HDTenEightyP/NetNews huggingface dataset:
From: syd@en.ecn.purdue.edu (Dennis P Hilgenberg)
Subject: Re: Dolby B/C dubbing on Dual Decks
Organization: Purdue University Engineering Computer Network
Date: Fri, 6 Nov 92 14:13:41 GMT

kayd@prism.CS.ORST.EDU (Kayd) writes:

>I see absolutely no advantage in converting one recorded tape to any other
>type of Dolby encoding.  For instance, B-=>C: The B encoded tape will produce
>a discrete amount of noise that the B filtering cannot filter out.  This 
>noise will become an audible amount, something that WILL be heard.  If you
>then take this NOISE and record it on a C type system, the NOISE will be 
>treated as wanted sound and will be preserved, maybe more accurately, on the
>C encoded tape.  When you play it back, violla, NOISE!

Right, but the amount of _additional_ noise will be less than would be the
case if the copy were encoded with Dolby B or no noise reduction at all.

Also, the capability of making a Dolby B or no-noise-reduction copy of
a Dolby C tape is useful for playback in machines not equipped with the
appropriate noise reduction (e.g. car deck/Walkman/etc.).

>Conclusion:
>	Use your original copy, keep it away from strong magnetic fields,
>demagnetize your heads every now and then, and you'll preserve the best
>signal to noise ratio possible.

Sage advice, provided that the playback equipment affords the correct
noise reduction system.


-- 
Dennis Hilgenberg
syd@ecn.purdue.edu
LaRouche in '96
Newsgroups: rec.audio
From: igb@fulcrum.co.uk (Ian G Batten)
Subject: Re: So? Anyone have dcc yet? (long)
Organization: Fulcrum Communications
Date: Fri, 13 Nov 1992 14:18:05 GMT

In article <KAUTZ.92Nov12132921@hunny.research.nj.att.com> kautz@research.att.com writes:
> the dubbing "problem": high-quality dubbing, probably even for a
> single generation, will be impossible, due to the losses entailed by
> repeated compression and decompression --- much more securely than

Hi-Fi News/Record Review, one of the respectable UK magazines, has said
several times that copies of DCC tapes are perfectly OK --- once the
first compression has reduced the information level low enough to fit in
the bandwidth, it's OK from then on.

I use DAT, so I don't know.   I also have a four-figure outboard DAC, so
I'm not rational either.

ian

Newsgroups: rec.audio
From: sloan@iastate.edu (Eric R Sloan)
Subject: DBX Tweeter replacement
Organization: Iowa State University, Ames, IA
Distribution: usa
Date: Sun, 8 Nov 1992 22:48:22 GMT

HELP!!!!
     
I got WAY carried away this weekend and roasted the ribbon tweeter in my
DBX Soundfield V's. Does anyone know the address or phone # of DBX so
I can get a replacement? Is DBX still in business? If not does anyone
know where I can find a replacement tweeter? Any help in this matter 
would be highly appriciated!


Please post or send e-mail to sloan@iastate.edu
Organization: Misc. student, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.audio
Date: Tue, 10 Nov 1992 21:41:42 -0500 
From: Brian T Cheek <bc2y+@andrew.cmu.edu>
Subject: DCC, MD Limitations

What would happen if you recorded a whisper + loud electric guitar sound
on either MD or DCC.  The whisper would be dropped, correct?

So what happens if you phase out that loud electric guitar, and record
it to another recording?

You'd get blank space.

I hear the flames coming, but listen:  If musicians use either of these
formats for source sampling, when you later go in to edit or
effect-process those sounds, some of the original sound components would
have been dropped, and not be acted on.  Believe me, sometimes it's
those frequencies that give body to the sound.  Nobody actually
pinpoints them, but it sounds different if it's not there.

Why do classical listeners prefer CD's over analog cassettes?
Because they like the dynamic range of the highs and lows.

How can people tell the difference between real pianos and sampled ones?
Real piano strings resonate the other ones.  (Hard to hear, but you
don't want to throw them away, now.

Why will MD and DCC take a LONG time to mature?
1. Record stores can't afford to keep them with the small demand
2. People can't even program their VCR's yet.
3. Smart people will wait for true CD quality, (like DAT now, which
blows the doors off DCC in all areas but analog cassette compatibility
and text information)

All it would take is a smart marketeer to kill both these formats!
BTW, Sony in a recent ad says CD's are for the high end and MD's are for
the rest.  Come on.  We were insulted with analog cassettes once, lets
not go half ass because of a technical limitation now!  (Thats like HDTV
with a lossy compression so it looks like VHS again!)

-Brian :)
Newsgroups: rec.audio
From: bill@bilver.uucp (Bill Vermillion)
Subject: Re: Old 4 pin mic connector?
Organization: W. J. Vermillion - Winter Park, FL
Date: Sun, 8 Nov 1992 15:44:05 GMT

In article <1992Nov8.033033.3527@samba.oit.unc.edu> Curt.Miller@launchpad.unc.edu (Curt Miller) writes:

>	I have an old microphone with the old 4 pin screw tight 
>type connector.  I was wondering if anyone could tell me the proper
>pinouts for making an adaptor to go to XLR and unbalanced 1/4". If 
>anyone knows the answer, please mail me, Thanks!

That connector was typical on such mikes as EV-644s - if I remember
properly.  (Haven't had my hand on one of those in about 25 years).

The 4 pin connector was used so that you could bring the connections
out in either hi-z or low-z connetions.

Look carefully around the base of the mike near the connector.  Many of
the mikes had the instructions engraved into the metal on the mike.

If that doesn't help, it would really be helpful if you named the brand
and model of the mike.


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

Newsgroups: rec.audio
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: dual cassette for unattended recording
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Distribution: rec
Date: Fri, 06 Nov 92 16:54:04 GMT

Yamaha has a dual auto-reverse deck with remote.
You might also check out the Pioneer 6+1 cassette changer.
It can record on up to 6 tapes one after another and features
a seperate autoreverse bay.
Newsgroups: rec.audio
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Why filter D/A output?
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Mon, 9 Nov 1992 06:35:48 GMT

In article <1992Nov8.222911.27702@doug.cae.wisc.edu> loj@cae.wisc.edu (Lo Jeffrey) writes:
>I was wondering if someone out there could answer a question about filtering
>the output of a D/A converter.  Analog filtering, that is.  Why do it?
>If you can't hear anything above 20KHz anyway, why bother going through
>all the trouble of getting rid of the noise up there?  Maybe that's
>cutting it a little close.  But most of the D/A converters made today
>have 8X oversampling or more which puts the noise up around 160KHz.
>Even if you could hear this, I doubt that your equipment could reproduce
>it.  What am I missing here?

I'm not going to go into all the mathematical details of anti-imaging
filters at 1 in the morning, but here's the general idea...

When you come out of the output sample&hold after D/A, what you essentially
have is a staircase waveform....a choppy thing that would sound downright
awful if you tried to listen to it.  However, these steps can be treated
as if they were high-frequency distortions of an analog waveform (that
*isn't* what they are, but it works out the same), and thus, you can
retrieve the proper sampled waveform by filtering out all the harmonics
above 20 kHz.

HOWEVER, building a brick-wall at 20k requires about 12 or so poles, and
that can introduce all sorts of pre-echo and time delay ringing and nasty
junk like that, so usually oversampling is used.  This simply means that
you run the clock 2x or 4x or 8x as fast, you interpolate values to
"fill in" the gaps, thus making the steps a LOT smaller.  Thus, a much
gentler slope can be used to filter.  Oversampling is simply a way to
do some of the filtering in the digital domain.

On record, of course, oversampling is used to run the clock twice as fast
to avoid aliasing.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.audio
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: Dennon vs. Sony
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Fri, 13 Nov 1992 00:23:24 GMT


In article <184245@pyramid.pyramid.com>, lstowell@pyrnova.mis.pyramid.com (Lon Stowell) writes:
|> In article <1992Nov11.005949.17801@viewlogic.com> brad@buck.viewlogic.com (Bradford Kellogg) writes:
|> >
|> >So, you see, the statement was accurate after all!
|> 
|>     Not really,  If you have a dual-op amp IC and one goes bad, you
|>     can always still use the other one.  If you have an octal buffer
|>     IC and one goes bad, there are still 7 left, etc. etc. etc.
|> >
|> >No smiley face needed, I sincerely hope.
|> 
|>      Frankly, I assumed a smiley, given the inaccurate nature of the
|>      posting, the assumption was humor, not lack of knowledge.
|>      
An *analytical* response to a joke. Sheeesh! :-o :-)
From: palane@iastate.edu (Paul A. Lane)
Newsgroups: rec.audio
Subject: Re: Recommendations for bookshelf speakers???
Date: 9 Nov 92 16:19:31 GMT
Article-I.D.: pv7412.palane.721325971
Organization: Iowa State University, Ames IA

In <1992Nov9.023503.24787@constellation.ecn.uoknor.edu> swkong@midway.ecn.uoknor.edu (Sieg Wooi Kong) writes:


>I'm writing in for a friend of mine.
>He's thinking of getting a good pair of bookshelf size speakers.
>He's willing to part with $350++ on it but doesn't know what's the best
>deal on it.

I'd add NHT to the list. I think that the 1.3 speaker fits within his budget
and it sounds awfully smooth. If you want something with some kick, you might
try the Klipsch KG1.
From: dam@dcs.glasgow.ac.uk (David Morning)
Newsgroups: rec.audio
Subject: Re: PNP vs NPN Output Stages
Keywords: Lock
Date: 9 Nov 92 16:21:13 GMT
Organization: Glasgow University Computing Science Dept.

>In article <1992Nov9.113458.16272@EE.Surrey.Ac.UK> R.Bish@EA.surrey.co.uk (Rob Bish) writes:

[An enormous amount of BS deleted]

>>Has anyone else observed this effect, and can they shed any light on the
>>cause? 

No, but we have noticed that the Electrical Engineering department at the
University of Surrey, England must be rather an unusual place to work/study.

Have you tried using a neon polariser on the output stages yet to improve
the planar response of the loudspeaker?
After all, why waste all that energy on the ceiling when you, the listener
are only 6 foot tall?

Dave

-- 
Newsgroups: rec.audio
From: keivjam@elof.iit.edu (James Keivom)
Subject: PLEASE SEND ME INFO ON SONY PORTABLE CD PLAYER D-34
Organization: Illinois Institute of Technology, Chicago
Date: Mon, 9 Nov 92 07:27:13 GMT



I recently spotted the D-34 selling at a suspiciously low price of
$129(at Walgreens of all places).  Does anyone have any information
on this player, or own one.  Can you give me any recommendations or
player problems(i.e. excessive skipping, fragile).

Secondly, i also saw the panasonic cd player SL-33 i think which had
a sticker that claimed it could play for 6.5 hours.  How does it
achieve this? Also what is MASH?


thanks

jim

Newsgroups: rec.audio,rec.audio.pro,comp.sys.ibm.pc.soundcard,comp.multimedia
From: janik@gfx.engga.uwo.ca (Janik Joire)
Subject: Re: Interface Digital Audio <---> Computer ???
Organization: Univ. Western Ontario, London Ont. CA
Date: Wed, 11 Nov 1992 00:10:45 GMT

In article <BxHFx7.KFp@ux1.cso.uiuc.edu>, adcg9841@uxa.cso.uiuc.edu (flannelman) writes:
|> Hey folks.  Does anybody want to answer the original question with respect
|> to the IBM pc?  Some of us have pc's now and are not interested in the
|> NeXT or the Indigo.  I, for one, would prefer that this NOT turn into a
|> comparison of the different platforms, but instead that someone who knows
|> about the latest AES/EBU-type boards for the pc speak up with information.
|> 
|> I thought that the introduction of all those Crystal Semiconductor chips 
|> allowing one-chip (approx) interfaces between DSP's and DATs would give 
|> rise to a number of cheap DSP boards (for the pc) with AES/EBU-type interfaces.
|> I don't know the latest info on such boards.  Anybody got the scoop on
|> stuff from TurtleBeach or Spectral Synthesis?  Last i heard, none of their
|> products seemed wonderful and affordable.  And Ariel's stuff seemed wonderful 
|> although the prices seemed too high by at least a factor of 2.
|> 
|> Anyone?  Anyone??? 

Well, let's see... For PCs, right?

1) Digigram /PCX3 ($5000 and up)
2) Digital Audio Labs /The CardD ($1800)
3) Micro Tech, Unltd /Micro Sound AT ($?)
4) Spectral Synthesis /Digital Studio ($?)

If you need more info, contact me! Prices have been converted and might be
off a little.

				Janik
-- 
-------------------------------------------------------------------------------
Janik Joire                          The University of Western Ontario, Canada
Programmer / Systems maintenance                        Faculty of Engineering
-------------------------------------------------------------------------------
Office Tel: (519) 679-2111 Ext. 8112    | Home Tel: (519) 434-7601
                                        |
E-Mail:	janik@gfx.engga.uwo.ca          | Fax: (519) 661-3292
        janik@melmak.engga.uwo.ca       |      c/o Janik Joire
        janik@charon.engga.uwo.ca       |
-------------------------------------------------------------------------------
From: curt@oasys.dt.navy.mil (Curt Welch)
Newsgroups: rec.audio
Subject: Re: DCC, what and how is it different from other recording media?
Date: 9 Nov 92 16:54:26 GMT
Reply-To: curt@oasys.dt.navy.mil (Curt Welch)
Organization: Carderock Division, NSWC, Bethesda, MD

In rec.audio, whs70@dancer.uucp (22501-sohl) writes:
>I saw a brief commercial on TV last
>night which was hailing the DCC availability from Phillips.  It was
>a Phillips commercial.  What, if anything, is there similar to
>SCMS in the DCC format?

DCC and the Sony MD will both use SCMS.

Curt
Newsgroups: rec.audio
Subject: Boston high-end dealers
From: on@husc10.harvard.edu (Ahmad On)
Date: 5 Nov 92 12:11:33 EST
Distribution: world
Organization: Harvard University Science Center

Could those of you who have bought high-end equipment in the greater
Boston area e-mail me with the names of dealers that you have dealt with?
I'm in the market for a new system and I would like to know which dealers
carry what lines and most importantly, which ones are reliable and
knowledgable and have decent listening rooms. 

Thank you,

-- 
______________________________________________________________________________
Ahmad Z. Che On                |        'I have the simplest of tastes...  
Harvard College                |         I am always satisfied with the best' 
on@husc.harvard.edu            |                                    Oscar Wilde
From: whs70@dancer.uucp (22501-sohl)
Subject: DCC, what and how is it different from other recording media?
Organization: Bellcore, Livingston, NJ
Date: Mon, 9 Nov 92 15:33:47 GMT


I saw a brief commercial on TV last
night which was hailing the DCC availability from Phillips.  It was
a Phillips commercial.  What, if anything, is there similar to
SCMS in the DCC format?

Actually, maybe someone could provide an overview of DCC for those
of us that aren't familiar with it.  What is the actual recording
type (analog/digital?),  physical size, length, recording time
of the tapes, etc.

Standard Disclaimer- Any opinions, etc. are mine and NOT my employer's.
-----------------------------------------------------------------------
Note - If email replying to me with an automatic addressing process
bounces, manually address the resend using one of the addresses below.
-----------------------------------------------------------------------
Bill Sohl (K2UNK) BELLCORE (Bell Communications Research, Inc.)
Morristown, NJ             email via UUCP      bcr!dancer!whs70
201-829-2879 Weekdays      email via Internet  whs70@dancer.cc.bellcore.com
Newsgroups: rec.audio
From: dsblack@iastate.edu (Vilkata TDK)
Subject: Re: Infinity Speakers - Any Comments
Organization: Iowa State University, Ames IA
Date: Mon, 9 Nov 1992 17:35:40 GMT

In <1992Nov9.030822.30189@ns1.cc.lehigh.edu> ptb2@ns1.cc.lehigh.edu (PETER TALAN BERGEN) writes:


>    Has anyone out there had any experience with Infinity Speakers.  I have a
>    set and the tweeters are sh*t.  I've blown three in 2 years and Infinity
>    gives me the run around with warrenty service.  Every time they have come
>    up with a different excuse.  Once they said it was a defect in the
>    manufacturing process which they later denied even existed.  Has anyone
>    else had any trouble with Infinity speakers or their service department.
>    And for the rest of you looking for speakers, DO NOT BUY INFINITY!!!!!!

Personally, I hate 'em.  I've never owned any, cuz I heard how bad they 
sounded.  All of the reviews tend to be good, but I think they sound terrible.
The bass is always wimpy, the midrange (not necessarily the midrange component,
just the middle-ranged frequencies) are muffled, and the treble just sounds 
like breaking glass (except on a breaking-glass sound effect--sounds...
suppressed (for lack of a better word) for that...).
To give an example of how bad they are, a very gullible friend of mine will 
believe everything a retailer tells him and will argue with everything I say
that conflicts with that.  Well, a retailer that he gets a lot of his garbage
from told him Infinity was really good, so he went on a pro-Infinity kick.  
Then a dance at our high school (don't worry; I'm in college now) had Infinity
speakers, and they _really_ sounded muffled and, overall, like very low quality
speakers.  After hearing them, even he agreed with me.
-- 
-------------------------------------------------------------------------------
|                      V I L K A T A     T . D . K .                          |
|                                                                             |
|                     ------dsblack@iastate.edu------                         |
From: millerje@CS.ColoState.EDU (Jeff Miller)
Newsgroups: rec.audio
Subject: Lower priced or used Onk?
Date: 12 Nov 92 22:46:58 GMT
Distribution: na
Organization: Colorado State University, Computer Science Department

I've been looking to buy a fairly high end Onkyo tape deck (single deck, not
dubbing), and a local store will order the model I want (I dont remember the
model off hand) for ~ $600.00.  There MUST be someplace that has Onkyo
equipment at a discount; does anyone know of any that will do mail order, and
is reliable (ie not in NY)

-- 
 _____________________________________________________________________________
|                                                                             |
| "Nuke the unborn gay whales!" |  millerje@cs.colostate.edu  |  Jeff Miller  |
|_____________________________________________________________________________|
Newsgroups: rec.audio
From: gvh@metrosoft.com (Gordon Van Huizen)
Subject: Re: MD and DCC
Reply-To: gvh@metrosoft.com (Gordon Van Huizen)
Organization: Metrosoft
Date: Mon, 9 Nov 1992 19:07:42 GMT

In article <1992Nov9.154959.4372@news.nd.edu> fdeck@grumpy.helios.nd.edu  
(francis deck) writes:
> For my applications, DAT sound quality is very desirable, but the
> price for the machines plus the fairly expensive tapes makes the
> medium unattractive.

Well so far the DCC recorders are at least as expensive as consumer DAT  
recorders and some are in the range of low-end pro DAT recorders.

> If blank DCC's got down to near the price
> of CCs, then I would start a project to transfer all of my vinyl to
> digital, which I cannot afford to do at present DAT prices.

The price may be lower than DAT media but I doubt it will ever get down to  
CC prices. DAT tapes aren't really all that expensive (particularly if  
you're comparing to high-quality CC tapes). If I were going to archive my  
record collection for the rest of my life I'd want to spend the few extra  
dollars and put it on DAT.

> As
> for the sound quality, I am encouraged by reports that there are no
> audible differences.  However, I'd certainly plan to judge for myself
> when, in a couple of years, the market decides which of these
> technologies survives.
> 

They are encouraging. I heard DCC at AES but there was no way to really  
tell in that environment. From what I've read my position is that it will  
be a welcome replacement for CC in casual home recording and car audio  
markets. DAT will still be used for mastering and high-end home use, IMHO.

> Sadly, this may be like the Betamax vs. VHS thing.  Beta was judged
> by many to be the superior format, but for marketing reasons, VHS
> won out.  However, since the average consumer has many other things
> to value than absolute sound quality, DAT may also lose out.

I think your analogy holds up better for DCC vs MD although it isn't clear  
yet which is which. DAT is another critter. The only negative thing about  
DAT vs DCC is cost, and it isn't even THAT more expensive. DAT will have  
its place until something better comes along, and in that market DCC will  
not be a competitor.

-- 
----------------------------------------------------------------
Gordon Van Huizen           vox: 619.488.9411  fax: 619.488.3045
Metrosoft                   gvh@metrosoft.com [NeXTmail welcome]
----------------------------------------------------------------
Newsgroups: rec.audio
From: fcaic@wbst845e.xerox.com (Frank Caico)
Subject: Re: Pro Logic Center channel speakers
Organization: Xerox, Webster, NY
	<1992Nov03.141400.22641@bmerh85.bnr.ca>
	<1992Nov4.173445.6396@keinstr.uucp>
Date: Thu, 5 Nov 1992 13:53:22 GMT


> stud1b53@bnr.ca (Anshu Prasad) writes:
> 
> > Actually, its best if the center channel has the same power as >the
> left/right mains.  In addition to good power handling, one must >be careful
> 
> What do you use for a center channel if your mains are Magneplanar
> MG-III's.  At 6' high by 2' wide, I can't just stick one of these in the
> center if I want to see the screen.  A traditional "box" center channel
> isn't going to tonally matched to the maggies.  Should I just use the
> phantom mode?  _______________________________________ Mike Marks
> 

Actually, you get new mains! :-)

I love the way Magneplanars sound for concert music, but for a Prologic
surround system they just don't cut at as the main speakers.  If you are
watching Die Hard, and something goes Boom it just won't sound the same.

Don't get me wrong - if you have Magneplanars you are obviously more music
oriented than movie oriented. If that is the case then I wouldn't be too
concerned about tonal imbalance. In fact if you get a center channel that
has a good frequency response, then switch your surround system to Wide
mode.  

If you are interested in getting close to Theatre sound at home, then you
will have to get different front channels (Who knows - maybe a subwoofer
would compensate - I don't) to realy get explosive soudn yo get in a good
Dolby theatre.

--
    Frank Caico                                    fcaic@wbst845e.xerox.com 
  +-------------------------------------+-----------------------------------+
    Xerox KBS Competency Ctr.                           
    Bldg. 845-20C                       
    Webster, NY  14580                  
  +-------------------------------------+-----------------------------------+