HDTenEightyP/NetNews huggingface dataset:
From: kucharsk@Solbourne.COM (William Kucharski)
Newsgroups: rec.audio.high-end
Subject: D/A Converters, Continued...
Date: Mon, 12 Oct 1992 21:35:35 GMT
Organization: Solbourne Computer, Inc., Longmont, CO
Distribution: usa
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu


Just a quick continuation of the D/A converter saga:

I just spent the weekend with a Wadia DigiMaster 32-X, a converter that
Stereophile considered "Class C" and just dropped from their Recommended
Components (Vol 15, No. 8) for being "too expensive for sound quality offered."

Well...

In short, I loved it.  Glorious soundstage, and an amazing "rightness" to the
sound.  Violins sounded like violins, piano sounded like pianos.  Where through
my CD player's (Denon DCD-2560) outputs, I very rarely listen to my handful of
classical discs, with the Wadia in place I listened to them ALL.  Instruments
and music just sounded right.  As my non-audiophile wife put it, through the
CD player instruments hit the right notes; through the Wadia they "sang."

I heard none of the darkness Stereophile found in their review, although I did
notice that the high end was rolled off ever so slightly.  Stereophile and I
have disagreed before (most recently on the PS Audio Ultralink), but this was
amazing; the Wadia was beautiful.

As a sanity check, when I returned the unit I compared it to the Nakamichi ->
Mark Levinson No. 30 combination I had heard before (now driving a pair of the
Sonus Faber Extremas via a Levinson 23.5).  Naturally, the No. 30 won, with
the Wadia sounding somewhat congested by comparison.  However, the Wadia got
most of it _right_ - the soundstage, the bass heft and instrument positioning
was virtually identical to that generated by the No. 30.  I now know that by
comparison that the Counterpoint DA-10 is just a bit TOO bright, and the
Ultralink seems to roll off a bit more than the Wadia did.

Summary:  Right now, I'm leaning toward the Wadia.  The dealer has a demo unit
	  available that I should be able to pick up for about $1800 or so,
	  nice as I agree that the unit isn't quite worth the $2300 list.

But stay tuned:  As a sanity check, before I drop this kind of cash I'm
		 wandering out tonight to sample (ha!) the Theta DS Pro Basic
		 II and Theta DS Pro Prime and will be bringing the victor of
		 that two-way battle home.  I'm also going to try to convince
		 the powers that be there to allow me to listen to another
		 Ultralink; if such small items as Navcom pucks under the feet
		 of a converter can result in an audible difference, I would
		 suspect the plexiglass cover they fitted the Ultralink with
		 so you could see the guts might as well...
-- 
| William Kucharski, Solbourne Computer, Inc.     | Opinions expressed above
| Internet: kucharsk@solbourne.com   Ham: N0OKQ   | are MINE alone, not those
| Snail Mail: 1900 Pike Road, Longmont, CO  80501 | of Solbourne Computer, Inc.
| President, "Just the Ten of Us" Fan Club        | "Dittos from Longmont, CO"
From: mike@banana.fedex.com (Mike Bearden)
Newsgroups: rec.audio.high-end
Subject: Bitwise D/A Converter
Date: Mon, 12 Oct 1992 18:01:53 GMT
Organization: Federal Express Corp.
Distribution: rec
NNTP-Posting-Host: 129.89.7.4
Keywords: Music System Zero
Originator: tjk@csd4.csd.uwm.edu







   Due to a set of strange circumstances, I have ordered the Bitwise
   Musik System Zero D/A Processor.  All I know about it is what I have
   read in Stereophile magazine, which, of course, was pretty
   favorable or I wouldn't have ordered one :-).

   Has anyone seen/heard this unit?  If so, what are your impressions?       
   If anyone is interested in buying it, make me an offer :-) .

   I also purchased the Aural Symphonics Digital Standard cable.....
   at least on a trial basis.  How does this compare to the other
   digital cables, particularly the xlo.  My dealer said 9 of 10
   people who tried both, preferred the Aural Symphonics.

   Any info would be appreciated.  Btw, I will be using a Rotel 955
   as the transport for the time being.  Any good deals on a good
   transport out there?

   Thanks in advance,

   Mike Bearden
   Memphis, TN
From: Scottl@mot.com (Scott Lindsey)
Newsgroups: rec.audio.high-end
Subject: Re: turntable set-up
Date: Wed, 14 Oct 1992 14:02:33 GMT
Organization: Motorola Land Mobile Products Sector
Distribution: usa
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

In article <1bequ4INNnd9@uwm.edu>, Claude LaPointe  <lapoint@adios.brl.mil> writes:
> Specific questions:
> 
> Does it make sense to use the Oracle setting on the AR tt?
> If not, how can I shorten the pivot-to-stylus distance on my
>   AR by about .8cm?
> Does anybody have a comment about the 2 different gauges provided
>   by AR? Which is preferable? I the one with the line patterns,
>   are both sets used, or just one? Which one? If both, how does
>   one adjust on the second without screwing the adjustment on the
>   first?
> 
> 
> Thanks.
> 
I only have experience with the use of the first piece of plastic type of 
gauge which you were referring to. Basically, you set you cartridge to 
a setting which best accomodates both sets of markings. The gauge reflects
a perfect setting at the particular radial distance on the record, 
regardless of length of tonearm, etc. I rec'd such a gauge when I purchased
the first "new AR" turntable (about 1984 or so) along with a Lynn Basik
arm. The dealer was definitely a fanatic in his own right, specifically
to Lynn and Naim products (spelling may be incorrect). He claimed to be
able to set the cartridges up by eye... Definitely an ego thing.. I've had
to set up the system several times as I was experimenting with turntable
plattens (involving leveling the table, adjusting the springs so that the
platter was level and at the right hight, adjusting the arm height, and 
then finally adjusting the cartridge in the headshell.) The only way
that you will have the cartridge match both patterns is with an infinitely
long tone arm (theoretically, anyway) or using one of the linear tonearms.
My recommendation is to pull the original piece of plastic out of the trash
and use that....

Hope that helps..
From: wkung@sail.uwaterloo.ca (Bill Kung)
Newsgroups: rec.audio.high-end
Subject: Re: Sonic Frontiers, VTL Amps
Date: Wed, 14 Oct 1992 13:58:40 GMT
Organization: University of Waterloo
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

To D. Snyder:

With respect to hooking up headphones directly to preamplifier
outputs, I wouldn't think you'd get very good performance for
the reason that the sales clerk originally stated.  I'd think
the preamplifier output impedance might be on the order of a
kohm or so, so in fact, you get quite good impedance matching.
The headphones will most certainly load the output of the
preamplifier in this case, and the resultant output will be
quite low (and will distort if driven too hard --> the
preamp acts more like a voltage amplifier than a power 
amplifier, so the preamp output wants to see a high input
impedance i.e. the power amp input stage).  Your CD player
has an op-amp to drive the headphone jack, but its output
impedance is very low (~ohm-ish), so driving headphones
(AKG ~600 ohms?) is no problem.
From: image@leland.Stanford.EDU (John B. Mooney)
Newsgroups: rec.audio.high-end
Subject: FOR SALE: Magnepan Aragon, Acurus
Date: Wed, 7 Oct 92 02:18:00 GMT
Organization: DSG, Stanford University, CA 94305, USA
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

I am posting this for an acquaintance.  I have delt with him previously
and I haven't had any problems.  

FOR SALE:

Magnepan MG-3.3R              $2300
Aragon 4004 Amp               $1350
Acurus L-10 Pre-amp           $ 325

All equipment is 6 months old and is in _mint_ condition.

PLEASE RESPOND TO:
Tim Altenhofen
(515) 792-5200

Tell him John sent you.

  -- John Mooney, image@leland.stanford.edu

--
From: tcheung@gandalf.rutgers.edu (Tak Cheung)
Newsgroups: rec.audio.high-end
Subject: The fuse guy again, no more fuse this time.
Date: 13 Oct 92 17:53:35 GMT
Organization: Rutgers Univ., New Brunswick, N.J.
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu


There are a number of recent posts on D/A converter reviews.  I find all
of them very interesting.  

As the perennial tweaker, would the persons doing the reviews and comparisons
on these D/A converters kindly spell out the system they are using.

We all know the rest of the audio chain can make a difference.  

So please, state all the electronics, cables, and whether you are using
power line conditioner, TDK noise absorbers, and tip toes, .... you know
all the usual and unusual tweaks, like Finyl, green pen, et al.

Furthermore , if you are using any acoustic treatment in your listerning
room, please say so or better yet outline your room and speaker placement
if possible.  

Yup, I know it's a lot to ask, but, to us crazies who can hear cables and
espcially me who can hear fuses (yes, I have to rub this in again), any
little detail would help.

Now, let me see the ML-30 cost how much ??  $13K list ??  O.K., if I save
$5 a day that would take, say, how long ??  Well, by the time I get $13K,
the ML-30 may only worth about $1.3K ??  

Awh well, I remember trading in my six month old Arcam Blackbox (maybe 3 years
ago) for $300 which I paid $650, the dealer still has that thing on the shelf.
Glad I traded that thing in for some percentage of a preamp :) :).

Now, any takers for a Wadia X32 with AT&T output, I have seen ads for
$900 (original price $2,300-2,500).  These are things digital, how come
the big Wadia still so expensive ??

						TKC.
From: weems@cs.umass.edu (CHIP WEEMS)
Newsgroups: rec.audio.high-end
Subject: Factoid
Date: 13 Oct 92 17:08:00 GMT
Organization: University of Massachusetts CS Department
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News-Software: VAX/VMS VNEWS 1.41
Originator: tjk@csd4.csd.uwm.edu


>From the latest Electronic Design, some interesting figures published
by the EIA.  Based on 94.6 million households in the U.S., the percentage
having at least one of the following is:

Audio Systems:          94%
Compact Audio Systems:  63%
Rack Audio Systems:     54%
Home Radios:            98%
Home CD players:        35%
Auto CD players:         9%

Also, for comparison

Televisions:  98%
VCRs:         77%
Camcorders:   17%

Figures are from January, 1992.
From: stevan@alchemy.tn.cornell.edu (Stevan Vidic)
Newsgroups: rec.audio.high-end
Subject: Ultimate headphones for portable use
Date: Tue, 13 Oct 1992 05:08:17 GMT
Organization: Alchemy International
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu



I am looking to buy a pair of headphones for use with a portable CD player.  I
used to have the Sony MDR-V7 (gold-plated connector and uncoiled cable,
otherwise the same as V6), but I returned them because they were much too
uncomfortable.  What bothered me most (apart from the single headband design)
is that the ear pads were pressing way too much against my ears.  These phones
are not comfortably circumaural because the pads are much too small and shallow
so that the inside membrane cover used to press against my ear.  The problem is
not the size of my ears because they are really very small (also, they don't
stick out).  Anyway, I could not listen to these phones for longer than one
hour so I got rid of them.

The other problem with the Sonys was their combination of impedance and
sensitivity which made them excessively loud for prolonged listening even at
the lowest volume setting of my CD player.  This was really a problem only
with certain CDs.

I tried the Stax SR-34 and even though I liked the sound very much (a lot
better than MDR-V7), I found these phones to be painfully uncomfortable and
could not listen to them for more than 15 minutes.  The pads were just killing
me.  Besides, as several netters pointed out, the Stax phones require a power
amp and therefore they are not suitable for travel.

Grados, on the other hand, are dynamic headphones and have the impedance of
only 40 Ohms which probably makes them suitable for portable use (yes, the
sound quality would be seriously jeopardized since a portable CD would not do
them justice).  I haven't tried them but they should be really good as several
netters already pointed out.  Unfortunately, I am likely to develop the same
problem with the Grados given that they provide a fit similar to that of the
SR-34 (they are not circumaural).

Which leaves me with Beyerdynamic and Sennheiser.  Has anyone listened to the
new Beyerdynamic phones (DT-801, DT-811, DT-901, DT-911) or the Sennheiser
HD-560 Ovation II?  These phones are all circumaural and should be comfortable.
Does anyone know if these phones are suitable for use with portable CD players
(Beyers are rated at 250 Ohms while Sennheisers are 300 Ohms)?  Moreover, the
811 and 911 are open design as opposed to the closed design of 801 and 901.  Is
there any reason why the open headphones should be inherently superior to the
closed ones?  I have spoken with Beyer and Sennheiser customer service and
could not get a clear answer to these questiones.  I would appreciate any
comments you might have.

Regards,
Stevan

e-mail: stevan@alchemy.tn.cornell.edu
From: <MPA15C!ARTHUR@TRENGA.tredydev.unisys.com>
Newsgroups: rec.audio.high-end
Subject: Power Conditioners
Date: 12 OCT 92 19:30
Organization: University of Wisconsin - Milwaukee
NNTP-Posting-Host: 129.89.7.4
Comments: Automatic Return Receipt Requested
Originator: tjk@csd4.csd.uwm.edu

I noticed some rather unusual power conditioners in the latest Audiomart.
They are made by a firm called SOLA, and the list prices are a whopping $7500
for a 10KVA model, and $6500 for a 7.5 KVA job.  The owner is selling them for
a few hundred bucks each.  Although I am intrigued with constructing my own
conditioners based on the discussion herein a few weeks back, these guys are
alleged to be expensive enough to raise an eyebrow.  Can anyone shed some light
on them?  I've never heard of the firm.  Yeah- I know- I could call the guy,
but it's always fun to get a discussion going here.

  Arthur L. Shapiro        ARTHUR%MPA15C@TRENGA.TREDYDEV.UNISYS.COM
  Software Engineering
  Unisys Corporation       Speaking as a civilian, rather than for
  Mission Viejo, CA        Unisys, unless this box is checked: [ ]
From: jl@whamt.att.com (Joseph A Lapenta)
Newsgroups: rec.audio.high-end
Subject: Tubes and durability
Date: Wed,  7 Oct 92 14:02:45 EDT
Organization: AT&T
Distribution: usa
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu


I've got a question for all you tube-o-philes out there.  I've
been considering buying a tube pre-amp (Audible Illusions Modulus
3) but am a bit skittish as to the reliability of tubes.  Could
someone please answer the following questions:

1)How long should I expect the tubes to last?

2)I'm to understand that the sound of tubes slowly degrades over
  time.  How severe it this degradation?

3)How will I know when a tube (or tubes) go bad?  Is the change in
  sound that dramatic?

4)Are replacement tubes readily available? (Most are made in China
  and Europe)

I'm entirely new to tube equipment and am scared to buy any tube
gear because of these issues.  However, I really liked the sound
of the AI M3.  I'm not an audiophile with a "golden" ear.  Nor am
I a tweak-o-phile who is constantly changing tubes and
interconnects and who's system is heavily gadget laden.  I'm just
a music lover (everything from Beethoven to Zappa) with a silver
or bronze ear who is in the process of putting together an
affordable balls-to-the-wall system.

Thanks to everyone who responds!!!

BTW, Tak, if you've read this - yes, I'm in the market for a
system again, and will probably go through John to get it.

Joe LaPenta
From: johno@sdd.hp.com (John Ongtooguk)
Newsgroups: rec.audio.high-end
Subject: Re: turntable set-up
Date: 13 Oct 1992 18:01:50 GMT
Organization: Hewlett-Packard, San Diego Division
Distribution: usa
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

In article <1bequ4INNnd9@uwm.edu>, Claude LaPointe  <lapoint@adios.brl.mil> writes:
|> ....... 
|> Does it make sense to use the Oracle setting on the AR tt?
|> If not, how can I shorten the pivot-to-stylus distance on my
|> AR by about .8cm?
|> Does anybody have a comment about the 2 different gauges provided
|> by AR? Which is preferable?

   I used a round needle file to lengthen the slots in my headshell,
   and smoothed the sides of the slots with a flat file. 

   Any gauge will probably do what it was designed to do, to prevent
   record damage due to gross alignment errors, but a dynamic alignment
   (playing a record) is required for optimum sound quality. There are 
   too many tolerances stacking up from the stylus-groove interaction
   to the stylus-cantilever mounting to the cantilever-body mounting
   and the skating-antiskating action for a static alignment to work
   well, but you can get lucky. Although the optimum geometry was 
   determined in the 50's I also solved the problem to my satisfaction.

   It seems that there is a range of offset angle/pivot to stylus
   distance combinations that could work; with the cartridge towards
   the back of the headshell it is pointing away from the spindle,
   at some point farther out it is normal to the spindle, and yet
   farther out it is starting to point towards the spindle. For
   decent anti-skating adjustment it is probably perferable, and
   looks better, to have the cartridge normal to the spindle (line 
   segment drawn from the spindle to the stylus).

   Although the adjustment can be tedious I've found it to be worthwhile,
   where soundstaging, good attack/decay, and an overall smoothness are
   the dividends. I suspect that there are as many adjustment procedures
   and opinions on the subject as there are turntable owners, so have 
   fun sorting it out.   

   John Ongtooguk (johno@sdd.hp.com)
From: cbmvax!torsqnt!delm!dave@uunet.UU.NET (David Elm)
Newsgroups: rec.audio.high-end
Subject: How do single bit D/A converts work
Date: Wed, 14 Oct 1992 14:05:38 GMT
Organization: University of Wisconsin - Milwaukee
	(queueing-rmail) id 175125.7163; Thu, 15 Oct 1992 17:51:25 EDT
	id m0mfMcQ-000204C; Thu, 15 Oct 92 00:15 EDT
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Content-Type: text
Content-Length: 340
Originator: tjk@csd4.csd.uwm.edu

Can anyone explain how the Phillips SAA 7274P, SAA 7350 or later verions
generate an analogue signal ?  What are the compromises and how can we expect
this process to get better as the technology matures ?

-- 
     David Elm             dave%delm@uunorth.on.ca
     (416) 293-1568        47 Chartland Blvd S, Scarborough, Ontario, Canada
From: borrelli@iccgcc.decnet.ab.com
Newsgroups: rec.audio.high-end
Subject: Vandersteen Power Handling
Date: 13 Oct 92 13:00:36 EST
Organization: University of Wisconsin - Milwaukee
NNTP-Posting-Host: 129.89.7.4
News-Moderator: Approval required for posting to rec.audio.high-end
Originator: tjk@csd4.csd.uwm.edu

RE: Speaker Comparison

Regarding the power handling capability of the Vandersteens:

I have no experience with the PSB Stratus Gold's, have never
heard them. But I've had the Vandersteen 2CI's for about two
years now, which I'm driving with a Carver M400A (200W/Ch).
I've never felt the Vandersteen's being hit with more than
they can handle. While I don't exactly listen to heavy metal
at concert levels, my guess is that things would be getting
a little painful before the speakers began straining. 

Just my opinion.

Wayne
From: John Stimson <jstimson@jarthur.Claremont.EDU>
Newsgroups: rec.audio.high-end
Subject: FOR SALE: DIGITAL PREAMP
Date: Fri, 9 Oct 1992 23:27:45 GMT
Organization: Harvey Mudd College, Claremont, CA 91711
          9 Oct 92 16:33 PDT
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu


I am selling a Denon DAP-5500 Digital Preamp.

This preamp has three line-level inputs (one is balanced), three digital
inputs (one is optical), two analog tape loops, and one digital tape loop.
Output can either be balanced or RCA, or RCA direct from the D/A section.
I bought it used this summer with the expectation of buying a power amp to
go with it, but have discovered that my integrated amp goes well with my
new speakers (Vandersteen 2Cis).  So, I am selling this preamp for $350,
including shipping.  The preamp is in excellent condition.

Digital and line-level only... no phono.

						John Stimson
						jstimson@hmcvax.claremont.edu

Detailed info:

The preamplifier I am selling is a Denon DAP-5500 digital audio preamp.  It was
manufactured between 1988 and 1990, and sold for $1500 new.  
Specs are as follows:

ANALOG SECTION

2 RCA line inputs
1 Canon XL type balanced input
2 tape loops (RCA-type playback/record on each)
RCA and Balanced preamp outputs.
RCA D/A converter direct output (does not pass through preamp)

Frequency response: 1 Hz - 300 KHz +0/-3 dB
Harmonic Distortion: 0.002% from 20Hz - 20 KHz at 5V output
Signal/Noise Ratio: 116 dB


DIGITAL SECTION
1 Optical digital input
2 RCA coaxial digital inputs
digital tape loop (RCA coaxial playback/record)
Conversion method: 4 D/A push-pull, super-linear converter
Filters: 4x oversampling digital filter, LC-OFC linear phase 7-pole analog
	 filter
Frequency response: 2 Hz - 20 KHz  +/- 0.2 dB
S/N ratio: 110 dB
Dynamic Range: over 97 dB
Total harmonic distortion: Less than 0.002% (at 1 KHz)
Channel separation: more than 100 dB (at 1 KHz)
Automatic detection of digital sampling frequency, 32 KHZ, 44.1 KHz, 48 KHz

17" wide x 15.25" high x 15" deep, 13.7 Kg.
From: balon@cup.hp.com (Tom Balon)
Newsgroups: rec.audio.high-end
Subject: Re: Tubes and durability
Date: Fri, 9 Oct 1992 00:23:45 GMT
Organization: Hewlett-Packard, Cupertino, CA
Distribution: usa
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

In article <1992Oct7.180204.20873@cbnewsi.cb.att.com> jl@whamt.att.com (Joseph A Lapenta) writes:
>
>I've got a question for all you tube-o-philes out there.  I've
>been considering buying a tube pre-amp (Audible Illusions Modulus
>3) but am a bit skittish as to the reliability of tubes.  Could
>someone please answer the following questions:
>
>1)How long should I expect the tubes to last?

	I've worked on amps that have preamp tubes, old RCA's and 
	telefunken, that are 20years old and still sound pretty good !
	Preamp tubes last a long long time..... The *will* loose their
	sparkle after a while. BTW: I do not suggest that you should
	keep tubes for 20 years....
>
>2)I'm to understand that the sound of tubes slowly degrades over
>  time.  How severe it this degradation?

	This depends on how many hours of use and what type of circuit
	they are used in. It's not uncommon to get a few years out of
	a good set of 12AX7's. As far as degradation goes, the older
	the preamp tube gets the more dull it sounds.
>
>3)How will I know when a tube (or tubes) go bad?  Is the change in
>  sound that dramatic?

>
>4)Are replacement tubes readily available? (Most are made in China
>  and Europe)

	There are still many sources for brand new preamp tubes as
	well as NOS (New Old Stock). There is also a company called
	Golden Dragon, that is building new improved versions of the 
	12AX7, 12AT7, 12AU7 tubes. These are getting great reviews.
	I've used them in my PAS and modified ST-70. 
>
>I'm entirely new to tube equipment and am scared to buy any tube
>gear because of these issues.  However, I really liked the sound
>of the AI M3.  I'm not an audiophile with a "golden" ear.  Nor am
>I a tweak-o-phile who is constantly changing tubes and
>interconnects and who's system is heavily gadget laden.  I'm just
>a music lover (everything from Beethoven to Zappa) with a silver
>or bronze ear who is in the process of putting together an
>affordable balls-to-the-wall system.

	Tubes will be around for a long time to come. 

	Regards,
	 Tom