HDTenEightyP/NetNews huggingface dataset:
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: ATTN: Dave Jensen
Date: 7 Oct 92 17:59:26 GMT
Distribution: usa
Organization: Grass Valley Group, Grass Valley, CA

Dave your mail bounced.  I realized that I haven't noted a correct
Email address in my "Rolodex"....Please respond!

-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.
Newsgroups: rec.audio.pro
From: jrusby@darkwing.uoregon.edu (Jim T. Rusby)
Subject: Re: The Emperor's new A/D converter
Organization: University of Oregon Network Services
Distribution: rec
Date: Thu, 15 Oct 92 23:37:40 GMT

In article <TONYB.92Oct15155352@titania.juliet.ll.mit.edu> tonyb@juliet.ll.mit.edu ( Tony Berke ) writes:
>Someone recently posted an article mentioning having seen an
>"Affordable" A/D converter from Apogee.  I guess the term is pretty
>relative, but I just saw one of their units, and it retailed for
>$2000.00.  This doesn't particularly meet my personal definition for
>affordable, but I might be able to work something out, if there's a
>point.
>
>So, to all you outboard A/D users out there, I have a few questions:
>
>
>1) Do you *really* hear a difference (between it and a reasonable
>   A/D in a DAT deck), or not?
>Tony

I'm away from my literature files right now, but I think Bob Hodas did a
series of blind listening tests on various converters last year and
summarized the results in Mix.  Ill email you the issue nos-

I had access to a lex 300 for a year, and did a bunch of comparative
recordings between it as an a/d and the a/ds in my sv3700 machines.  I did
notice the difference in the area of clarity during complex or quiet passages.

I was impressed with the difference enough to buy one, but only after a
year of comparison with the material I usually record.  Now, I'm bound to
tell you it makes a difference so I feel like I made the right decision.
The emporers new clothes, right?  
The biggest area of difference is in using an external with a "low cost"
portable dat.  I used the lex 300 with a $600.00 casio dat and it sounded
great compared to the somewhat grainy sound the casio a/d s had.

I think the selection of a converter should be done by actually using the
proposed model in the field on the material that is your bread and butter.

This isnt scientific,  but it is you that chooses to shell out the
dollars.


Good luck-jr
From: moskowit@panix.com (Len Moskowitz)
Newsgroups: rec.audio.pro
Subject: Re: 24 db crossovers
Date: 11 Oct 92 02:52:32 GMT
Organization: PANIX Public Access Unix & Internet, NYC

In article <boing.718595329@mcl> boing@mcl.ucsb.edu (Geff Hanoian) writes:
>
>	Can anyone please tell me how to build 24 db / octave crossovers.
>	I'm a college student and I can't afford to pay a dealer $400 for
>	things.  I want a 3 Khz high pass at 24 db and a separate 3 khz
>	low pass.

Do what I did: buy a pair of 24 dB/octave crossover board kits from
Marchand Electronics (their address is in Speaker Builder or Audio
Amateur).  I paid under $60 for my pair.

Great sound.  Great price.
-- 
Len Moskowitz
moskowit@panix.com
Newsgroups: rec.audio.pro
From: muller@world.std.com (James L Muller)
Subject: Re: Review of Sabine FBX900
Organization: The World Public Access UNIX, Brookline, MA
Date: Thu, 8 Oct 1992 05:25:25 GMT

In <1992Oct7.170326.9040@iccgcc.decnet.ab.com>
   jonesr@iccgcc.decnet.ab.com writes:
>	
>I thought there might be some
>interest in just how well it [the Sabine FBX900 Feedback] works.

Yes, I am interested.  I've been wondering a bunch of things about it,
besides whether it works!  Given the price, I'd assume it does work.

>When I played music, there were audible changes to certain types of
>music, and the LEDs on the front of the box indicated it was very, very busy.

That makes sense.  I've been trying to figure out how it identifies feedback.
Any easy way seems to have a chance of mistaking real music for feedback,
especially if the music comes from a potentially monochromatic source from
an electronic instrument.  Voices, on the other hand, should be easily
identified as real music.  Indeed, your experience verifies that conclusion.
I gather it doesn't have much in the way of adjustments for sensitivity
or other detection parameters.  I'd expect if it did, it would lose some
simplicity-of-use, probably a valuable feature for most potential users.

Just curious, have you noticed any phasing effects?  Or any sorts of
feedback-induced modification of the sound that it can't get rid of?
Feedback is dependent on the phasing between the original and amplified
sound, with out-of-phase sound causing a limiting of the output.  Nothing
can help this, not an equalizer or anything.  Certainly the Sabine thingy
can't.  I'd expect this to be a more noticeable problem at lower frequencies.
Have you ever observed this sort of unfixable problem?

-- 
Jim Muller  muller@world.std.com
From: tonyb@juliet.ll.mit.edu ( Tony Berke )
Newsgroups: rec.audio.pro
Subject: The Emperor's new A/D converter
Date: 15 Oct 92 19:53:52 GMT
Distribution: rec
Organization: M.I.T. Lincoln Lab: Fine Food and Coffee

Someone recently posted an article mentioning having seen an
"Affordable" A/D converter from Apogee.  I guess the term is pretty
relative, but I just saw one of their units, and it retailed for
$2000.00.  This doesn't particularly meet my personal definition for
affordable, but I might be able to work something out, if there's a
point.

So, to all you outboard A/D users out there, I have a few questions:


1) Do you *really* hear a difference (between it and a reasonable
   A/D in a DAT deck), or not?

2) Do you feel that the difference was worth the cost, when compared to
   spending an equivalent amount elsewhere in the signal chain?

3) Was *was* the cost referred to in #2?


The unit I was looking at had some interesting features, most notably
a built-in soft and hard limiting circuit.  The mechanical
construction was beautiful.  Both of these features could be
duplicated by purchasing a Urei compressor, for quite a bit less than
$2000.00.  A bit of soft limiting kicking in a bit before 0dB should
let me record live material into an existing deck at slightly hotter
levels without so much fear of accidental clipping. I can easily
imagine that the benefits of this would be audible.  Certainly the
lack of the occasional clipping (during applause, overenthusiastic
musical passages, etc) will be *clearly* audible.

The salesdude in the store played me a DAT tape that he claimed showed
a "dramatic" difference when the Apogee was used. He said that the
main difference was to be heard as a "tightening up of the bass".  The
tape was prepared by playing a track off of a CD through the analog
outputs of the player, and then into a Sony PCM2300 DAT's analog
inputs.  Then the process was repeated using the Apogee and the 2300's
digital inputs.  I listened to the two selections through the pro
version of Sony's MDR-V6 headphones, amplified by the built-in phone
jack in the 2300.

Before participating in this "test", I was thinking, "gee, if I
actually hear a difference under these [bogus] circumstances,
this Apogee thing is magic".

After the test, I was thinking, "gee, is this guy going to think I'm a
complete nitwit because I'm going to tell him I heard absolutely no
difference, execept for the two or three dB of extra recording level
used during the Apogee selection?"

This was an absurd way to try to demo the product.  I imagine that
some sort of test using live material, two decks, and careful level
matching might allow for some sort of meaningful comparison.  Would
anyone care to suggest a more convenient method, preferably one that
has yielded audible differences between coverters in actual use?  I'm
sufficiently skeptical at this point that I'm not sure that I want to
arrange for a weekend loaner, so it would be nice if something using
prerecorded material could be devised.

Thanks,

Tony
From: nuke@reed.edu (Bill Newcomb)
Newsgroups: rec.audio.pro
Subject: Re: help on locating obscure battery
Date: 7 Oct 92 18:26:00 GMT
Article-I.D.: reed.1992Oct7.182600.26539
Organization: Reed College, Portland, OR

In article <1992Oct7.155917.24953@nntp.uoregon.edu> jrusby@darkwing.uoregon.edu (Jim T. Rusby) writes:
>
>I'm trying to locate a source of batteries for an old but serviceable
>wireless mic.  The battery is an Eveready E289  12.6 volt mercury battery.

Have you tried Radio Shack? It seems like every time I have a need for a
bizarre battery, they have it. I think they also have a special ordering
service for really weird batteries. Give it a try.

nuke
--
~/.oo
Newsgroups: rec.audio.pro
From: Dave J <djensen@claven.idbsu.edu>
Subject: Re: L-C-R Panning Survey
Organization: Morrison Center for the Performing Arts
Date: Wed, 7 Oct 1992 22:09:41 GMT

In article <BvrAFL.4rz@world.std.com> muller@world.std.com (James L Muller)
writes:

>The original posting was more or less a call for opinions of desirability.
>Perhaps the poster is thinking of marketing it???
>>-- 
>Jim Muller  muller@world.std.com
>

Actually the concept already exists on the Ramsa 900 console. Another small
manufacturer, Walker Audio, offered it about 5 years ago before going belly up.
About 4 years ago the concept was discussed quite a bit at AES. I have been
patiently waiting to have it show up on consoles.

One very real need for it is in churches where there is a permanent center
cluster, which is optimized for speech, and a stereo pair of speakers optimised
for music. I want it for my performing arts center where I also have a
permanent center cluster and will soon be adding the stereo clusters. 

Just imagine the effect of having a dry solo vocal coming from the center
cluster while the stereo reverb projects only from the stereo pair. Background
vocals can be placed around the center. Doubled versions of the solo voice
could also be panned mostly to the out side. This is obviously going to work
best on well-designed clusters.

I would think one advantage of the center cluster is that you will get a more
stable center image at all seats than you would get with stereo only. 

The main advantage for me, however, is being able to deal with essentially two
systems (center and stereo pair), each optimized for different purposes. I was
hoping there were other advantages I hadn't thought of. 
  
Dave
From: boing@mcl.ucsb.edu (Geff Hanoian)
Newsgroups: rec.audio.pro
Subject: 24 db crossovers
Date: 9 Oct 92 01:48:49 GMT


	Can anyone please tell me how to build 24 db / octave crossovers.
	I'm a college student and I can't afford to pay a dealer $400 for
	things.  I want a 3 Khz high pass at 24 db and a separate 3 khz
	low pass.

	thanx
	boing
--
----------------------------------------------------------------------------
|  Nakamichi, Precision Power, AVI SOUND, and Monster Cable Speaker Wire.  |
|    boing@mcl.mcl.ucsb.edu     University of California, Santa Barbara    |
----------------------------------------------------------------------------
Newsgroups: rec.audio.pro,rec.music.synth
From: mbl@media.mit.edu (Marc LoCascio)
Subject: Re: AES Anyone??
Organization: MIT Media Laboratory
Date: Thu, 8 Oct 1992 08:11:36 GMT

In article <1992Oct2.224808.18207@cmcl2.nyu.edu> galanter@nyu.edu (Philip Galanter) writes:
>Did anyone out there go to AES?

yep, just got back.  i saw more new gear than i care to think about.

>Did you get to listen to the Tascam digital 8 track?

nope.  no one did.  they had one unit there (serial number 1) that had a
tape in it and had the counter moving, but it wasn't hooked up to audio.
(contrast this with the fact that exactly a year ago at AES Alesis was
demonstrating a 16 track ADAT system recording and playing back through a
good sound system (meyer HD-1's) in a decent audio space.)  the unit will
be more expensive than the ADAT, is lacking crucial ADAT features (digital 
track bouncing as a glaring example), and was overall a major disappointment
of the show.

>Any news from Lexicon on new effects?

no new effects, though they did show a new 20-bit A/D converter that
digidesign is OEM'ing for Protools.  they also had a single rack space
digital format converter box.

>Does Fostex have an ADAT response product in the wings?

yep.  in a highly publicized move, they announced that after careful 
comparison of the new digital 8-track formats (i.e. ADAT vs Tascam) that
they were licensing the ADAT technology from Alesis and would start selling
ADAT compatible machines sometime next year.

things don't look very promising for Tascam in the low end digital audio
field.

there's alot more that i could say about the show, but after a 6 hour plane
ride and wading thru 400+ r.m.s messages from the last week, i'm not much
in the mood.

Marc LoCascio	(mbl@media-lab.media.mit.edu)
Newsgroups: rec.audio.pro
From: mpdavis@uncc.edu (Michael Parker Davis)
Subject: Re: Inexpensive 4-track recorders
Reply-To: mpdavis@uncc.edu
Organization: University of NC at Charlotte
Date: Fri, 16 Oct 1992 16:37:14 GMT

get a TASCAM product .. it is the cadillac in that price range, and it
retains it's resale very well(if you goof , you can recover).  Please post the fromat 
of tape you desire.. cassette.. 1/4 inch.. will you be synchronizing to it.
---
________________________________________________________________________________
 mpdavis@unccsun.uncc.edu   |    My motto  :  "Boogie til ya puke."
 Michael Davis              | Your Warning :  My computer has been equipped with
 Univ. Of N.C. at Charlotte |                 airbags.  Who needs caution now!
--------------------------------------------------------------------------------

Newsgroups: rec.audio.pro
From: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Subject: Re: Carver????
Organization: NASA Langley Research Center and Reptile Farm
Date: Wed, 14 Oct 1992 00:08:26 GMT

In article <1992Oct13.155858.8120@ac.dal.ca> cullen@ac.dal.ca writes:
> I believe that the only way to use carver amps is to use ungodly 
>gauge wire in the electrical system supplying them.
>
>In other words, don't wire fifty feet from the panel with 14/2, 
>and call it a fifteen amp circuit for carver amps. This is code use 
>but the Carvers put a drain on the circuit during transients and cause a
>voltage drop in the wire. 

This is absolutely true.  The Carver amps don't have much power reserve,
and really do need to draw goodly currents from the line for short transients.
But, it's true for all amps, just more so for the Carver amps with their trick
power supplies.  When I swapped the 30 ft. 14 AWG line from my stereo amp for
an 8 AWG line, there was a definite change in the sound, this with a class A
amp that would be least likely to suffer changes due to power line drops.

Why an 8 AWG line?  Well, I had an extra 200 ft. left over from something else.
I didn't expect any change, other than in increase in safety (due to the
failing insulation on the old line).  But, I am a believer now.
--scott
From: jhenders@jonh.wimsey.bc.ca (John Henders)
Newsgroups: rec.audio.pro
Distribution: world
Organization:  One of these days for sure
X-News: HERMES MMAIL 1.04 Rev. Sep  5 1992
Subject: Re: Carver????
Keywords: amps
Date: Mon, 12 Oct 1992 15:14:54 -0700

In <1992Oct12.045423.7707@yenta.alb.nm.us> bo@yenta.alb.nm.us (Bo Farley) writes:

>I have an opportunity to pick up some Carver PM 2.0 amps REAL cheap. 
>Can anyone out there give me any specs on these doods. What is there rated
>output at 4 ohms? will they REALLY run at 2 ohms? are they reliable?

   Not to start the Carver religious war again, but my experience with
Carver is mixed. I really wouldn't trust them at 2 ohms, and I'm
somewhat sceptical about their performance at 4 ohms under hard driven
conditions. I put 4 EV 1202's on a PM1.5a in a piano bar I did the
install on, and it worked fine, but in that situation, it was never run
near it's maximum output. I've heard, and have had a friend have
problems with the same amp in a disco system. 

    Personally, I've heard them appear to run out of steam when driving
the low end in a disco. If the kick drum is at a moderate tempo,  I can
hear the bass line on synth or bass guitar momentarily drop in volume 
after a kick beat. This is with each Carver fed from it's own 15amp
circuit directly from a panel, which is the only way to assure the
Carver gets enough power to work at it's claimed design limits, and even
there, the whole idea of trying to draw power direct from the wall
rather than storing reserves  in capacitors like conventional amplifiers
just doesn't seem to work in  practice as well as it does on paper. I
know the damping factor on their published specs goes for a big dump at
<8 ohms, but recent comments from people on rec.audio seem to claim that
damping factor is not as important as manufacturers would lead us to
beleive.

>I'm really a Crown/Crest man but the deal i real good and my monitors could
>really stand to be Bi-amped!!!!   

    If your monitors have 2" horns, or you don't mind the overkill, I
can't  see any reason to not use the Carvers to drive the top end in a
bi-amped monitor situation. Under those circumstances, like the piano
bar I described, the amps  should be trouble free, and you'll certainly
have no problem with a 4 ohm load. Even 2 might be safe. When run like
this, they certainly sound fairly good, also.

-- 
       John Henders      jhenders@jonh.wimsey.bc.ca
    I think your "evolutionary scale" needs an adjustment.  Either 
      that, or you've got your thumb on it. -> (lefty@apple.com)

Newsgroups: rec.audio.pro
From: gfl@hera.uucp (22402-lenahan)
Subject: Re: Carver????
Organization: Bellcore, Livingston, NJ
Date: Tue, 13 Oct 92 13:43:58 GMT
Summary: interpretign specs
Keywords: amps

> >I have an opportunity to pick up some Carver PM 2.0 amps REAL cheap. 
> >Can anyone out there give me any specs on these doods. What is there rated
> >output at 4 ohms? will they REALLY run at 2 ohms? are they reliable?

I'm not familiar with the exact model you're interested in, but
be aware that specs are rather shaky with Carver's unorthodox
power supply.  It does not have the storage capacity of traditional
"brute force" supplies, and is therefore very dependent on
AC impedance to make its ratings.  Transients, particularly,
are affected by this "store it in the wall" arrangement.
So, beware of the pure specs, and particularly beware of
them at low-Z's.

Grant
From: matthews@eecs.ucdavis.edu (Thomas W. Matthews)
Newsgroups: rec.audio.pro
Subject: Altec 811-B horns
Date: 12 Oct 92 23:06:21 GMT
Organization: Division of Electrical Engineering and Computer Science, UC Davis

Does anyone know where I can obtain frequency response and ploar plots for Altec
811-B horns?  I've got a pair I'd like to use in a PA system, but they sound
to me like they've got quite a boost around 1 KHz (I haven't used any test equip.
yet so that's just a guess).  Also, are diaphragms for these horns still
available?

Tom Matthews
From: jneher@darkwing.uoregon.edu (Jonathan Neher)
Subject: Recording Equipment Forsale
Organization: University of Oregon Network Services
Date: Wed, 7 Oct 92 23:58:43 GMT



OTARI MX-5050 MKIII 1/2-inch 8-track			$2200.00

OTARI MX-5050 SD2 1/4-inch 1/2-track (2-track)		 $500.00

Yamaha MR1242	12-channel recording mixer		 $800.00

All for							$3200.00

All in excellent condition.

Terms:  Cash or Cash Equiv. before shipping or at pickup. 
	Will split shipping costs in U.S.

For More Information:

Jonathan Neher
jneher@darkwing.uoregon.edu
(home) 503-747-3162
(work) 503-346-1731
From: bo@yenta.alb.nm.us (Bo Farley)
Newsgroups: rec.audio.pro
Subject: Carver????
Summary: none
Keywords: amps
Date: 12 Oct 92 04:54:23 GMT
Organization: yenta unix pc, rio rancho, nm

I have an opportunity to pick up some Carver PM 2.0 amps REAL cheap. 
Can anyone out there give me any specs on these doods. What is there rated
output at 4 ohms? will they REALLY run at 2 ohms? are they reliable?
I'm really a Crown/Crest man but the deal i real good and my monitors could
really stand to be Bi-amped!!!!   Thanx in advance!  Bo Farley
.
From: mrmike@geta.life.uiuc.edu (Mike McCaughey)
Newsgroups: rec.audio.pro
Subject: Re: Demise of a Pro Audio Magazine....
Date: 8 Oct 92 20:59:20 GMT
Article-I.D.: geta.mrmike.718577960
Organization: University of Illinois at Urbana

chrisc@gold.gvg.tek.com (Chris Christensen) writes:

>I received my copy of R-E-P yesterday.  The editorial noted that by the
>time I received the mag it would be offically dead.......

>I quickly went and found the first copy that I ever got.

>Volume 1 number 2  June/July 1970

>It was a useful periodical.  Recording Engineer/Producer  1970-1992

Sorry to see it go...but it's been difficult to find around here for
years.

Speaking of dead mags, does anybody know whatever happened to
Modern Recording (later Modern Recording and Music). They used
to put out an annual pro audio buyer's guide that was similar
(but not as complete) as that done by Audio Magazine for
consumer equipment. I haven't seen them since the mid 80's.


mrmike
From: decot@cup.hp.com (Dave Decot)
Newsgroups: rec.audio.pro
Subject: Re: Variable speed tape players
Date: 13 Oct 92 19:28:47 GMT
Article-I.D.: cup.Bw2rG0.BwB
Organization: Hewlett-Packard
X-Newsreader: TIN [version 1.1.4 PL6]

Peter Groblicki (pgroblic@revpjg.gmr.com) wrote:
> I'm looking for a variable speed tape player for a friend's dance group.
> Saturday, we were reducing the speed of a dance by 20%, so we need more
> than the +/- 6% pitch control seen on some decks.  I've heard a lot of
> negative comments about the reliability of Marantz.
> 
> In the most recent catalog from Supreme Audio (a firm dedicated to dance
> audio equipment, 1-800-445-7398), they list a Rolls RS72CD dual cassette
> deck with +-20% speed control and a lot of other useful features.  At
> $320, it is priced comparably to the Marantz.  It is claimed to be of
> "Professional quality and commercial grade design".  I have never heard
> of this firm.  If anyone out there owns one, can they comment on it?
> Anyone know anything about the firm?
> 
> I'd appreciate any other recommendations for decks to look at.
> 
> Thanks -- Pete

I just reformatted it so you could read it.

Dave
Newsgroups: rec.audio.pro