HDTenEightyP/NetNews huggingface dataset:
From: shetline@bbn.com (Kerry Shetline)
Newsgroups: rec.audio
Subject: Re: Selecting an LD Player
Followup-To: rec.audio,rec.video
Date: 1 Jan 1993 02:44:30 GMT
Organization: BBN
Distribution: world
NNTP-Posting-Host: bbn.com

In article <1992Dec31.131316.14084@lsican.uucp>, michael@Canada.lsil.com
(Michael Smith) wrote:
> 
>I would tend to agree with you that a properly buffered data-stream (i.e. a FIFO
>of sort) should be able to compensate for any drifts in the data output rate of
>the pickup itself (due to drifts in the motor speed).  If this buffer is not
>deep enough (this would be a function of the expected drifts in the motor rate,
>number of errors per sample, time to correct errors, etc...) then at that point
>there would be a definite error in the output stage of the CD.  This would only
>be a problem if the buffering was not matched with the physical characteristics
>of the CD - i.e. nobody bothered to find out how much variation the drive motor
>would have.
> 
>On the Pioneer 701 LD player, there is a built-in Time Base Corrector to compensate
>for changes in the drive speed motor (no error correcting here!).  Since its an
>analogue medium, buffering becomes extremely difficult and expensive.  In this case,
>they do recognize that there is a problem with maintaining a 100% accurate
>spin rate, and compensate using a TBC.  (But aren't TBC's a digital buffer that
>offsets the output by one frame?)
> 

The TBC attacks speed variations with servo feedback and line-by-line
timing adjustments -- that is, buffered line data is held and released on a
precise schedule. Drift within a line is not compensated for, as far as I
know, and the TBC is only applied to the video portion of the LD signal.
Thus, extra drive stability can help video quality beyond what the TBC
corrects. But the claim was made about audio quality, and that is where I
disagree.

The digital subcarrier of a LD analog signal, once separated and
demodulated, provides binary data with a slight jitter, just like a CD. The
same buffering and clocked-output techniques apply, leaving no more jitter
than a quartz crystal produces.

-Kerry
-
-
-
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From: "tom betz" <tom.betz@execnet.com>
Newsgroups: rec.audio
Subject: hi-mid-fi speakers w/high impedance?
Date: 23 Dec 92 19:23:50 EST
Reply-To: "tom betz" <tom.betz@execnet.com>
Distribution: rec
Organization: Executive Networks Information

Subject: Hi-Mid-Fi speakers w/High Impedance?

I made a purchasing error a couple years back and bought a Sony STR-AV920.

It works okay, and I can't affort to replace it right now... but the 
Marantz Imperial IVs it's driving are showing their age, and I'd like to 
upgrade my speakers.

However, the receiver has a design flaw;  it doesn't handle low impedances 
well, especially in the bass, and tends to overheat.  Therefore, any 
speakers I buy will have to have an impedance curve that deosn't drop 
significantly below 6 Ohms.  Since most of the modern bookshelf-type 
speakers (Cambridge, Advent, et al) drop as far as 2 Ohms in an effort to 
enhance the bass reponse in a small box, this severly limits my choices.

Can anyone suggest speakers selling for less than $1000/pair that will fit 
my requirements, and still provide satisfying performance when I finally 
do upgrade my electronics?  Or am I best off just keeping the old Imperial 
IVs until I can do the whole deal?



---
  WinQwk 2.0 a#299  hardware:   The part you kick.
--
Executive Network Information System  (914) 667-4567
International ILink Host
Newsgroups: rec.audio
Subject: Second Zone with record out
From: rmp@caesun6.epg.harris.com (Richard M. Plane)
Date: Fri, 18 Dec 1992 15:34:25 GMT
Reply-To: rmp@epg.harris.com (Richard M. Plane)
Organization: Engineering Productivity Group, Harris Corp., Melbourne, FL


I would like to use the record out feature of my Yamaha AX700U integrated 
amp to establish a second zone.  Before I rush out to bye an amplifier for the 
second zone I would like to ask a few questions.  Is this a fixed volume 
solution?  Is it an audible signal passed ?  Does the remote zone amplifier 
require a volume control or will an amp gain suffice?  If anyone has designed a 
multi-zone setup such as this any lessons learned would be appreciated.


Rich Plane




A
A


Newsgroups: rec.audio
From: eric@prodigal.psych.rochester.edu (Eric Hansen)
Subject: Re: is pre-amp necessary for line-level input?
Organization: University of Rochester - Rochester, New York
Date: Thu, 31 Dec 92 14:38:16 GMT

In <1992Dec31.014320.9693@midway.uchicago.edu> cal@gsbux1.uchicago.edu (Cal Lott) writes:

>Youngjoon Kwon     (415)926-2761 <YKWON@SLACVM.SLAC.STANFORD.EDU> writes:

>>If I don't use a phono input, is separate preamp necessary for
>>line level inputs such as CD, D/A, or tape? (Of course, except for the
>>control functions.)
>>
>>To be more specific, I am thinking of purchasing an Acurus amplifier
>>and I have two choices:
>>One is more conventional - get a pure power amp, such as A250 and a
>>separate line preamp, L10.
>>The other is to purchase a "direct-input-amp" DIA-100, which contains
>>passive control sections including source-switching and input attenuation.
>>
>>For now, I don't think I would ever need a 250w/ch capability of A250.
>>The only concern I have is whether a separate line-level preamp gives
>>any long-term benefit to the system.  (For a short term, I don't think
>>I can easily hear a sonic difference between the A250/L10 and DIA-100.)

Does this mean that the DIA-100 has a **passive** preamp stage?  If this is
the case, then your main concern should be whether to go passive or active.
Without getting crazy with theory or explanations, you should be aware that
passive preamplification requires careful cable choices and as large a
difference in impedance between the source output and the amp input.  I've
seen some outboard DAC's, for instance, which have < 10 ohms impedance.
These would work *very* well in a passive setup.  Others, however, with
500 ohms impedance, say, might need active preamp. to perform well.

Eric Hansen

--
* Eric J. Hansen                       |    Center for Clinical Computing   *
|  eric@binoc.bih.harvard.edu          |   350 Longwood Avenue, Boston, MA  |
*  eric@prodigal.psych.rochester.edu   |            (617) 732-5925          *
From: henry@monod.biol.mcgill.ca (Henry A. Pasternack)
Newsgroups: rec.audio
Subject: Re: Mr. Pierce responds to Re: Class C amplifiers, says Mr. Pierce.
Date: 22 Dec 92 19:31:20 GMT
Reply-To: henry@monod.biol.mcgill.ca (Henry A. Pasternack)
Organization: SRI International


   Bob Myers writes:

>Henry, you're going to confuse a lot of people with that last bit - most
>commercial AM transmitters DO use a class C output stage.  The trick is
>that the modulation is done at the output - the output stage is NOT amplifying
>an already-modulated signal, and so amp linearity is unimportant.  (SSB
>transmitters are another story altogether, even though SSB is a "subset"
>of AM.)

   Hmmm.  I didn't know that.

   I guess when you get into very high-power stuff, this kind of circuit
becomes practical or desirable.  My frame of reference comes from my ham
redio days, when a typical transmitter would run a pair of 6146B's in
Class C for CW and Class AB1 for SSB or AM.

   Thanks for the info.

-Henry
From: whit@carson.u.washington.edu (John Whitmore)
Newsgroups: rec.audio
Subject: Re: CD Sound Quality
Date: 31 Dec 1992 05:51:10 GMT
Organization: University of Washington, Seattle
NNTP-Posting-Host: carson.u.washington.edu

In article <1992Dec26.072221.1912@hpcvaac.cv.hp.com> billn@hpcvaac.cv.hp.com (bill nelson) writes:

>: > Say you sample at 44 KHz.  The maximum theoretical limit of frequency
>: > you can capture is half of this, 22 KHz.  However, at this rate there
>: > are only two samples per cycle.  With two samples per cycle, a sine
>: > wave will sound the same as a square wave.  Surely this is not hi-fi?

	(sound familiar?  This one comes around periodically...)

>: God, not this again.  Here, let me introduce you to my good friend, 
>: Mr. Fourier, and his friends, Mr. Shannon and Mr. Nyquist.....

	(and Bob Myers has heard it too many times, I suppose)

>He probably believes that the lathe cutter cuts a square wave into 
>the vinyl on the analog disc.

	Well, I know better than that.  The vinyl encodes the signal
in the cutter VELOCITY, not position.  The lathe cutter cuts
a triangle wave into the vinyl on the analog disc.

	And, the stylus carefully stumbles on each peak and in
each trough... so after a playing or two, the triangle wave has
yet another interesting shape.

	John Whitmore



Newsgroups: rec.audio
From: paulxxxx@leland.Stanford.EDU (paulastya gupta)
Subject: Stereo Review's critical judgement
Organization: DSG, Stanford University, CA 94305, USA
Date: Fri, 1 Jan 93 01:52:37 GMT

I agree with most persons that Stereo Review is not an altogether good
source of information, but it does help ground one to reality (its OK to 
not be able to afford 20k for a system).  

Recently I was skipping across an old evaluation of the Pioneer Elite
CD player (at least several months old), and in the end, the reviewer
failed to find any sound difference justifying its higher price.  It 
sounded "at least as good as" the other <lower priced> players reviewed.
I see this to indicate one of two things:
1) they're absolutely right
2) their emphasis on sound quality is slighted by the more serious audiophile 
   magazines.

So there's a sort-of-negative review!

- paulxxxx@leland.stanford.edu
From: jpb@calmasd.Prime.COM (Jan Bielawski)
Newsgroups: rec.audio
Subject: Re: CD Sound Quality
Date: 22 Dec 92 23:24:07 GMT
Distribution: usa
Organization: Computervision, San Diego, CA

In article <19DEC199208241886@rigel.tamu.edu> mjf9968@rigel.tamu.edu (Pi(3.143832666)) writes:
<In article <1992Dec19.113749.8088@leland.Stanford.EDU>, kong@leland.Stanford.EDU (Kong Kritayakirana) writes...
<>> 99% of the audio buying public has already been suckered into
<>> thinking that CD sound is the be-all end-all of sound quality.  They are
<>> mistaken.     ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
<>   Although we can definitely engineer a better medium for holding music, I
<>   think we can say we have perfectly satisfied our ears with 44.1kHz x 16bit
<>   data for each channel. Who the hell can tell the difference between 96dB
<[digital babble deletia]
<>   and we definitely can cure jitter by putting the crystal of the DAC system
<>   IN THE DAC box, not in the transport box. The whole jitter scene then
<>   becomes a nonissue.
<
<	Further proof of how one-track-minded people have become
<	about the storage and reproduction of music.
<
<	Obviously yet another "critical listener" who auditioned
<	a $200 CD player versus a $200 phono set-up and decided
<	that digital was inherently better.

	It doesn't matter, IMHO.  The point is:

   The difference between the CD and the LP is very close to nothing when
   one compares both CD and LP to the live sound.

	Jan Bielawski
	Computervision, San Diego
	jpb@calmasd.prime.com

Newsgroups: rec.audio
From: rsnappy@hydra.unm.edu (Roger Snappy Rubio)
Subject: FOR SALE ::: Compact Stereo w/CD
Date: Sun, 03 Jan 93 22:06:50 GMT
Organization: University of New Mexico, Albuquerque

I have a GPX Compact Stereo w/CD to sell.  It has the following features:

	Dual Cassette Deck (w/High Speed Dubbing)
	Phonograph
	Graphic Equalizer
	AM/FM/FM Stereo Reciever
	Headphone Jack
	Microphone Jacks
	14" x 14" x 18" (L x W x H)

This unit comes with it's own speakers.  Has a few scratches and dents,
but otherwise it's in primo condition.  Asking $150 or best offer.  If
you're interested, e-mail me at:

	rsnappy@hydra.unm.edu

I'll pay shipping (COD).
From: cal@gsbux1.uchicago.edu (Cal Lott)
Newsgroups: rec.audio
Subject: Reply to Doug Platt (re: Clipping)
Keywords: Thanks
Date: 30 Dec 92 20:16:18 GMT
Organization: University of Chicago Computing Organizations


	This is a reply to Doug Platt's kind email to me regarding my
recent post full of questions about clipping. My attempt to respond
via email bounced.

----- message follows -----

Doug:

	Thanks for the detailed and informative reply!

	I plan to purchase a decent amp for her before she goes off to
college, anyway. She owns a decent Denon CD player, and the Polks are
an order of magnitude better than the Fishers that she used to listen
to. (In spite of what is apparently a shortcoming in handling ultra-
low bass, although it is hardly fair to condemn them for poor
performance given the Fisher amp that they are forced to struggle with,
and the somewhat cursory listening sessions.)

	Again, thanks for taking the time to address my questions in
detail.

						Regards,

						-Cal

----- end of message -----

	Thanks also to the other respondents, both here and in email.

						-Cal

--
----------------------------------------------------------------------
Cal Lott          "Oh, I see-- I thought 'no' meant 'spoon'!" --Dan
Email me, baby!   cal@gsbux1.uchicago.edu   cjl1@midway.uchicago.edu
----------------------------------------------------------------------
Newsgroups: rec.audio
From: Mike_Benna@mindlink.bc.ca (Mike Benna)
Subject: Velodyne ULD-12 hums - why, and can it be fixed?
Organization: MIND LINK! - British Columbia, Canada
Date: Tue, 29 Dec 1992 01:37:00 GMT

2 months ago I purchased a Velodyne ULD-12 and I have only one complaint
about it: it hums.  Not loudly, but it hums.  Even when everything else
around it is unplugged (except the control unit), it hums.  It sort of
sounds like transformer hum and it seems to be coming from the speaker
(I haven't turned it over to verify).  Since it hums even when it is the
only thing plugged in (and all speaker leads are disconnected), I'm sure
it's not a ground loop problem.

1) Is this normal?
2) It wouldn't be so bad if the unit would automatically shut off after
   several minutes of inactivity.  Any idea why the Foundation series
   has the auto shut-off but the ULD series does not?

Thanks in advance for any suggestions which will help me to solve (or
give up on) this problem.

--
Mike_Benna@mindlink.bc.ca      Vancouver B.C., Canada
MindSpan Technologies          Video Game Design and Development
HardBall III, Summer/Winter Challenge, Joe Montana Football, Face Off!, etc
Organization: University of Illinois at Chicago
Date: Tuesday, 29 Dec 1992 11:41:16 CST
From: <U37426@uicvm.uic.edu>
Newsgroups: rec.audio
Subject: polarity inversion

   Just how does polarity inversion affect the sound of a stereo?  I have
never had a system that had this feature.  I have no idea what it does.
Could somebody explain?  thanks!
From: curt@oasys.dt.navy.mil (Curt Welch)
Newsgroups: rec.audio
Subject: Re: MiniDisc is here!
Date: 30 Dec 92 08:17:00 GMT
Reply-To: curt@oasys.dt.navy.mil (Curt Welch)
Organization: Carderock Division, NSWC, Bethesda, MD

In rec.audio, yxl5388@ultb.isc.rit.edu (Fractalman) writes:
>Also, is this buffer *10 seconds* or *3 seconds*? The manual says it's 3
>seconds but everywhere else (ads, etc.) say it's 10 seconds.

They changed it to 10 seconds (using a 4 Mbit chip) from 3 (using a 1 Mbit
chip), but I have no idea if some units where shipped with the 1 Mbit chip.

The first add - the 8 page one - said 3 seconds in some places and
10 seconds in others.  I don't think the unit has both a 3 second and
a 10 second buffer.  I think they wrote the add before the change and
didn't update it everywhere.

for example, in talking about shock resistance, the copy reads, "a four
Megabit chip corresponds to ten seconds of real-time music".  But the
graphic that goes with that description shows a "1Mbit Memory".

And in the same add, where it talks about the ability of the player to
record segements in random order, it reads, "the buffer memory gives
the machine up to three seconds to find available disk space and resume
recording."  And from other descriptions of the MD, I know it's using
the same memory for both of these tasks.

This add was in the Nov issue of Audio.

So, in my mind, just because the manual says 3 seconds doesn't mean
that you really have the 1 Mbit chip.

/-----------------------------------------------------------------------------\
| Curt Welch - KCW Consulting           By 1995, there will be just two kinds |
| curt@kcwc.com - NeXTmail please!      of professionals:  Those who use NeXT,|
| (703) 938-4152  FAX (703) 938-5756    and those without Jobs.               |
\-----------------------------------------------------------------------------/
From: kuusama@kaarne.cs.tut.fi (Kuusama Juha,,,,)
Newsgroups: rec.audio
Subject: Re: Repairing Label Side of CD
Date: 30 Dec 92 11:53:16 GMT
Reply-To: kuusama@kaarne.cs.tut.fi
Distribution: world,local
Organization: Technical University of Tampere, Dep. of Computer Science ,Finland
NNTP-Posting-Host: kaarne.cs.tut.fi
Originator: kuusama@kaarne.cs.tut.fi

From article <ebs.51.725131501@lilly.com>, by ebs@lilly.com (Eric B. Stauffer):
> After recently letting my new 10,000 Maniacs slip from my grasp and skid 
> across my hard-wood floors thus trashing the label side, it ocurred to me 
> that if all that was happend was the scraping away of reflective layer that 
> I might be able to repair it (sorry for the long sentance) Anyway, has 
> anyone attempted to use one of those silver paint pens to fix the label side 
> of a CD. It seems that I can get what I consider a pretty severe scratch on 
> the playing side and the CD does OK. However, if I get even a small scratch 
> on the label side the player often mistracks.
> 
> Eric
> 
Sorry, no such luck. The reflective layer on the CD is actually a thin
aluminium foil with the bits imprinted on it. It is located on the label
side, and there is only a thin plastic (plus the paint for title etc.)
protecting it. If there is a scratch, the bits are gone.
--
Juha
Newsgroups: rec.audio
From: mothra@unixhub.SLAC.Stanford.EDU (Rand Phillip Pendleton)
Subject: Impulse DAT deck purchase: Opinions wanted.
Organization: Stanford Linear Accelerator Center
Date: Fri, 25 Dec 1992 07:49:26 GMT

In a spur of the moment decision I purchased a SONY 59ES DAT deck this
evening for myself.  I payed $798 for the deck but got 8 120 minute
TDK blank DAT tapes added into the deal.  I will not receive my deck
until next Friday as the store had none in stock, but I do have the
demo deck here at home now and will have it until Sat.  My questions are:
1) Is this a decent price??  I believe the $798 is retail, but the 8
tapes are ~$100 which seems to be the standard price cut.
2) Is this a reliable deck??  The warranty is 3 years parts and labor
and I can bring it in to the store I purchased it from.
3) How does this deck compare to the Technics comparable model.
	( I prefer the lack of "gadgets" on the Sony ES series, it has a
		 "cleaner" look.  )
Any general comments are also appreciated.  E-mail is fine unless the
comments are of general interest.

I heard the deck in the store with ?? pre-amp, VTL monoblocks and 
Snell type A/III loudspeakers.  The sound on a demo type consisting
of a variety of music was very impressive.  Jazz sounded lively and
the performers were easily and concretely located.  Organ music was
_powerful_.  The VTL's and the Snell's had alot to do with this I
know.

Thanks in advance.
Newsgroups: rec.audio
From: dave@pipi.iis.u-tokyo.ac.jp (David Wuertele)
Subject: Re: Sony STR-790 *problems*
Organization: Institute of Industrial Science, University of tokyo.
Date: Sun, 3 Jan 1993 00:39:55 GMT

In article <1i0g77INN771@usenet.INS.CWRU.Edu> ch218@cleveland.Freenet.Edu (Erik A. Horn) writes:
> Don't buy Sony.  Their entire STR line seems to have 
> problems.  I ran the one I had into the ground and now
> have to buy a new reciever. If you can, I would take it
> back.  The problem with mine though, was in the heat
> sink I believe, due to the massive heat it produced,
> and it constantly shorted out.  Good luck with yours
> though.

I support this recommendation:  I had an STR-550 for I don't know how
long, and it was always on the blink.  It started with the tuner going
bad, which kept going bad no matter how many times I got it fixed.  Then
the remote, then the display, then the front panel controls.  I usually
only listened to CDs, and if I left it turned on (always) and left it in
AUX mode it wouldn't complain.  Since I'm pretty lazy, I was somewhat
satisfied to keep it in that condition...

Dave
From: andrew@alice.att.com (Andrew Hume)
Newsgroups: rec.audio
Subject: Re: Vandersteens and Stereophile
Summary: the 2ce's are not reviewed yet
Date: 28 Dec 92 06:18:07 GMT
Article-I.D.: alice.24492
Organization: AT&T Bell Laboratories, Murray Hill NJ



	the vandersteens have been a class C speaker for
at least a few years. the problem is that the last incarnation
reviewed was the 2ci; a review of the 2ce is forthcoming and so
they are in class k which means ``try these''.
	in all likelihood, given the vandersteens history of
slow gradual improvement, you can probably go with the reviews
of the 2ci and see if the 2ce's remedy of teh problems of teh 2ci's.
Newsgroups: rec.audio
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: WHY NOT USE A BIGGER DISK FOR SONY MD?
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Tue, 22 Dec 92 16:23:22 GMT

Gee if Sony used a bigger disk for MD, eg. the size of a CD then
they would no longer have to use ATRAC for data compression but
could record full bandwidth on the disk. It would have also meant
they wouldn't have a proprietary format. The last thing Sony wants
is to be compatible.

At least with DCC, Phillips wanted compatibility with standard 
cassettes and so had to use data compression to acomplish it.

MD will go into the 'Sony Hall of Shame' along with Elcassette, Beta,
etc..
From: chased@rbbb.Eng.Sun.COM (David Chase)
Newsgroups: rec.audio
Subject: Re: CD Sound (again?)
Date: 29 Dec 1992 20:56:13 GMT
Organization: Sun
NNTP-Posting-Host: rbbb

kong@leland.Stanford.EDU (Kong Kritayakirana) writes:

>From: chased@rbbb.Eng.Sun.COM (David Chase)
>>When people say "oversample", I believe that all they mean is to
>>repeat the sample value 2, 4, or 8 times.  I don't think they
>>interpolate, though they might.  This sounds crazy, but it isn't.
               ^^^^^^^^^^^^^^^^^
>Nope. They insert 1, 3, or 7 zeros between samples (corresponds to 2, 4, 
>and 8 times oversampling respectively) and then pass the zero-inserted 
>signal through a digital low pass filter that interpolates nicely 
>between the points.

So what you are saying is that they do interpolate, and that they
implement this interpolation with a digital low-pass filter?  That
is, I didn't provide you with an easily contradictable paragraph, so
"nope" is a little confusing.  Can you provide an example of what one
of the filters would look like?  For example,

   out(i) = out(i-1) + in(i)/2 + in(i+1)/2 - in(i-1)/2 - in(i-2)/2

ought to give you linear interpolation at the zero points in 2x
oversampling, if I didn't screw it up too badly.  (Assumption is that
signal at the non-zero points is equal to the original signal.  If

   out(i) = in(i), (i is one of the non-zero sample points)

then (substituting elementwise into the formula above)

   out(i+1) = in(i) + 0 + in(i+2)/2 - in(i)/2 - 0

            = (in(i) + in(i+2)) / 2.

A similar step gets out(i+2) = in(i+2).)

David Chase
Sun