HDTenEightyP/NetNews huggingface dataset:
From: igb@fulcrum.bt.co.uk (Ian G Batten)
Newsgroups: rec.audio.pro,rec.audio
Subject: AXR-PDN Speaker Connectors
Date: 9 Apr 92 12:54:10 GMT
Organization: Fulcrum Communications


I shall soon be replacing the crossovers in my speakers with
higher-quality components and re-wiring the drivers.  As this means
having the electronics out, I would like to fit some better connectors
than the 4mm binding posts/banana sockets currently fitted.

I am rather drawn to AXR-PDN connectors in the RS catalogue.  They
appear to be a meaty XLR-type connector, rated up to 25 Amps.  They are
said to be:

``Used as a standard audio connector by professional broadcasting
organisations.''

The specs say the cable entry will take up to 10mm diameter cable, or
figure of eight up to 7mmx12mm.

ian
From: prj@gamba.lcs.mit.edu (Paul R. Johnson)
Newsgroups: rec.audio.pro
Subject: Mic pre-amps
Date: 8 Apr 92 19:29:13 GMT
Organization: lcs.mit.edu

First, thanks for all your advice on microphones for use with my
TEAC DA-P20 DAT machine.  I ended up succumbing to curiosity about
being able to experiment with different microphone placements and
so bought a pair of AKG C-1000S mics instead of the Audio-Technica
stereo mic I had asked about.  The C-1000s seem to work great for
my rehearsal recording; though I've not done much yet and may end
up only using one (i.e., mono) for simplicity's sake.

I am, however, interested in possibly getting a mic preamp to use
when recording performances.  I've seen Gabe Wiener recommend the
Benchmark that he uses, and I've also had the Symetrix SX 202
recommended.  Can Gabe, or anyone else, discuss the range of such
machines that exist, the relevant features that I should look for,
and the relative prices?  If I can get ahold of a couple of
different preamps to test, how should I go about comparing them?
Other specific recommendations?

---Paul Johnson
From: cullen@ac.dal.ca
Newsgroups: rec.audio.pro
Subject: Re: How to mic drums.
Date: 10 Apr 92 04:46:08 GMT
Organization: Dalhousie University, Halifax, Nova Scotia, Canada

In article <1992Apr7.060616.5548@pasteur.Berkeley.EDU>, payam@landau 
(Payam Mirrashidi) writes:
> 
> A question along the same lines: How do you eq a kick so it sounds strong and
> tight and not boomy.  I usually mix off of a 26 channel Soundcraft 400, so I
> have a low, a high and two parametric mids available.  In addition, I am using
> a RE20 mic. 
> 
Quick and dirty method: Insert a gate, compressor, and 2/3 octave EQ.:-)
(This is what I do when I'm bored). Gate the drum to shorten it up, comp
it at about 3:1 with a low threshold, and fiddle with the 15 band until you're
happy. This works well for loud rock, although the output sounds nothing
like the drum. Of course, finding all that stuff lying around might be 
difficult, unless you've got a big budget. Just for reference, the gear
I do this with is a valley gatex, dbx 166, and rane me15. I use the valley
when I can because the gates on the 166 are not flexible at all.

Optimum solution: Buy an Ayotte custom kit and tune the kick to sound good.
						Murray
						Cullen@ac.dal.ca
Newsgroups: rec.audio.pro
From: kludge@grissom.larc.nasa.gov ( Scott Dorsey)
Subject: Re: Balanced lines to unbalanced...
Organization: NASA Langley Research Center And Storm Door Company
Date: Wed, 8 Apr 1992 15:06:06 GMT

In article <1992Apr7.195214.13121@dsd.es.com> cashby@dsd.es.com (Cary Ashby) writes:
>Does anyone know *exactly* where to find the magic little transformer,
>and *exactly* how do you wire it to go from unbalance high Z to balanced
>low Z?  

If you want the best, call Jensen Transformers.  Give them an input Z
(probably 10K or so, right?) and an output Z (600 ohms should be okay).
Then give them some money and they'll ship it out.  Even include a data
sheet and sample circuits for your money.
--scott

  (I an not in any way associated with Jensen Transformers)

Xref: sparky rec.audio.pro:541 rec.music.makers:5726
From: huopio@lut.fi (Kauto Huopio, OH5LFM)
Newsgroups: rec.audio.pro
Subject: Pro audio/studio magazines?
Date: 15 Apr 92 11:18:42 GMT
Distribution: rec
Organization: Lappeenranta University of Technology, Finland
Disclaimer: Opinions expressed below are writers own.
Peruutus: Mielipiteet ovat omiani.

Now folks, tell us the best pro audio/studio/recording magazines in the
USA/Canada/U.K! Names, prizes (to overseas), order addresses, and some
comments. This info should be in the FAQ.. Any magazines for home
recording? 

--Kauto
--
****************** Kauto Huopio (huopio@kannel.lut.fi) **********************
*  Mail: Kauto Huopio, Punkkerikatu 1 A 10, SF-53850 Lappeenranta,Finland   *
*****************************************************************************
From: mbl@media.mit.edu (Marc LoCascio)
Newsgroups: rec.audio.pro
Subject: Shure SM98 mini-condensor
Date: 14 Apr 92 07:47:15 GMT
Article-I.D.: news.1992Apr14.074715.5850
Organization: MIT Media Laboratory

i'm still looking for a great snare mic, and i've heard about the new-ish
Shure SM98 mini-condensor.  has anyone out there used one?  it's designed to
handle high SPLs (155 dB) for close mic'ing of drums. the response curve has
a very nice presence peak around 8 KHz and is pretty flat otherwise.

experiences?  opinions?

Marc LoCascio	(mbl@media-lab.media.mit.edu)
From: Davie_Harris@gateway.qm.apple.com (Davie C. Harris)
Newsgroups: rec.audio.pro
Subject: Re: How to mic drums.
Date: 14 Apr 92 14:12:36 GMT
Organization: Apple Computer Inc.

In article <1992Apr7.163403.10682@cs.yale.edu>, nathan@laplace.biology.yale.edu (Nathan F. Janette) writes:
> 
> One interesting hint I read in some magazine was to use a
> second mic on the underside on the snare to pick up the
> resonating wires.

I've heard/read of this, too.  One thing almost always mentioned with this is
reversing the phase on one of the two mic's.

I understand that the rationale for this stems from what I've been told is the
"three-to-one" rule.  This refers to the relationship between the amount of
separation between two in-phase mic's and a common sound source.  Example:  If
two mikes are 1 foot away from a common sound source, there should be 3 feet 
of separation between the mic's.  Violating this rule results in phase 
cancellation and an eerily loss of sound from both mic's.

Since the person who started this whole thing is mixing on a Soundcraft board,
and every Soundcraft I've seen has a phase reverse switch at the top of each 
channel, all that would need to be done is hit the phase reverse switch on one
of the two channels for the snare.

If this isn't correct (although I believe it is since I've heard of Shure rep's
demonstrating this technique) please post a follow-up and correct me!

Mr. Bear
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Microphone in "Good Morning Vietnam"
Date: 10 Apr 92 17:26:55 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Apr8.225222.1740@csdvax.csd.unsw.edu.au> u1066579@csdvax.csd.unsw.edu.au writes:
>Hi,
>    I wondered if anyone can tell me the type of microphone that Robin Williams
>used in "Good morning Vietnam".  What sort of price do these old microphones
>fetch today?  If possible please E-mail as I can't always read the Newsgroups.

The mic was a Shure Unidyne, I don't remenber the series but the mic
in the frame was not the mic that was used for the audio inthe
picture......That would be the boom mic that you dont't see!

I don't know the current used prices for that type of mic butthey are
available from used equipment brokers here stateside...

-- 
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: get@fraser.sfu.ca (Ge Thomson)
Subject: Re: Step up to the mic...
Organization: Simon Fraser University, Burnaby, B.C., Canada
Distribution: na,local
Date: Sat, 11 Apr 1992 07:35:43 GMT

>>>I am looking to get myself a reliable, pro-quality microphone for
>>>vocal use in my modest home studio.  Do any exist in the $100 to 
>>>$200 range, or is asking for something in that range going to 
>
>Well, I am guessing that you're looking for something better than the ol'
>SM-58, though you can certainly get that in your budget.  Other than that
>I'd guess you should probably look in the used market - you can probably
>pick up a used 421 (Sennheiser) for that.  Dunno.  If you find one you like,
>let me know what it is!

I would recommend a Shure Beta 58 - they are about 250, but give a considerably
better quality and clarity than the usual SM 58.

Cheers,

/-Tim
get@sfu.ca
Tim_Lang@f924.n153.z1.fidonet.org

Newsgroups: rec.audio.pro
From: lfeth@magnus.acs.ohio-state.edu (Lawrence L Feth)
Subject: Bell Sound Systems model 2200
Organization: The Ohio State University
Distribution: usa
Date: Thu, 9 Apr 1992 18:21:34 GMT


A friend in Connecticut is looking for an exact replacement for the output
transformer in a Bell Sound Systems model 2200C amplifier.  It was Bell Sound
part number B20235.  It has a special feedback winding.

If you know where he can buy one, please respond to Les Bernstein, room L-4017
Univ of Conn. Health Center Hartford,   e-mail: lbernst@uconnvm.bitnet.

Or failing that, responde to me feth@shs.ohio-state.edu
From: tony@robots.ox.ac.uk (Tony Hague)
Newsgroups: rec.audio.pro
Subject: How to record a clarinet ?
Date: 12 Apr 92 16:15:39 GMT
Organization: Robotics Research Group, Engineering Science Dept, Oxford, UK.
Originator: tony@lear.robots

I wonder if anyone can offer me some advice. I've just started a few
experiments with recording classical music. The works I am recording
are for clarinet and piano, and violin and piano. Now, I am not at all
sure about what microphone arrangements are best for this sort of
music, being much more at home working with rock music.

So far I have tried a few different placements of a pair of
microphones, both coincident and spaced. After a bit of
experimentation, I managed to produce quite a satisfactory recording
of the violin and piano combination. However, I am having some
problems with the clarinet. With whatever combination I tried, the
clarinet tone just doesn't sound right ... to me, it sounds sort of
warbly. The musician claims that it sounds like she's got water in
her clarinet, which is probably a reasonable description.

Is this effect likely to be due to the acoustics of the hall in which
it was recorded ? The walls and floor are quite reflective, but the
ceiling is quite absorbent. The best recording I got was after putting
a fluffy rug down on the floor. As I am stuck with this venue, at
least for the time being, (I don't really want to move the piano !) 
should I try further sound deadening on the walls ? 

Does anyone have any recommendations on microphone placement ? Or 
favourite types of mic ? (I have an assortment of AGK mics, so far I
have been using D190's).

Thanks in advance for any suggestions, and my apologies if this is not
really 'pro' enough !

Tony.
From: jhenders@jonh.wimsey.bc.ca (John Henders)
Newsgroups: rec.audio.pro
Organization:  One of these days.
Subject: Re: Recording Studio
Keywords: Multitrack
	<1992Apr11.170543.8227@nic.unh.edu>
	<1992Apr13.155211.25775@bilver.uucp>
Reply-To: jhenders@jonh.wimsey.bc.ca
X-Software: HERMES GUS 1.00 Rev. Jan 16 1992
Date: Thu, 16 Apr 1992 03:08:06 -0600

In <1992Apr14.125222.10311@news.larc.nasa.gov>,  Scott Dorsey writes:
>In article <1992Apr13.155211.25775@bilver.uucp> bill@bilver.uucp (Bill Vermillion) writes:
>>In article <1992Apr11.170543.8227@nic.unh.edu> dcm2@kepler.unh.edu (Tommy the Cat) writes:
>>>
>>>     Hello fellow net.people.edu  I have a slight predicament... I have 100,000
>>>dollars to burn, and I/we (my band) want to open up a recording studio.
>>>However, we are new around the music scene and equipment area.
>>
>>GET A CONSULTANT!!!!!  - don't think of spending serious money
>>without doing that.
>
>   Which is better, getting a short term consultant or hiring someone for the
>long term?  I always thought hiring someone over a year or so was the best
>bet, since there is always work to be done.
>
    Several people seem to be missing Bill's point here. ( Excuse me, Bill
if I turn out to be one of them )
    A consultant is not the engineer who's going to work in your studio.
He'll more likely be more familiar with acoustics than recording. A properly
designed control room and recording room are essential to your studio. 
    There are already more than enough bad sounding studios where the 
gear is first  class, but you can't trust the sound of the mix until your
engineer has spent 3 months learning the room quirks. Visiting engineers 
only visit once. 
    Plus, as Bill noted, a consultant will be likely to have connections
enabling him to give you better prices and still hit his profit point. 

    There's a lot more to building a studio than nailing up some sheetrock
and stapling Sonex to the walls. If the person designing the control room
wasn't familiar with Shroeder and Shroeder-Massenburg(sp) diffusors, both
2d and 3d, he isn't up todate at all on the technology.
    A suggestion to the original poster. First expenditure, Handbook of 
Acoustics, Volume 2. If you read through it, you'll know a bit about what 
the person who designs your studio should know a lot about.



-- 
There are a lot of intelligent people on the net that will go
ballistic when they are subjected to something stupid.
-- Larry Smith on the rec.arts.manga debate
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: How to record a clarinet ?
Date: 13 Apr 92 16:44:59 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Apr13.130902.26297@news.larc.nasa.gov> kludge@grissom.larc.nasa.gov ( Scott Dorsey) writes:

>What do you do with those musicians who have a tendency to wildly swing the
>instrument back and forth?  Even in a large concert hall, this causes some
>tonal changes from the point of view of someone in the audience, and it's
>much worse with a fairly (ie. 15-20 ft) close-in microphone.
>--scott

LET them do what ever *they* want to.  They are the musician and you
are only the recording engineer.  If they are swinging the instrument
wildly then it's their business!

-- 
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: games@max.u.washington.edu
Newsgroups: rec.audio.pro
Subject: PA cabinets for sale
Date: 15 Apr 92 19:53:09 GMT

PA CABINETS for sale.

These are NOT for the faint of heart.  These as a system can sustain
a live band in a 500 seat venue, or recorded music (dj style) for about 
2000.  it was a 4 way stereo system.  In any case, I am selling it.
I will sell the components seperately.

Lets start at the bottom.

1 pair of community boxers.  ( I have almost $7000 in these )
2 18" low range ( as opposed to full range) JBL drivers in EACH
a 3' poly community horn in front enclosed in a 15 ply (imported baltic birch
plywood) case.  the front cover has the casters, and it clips on so that they
can tip down and roll away for trucking.  they stand 5' 2" tall, and 3' wide,
and about 4' deep(each).  they weigh about 300 lbs each.
I will take $3000 for the pair.  I have no way to truck them even locally
so they will have to be picked up.  They were wired for a jumper panel in 
back so the drivers can be used seperately, seriesed or paralelled.
These are very well built, and have a very loud clean bass sound (provided that
you have the driving power)

Next up is a pair of Community M-80's  This is a matching cabinet to the Boxer.
it is a 12" JBL driver, in a fully enclosed horn.  (the rear of the horn is
a sealed cavity made by community, and the front is about a 1 1/2 foot deep
horn.  This is system is mounted in a standard road case (sides only front and
back are open.  I would like $800 for the pair ( but I might take less, make me
an offer.)

Next is a midrange horn.  It is a JBL horn and damned if I just forgot the
numbers.  2352 horn lens with a 2380 horn I think.  It is a 2" throat driver
and the driver has a titaniuym dome, and the driver is about 40 lbs on its own.
these are mounted in a particle board case.  ( but it is a well built case. )
These things are great for live SAX stuff, it will cut your head off if you 
crank it up and make the mistake of standing in front.  I want $500 for the
pair.


Then the tweets.  These are the JBL constant directivity mid throw 2445 with
the appropriate driver behind it.  ( this is another number I am not sure of)
(I hate these 4 digit JBL numbers).  In any case it is mounted in 15 ply
baltic birch casing with peavey style handles ( without the peavey labels)
and the pair go into a road case that has 1 1/2" foam all round the inside.
mean high end.  we crossed them much higher than we had to to use with
the horns, but we did have occasion to take these drivers out with just single
15" cabinets as low end and they held up the top just fine.
I want $1000 for the pair, and that includes the custom road case for them 
(with casters)

I also have some multi XLR-XLR that I used to drive the stack. 8 pair
if i recall correctly.  1 is 75' and the other ought to be 50'.  nicely
built.  $200 for this.  ( the xlr's alone are worth 1/2 of that)

If you make sound for a living, or if you just like good BIG sound,
some of this ought to interest you.
Call me

John Stevens-Schlick
5222 44th Ave SW
Seattle, WA 98136

(206) 935-4384 (Home)
(206) 296-4076 (Work)
Newsgroups: rec.audio.pro
From: osystems@world.std.com (Cary T Conrad)
Subject: Re: Shocking (IT IS A SINE WAVE)
Organization: The World Public Access UNIX, Brookline, MA
Date: Sat, 11 Apr 1992 17:40:09 GMT


Another way to illustrate that 208VAC is a sine wave is to take
two 120VAC sine waves on graph paper, overlay them, and shift
120 degrees. Add the values together and......

What do you know, IT'S A SINE WAVE!

BTW, It looks like J.A.Tabler is getting his moneys worth at GT.

CC
Newsgroups: rec.audio.pro
From: bill@bilver.uucp (Bill Vermillion)
Subject: Re: Help sought on choosing microphones
Organization: W. J. Vermillion - Winter Park, FL
Date: Sat, 11 Apr 1992 00:59:49 GMT

In article <1992Apr7.161101.13464@nntp.uoregon.edu> jrusby@darkwing (Jim Rusby) writes:

>The beauty of M-S is this- IF YOU ARE ONLY USING TWO MICS
>you can put M on one channel and S on the other.  Get your levels
>right and do the L-R decoding later, like in the studio in a
>comfortable chair.  You could decode it immediately using either
>a matrix box, or on a console with 3 pannable faders.

You don't need panable faders.  In fact you can decode the MS
matrix with a system that will permit only a full left, right,
and center feed.

Mult the M to left and right.  This will give you the full mono
center.   Take one S and go full left.  Take the other S
signal, invert it and go full right.  Kill the M in the monitor
and balance the l & r  S signals for a full null when monitor
in mono.  (Hell of a hole in the middle effect here).  Then
bring the M mike up to fill the center.  More M less spread,
less M more spread.   That was our standard procedure in the
studio with the C24 we had.   Being able to gang the 2 S inputs
is a definate plus.

-- 
Bill Vermillion - bill@bilver.uucp 
                - ..!{peora|ge-dab|tous|tarpit}!bilver!bill
Organization: Music, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.audio.pro
Date: Thu, 16 Apr 1992 15:11:32 -0400 
From: Riccardo Schulz <rs6k+@andrew.cmu.edu>
Subject: Re: Headphones for Monitoring Recording
	<HUOPIO.92Apr14121305@mamba.cc.lut.fi>

 
<<<How about AKG K-414's ? They are a bit pressing to ears, but the sound
<<<is very neutral (should I say dry?).. 
 
<<<<--Kauto




Do you mean the AKG 141???

The AKG 414 is that square-looking microphones [or do you invert numbers
as well as word-order over there?]

riccardo

--
From: gt3281c@prism.gatech.EDU (TABLER,JOHN ALEXANDER)
Newsgroups: rec.audio.pro
Subject: Re: SHURE MIKES
Date: 16 Apr 92 17:39:00 GMT
Organization: Georgia Institute of Technology

>The 57 flys apart if hit with a drumstick, however, 
>and they are bitches to put back together due to the head being held 
>on by a feindish little (irreplacable) brass clip.

There is a SM-57 windscreen replacement kit avaliable from Shure Brothers.
The windscreen is very simple to re-install once you have the kit.


Shure has a 1-800...  1-800-25-SHURE

Bye 

John T.
From: bender@oobleck.Eng.Sun.COM
Newsgroups: rec.audio.pro
Subject: Re: Dolby labs/NR/etc.
Keywords: History of Dolby NR : A, B, C, Hx, HX, etc ad nauseum
Date: 14 Apr 92 22:34:03 GMT
Organization: Sun Microsystems, Mt. View, Ca.
NNTP-Posting-Host: oobleck

In article <2478@loki.une.edu.au> skershaw@loki.une.edu.au (Shane Kershaw) writes:
->This is a posting on behalf of an associate.
->=============================================================================
->I'm requesting extensive information on Dolby Noise Reduction. The history of
->the company (how Ray Dolby started the ball rolling). All the different types
->(A, B, C, Hx, HX, Pro, Surround, Surround Pro Logic, S, SR, any others ??) and
->how they all work.
->=============================================================================

Your friend can call Dolby Labs.  The following information thanks to Bill
Cruce (wlrc@uhura.neoucom.edu):

For more detailed descriptions, write to:  DOLBY LABORATORIES
                                           100 Potrero Avenue
                                           San Francisco CA 94103
Ask for:
#1 - What is Dolby Surround?: 1 page sheet.
#2 - Questions about Dolby Surround: 1 page, answers 14 basic questions.
#5 - Dolby Surround Listener's Guide: a 16 page booklet.
#6 - Dolby Pro Logic Surround Decoder Principles of Operation:
        a detailed 14 page paper on the inner workings of Pro Logic.

(mike again):  I assume that Dolby also has similar information about their
other developments as well as something about their company's history.

mike
--
----
was ich nicht weiss macht mich nicht heiss
Newsgroups: rec.audio.pro
From: kludge@grissom.larc.nasa.gov ( Scott Dorsey)
Subject: Re: How to record a clarinet ?
Organization: NASA Langley Research Center And Storm Door Company
Date: Mon, 13 Apr 1992 13:09:02 GMT

In article <1992Apr13.005009.5102@cunixf.cc.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>You may be losing some of the information in the overtones of the clarinet.
>Make sure you've got the mic on axis with the *keys* of the clarinet.
>It also may be that you're just in a bad-sounding room.

What do you do with those musicians who have a tendency to wildly swing the
instrument back and forth?  Even in a large concert hall, this causes some
tonal changes from the point of view of someone in the audience, and it's
much worse with a fairly (ie. 15-20 ft) close-in microphone.
--scott
Newsgroups: rec.audio.pro