HDTenEightyP/NetNews huggingface dataset:
From: bill@bilver.uucp (Bill Vermillion)
Subject: Re: DAT sans AD/DA
Organization: W. J. Vermillion - Winter Park, FL
Date: Fri, 2 Oct 1992 15:40:37 GMT

In article <BvGAE6.Ko4@rice.edu> caudle@owlnet.rice.edu (Chris Aaron Caudle) writes:
>Does anybody make a DAT transport only?
>I can get outboard convertors, and I don't
>want to pay for redundant convertors in
>a DAT.  

The only unit I have seen that meets that spec is the Sharp
RS-P1(GY).

This is a portable unit, and the batteries and the AD/DA are in
a screw on pack.   The unit by itself just had digital in and
out with an AC adaptor connector.

Don't know if the unit is available separately.

It is being sold as a complete unit, with car mounting bracket,
car cassette player adaptor, car cigarette lighter power
adaptor, AC adaptor, and connecting audio cables at $499
through Damark.   

Without the AD/DA battery pack connected that sucker is SMALL.

-- 
Bill Vermillion - bill@bilver.oau.org  bill.vermillion@oau.org
                - bill@bilver.uucp 
                - ..!{peora|ge-dab|tous|tarpit}!bilver!bill
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Printing cassette J-cards
Date: 29 Sep 92 01:24:53 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Sep27.163008.18971@news.columbia.edu> 
gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>Does anyone make die-cut J-cards suitable for laser printers?  Avery makes
>great laser cassette labels, but now I need J-cards....

>Any sources?

I use pin feed pre scored cards from Polyline (PolyWest) I have both
single flap and dual flap.

The single flap is folded three up and works fine through my laser printer
when set to legal length.  The dual flap is two up and wil work the
same way.

I use a simple work processor and get nice looking J Cards.

Polyline corp
1233 Rand Rd.
Des Plaines Ill 60016
312-298-5300

I buy my tape, boxes etc from them too.
-- 
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: syoung@Cadence.COM (Scott Young)
Subject: Tascam problem
Organization: Cadence Design Systems, Inc.
Distribution: na
Date: Mon, 28 Sep 1992 17:35:40 GMT

A question about my tascam.

This weekend while using my tascam (porta01) the fast forward and rewind
function's ceased to work. It still play's and record's but no FF or rew
any idea of what the problem is before I send it out for who knows how
long to get it repaired ?

Please help , this is my baby ......

WWAAAAAAAA....... am I bummed.

     *********************************************************************  
     *        {{{{{{{{{{{{{{{{{{{{{IN STEREO}}}}}}}}}}}}}}}}}}}}}        *
     *		   	      where available                            * 
     *********************************************************************
Newsgroups: rec.audio.pro,rec.video.production
From: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Subject: Audio-Technica Shotgun
Originator: kludge@grissom.larc.nasa.gov
Organization: NASA Langley Research Center and Reptile Farm
Date: Sat, 26 Sep 1992 14:41:27 GMT

I am searching for an Audio Technica AT9300 short shotgun mike.  This is
actually a pretty cheap consumer video device, and it appears to be out
of production.  However, I need this particular mike because of the way
the interference tube is constructed; I want to attach it to a differently
constructed cartridge.  I've managed to find one of the things, but I am
not able to find a second.

If anybody has one of them in their back room, or knows someone who has
one for sale, I'd appreciate knowing.  I might be willing to trade a decent
quality mike for one of the things.
--scott
Newsgroups: rec.audio.pro
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Does spaced omni ever really work?
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Tue, 29 Sep 1992 21:02:08 GMT

In article <TONYB.92Sep29142112@titania.juliet.ll.mit.edu> tonyb@juliet.ll.mit.edu ( Tony Berke ) writes:
>
>   ...  Hypers are also much better and pulling in
>   distant sounds than omnis or cardioids are (great for
>   chorus-in-back-of-orchestra jobs (though in those setups I'm inclined
>   to put a separate pair on the chorus and mix it in on the fly))...
>
>Just out of curiosity, do you put a delay in line with the pair you hang
>over the chorus?  If not, what happens to the imaging?

Funny you should ask!  This came up recently in a recording we did at
Columbia last year.  The venue was a *very* live space.  We had always
gotten very good results with a two-rig setup (i.e. one over the
orchestra, another over the chorus), but I feld that we never got
quite as clear a rendition of the diction on the chorus as I would've
liked.  Last spring we tried it with the orchestra (on a Schoeps
Sphere) going in direct, and the chorus (pair of Schoeps MK41
hypercardioids at about 120 degrees out) going in thru the delay (I
don't remember the setting...it's in my recording logs) and the
results were very impressive.  It enhanced the clarity of the chorus
quite a bit.  This is not to say that I was in any way dissatisfied
with the imaging we were getting...it's all a question of the acoustics
of the recording venue, obviously.

To be honest, I have not yet sat down with that recording (I only
finished the post on it recently, actually) and compared it A/B style
with a recording made with the same microphones and performers but
sans delay (of which I have several).  I'll try to do that in the next
few days and report back.  But the answer is, the idea of delaying the
chorus just a smidgen is not at all a bad one, though it's quite
dependent on the space you're in and what it's doing to the sound.


--
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
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Monitors for small control rooms
Date: 5 Oct 92 17:36:23 GMT
Article-I.D.: gold.5377
Organization: Grass Valley Group, Grass Valley, CA

In article <HUOPIO.92Oct1223736@surukuku.cc.lut.fi> huopio@lut.fi
(Kauto Huopio) writes:

>If you can reach these, and you need just passive speakers, try to
>find who imports Genelec speakers and try to find if they have Genelec
>Biway in their line. Small units, marvellous sound. They need quite a
>lot of power to sound nice but anyway, IMHO, Good Speakers.

I have heard a Genelec satellite/sub woofer system.  It did sound very
nice indeed.  I 'specially like the geometry of the cabinets.  I am
sure that Kauto likes them because because they are made in Finland! :-)

-- 
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: rlescarbeau@williams.edu
Subject: For Sale
Keywords: For Sale
Organization: unknown
Date: Sun, 27 Sep 1992 15:57:56 GMT

I have 2 DBX Model 150 Type 1 Noise Reduction Units for sale.
They are rack mountable (19") and take one rack space each.
They are both in excellent working order, however I do not have
original packing or docs.Make an offer by E-mail: rlescarbeau@williams.edu
or by phone (413)458-4080 EST.
From: lionel@cs.city.ac.uk (Lionel Tun)
Newsgroups: rec.audio.pro
Subject: Induction loop recommendations?
Date: 28 Sep 92 17:06:01 GMT
Organization: City University, London

I was thinking of hacking together an induction loop system myself
for our church hall, but I've chickened out and would like
recommendations for commercial offerings. What do I have to look
out for, what are good makes and how much should we spend?
Thanks.


--
Lionel Tun   (lionel@cs.city.ac.uk)
Vision Group, City University, London, EC1V 0HB. 071-477 8000 x 3889
Newsgroups: rec.audio.pro
From: hordyc@ursa.calvin.edu (Carl Hordyk)
Subject: Mic info
Organization: Calvin College
Date: Mon, 28 Sep 1992 13:16:39 GMT

This information was mentioned in an earlier posting, but at the time I didn't
think to write it down.  Could Anyone E-Mail me the address for Josephson
Engineering?  Also, Does anyone know about a new "Sphere" Mic by Neumann?
I know that "Sphere" is most likely a regestered trademark of Shoeps, but I 
couldn't think of a better way to describe it.

Request for recomendations:

I am interested in purchasing a pair of mics for stereo recording.  At this 
point the price range is around 800-1400/mic.  I know this has the potential 
of becoming a rats nest of "favorites", but if you E-Mail me with your choices
I will gladly post a summary in a week or so.  Please include addresses and 
phone numbers of US Distributors.  BTW my current setup is a pair of Neumann
KM-84 (cardioid) in an ORTF configuration.  I record live to two track (DAT)
in a rather nice sounding 1011 seat auditorium.  Masters are edited on a DAW
(Dyaxis).  Most concerts are band, orch, or choir, with at least one huge 
"Festival".

Thank you for your help.
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Newsgroups: rec.audio.pro
Subject: Re: Does spaced omni ever really work?
Date: 30 Sep 92 02:46:28 GMT
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University

In article <5312@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
>looking at that and
>interperting the polar plots that I have I can see where most mic
>maufacturers don't publish those specs....

If they showed you that stuff, no one would buy the microphone.

>>>Close micing, distance micing, recording or sound reinforcement the
>>>off axis response is very important to me!
>
>>Agreed, but you have to agree that off-axis response is *more* important
>>in two-mike stereo than it is in close-miking.
>
>With out a doubt!  I agree 100 % I think I expounded on this a bit in another
>posting :-)

But what it comes down to is while you can reasonably get away with using
less-expensive mics for close miking, it becoms significantly more difficult
to do that when you're trying to make good stereo recordings, which is why
high-end mics like B&K, Schoeps, etc. are held in such high regard for
stereo recording.


--
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.pro
From: Mike J. Brown <mjbrown@magnus.acs.ohio-state.edu>
Subject: dbx dynamic range expander - help
Organization: The Ohio State University
Date: Fri, 2 Oct 1992 01:21:22 GMT
X-Mailer: ELM [version 2.3 PL11]

Some time ago I inherited a piece of audio equipment I'm not fully
sure what to do with.  It's a dbx dynamic range expander.  Apparently
you plug two tape decks into it.  There are two levers on the front,
one marked 'expansion' (1.0-1.5) and one marked 'transition level'
(hash marks but no numbers).  There are 3 LED meters for high, mid, and
low frequency bands, -20dB to +12dB each, with 'gain change' marked
below them.  As you can guess, I don't have the manual for it.  Can
anyone help me out as to exactly what it does, how, and more importantly
how to properly use it?  I've played around with it and figured out a
way to use it to filter surface rumble from records, but beyond that...

Any help much apprec.,
Mike
From: LLH111@psuvm.psu.edu
Newsgroups: rec.audio.pro
Subject: Address of JPW ?
Date: 3 Oct 92 05:19:20 GMT
Organization: Penn State University

Does anyone know the address, or preferably the phone number, of
JPW loudspeakers?
Thanks in advance.
Richard
Newsgroups: rec.audio.pro,alt.stagecraft
From: bernstei@romeo.cs.colorado.edu (Michael Bernstein)
Subject: Re: Theatrical Sound
Organization: University of Colorado at Boulder
Date: Tue, 29 Sep 1992 19:51:03 GMT

In article <!9_pnvc.wisner@netcom.com> wisner@netcom.com (Bill Wisner) writes:
>bernstei@romeo.cs.colorado.edu (Michael Bernstein) writes:

>>                      But as amplification became first possible and then
>>practical, and actors got more expensive, it became more and
>>more attractive..especially so for musicals, because it's hard to get
>>actors/singers who can be loud enough and musicians who can be quiet
>>enough so that all can be heard in a large hall.  This gets harder and
>>harder with more musicians.
>
>You have a point.  But that's not the only explanation for amplification
>of musicals.

Uh-uh.  I'd negelected rock and roll shows, as you said.

I talked to a friend of mine last night who trained as an operatic singer.
She explained that modern halls are so large that no human voice could
fill them -- and the singers who work these places "don't have lungs --
they have bellows, and *then* they mic them.."  In the renaissance the
halls were small enough.

So reinforcement is not only necessary for rock and roll shows, but
apparently (and in contradiction of my previous blather) even for 
"big time" opera.

Michael
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Monitors for small control rooms
Date: 2 Oct 92 17:16:39 GMT
Article-I.D.: gold.5353
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Sep30.131610.10981@rambo.atlanta.dg.com> rjm@atlanta.dg.com
(Randy Myers) writes:
>I wish to solicit general recommendations for control room monitors that
>are suitable for small spaces.  The studio space in question is approximately
>15x18, and doubles as performance and control area.  We tend to record acoustic
>musicians who are interested in accurate reproduction of their instrument sound

There are lotsa near field monitors available fron EV, Fostex, Yamaha
JBL, KRK and Peavey to name a few.

Go and listen to them.  I suggest that you take a CD or tape tht you
_know_ what it sounds like and buy the speaker that sounds the closest
to what the tape sounds like.

I use NS-10M's with sub woofers.  They are the later model of the consumer
speaker that has/is been used in recording studios.  Many people (including
knowledgable) flame these speakers, and many swear by them!

I use them because I get repeatable results.

If I ever replace the Yamaha's I will seriously audition the Peaveys
as well as the rest of them.

-- 
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: ninneman@mari.acc-admin.stolaf.edu (Ex-Twin Peaks actor seeks employment)
Subject: DigiDesign -- what's the difference?
Organization: St. Olaf College; Northfield, MN  USA
Date: Tue, 6 Oct 1992 17:59:57 GMT


Does anyone know the exact difference between DigiDesign's Sound Tools and
Audio Media packages? (Besides $2000.) 

The two seem fairly comparable in product description literature...

Bottom line question: What am I giving up by buying Audio Media? (I've
worked with Sound Tools elsewhere, and love the program, but the $3000
price tag's a tiny bit steep.)

Thanks...

================================================================================scot ninnemann | a dizzy swirl of motion and she's taught me how to fly -eclipse================================================================================
From: tonyb@juliet.ll.mit.edu ( Tony Berke )
Newsgroups: rec.audio.pro
Subject: Re: Does spaced omni ever really work?
Date: 29 Sep 92 18:21:12 GMT
	<brent.717384489@cc.gatech.edu>
	<1992Sep25.150404.2339@news.columbia.edu>
Organization: M.I.T. Lincoln Lab - Group 43

In article <1992Sep25.150404.2339@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:

   [stuff deleted]
   ...  Hypers are also much better and pulling in
   distant sounds than omnis or cardioids are (great for
   chorus-in-back-of-orchestra jobs (though in those setups I'm inclined
   to put a separate pair on the chorus and mix it in on the fly))...

Just out of curiosity, do you put a delay in line with the pair you hang
over the chorus?  If not, what happens to the imaging?

thanks,

Tony
Newsgroups: rec.audio.pro,alt.stagecraft
From: brent@terminus.gatech.edu (Brent Laminack)
Subject: Re: Theatrical Sound
Organization: Georgia Tech College of Computing
Date: Wed, 30 Sep 1992 01:28:01 GMT


A few years ago at an AES convention in New York, a paper was presented
titled something like 'Miking techniques in Large Theatrical Productions'
where the author described some of the problems and techniques (tricks?)
used in the industry. It was about eight years ago, so it's probably
dated, but then again, so am I. If you have any specific questions, I'll
try to dig up a copy or remember what I said.


					
					-Brent Laminack (brent@cc.gatech.edu)
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Does spaced omni ever really work?
Date: 26 Sep 92 21:43:37 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <Bv3xnw.MzH@world.std.com> muller@world.std.com 
(James L Muller) writes:

(Spaced omni discussion deleted)

Gabe sez:

>>Most cardioids are only cardioids on axis.

James responds:

>Uhh, this is my big little problem.  Surely you meant "are only accurate"
>(or "flat" or "linear" or whatever other term you use for mic quality).
>To say cardioids are only cardioid on axis is like saying a sax can only
>play a tempered scale when it plays an E.

And in another posting Gabe "clarifies" himself   :-)

>You then went on to point out how cardioids' specs show poor frequency
>response curves off axis, but manufacturers rarely show you them.  This
>is what you meant, I believe. 

One of the things that I look for  in mic specs is the polar plots at
different frequencies.  I have mics that have good to very good off
axis response.

The usual thing is that the low and high end's of the mic's off axis
response deteroiates.

I am very sensitine to the off axis response,  I believe that is is
important in all cases.

>I have two followup points to this.  One
>is that it is likely that some manufacturers don't expect you to care or
>record in such a way that off-axis sound is important.  If you close-mic
>your source (yeah, I know, that's a no-no in hi-quality recording), then
>your off-axis response wouldn't matter so much, and let's face it, a lot
>of commercial recording is done that way. 

Close micing, distance micing, recording or sound reinforcement the
off axis response is very important to me!

I use directional mics to record intensity stereo in a near coincident
mic array.  the off axis response is critical.  With the mics pointed
away from each other the center part of the ensamble is picked up by
both mics off axis!

The directional characteristics of a directional mic should be taken
into consideration for recording situations no matter if it's close
mic'ing or distance mic'ing.  The detrimental quality of poor off axis
response will be imbedded in your recordings forever!

>My other point is from the
>perspective of someone who uses directional mics for live-show sound
>re-inforcement.  For this purpose, the directionality of the mic is one
>of the key tools in preventing feedback.  The off-axis frequency response
>is critical, and, perhaps for this very reason, the better manufacturers
>of working-grade mics usually do provide these specs.

You point out a key factor here.
-- 
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,alt.stagecraft
From: wisner@netcom.com (Bill Wisner)
Subject: Re: Theatrical Sound
Date: Mon, 28 Sep 92 03:22:57 GMT
Organization: Trailing Edge Technologies, Mountain View, CA

bernstei@ophelia.cs.colorado.edu (Michael Bernstein) writes:
>                                                Classical theatre
>companies expect to rely on the hall and the power of their own
>voices, while more modern companies (with lazier actors, or too-big
>theatres) will more happily mic the performers.

This depends to a large degree on the type of play being performed.
An intense drama is not likely to be reinforced (that is, after all,
why actors are trained to project) but for musicals reinforcement
is a virtual must (particularly when live music is used).

>(The actual design of the sound system -- arrangement of speakers,
>setting of EQs, etc -- follows from these strictures and is beyond my
>ken.)

And probably beyond the scope of the orignal poster's work!

w. (some-time theatrical sound designer)
Newsgroups: rec.audio.pro,rec.music.synth
From: mayer@hplnpm1.hpl.hp.com (Niels P. Mayer)
Subject: Re: PC-Based Hard Disk Recording
Date: Tue, 6 Oct 1992 19:26:44 GMT
	<1992Oct6.165110.20689@nntpd2.cxo.dec.com>
Organization: Hewlett-Packard Labs, Media Technology Lab, Palo Alto, CA.


What is the actual accuracy and noise specs on the various pc-card-based
hard disk recording systems? The Home & Studio Recording article on the
CardD doesn't give any specs whatsoever but does say "duuuh, gee wiz, it
sounds great." (paraphrase :-)

I really wonder whether it is possible to get anywhere near 16 bits of
accuracy with all the digital noise going on inside a computer. To say
nothing about all the gunk that comes through the switching power supply.

In the cards I've looked at, I haven't noticed any special noise-shielding
precautions on the PC boards. The CardD system does look like it
uses a 4-layer board with separate analog and digital grounds, but still...

Analogously, I once complained that the audio output of a certain
manufacturers CD-rom drive sounded like some of the early "harsh and
grainy" consumer CD players back when they could only muster 14 bits of
accuracy. The response was that the CD-rom drive could in fact only resolve
14 bits because of all the computer/digital noise in the system & power
supply... That was despite the fact that they used a 16 bit DAC...

Opinions?

--
-------------------------------------------------------------------------------
	    Niels Mayer -- hplabs!mayer -- mayer@hplabs.hp.com
                     Collaborative Multimedia Project
		       Hewlett-Packard Laboratories
			      Palo Alto, CA.
				   *
Newsgroups: rec.audio.pro
From: loj@cae.wisc.edu (Lo Jeffrey)
Subject: Re: DAT sans AD/DA
Organization: U of Wisconsin-Madison College of Engineering
Date: 2 Oct 92 17:25:07 CDT

In article <1992Oct2.154037.17993@bilver.uucp> bill@bilver.uucp (Bill Vermillion) writes:
>In article <BvGAE6.Ko4@rice.edu> caudle@owlnet.rice.edu (Chris Aaron Caudle) writes:
>>Does anybody make a DAT transport only?
>>I can get outboard convertors, and I don't
>>want to pay for redundant convertors in
>>a DAT.  
>
>The only unit I have seen that meets that spec is the Sharp
>RS-P1(GY).
>
>This is a portable unit, and the batteries and the AD/DA are in
>a screw on pack.   The unit by itself just had digital in and
>out with an AC adaptor connector.
>
>Don't know if the unit is available separately.
>
>It is being sold as a complete unit, with car mounting bracket,
>car cassette player adaptor, car cigarette lighter power
>adaptor, AC adaptor, and connecting audio cables at $499
>through Damark.   
>
>Without the AD/DA battery pack connected that sucker is SMALL.
>
$499?  That's pretty cheap isn't it?  (I don't know, I haven't been pricing
DATs.)  Has anyone used this unit?  How is its reliability?

Jeff Lo
jlo@fnugget.intel.com
loj@cae.wisc.edu