mixer for the same reasons.     


Dave Jensen                           You see...what you want to see,
djensen@claven.idbsu.edu              And you hear...what you want to hear. 
expressing only myself                    - Harry Nilsson, "The Point"

Newsgroups: rec.audio.pro
From: bill@bilver.uucp (Bill Vermillion)
Subject: Re: Rudy Van Gelder: D v. A
Organization: W. J. Vermillion - Winter Park, FL
Date: Sun, 23 Aug 1992 18:01:09 GMT

In article <1992Aug21.231851.3249@cs.hut.fi> killer@exterminator.cs.hut.fi (Kalle Kivimaa) writes:
>In <1992Aug21.175158.8764@iccgcc.decnet.ab.com> ireland@iccgcc.decnet.ab.com writes:

>>loss. And I know alot of people who use analog multi-track decks, but mix
>>down in digital with good results.

>This is because there aren't any good multi-track digital decks
>available.  You can get several dB's of S/N more out of a good
>analog deck than of a digital counterpart.

Not quite true.  I remember seeing the first digital multi-track
machine, from 3M many many years ago.  On the used market these will
still fetch LOT$$$ of money.

There are good multi-track digital decks, and they include the Apogee
filters that sound so good too.

But to say there are no good digital multi-track recorders is wrong.
To say there are no reasonably priced machines is correct.   You can
buy a new 24-track in the $30-$40k range for real pro machines, and
less in the semi-pro lines.   A 24 track digital will set you back in
excess of $175,000.    So you can buy 4 24-track analog machines or 1
digital.  The 32 and 48 track units cost more.

That is why there is so much analog record and digital mix.    You can
get digital encoders for uses with U-Matics in the $30k or less range.
You can mix to DAT and transcode for CD for much less.

-- 
Bill Vermillion - bill@bilver.oau.org  bill.vermillion@oau.org
                - bill@bilver.uucp 
                - ..!{peora|ge-dab|tous|tarpit}!bilver!bill
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.audio.pro
Subject: Small studio questions
Date: 27 Aug 92 21:36:33 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

I've finally landed a garage I can use (or abuse) as I see fit.  I've got
a pair of drummers squabbling over the 'priviledge' of having their kits
permanently set up there, so it looks like I'll have a 'house kit' soon.
I have my own 12-channel mixer (very clean), bass and git rigs, many basses,
one good guitar, one decent (analog) MIDI kbd and a mac to run it, lots of
mics, stands, cables, etc.  I dream of having many friends and enemies come
over and jam.  I hope to set it up to the point where I can reach over and
press 'record' on my Tascam Porta-one, and record all of what's going on.
Ultimately, I'd like to be able to defeat the speakers and get a good mix
of sound without lots of bleeding to the drum mics.  I would probably do
basic tracks this way, adding vocals, keys, brass, etc. later.

This last set-up would require some reliable way to send the mix to the
bassist, drummer, and guitarist.  Headphone mixers seem expensive.  Are
there any simple solutions to sending this signal out to three players?
I've got line and powered outs on the mixer, which is stereo, so I can
split instruments to the 4-track if I want to.  Is a decent headphone mixer
my only option?

I know this is a very elementary set-up to some of you.  To others (including
myself) it is probably a major step in rehearsing/recording ability.  Any
anectodes/horror stories/hints/suggestions would be greatly appreciated.

And...if you live in San Diego and this sounds like fun, feel free to call
me.  I am writing a HyperCard stack to record (what I hope is) the flood of
interested musicians.  I will provide musicians to record your own stuff, or
can provide a 'release' for friends in from out-of-town without their
rigs, etc.

Michael Breen
singing and philosophizing
(and sound-proofing like a madman!)
near Morley Field/Balboa Park: 497-0362
Newsgroups: rec.audio.pro,rec.music.synth
From: mvcjp@cbnewsf.cb.att.com (charles.j.pouliot)
Subject: Leaving the business sale!
Followup-To: poster
Organization: AT&T
Distribution: usa
Date: Thu, 27 Aug 1992 15:38:10 GMT

	          Musical Instruments And Equipment For Sale

		    ** "Retiring From The Business" Sale **

Company     Description                                           Asking Price
------------------------------------------------------------------------------
Oberheim    OB-8 (Factory Midi-equipped) Synthesizer                  $500
            Ultra Mint condition, Original Box and Manuals
            Used on Van Halen's "Jump" and Rush's "Subdivisions"

Gibson      1968 (I'm told) Tobacco Sunburst Les Paul Custom          $750
            Kahler Tremelo, DiMarzio X2N, Grover Imperial tuners
            Serial Number 102511  Very Good condition for its age
            Beautiful Guitar (how many tobacco customs are there?)
            Plays like a dream - sounds killer (but I use a Strat now)

Yamaha      BB300 Bass - Red Finish rosewood fingerboard              $150
            long scale - "precision-type" Pickup - gig bag - bought
            for recording and don't use anymore - plays very well

Marshall    JCM 900 - 1960 Stereo 4x12 Cabinet w/cover - Mint         $450
            New "unplug-able" wheels

Peavey      (2) 1510HT 3-way Sound reinforcement cabinets - Mint      $600 pr
            Sound incredible, compact, loud, clean (no pole mounts)

Peavey      CDS-2 Stereo Compressor - Simple and effective            $100

Peavey      4x12 Speaker Cabinet Wired Stereo like the Marshall 1960  $150
            w/wheels - Mint - Heil Speakers

Furman      Tx4 Tunable Active Crossover 3-way Stereo 5-way mono      $125
            Lots of features w/manual

Tapco       4400 Rack mount Stereo Spring Reverb w/ EQ for each chan  $100 
            Old, but mint and sounds good for surround sound delay

Crown       (2) DC300A Stereo Power Amplifiers - rated at 155w rms    $300 ea
            Very good condition (Series II vintage) buy both and 
            I'll throw in a rack.

JBL         (4) Bullet tweeters - great condition - lots of "spit"    $100 set
            Not in a cabinet

Sabine      RT-1600 Rack mount guitar tuner - mint - just don't use   $100
Newsgroups: rec.audio.pro
From: cms2839@ultb.isc.rit.edu (a.stranger)
Subject: Re: riding the faders
Originator: cms2839@ultb
Organization: Minimalist Music for Hyperactive Children (MMHC)
Date: Mon, 31 Aug 1992 20:10:10 GMT

In article <5099@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
>I am always mystified by the sound technician/engineer who will sit
>there and talk, at length, with their buddies, firends and casual
>acquaintances while they are supposed to mbe mixing a show.  
>
				that's nothing ... i remember one show i
saw where the guitarist asked to hear a little more of himself in the
monitors , only to find that the house mixer had LEFT THE CLUB TO GET
SOME FOOD !

				the club is now closed ... 8^)=

-- 
       @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
       @       "Imagination keeps the shadows away  -  Xymox       @
       @~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~@
       @ a.stranger - CMS2839@ritvax.isc.rit.edu - PGP key on req. @
Newsgroups: rec.audio.pro
From: jrusby@darkwing.uoregon.edu (Jim T. Rusby)
Subject: dc from Tascam DA30 dat
Organization: University of Oregon Network Services
Date: Thu, 27 Aug 92 18:52:16 GMT


For the past year our midi studio has been using a pair of Tascam DA30 dat
machines in conjunction with sound designer II (soundtools). The professor
in charge called my attention to a dc component that would appear on the 0
axis of the Soundtools display. The signal was either from 0 going
positive or 0 going negative, but not both sides.

Anyway, I surmised it to be a miscalibrated dc offset in the a/d converter
of the dat machine. I just finished going through the calibration to
factory specs and found that at best, the dc is minimized but not eliminated.
In fact, the manual indicates that the offset should be set slightly
positive to "assure stability and enhance s/n ratio". 

The end conclusion I seem to reach is that this thing isn't going to ever
be free of this signal on a dat tape.  When playing one of these tapes in
a slight click is heard when engaged.

Just to be sure I didn't have other problems I subbed one of our Panasonic
SV3700 machines in place and found.... no dc. Its clean.

Has anyone encountered this problem? 

I will be contacting the manufacturer but thought I would ask around.

Thanks-
Jim Rusby
jrusby@darkwing.uoregon.edu
Newsgroups: rec.audio.pro
From: kludge@grissom.larc.nasa.gov ( Scott Dorsey)
Subject: Re: Good multi-purpose stereo mic
Organization: NASA Langley Research Center and Reptile Farm
Date: Tue, 1 Sep 1992 13:05:01 GMT

In article <1992Sep1.043307.20798@ccu.umanitoba.ca> laucht@silver.cs.umanitoba.ca (Matthias Laucht) writes:
>Is there a good, multi purpose stereo mic under $1000? A pair of
>mics (each under $500) might also do.

I would recommend getting a pair of mikes.  You can set up a mike pair    
into a coincident configuration like a stereomike, but you can also set
up ORTF or NOS pairs which can be advantageous in a lot of situations
(and which I think provide much better imaging overall).

The disadvantage is that the setup time is greater and it's considerably
more inconvenient for field use where you'd be handholding a mike.  I don't
think these would be problems for you.

Personally, I'd recommend the Josephson Labs mikes in that price range,
though there are a lot of good mikes out there.
--scott

By the way, if you really do need a stereomike, the Sanken mikes are
absolutely incredible.  Beyerdynamic makes a dual ribbon stereomike which
might be a good choice for choral work with your configuration.
Newsgroups: rec.audio.pro
From: dpm@msc.edu (David P. Mottaz)
Subject: Sound reinforcement questions
Organization: Minnesota Supercomputer Center, Minneapolis, MN
Date: Fri, 4 Sep 1992 14:18:08 GMT

What is the best mic placement for mic'ing up a guitar amp(a combo
with one 12" speaker).  I have a Shure SM-57 to handle the chore.
This is for live performances.  I have heard several opinions about
this and usually its backed up with "well I always heard...".  What
are the differences in sound from having the mic aimed at the middle
of the speaker about a foot away vs having the the mic close to the
edge of the cone vs laying the mic in the back cavity of the amp vs...

Another area of concern;  We have never been able to get a very good
sound from the kick drum.  It's a huge Tama.  It has a lot of initial
attack "thwap" but it lacks serious "boom".  This is acoustically(sp?)
and it(of course) doesn't get any better amplified.  He uses a felt
beater.  I don't know what else is needed to diagnose this one.  Any
ideas?  The drummer for some unknown reason is reluctant to analyze
this so I am fishing around for solutions.

Thanks.


-David Mottaz                             Email dpm@msc.edu
 Network and Systems Administration       AT&T  612.625.7589
 Minnesota Supercomputer Center Inc.      FAX   612.624.6550

               o/    \  /    \ /     /      \o   
              /#      ##o     #     o##      #\
              / \    /  \    /o\    / |\    / \

        "Decouple the expertise from the procedural"
Newsgroups: rec.audio.pro
From: bill@bilver.uucp (Bill Vermillion)
Subject: Re: Rudy Van Gelder: Digital vs Analog
Organization: W. J. Vermillion - Winter Park, FL
Date: Sun, 23 Aug 1992 14:25:58 GMT

In article <714468355snx@black.demon.co.uk> tchannon@black.demon.co.uk (Tim Channon) writes:
>> No digital machine ever made could do that correctly either.  None.  Not even
>> the best.  Well, I guess it depends on how you define "correctly."  I guess
>> I don't know how Van Gelder defines it here, because I feel analogue
>> recordings are more correct.

>You are quite right although what you say is vapour comment, without 
>reference. I respect your wish to prefer analog something but not that 
>digitisation is flawed.

...
>The transient response is limited by the Gibbs phenomenon. I have seen cheap 
>CD players which show just this limit which is an incredible achievement.

Would you care to explain what the Gibbs phenomenon is?

>An analog tape machine? To avoid audible non linearities it would seem prudent 
>to peak at -20dB ref 1% 3rd harmonic (usually the ref level).
>The noise floor is 40dB below that if you are lucky.

You are talking about cassette machines.  Analog machines used to
master are much better than that.  I measured a Studer A-800 at +6
operating level (320 nWb/m) to have a -3db down point at 33kHz.   It
was virtually flat to well past 30kHz.

>Recording at typical levels adds harmonics and rolls off the top so it _will_ 
>sound different.

>How many suites using analog recorders use a peak meter to monitor level? This 
>has led to some good laughs when digital recorders are installed -- where were 
>all those 20 dB over the top peaks going? I'm serious!

Many pro studios did, and most SPARS studios did it as a matter of
routine.  While most specs calibrate the peak meters at +6 over the vu
reading using a sine wave for calibration, SPARS settled on +8.

One of our machines had 26db HEADROOM over the standard operating
level.   So at +6 we still had 20DB left in the record electronics.  We
found that the more inexpensive the machines the less headroom.


-- 
Bill Vermillion - bill@bilver.oau.org  bill.vermillion@oau.org
                - bill@bilver.uucp 
                - ..!{peora|ge-dab|tous|tarpit}!bilver!bill

Newsgroups: rec.audio.pro
From: tchannon@black.demon.co.uk (Tim Channon)
Subject: Panasonic SV3700 DAT recorder - reasons not to buy? 
Distribution: world
Organization: null
Date: Sat, 29 Aug 1992 01:05:36 +0000

>I've been using SV-3700's since they came out and have nothing but good
>things to say about 'em.  They're probably one of the best buys in audio.
>

A good machine and Panasonic seem to care about getting it right. That said 
some people have had trouble but this must apply to most products.

I can say from experiance that at least one of it's direct competitors 
is awful.

  TC. 
    E-mail: tchannon@black.demon.co.uk or tchannon@cix.compulink.co.uk
From: jj@alice.att.com (jj, clueless old white boy)
Newsgroups: rec.audio.pro
Subject: Re: Rudy Van Gelder: Digital vs Analog
Date: 25 Aug 92 16:13:36 GMT
Article-I.D.: alice.23547
Reply-To: jj@alice.UUCP (jj, clueless old white boy)
Distribution: world
Organization: NJ State Home for Bewildered Terminals

In article <714723353snx@black.demon.co.uk> tchannon@black.demon.co.uk (Tim Channon) writes:
>>Would you care to explain what the Gibbs phenomenon is?
>
>Given a brick wall filter with near perfect group delay (the ideal filter) the 
>transient response will be found to exhibit damped ringing which extends in 
>_both_ directions in time from the transient edge in question. This is called 
>the Gibbs phenomenon.
NO!

You are referring here to the ringing one sees due to the filter
response.

The "Gibbs Phenomina", strictly speaking, refers ONLY to the "ears"
one gets when one tries to reproduce, say, a square wave with a fourier
series.  This non-linearity comes about from signals thave have non
zero energy at infinity, or have discontinuous first derivitives (those
two statements are rather, um, redundant).

The ringing one sees from a filter is not, strictly speaking, the
Gibbs Phenomina.   Look to the reproduction and convergence capabilities
of a fourier series.
-- 
 Bush    *Copyright alice!jj 1992, all rights reserved, except transmission
   vs       *by USENET and like facilities granted.      Said permission is
 Clinton  --    *granted only for complete copies that include this notice.
 Just Say !NO!       *Use on pay-for-read services specifically disallowed.
Organization: Sophomore, H&SS general, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.audio.pro
Date: Sun, 30 Aug 1992 19:36:08 -0400 
From: Shiv Swarup Pathak <sp3u+@andrew.cmu.edu>
Subject: Help me with CD skipping!
	<1992Aug28.201354.4582@oswego.Oswego.EDU>



Six months ago, I bought a Pioneer PD-7700 CD player.  It's design
incorporate what Pioneer calls "the stable platter mechanism."  In
otherwords, you put the CD upside down and the lens is mounted above it.
 Back when I got it, it was very difficult to get it to skip during play
(I could shake it around over my head with no problems.)  But as time
went on, It became easier to skip.  Now, if I tap it on the side, it
skips.  Does Anyone know what is wrong?  Do I need to clean the lens? 
Thanks in advance.

-Shiv
Newsgroups: rec.audio.pro
From: sethb@fid.morgan.com (Seth Breidbart)
Subject: Re: Cheap DAT Portables??
Organization: NY home for wayward dats
Date: Sat, 29 Aug 1992 20:31:37 GMT

In article <1992Aug29.051711.970@magnus.acs.ohio-state.edu>
gburton@magnus.acs.ohio-state.edu (Garland O Burton) writes:
>cheap compared to what?
>
>the standard pro dat head-drum size is 30mm.

The standard consumer dat head size is 30mm.

>the cheapie consumer crap may have a drum of smaller size.

Some portables use 15 mm heads.  This includes the Panasonic sv-250
($1200, not a current model) and sv-255 ($1900), both pro decks.  Many
less expensive portable consumer dat decks, such as the AIWA HD-S1
(under $600, not a current model) and HD-S100 ($600) have 30 mm heads.

>why do i say crap?  the 30mm drums have very few dropout problems.
>the less than 30mm drums are prone to dropouts.

Do you speak from experience?  Nobody on the dat-heads mailing list
(mail to dat-heads-request@fuggles.acc.virginia.edu for info) has
noticed that.  Smaller heads do wear slightly faster, but only minimal
head wear has been observed after 500 hours use.

>you get what you pay for.

Some get more, some get less.  YMMV

Seth		sethb@fid.morgan.com
Newsgroups: rec.audio.pro
From: plm@reggae.plm (Paul L. Mowatt)
Newsgroups: rec.audio.pro,rec.audio
Subject: 2 1200MKII's For Sale
Date: 27 Aug 92 21:22:50 GMT
Distribution: rec
Organization: /bdfs/users/plm/.organization


My friend who's going back to school and needs to raise some cash asked me to
post this message for him.

He has 2 Technics 1200MKII turntables and is asking $600 OBO for the pair.
They come with high quality cartridges.  I forgot the brand.  Send all
inquiries to me.

I know in this digital audio age most people think records are obsolete...NOT!
I have two Turntables + 2 CD players hooked up to my stereo via a mixer.
There's a lot more things you can do with a TT than CDP, especially when your
on a low budget.  The type of music I listen to is still being released on
vinyl and I think the quality is good enough. So I'm sticking with it.
--
_______________________________________________________________________________
|Paul Mowatt               plm@reggae.cam.bellcore.com  "Materialism is wrong,|
|Bellcore, RRC 5H-127      plm@czar.bellcore.com         only when it's not   |
|444 Hoes Lane             (W) (908) 699-6947            evenly distributed." |
|Piscataway, NJ 08855-1342 (H) (908) 220-0570                                 |
-------------------------------------------------------------------------------
Newsgroups: rec.audio.pro
From: muller@world.std.com (James L Muller)
Subject: Re: QSound?
Keywords: QSound
Organization: The World Public Access UNIX, Brookline, MA
Date: Wed, 2 Sep 1992 16:13:41 GMT

In <BtyCEn.1AF@news.larc.nasa.gov> kludge@grissom.larc.nasa.gov
   ( Scott Dorsey) writes:
>Not only does this cause annoying effects, but it causes major problems
>if the recordings are played back in mono...
>If a signal is recorded with a phase difference between two channels,
>when the channels are summed, there will be a comb filter effect.

This is pretty much the problem with any "realistic" recording that
preserves (or simulates) phase.  Popular music is recorded for stereo
with only a volume difference between L and R because it is easier,
but most importantly because it is more mono-compatible.  (There is
still a 3 dB boost of both-channel components when a stereo recording
is played back in mono, so the mix isn't preserved quite right.  It
is still far better than the result from having phase info too.)
-- 
Jim Muller  muller@world.std.com