HDTenEightyP/NetNews huggingface dataset:
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.audio.pro
Subject: Re: Aphex "Big Bottom"
Date: 22 Jan 93 21:46:57 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <Jan22.152314.69860@yuma.ACNS.ColoState.EDU> gw214790@LANCE.ColoState.Edu (Galen Watts) writes:
>In article <116@bbx.basis.com> scott@bbx.basis.com (Scott Amspoker) writes:
>>I recently bought the Aphex C2.  This was my first aural exciter purchase.
>>I immediately dug up my DAT mixes and ran them through the C2 to see how
>>they might have been improved by it.  There is no question about the
>>high end.  The *prudent* use of the high end exciter absolutely improved
>>clarity, sparkle, and stereo separation.  In fact, just when I thought
>
>dbx used to make a sub-harmonic synthesizer that sounded good if used 
>****prudently****.  I would never use such a device on the entire mix,
>some instruments/voices don't need that much bottom end.

The Aphex C2 does not add sub-harmonics.  As usual, Aphex is rather
secretive about their methods and only hint at how things work.  Big
Bottom apparently works with phase relationships.

>As for aural exciters (read harmonic distortion generators), I have tried them
>on single channels and on entire mixes, and I have come to the conclusion
>that if you try a different mic placement or use a mixing console with a
>good design, you don't need one.

Then you tried one for the wrong reason.

It's not a question of necessity.  You either like the sound of the Aphex
or you don't.  You're not going to get that sound by other means.
Spending thousands of dollars for a better mixing console might give
you better mixes but if you like what the Aphex does, you need to buy
an Aphex.  If you don't like the sound of the Aphex, don't use one.

>Their use should be limited to punching
>up a poorly designed system.

No, their use should be limited to situations where their effect is
desired.  What part of this do you have trouble understanding?  Many
of us create sound in the studio.  We use devices that we subjectively
believe will make the sound pleasing to the ears and intellect based on 
whatever criteria we choose.  Repoducing an acoustical experience is
fine and well if that's what you want to do.

>I'd use one to hold the door open, but not for much else.

Well good for you.


-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.audio.pro
Subject: Re: What's a gate?
Date: 26 Jan 93 16:43:46 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <1k28stINNgcg@gvgspd.gvg.tek.com> mrk@gvgspd.gvg.tek.com (Michael R. Kesti) writes:
>In article <1993Jan20.042055.9066@medtron.medtronic.com>
>                              sh0001@medtronic.COM (Scott Hansohn) writes:
>
>>Phil Collins uses gated snares.  Any ideas what sort of gate works well with
>>snares?
>
>The gate effect attributed to Phil Collins is a gated reverb.

Actually, it was Peter Gabriel who first used a gated reverb on drums.
Phil Collins was the drummer in the studio with Gabriel at the time and
later used the effect on his own solo album (which was most people's
first exposure to the effect.)

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: What's a gate?
Date: 26 Jan 93 00:18:30 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1993Jan20.042055.9066@medtron.medtronic.com> sh0001@medtronic.COM 
(Scott Hansohn) writes:
>Phil Collins uses gated snares.  Any ideas what sort of gate works well with
>snares?

I use a pine gate for my snare.  I hear that Phil uses a chain link
gate for his snare!


-- 
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.
From: qala@netcom.com (Steve Semegran)
Newsgroups: rec.audio.pro
Subject: DAT Walkman for sale
Summary: DAT Walkman priced for quick sale
Keywords: DAT-Walkman
Date: 27 Jan 93 05:01:31 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest)


Hard pressed for cash, I've decided to start selling some of my "toys".
I have a DAT Walkman (Digital Audio Tape-corder)  TCD-D3  and a
one point Sony Stereo Dynamic Microphone F-99LT for sale.  The combined
price was in excess of $850 (not counting tax) ... the Walkman was used
just twice, the Microphone never.  The Walkman comes with an optical
cable so that you can get perfect digital copies of CDs if your CD or
laserdisc player is equipped with optical output.  Of course, you can
use conventional analog input and output.
 
Please email me at  qala@netcom.com  if you are interested.  Thanks.
Newsgroups: rec.audio.pro
From: ray@eecs.nwu.edu (Jim Ray)
Subject: Re: Best source of JBL drivers?
Organization: EECS Department, Northwestern University
Date: Wed, 27 Jan 1993 05:03:40 GMT

In article <TTR2-250193161851@pub3.cis.pitt.edu> TTR2@VMS.CIS.PITT.EDU (Tod Treganowan) writes:
>Howdy!  Does anyone know some good sources for getting JBL drivers at a
>good price?  Locally, in Pittsburgh, it seems like everyone wants close to
>retail for anything.

I recomend the following and have dealt with these guys over ten
years,  Good luck.

Mr. Lat Stevens
Washington Music Center
11151 Veirs Mill Road
Wheaton MD 20902-2597
(301) 946-8808

*****************************************************************
*                                                               *
* Jim Ray                                      ray@eecs.nwu.edu *
*                                                               *
* If the thunder don't get you, then the lightning will. jg     *
*                                                               *
*****************************************************************
Newsgroups: rec.audio.pro
From: nathan@laplace.biology.yale.edu (Nathan F. Janette)
Subject: DAT to DAT digital mastering?
Reply-To: nathan@laplace.biology.yale.edu
Organization: Yale University, Department of Computer Science, New Haven, CT
Date: Wed, 27 Jan 1993 18:43:22 GMT

Our band has mixed down to a DAT, but we need to reorder the songs and
adjust the relative levels.  Are there commonly available DAT decks
that could do this digitally without another round of D/A-A/D? 

--
Nathan Janette	# "As I walk I hear my longing thoughts subsiding.
Dept MB&B	# Upon your cross I bleed the thoughts that I've been hiding.
Yale Univ/HHMI	# I'm all used up; there's not much more for me to give.
New Haven, CT	# Echoes of the life that we all want to live."

nathan@laplace.csb.yale.edu		
Newsgroups: rec.audio.pro
From: lionel@cs.city.ac.uk (Lionel Tun)
Subject: Re: Tape deck bias
Organization: City University, London
Date: Mon, 25 Jan 93 15:51:15 GMT

In article <1993Jan23.221351.9680@ultb.isc.rit.edu> cms2839@ultb.isc.rit.edu (a.stranger) writes:
>In article <1993Jan22.185157.22090@city.cs> lionel@cs.city.ac.uk (Lionel Tun) writes:
>>There is a bias knob on my church's analogue tape deck (Sony TCK570)
>>but I have always set it in the middle. What can I do with it? Is it
>>that with `good' tapes I should increase bias and with el cheapo
>>tapes reduce the bias?
>>
>	The bias knob is used during recording only.  The way to set it
>is quite simple:
>
>o  Connect any appropriate source to the deck's inputs and set the
>record levels appropriately.
>
>o  Load a blank tape and start recording.
>
>o  Listen, alternately, to the source and the tape (this can obviously
>be done only with a three head deck, which will have a "Monitor" switch
>to do this).  Using headphones or a good set of control monitors to
>listen, adjust the bias knob until the source and the playback sound the
>same.

That is fair enough, in fact I tried it a bit, but what if
you're tone deaf? Is there a rough rule of thumb that I can
bear in mind?

--
  ________  Lionel Tun, lionel@cs.city.ac.uk  ________
 / /_  __/\       Computer Vision Group      /\ \__  _\
/___/_/_/\/ City University, London EC1V 0HB \ \___\_\_\
\___\_\_\/        071-477 8000 ext 3889       \/___/_/_/
Newsgroups: rec.audio.pro
From: hector@cs.toronto.edu (Hector Levesque)
Subject: DAT for music + backup?
Organization: Department of Computer Science, University of Toronto
Date: 27 Jan 93 16:08:49 GMT

I'm not sure this is the right group to post this, but ...

Are there DAT units that could be used to record/play music and serve as a
tape backup for a Macintosh computer?  Would this have to be a pro unit, or
are there consumer units oufitted with the right sort of digital I/O?

Stated differently, are any of the DAT tape backup units advertised in
computer magazines also suitable for music?  That is, do they have the right
inputs (RCA or XLR or something) and digital/analog converters? Or can
suitable add-on components do this?

And finally... Where can I find out about this kind of thing?

Thanks for any help!

Hector Levesque
U. of Toronto
hector@cs.toronto.edu

Newsgroups: rec.audio.pro
From: Ramon Tate
Subject: Mic and Line Cable Recommendations
Organization: Computer Systems Lab., NIH
Date: Fri, 22 Jan 1993 18:48:31 GMT

A quick question for the Experienced Ones:

We are getting ready to spec a PA system for our church (newly renovated) and
I'm trying to get a handle on cable for mic and line runs. The runs from each
jack in the pulpit/choir/instrument area of the sanctuary go through dedicated
EMT to a junction box in a room behind this area and from there are run to the
sound booth in the back of the room through 2" EMT. My inclination is to run
single shielded pairs from each mic jack to a barrier block in the junction box
(its about 6" X 8") and then double-shielded multipair from there to the
mixer/breakout in the booth. Line level signals (to the remote amps in the
back, mostly) will go in a separate multipair but in the same 2" conduit. The
total distance from mixer to mic is slightly less than 100'. I would like to
keep capacitance to minimum, but is it worth it to spec something like Belden
9990 series, or should I settle for cheaper but higher capacitance? I should
also mention that we expect to use phantom power for most of the mikes, too.
Presently, there are 13 mic boxes, some of which could handle 2 jacks, but we
can't foresee using more than a handful of mics at any one time. The intended
usage will be primarily voice, both spoken and music; only rarely would we mic
an acoustic guitar or other quiet instrument through the system.

Thanks in advance for your suggestions. You may email them direct or post, as
you please.
--------------------------------------------------------------------------
Ramon L. Tate
Computer Systems Laboratory, DCRT
National Institutes of Health
Bethesda, MD 20892                               tate@faxcsl.dcrt.nih.gov
Newsgroups: rec.audio.pro
From: moskowit@panix.com (Len Moskowitz)
Subject: Re: Motorola Mid-Hi Piezo horn driver
Organization: Panix Public Access Internet & Unix, NYC
Date: Tue, 26 Jan 1993 15:45:47 GMT


>Motorola makes a mid-range/hi-frequency horn driver that mounts onto
>an EV-8HD horn.  I need buy one but can't seem to find a dealer that
>carries them.  

I just received a catalog from Martin Sound Products in Cleveland, Ohio
(1-800-321-6306).  They stock the full line of Motorola piezo products
including two compression drivers.


-- 
Len Moskowitz
moskowit@panix.com
Newsgroups: rec.audio.pro
From: shawn@thor.atd.ucar.edu (Shawn Copeland)
Subject: Re: Rackmounting a Teac A-3440
Organization: National Center for Atmospheric Research
Date: Thu, 28 Jan 1993 06:43:10 GMT

In article <1993Jan28.034300.11547@reed.edu>, nuke@reed.edu (Bill Newcomb) writes:
|> darkstar@u.pathology.washington.edu (Alden Hackmann) writes:
|> 
|> >I have purchased a Teac A-3440 deck and its companion RX9 dbx unit.  I would  
|> >like to put these in a rack, but my local Tascam/Teac dealers say there is no  
|> >rackmount kit available for either.  Can anyone suggest an aftermarket  
|> >alternative (short of buying some angle-iron and doing it myself).  
|> 
|> Bradley broadcast, amog others (i think Harris-allied, as well) sell
|> rackmount shelves, which you can just screw the units down to. Not terribly
|> elegant, or all that cheap, but better than angle-iron, IMHO.

Middle Atlantic Products (address not in front of me, email me if anyone is
interested in it) also sells very sturdy steel rack shelves, and has custom
rackmount shelves for many non-rack-mount gear (i.e. commercial CD players,
tape decks, etc).  I like their generic shelves but have no experience with
their custom ones.
-- 
	Shawn B. Copeland
	National Center for Atmospheric Research
	NCAR  Mail Stop MAR, P.O Box 3000, Boulder, CO 80307-3000
	Internet: shawn@thor.atd.ucar.edu
                  shawn_copeland@ncar.ucar.edu
From: villalj@xanth.CS.ORST.EDU (John Villalovos)
Newsgroups: rec.audio.pro
Subject: AB 1100A Amplifier.  Any good?
Date: 27 Jan 1993 00:31:02 GMT
Organization: Oregon State University
NNTP-Posting-Host: xanth.cs.orst.edu

I was wondering if anyone had any experience with AB 1100A amplifiers.  They
put out around 550watts/channel @ 8 ohms and costs right around $1000 which
seems very reasonable to me.  Does anyone have any good reasons for buying or
not buying this amp?  Any thoughts would be appreciated.

Also does anyone have any comments on Carver amplifiers.  Some people have told
me that they don't put out good bass like other amplifiers based on more
traditional technology.  Is that true or just people who don't know what they
are talking about?

Thanks,
-- 
John Villalovos
Certified Netware Engineer
villalj@xanth.cs.orst.edu
(503) 753-7883
Newsgroups: rec.audio.pro
From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: How much$$, who makes, a mixer with gates on every channel??
Date: Fri, 22 Jan 1993 15:29:29 GMT
Distribution: usa
Organization: Colorado Concert Sound

In article <1993Jan21.223429.3360@rtsg.mot.com> morrowjp@rtsg.mot.com (Jerry P Morrow) writes:
>hello, 
>the title says it all.  live mixer, not recording.
>Jerry
>morrowjp@adobe.rtsg.mot.com

You didn't say how many channels.  For live, the only one really worth the 
hassle is an ATI Paragon.  About $120K the last time we rented/priced one.
Very handy having all that stuff right at yer fingertips and not in some
outboard rack below the effects, etc.
Check with Paragon on the price.  My info is about 10 months old.
Galen Watts, KF0YJ


Newsgroups: rec.audio.pro
From: g_house@goes11.enet.dec.com (Greg House)
Subject: Re: Aphex "Big Bottom"
Reply-To: g_house@goes11.enet.dec.com (Greg House)
Organization: Digital Equipment Corporation, Colorado Springs CO
Date: Thu, 21 Jan 1993 22:25:17 GMT


There's a review of the Aphex C2 unit in the current (Jan 93) issue of 
Home & Studio Recording.  The review was very positive (despite all the 
horrible puns used in it, which Aphex seems to encourage with thier 
control labels).

Greg
From: spankey@blackstone.eece.unm.edu (His Spanknesss)
Newsgroups: rec.audio.pro
Subject: WANTED:TUBE AMP
Date: 26 Jan 1993 22:02:40 GMT
Organization: UNM Electrical and Computer Engineering Department
Distribution: usa
NNTP-Posting-Host: blackstone.eece.unm.edu

Wanted: Tube amps one for bass one for guitar.
	like a Fender or Ampeg SVT ot V44,V40,Reverb-o-Rocket,
	ect. Fender Twin Reverb,Pro Reverb,Delux,Vibroverb ect.

	I like working on tube amps( I do not have a business for
	resaling amps)and get a big kick out of playing Bass and 
	guitar through different systems.
	
	Pleeze reply thru E-Mail 
					Thanks,
					Spankey
From: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Newsgroups: rec.audio.pro
Subject: Re: Program to eliminate noise
Date: 24 Jan 1993 03:33:53 GMT
Organization: NASA Langley Research Center and Reptile Farm
Distribution: usa
NNTP-Posting-Host: grissom.larc.nasa.gov

In article <1993Jan23.074015.13681@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>In article <1993Jan22.155947.4192@wuecl.wustl.edu> wb1@cec1.wustl.edu (Bill Bartman) writes:
>>I am looking for a program for PC which can analyze waveforms and
>>remove noise, clicks, and pops.  What I am planning on doing
>>is digitizing old analog recordings, "cleaning" them up, and then
>>recording onto DAT otr the like.  I have a great stereo, PC, and
>>sound-card.  Now all I need is some software which can manipulate
>>the file on my computer.  Does anyone know of such a program or
>>know of anyone who may know of such a program.
>
>I'd suggest you forget it unless you have five figures to spend.

Actually, it's not all as bleak a picture as you paint it.  With the
DSP boards that drop into a PC, it's possible to do a lot of such
stuff in real time, and a lot more if you can keep the entire piece
on mass storage and run in batch.

I'm currently doing click and pop reduction in realtime, as well as
full inverse Laplace functions in about half realtime, using a 
1989 vintage TI 320 series processor hosted in an aging Microvax 3200
with 32 Mb of core, and S/PDIF interfaces built around a DHV-11 board
and the Crystal Semi chips.  The software is entirely homebrew, and 
is mostly built around a very finely-tuned set of libraries supplied
by TI.

This is definitely not current technology, but I'd say my total cost
for the system was under $5,000 total, not counting the many hours
of scrounging around at government auctions, and of trying to coax
software to run in some semblance of realtime without breaking up
periodically due to I/O bandwidth limitations.  You could probably
do better with a more modern technology, especially if you are willing
to wait a couple of years.
--scott

Secrets of click and pop reduction:  Trigger on the second derivative
of the input signal and not the first derivative.  Don't just cut the
signal out for a constant amount of time: find both the beginning and
ending of the click and use least-squares over a few hundred samples 
to fit them together.  If the click only appears in one channel, use
the signal from the other channel in place of the synthesized curve,
but only if it varies less than a present amount from the curve across
its length.  You definitely need to have a lot of ultrasonic information
to find the leading edges of the clicks; use a cartridge with a very
high point of resonance (I use the Adcom Hypercoil MC), and a sampling
rate of at least 48 Ksamp/sec.
Newsgroups: rec.audio.pro
From: bill@verdix.com (William Spencer)
Subject: Re: "Dawn" Speaker System
Organization: Verdix Corp
Date: Fri, 22 Jan 1993 23:22:02 GMT

schwab@ucunix.san.uc.edu (Paul Schwab) writes:
>Has anybody out there ever used a "Dawn" speaker system?  I've seen them
>in music stores, and basically they consisted of a subwoofer, and a
>couple of small (really small) mid-high end units.

I heard it with a mike and was not at all impressed.

>I thought this system sounded great, but it's kind of hard to tell in
>a store, listening to a CD how it would sound with a band.

Actually, listening to a good recording is more rigorous a test than many
a PA will pass, but you're right it doesn't tell the whole story.

Bill s
Newsgroups: rec.audio.pro
From: olson_rick+.mn65_src@ms.mail.src.honeywell.com (Richard A. Olson)
Subject: Tascam DA-60 DAT
Organization: Honeywell INC
Date: Thu, 21 Jan 1993 20:41:59 GMT

Hello,

Has anyone got any info on the new Tascam DA-60 DAT deck?  I picked up the 
basic Tascam info flyer at my neighborhood Guitar Center, but have not seen
any unbiased tests on the unit yet.

I would also like to know if anyone has a list price on the DA-60.

Thanx!
Newsgroups: rec.audio.pro
From: sebert@andy.bgsu.edu (kim)
Subject: bi-lingulal pa
Keywords: HELP
Organization: Bowling Green State University B.G., Oh.
Date: Wed, 27 Jan 1993 02:49:02 GMT

I have been asked by our conferance if I can set and run a bi-lingual sound system for a meeting in mid-may. The system would be for 50 people. Spanish-English
translation only. It sounds easy if money were no object but ....

I am looking for a company that would rent system for the hearing impaired
for a song. I have tried my local standbys with out much luck. 

Any help would great. Thanks in advance.

Kim Sebert
Special Services Coordinator 
Instructional Media Services
Bowling Green State University

sebert@andy.bgsu.edu
From: cmh@eng.cam.ac.uk (C.M. Hicks)
Newsgroups: rec.audio.pro
Subject: Re: Tape deck bias
Date: 26 Jan 93 10:33:08 GMT
Organization: cam.eng

lionel@cs.city.ac.uk (Lionel Tun) writes:

>>	The bias knob is used during recording only.  The way to set it
>>is quite simple:
>>
>>o  Connect any appropriate source to the deck's inputs and set the
>>record levels appropriately.
>>
>>o  Load a blank tape and start recording.
>>
>>o  Listen, alternately, to the source and the tape (this can obviously
>>be done only with a three head deck, which will have a "Monitor" switch
>>to do this).  Using headphones or a good set of control monitors to
>>listen, adjust the bias knob until the source and the playback sound the
>>same.

>That is fair enough, in fact I tried it a bit, but what if
>you're tone deaf? Is there a rough rule of thumb that I can
>bear in mind?

It's sometimes easier to hear the correct setting if you use broadband noise
instead of music. Inter-station hiss from an FM tuner is ideal.

Christopher Hicks

--
 ==============================================================================
 Christopher Hicks    |    If it doesn't fit...
 cmh@uk.ac.cam.eng    |                        ...you need a bigger hammer.
 ==============================================================================
Newsgroups: rec.audio.pro
From: law40001@nusunix1.nus.sg (CHENG KWONG WING)
Subject: Re: Tape deck bias
Organization: National University of Singapore
X-Newsreader: TIN [version 1.1 PL6]
Date: Tue, 26 Jan 1993 06:25:28 GMT


--
Note that the bias setting will only be optimally suitable for that particular
brand/model/make of tape that you have set it for!!!


--
email: law40001@nusunix1.nus.sg or law40001@nusunix3.nus.sg

____________________   .    .   __         . 
\______NCC_1701_____|) .____.--"--"---._____ 
             ||      /-----._________.----/  
     /=======||====/___/       "--"          
   . \==\____________|(-                .   
Newsgroups: rec.audio.pro
From: qala@netcom.com (Steve Semegran)
Subject: Re: DAT Walkman for sale
Keywords: DAT-Walkman
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Wed, 27 Jan 1993 07:04:19 GMT

qala@netcom.com (Steve Semegran) writes:


>Hard pressed for cash, I've decided to start selling some of my "toys".
>I have a DAT Walkman (Digital Audio Tape-corder)  TCD-D3  and a
>one point Sony Stereo Dynamic Microphone F-99LT for sale.  The combined
>price was in excess of $850 (not counting tax) ... the Walkman was used
>just twice, the Microphone never.  The Walkman comes with an optical
>cable so that you can get perfect digital copies of CDs if your CD or
>laserdisc player is equipped with optical output.  Of course, you can
>use conventional analog input and output.
> 
>Please email me at  qala@netcom.com  if you are interested.  Thanks.

   I forgot to mention the selling price:  $500 including some tapes
    and an AC adapter.