HDTenEightyP/NetNews huggingface dataset:
From: PVossler@cen.ex.ac.uk (P.J.Vossler)
Newsgroups: rec.audio.pro
Subject: Re: Whatever happened to biasless recording
Date: 10 Nov 92 16:26:01 GMT
Organization: Computer Unit. - University of Exeter. UK

In article <1992Nov5.190352.5080@leland.Stanford.EDU> jay@cmn19.Stanford.EDU (Jay Kadis) writes:


>   For a description of Archie Pettigrew's "Contour biasing" scheme, see  
>   Barry Fox' article on page 44 of Studio Sound, August 1990.  I would have  
>   scanned and posted it, but it's 3 column format makes that difficult...
>
>   Has anyone actually heard this?
>
>   Jay Kadis
>   jay@ccrma.stanford.edu
>

Was that the system where there is a cubic relationship between the
audio signal and the magnetic flux generated in the head gap. I recall
reading about a system which removed the need for a high frequency
bias signal by using such a relationship in the recording process. The
system was supposedly capable of achieving the quality of a CD with
simpler analog electronics.

However .....

IMHO no big company will no implement an analog tape system that
produces CD quality sound, both Phillips & Sony have invested millions
in developing their new systems for digital tape - I imagine any
patents on a new analog system will have been bought up and locked
away under heavy guard.

As an electronics buff I'd be interested in any further pointers on this.

--
	

===============================================================================
P.J.Vossler, Dept of Physics,	|	Email:p.j.vossler@ex.ac.uk 
University of Exeter		|	Tel  : +44-392-264100
Exeter, Devon, England EX4 4QL  | 	Fax  : +44-392-264111
===============================================================================
-- 
	

===============================================================================
P.J.Vossler, Dept of Physics,	|	Email:p.j.vossler@ex.ac.uk
From: cmh@eng.cam.ac.uk (C.M. Hicks)
Newsgroups: rec.audio.pro
Subject: Re: MD vs. DCC: What does the group think?
Date: 6 Nov 92 10:35:50 GMT
Organization: cam.eng

zerobeat@intacc.uucp (Ferenc Szabo) writes:

 << STUFF DELETED >>

>DCC appeals more because of compatibility with regular cassettes and the
>fact that EVERY review I've read of both formats says that DCC sounds
>wonderfully perfect, while MD is an obvious compromise on sound quality.

DCC does NOT sound wonderfully perfect. At the APRS exhibition in London
last June, everyone I spoke to thought that a top quality cassette copy 
of a CD was better than a DCC copy (in a blind test on the BASF stand).

>>>4.      What are your impressions if you've had a chance to demo a
>>>        prototype of either format?

>Not heard either; 

In which case, can you really criticise in the strong terms you have used :-?

>Why the hell couldn't they make an MD that sounds like CDs??????

Because the disc is physically too small to fit all the data on, using cheap
read/write technology.

>It's a more convenient format than tape, and convenience might
>just overpower superior sound in a lazy person's market.

MD certainly is far more convenient, and IMHO the sound is likely to be similar
to DCC (haven't heard MD). If this is the case, then I would like to see MD as
the next domestic/walkman/car music medium.

>ferenc

Christopher Hicks (cmh@uk.ac.cam.eng)
From: franko@cco.caltech.edu (Frank Filipanits)
Newsgroups: rec.audio.pro
Subject: RS Minimus-77's as NF Monitors? Anyone?
Date: 14 Nov 1992 05:24:09 GMT
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: alumni.caltech.edu

Okay, I'm getting desperate.  The recording facilities here are great, but
our monitors really bite.  We've got four sets in the main studio, and only
one pair of NF's (infinity) even come close to useable.  The monitors in
our smaller studio are beyond description.

I want to start using my own monitors;  However, I am a grad student without
an assistantship (i.e. poor).  A friend of mine used to have a pair of 77s
in his dorm room, and I remember being amazed by the sounds he was able to get
(even way deep synth bass sounds) out of that pair of dinky speakers.

As Christmas is coming, this would be an opportune time to decide I want
a pair;  the question remains - are they suitable for NF studio work?
I am just wondering if anyone else has used them for this purpose.

BTW, I *don't* like monitoring through headphones, even way cool AKGs, because
you get an artificially wide stereo spread.

My other option is building my own, but it would cost just about as much...
-- 
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Frank Filipanits Jr.    B.S. EE/Music, California Institute of Technology '92
>><< Go 'canes! >><<       M.S. Music Engineering, University of Miami    '94  
franko@alumni.caltech.edu   "I ain't evil - I'm just good lookin'..." A.Cooper
From: bo@yenta.alb.nm.us (Bo Farley)
Newsgroups: rec.audio.pro
Subject: Re: Alesis MEQ-230
Date: 11 Nov 92 05:46:33 GMT
Distribution: rec
Organization: yenta unix pc, rio rancho, nm

I belive Alesis is the only company that markets a stereo 1/3 octave EQ that is
one rack space!!! I have heard that they are real clean, sure seems like it would be a bitch to adjust in a live situation though!
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Rad Shack PZMs w/ Phantom?
Date: 11 Nov 92 05:39:46 GMT
Article-I.D.: gold.5525
Organization: Grass Valley Group, Grass Valley, CA

In article <0exowk200Uzx46=ZoG@andrew.cmu.edu> bp12+@andrew.cmu.edu
(Brian J. Papa) writes:
>Does anyone know how to modify a Radio Shack pzm so that it can be run
>with 48volt phantom power?  It seems like it should be possible, but I
>don't know how to do it (especially now that the schematic is missing).

I have designed a modification for this mic but I have not had time to
test it,  and being an engineer of some (minor) merit I would
not send ont a fix that wasn't tested.

If you are hot to try it for me I will send it to you,  no guarantees.
-- 
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: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Re: cubic distortion in analog recording
Organization: DSO, Stanford University
Distribution: na
Date: Thu, 12 Nov 92 18:22:43 GMT

Does Ampex have any experience with the Pettigrew Contour Biasing scheme?   
It would be interesting to know if there has been enough research into  
this method to warrant an attempt to try it out.

Jay
From: weaver@kuttner.sfc.sony.com (Eric Weaver)
Newsgroups: rec.audio.pro
Subject: Re: the usual silly test levels question
Date: 12 Nov 92 22:42:49 GMT
Organization: SONY Advanced Video Technology Center San Jose, CA USA


In article <1992Nov12.200315.6713@news.columbia.edu>, gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:

|> 600 ohm (dBz for those who care about such things) was the old Bell Telephone
|> standard, as was dBm and dBv.  600 ohms at 775 mV yields 1 mW.  Thus, when we
|> put the old power equation, P=V^2/R into logarithmic terms, we get dBm=dBv-dBz,
|> a convenient, though no longer very useful equation.

Now THAT's an interesting bit.  Is impedance dB computed like E or I, or like
 power (i.e. with 20 or 10 log ratio)?  I guess like power since it's not 
squared in the ohm's law formula.

The only place at my station we care about I/O impedances is on the program
lines up the mountain...
-- 
Eric Weaver  Sony AVTC  677 River Oaks Pkwy, MS 35  SJ CA 95134  408 944-4904
& Chief Engineer, KFJC 89.7 Foothill College, Los Altos Hills CA 94022
-- 
Eric Weaver  Sony AVTC  677 River Oaks Pkwy, MS 35  SJ CA 95134  408 944-4904
& Chief Engineer, KFJC 89.7 Foothill College, Los Altos Hills CA 94022
Newsgroups: rec.audio.pro
From: kauff@neit.cgd.ucar.edu (Brian Kauffman)
Subject: Re: Interesting Twist on Excessive SPL in Clubs
Keywords: EARPLUGS
Organization: NCAR, Boulder CO
Date: Tue, 10 Nov 1992 23:43:54 GMT

> = bsanders@mrcnext.cso.uiuc.edu (Barry Sanders) writes:
------------------------------------------------------------------------
>It really makes me feel good to hear you say that :)  I sometimes feel that I'm
>the only person who realizes the value of retaining my sense of hearing. I cant
>believe the volumes to which rock guitarists and drummers subject their unpro-
>tected ears regularly.  I can't even take a few *seconds* of that kind of 
>volume, let alone a few *hours* of it, three nights a week or more!!! I want to
>know how they can hear at all!  

I was curious enough to buy a dB-SPL meter from a company that sells
cheap electronic stuff in malls, using the C weighting & a damped meter
I got these readings:

110 dB  near my head while *bashing* my drums (milage may vary)
100 dB  near my head during normal playing of my drums (R&B, not bashing)
100-110 dB seemed a typical nominal range in local rock club audiences
110-120 dB seemed a typical peak    range in local rock club audiences

I always wear earplugs.

-Brian 
Newsgroups: rec.audio.pro
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: the usual silly test levels question
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Fri, 13 Nov 1992 03:24:13 GMT

In article <1992Nov12.144249@kuttner.sfc.sony.com> weaver@kuttner.sfc.sony.com (Eric Weaver) writes:
>
>In article <1992Nov12.200315.6713@news.columbia.edu>, gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>
>>600 ohm (dBz for those who care about such things) was the old Bell Telephone
>>standard, as was dBm and dBv.  600 ohms at 775 mV yields 1 mW.  Thus, when we
>>put the old power equation, P=V^2/R into logarithmic terms, we get dBm=dBv-dBz,
>>a convenient, though no longer very useful equation.
>
>Now THAT's an interesting bit.  Is impedance dB computed like E or I, or like
> power (i.e. with 20 or 10 log ratio)?  I guess like power since it's not 
>squared in the ohm's law formula.

Well, think of it this way.  The power equation is P=V^2/R.  The standard
dB formula is 10 log X/Xo.  The only reason it becomes 20 is that you
have the V^2, and when you take the log, the 2 comes around front making
it 20 log X/Xo.  dBz is calculated as 10 log X/Xo with reference to 600 ohms.

It's only really useful if you have to shoot between dBm and dBv and you
know the impedance.  dBz doesn't have too many other practical applications.

>The only place at my station we care about I/O impedances is on the program
>lines up the mountain...

How are those handled, by the way?  I've always been curious?  After you come
out of the control room, what sort of processing is done before the stuff
gets put on transmission line and sent up the hill?


--
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: tchannon@black.demon.co.uk (Tim Channon)
ReplyTo: tchannon@black.demon.co.uk
Subject: Re: Lossy sound compression software for DigiDesign?
Distribution: world
X-Mailer: cppnews $Revision: 1.19 $
Organization: null
Date: Tue, 10 Nov 1992 01:17:55 +0000

> 	DigiDesign offers a save-as 4-1 compression option.  I need to
> reduce the bit-rate even further.  I know that I could just sample at
> 16Khz instead of 32Khz, but I would rather use an advanced compression
> scheme based on psychoacoustic perception.  The Sony minidisc does a
> 5-1 compression and Dolby Labs has a T1 transmission system that also
> does something similar.  Does anyone have software that will do an 8-1
> compression on a DigiDesign file?  (or on any 16 bit stereo, 32 Khz file)

I see, blue skys department.

Perhaps you need to wait for APTX 12:1, but I doubt it will be cheap.

Does anyone here have uptodate news on this development?

  TC. 
    E-mail: tchannon@black.demon.co.uk or tchannon@cix.compulink.co.uk
                                
Newsgroups: rec.audio.pro
From: is410409@umbc2.umbc.edu
Subject: LOOKING FOR TECHNIC 1200MKIIs
Organization: University of Maryland Baltimore County
Date: Mon, 9 Nov 1992 23:10:03 GMT

Hello, net:

I am currently in the hunt for a pair of Technic 1200 turntables.  If you are 
willing to sell, and have turntables that are in good condition, please E-mail
me.  I would rather get a second hand pair, in a short time, most DJ's may be
using SLP 1300s (CD counterpart to 1200s), and I would hate to get stuck with a
pair of turntables that haven't lived out their "useful life".  I will also con-
sider 1210's if the price is right.  If interested in selling, please email me
at the internet address below.


Thank you,



RICHARD THOMAS


IS410409@UMBC2.UMBC.EDU OR
IS410409@UMBC5.UMBC.EDU
Newsgroups: rec.audio.pro
From: rsilvers@cirrus.nynexst.com (Robert Silvers)
Subject: Lossy sound compression software for DigiDesign?
Originator: rsilvers@cirrus
Organization: Nynex Science and Technology
Date: Mon, 9 Nov 92 17:55:29 GMT



	DigiDesign offers a save-as 4-1 compression option.  I need to
reduce the bit-rate even further.  I know that I could just sample at
16Khz instead of 32Khz, but I would rather use an advanced compression
scheme based on psychoacoustic perception.  The Sony minidisc does a
5-1 compression and Dolby Labs has a T1 transmission system that also
does something similar.  Does anyone have software that will do an 8-1
compression on a DigiDesign file?  (or on any 16 bit stereo, 32 Khz file)

					Thanks,
						--Rob.
From: hobbit@babyoil.ftp.com (*Hobbit*)
Newsgroups: rec.audio.pro
Subject: the usual silly test levels question
Date: 11 Nov 92 23:30:56 GMT
Article-I.D.: babyoil.2b0199bd
Expires: 1 Apr 93 12:34
Organization: large

This is probably asked fairly often, although grepping for "level" and
"faq" and other semi-obvious things didn't educate me.  Does anyone have
the whole rundown on line levels, dB{m,w}, over what response curves, etc
online that they could mail me a copy of?  I'm putting together a little audio
calibration oscillator, mostly for tweaking hamfest-special tape decks, and
came up with several questions...

In particular I need to know what voltage at the line in/out jacks corresponds
to the popular concept of "0 dB".  I seem to remember a 1 volt *peak-to-peak*
sinewave as being some sort of standard, or was it 0.775?  Or was it RMS?
Please bail me out of this confused state...

_H*
From: logan@ccwf.cc.utexas.edu (Logan Shaw)
Newsgroups: rec.audio.pro
Subject: Re: Alesis MEQ-230
Date: 14 Nov 92 01:47:23 GMT
Distribution: rec
Organization: The University of Texas at Austin, Austin TX

In article <MSKOGMO.92Nov9172202@dante.nmsu.edu> mskogmo@nmsu.edu (SKOGMO) writes:
>Does anyone have any experience with the M-EQ 230?  Good, Bad?  I
>would like to know because I am interested in purchasing a single rack
>space stereo 1/3 equalizer and may be able to get a good deal on the
>230.

I think my church just may have bought one of these.  (I don't know the
model number off the top of my head.)  Anyway, the one we bought fits the
description.  I have used it twice in a very limited way, and there are
three minor gripes:

	(1)  The sliders are next to invisible because of the obnoxious
	'ALESIS' logo printed across the front,

	(2)  The sliders don't stick out far enough from the front to
	allow you to easily adjust them, but usually with a 1/3 octave
	EQ you're going to set it carefully once, and then only tweek
	a little, and

	(3)  It's powered by a little transformer that sits on the plug,
	but then again, at least the power supply isn't in the case.

Notice that all of these are inconveniences only.  I noticed no appreciable
noise, and as far as I can tell, it doesn't sound different in its flat
state than it does in its defeated state.

And, it's only about 4" deep, so it allows plenty of air circulation in
your rack.  :-)

Adios,
  Logan
-- 
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=---=---=-=-=
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-===-=-=-=-
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=---=---=-=-=
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Logan Shaw =-=-=-=-=-=--=--=-=-=-
From: dnwangus@flash.LakeheadU.Ca (Dave Angus)
Newsgroups: rec.audio.pro
Subject: TOA wireless mic
Summary: what freq does it use?
Keywords: microphone
Date: 11 Nov 1992 04:53:55 GMT
Organization: Lakehead University, Thunder Bay, Ont., Canada

Hello, net gurus!

What frequency does the TOA WM340U wireless mic use?  Somewhere around
49 MHz?  There's one of these systems in a lecture hall here and I'm 
curious about how it works.  Knowing the frequency would make it possible
to record a lecture without contending with the acoustics or noisy students.
It could also be helpful to hearing-impaired students. 

Thanks in advance.
--
Dave Angus                     +         "Kundalini wants his hand back"
dnwangus@flash.lakeheadu.ca    +
Newsgroups: rec.audio.pro
From: loj@cae.wisc.edu (Lo Jeffrey)
Subject: Re: Interface Digital Audio <---> Computer ???
Organization: U of Wisconsin-Madison College of Engineering
Date: 10 Nov 92 13:35:27 CST

In article <H.ea.PSaPv1RDa&M@jonh.wimsey.bc.ca> jhenders@jonh.wimsey.bc.ca (John Henders) writes:
>
>	The reason pc sdigital sound boards are not as common as you'd hope
>is that the only part of a ps the designers can take advantage of it th
>keyboard and displayl. The bus bandidth of anything below an eisa
>machine is too slow to kee up.Even then, display update is a problem.
>

The bandwidth of an ISA machine is not too small for this application.
I built a card last semester which uses DMA on an ISA bus to do I/O
with S/P DIF and AES/EBU signals.  To prove this to yourself, just
try copying a 10MB file to another name using a fast disk drive,
keeping in mind that 16 bit stero 44.1KHz samples take approximately
10MB per minute and that you will be both reading and writing the file.
If you want an even better idea of the bus/hard drive speed, run
Norton Utilities 5.0 System Info and check your hard disk's throughput.
On modern drives it should be well within what is needed.

Jeff Lo
loj@cae.wisc.edu
From: tonyb@juliet.ll.mit.edu ( Tony Berke )
Newsgroups: rec.audio.pro
Subject: Re: Interface Digital Audio <---> Computer ???
Date: 12 Nov 92 16:23:38 GMT
	<H.ea.PSaPv1RDa&M@jonh.wimsey.bc.ca>
	<1992Nov10.133527.1442@doug.cae.wisc.edu>
Organization: M.I.T. Lincoln Lab - Group 43

In article <1992Nov10.133527.1442@doug.cae.wisc.edu> loj@cae.wisc.edu (Lo Jeffrey) writes:

   In article <H.ea.PSaPv1RDa&M@jonh.wimsey.bc.ca> jhenders@jonh.wimsey.bc.ca (John Henders) writes:
>   >
>   >	The reason pc sdigital sound boards are not as common as you'd hope
>   >is that the only part of a ps the designers can take advantage of it th
>   >keyboard and displayl. The bus bandidth of anything below an eisa
>   >machine is too slow to kee up.Even then, display update is a problem.
>   >

>   The bandwidth of an ISA machine is not too small for this application...


I agree about 50% with both statements.  I've done hardware and
software applications for the PC that needed high throughput, and
agree that the ISA bus isn't particularly fast or predictable.
However, modern disk subsystems can move about 800KB/sec, and any of
the interesting ones can be from 2-10 times faster.  This is more than
fast enough for reliable 2-channel audio, and the faster systems could
in theory support quite a few more than that.  The bus is pretty
pathetic if you're trying to move the data between I/O cards, DSP
cards, etc, via the system bus, but it's really pretty straightforward
to implement a "backend" bus between the cards in a system.  This will
make the overall system behavior much more predictable and
semi-independant of the particular PC in use.

*I* think that by far the major reason that PC Digital Audio
software/hardware has been slow to market is that the Mac world
captured, through its GUI and its marketing, the art world years and
years ago.  As a developer, it makes sense to sell add-ins to systems
that your intended market already owns -- it then becomes MUCH easier
to sell them your product.

Later,

Tony
From: martha@hpkslx.mayfield.HP.COM (Martha Lyons)
Date: Tue, 3 Nov 1992 21:52:33 GMT
Subject: Speakers/Amps/Misc for sale
Organization: HP Response Center Lab
Newsgroups: rec.audio.pro

*******************************************************************************
FORSALE: Sound/stereo Reinforcement (Northern California)
         Contact Nic or Martha 415-323-7171 (or Email)
      
        Come see for yourselves!!  Great for beginning Bands
*******************************************************************************

Speakers:
  * Bear Bottoms (8) Bass Reflex cabinets each loaded 
    w/one JBL E140 15" speaker                             $200 each
  * MH2's (4) Mid-High cabinets each loaded  with two 
    JBL E130 12" speakers & 2 JBL 2440 Horns               $500 each
  * Community Light & Sound Front Loaded Bass Bins (2) 
    Cabinets each loaded with 1 JBL E140 15 inch speaker   $250 each
  * Altec Horns w/808B drivers in cabinets (2)             $150 each
  * Unloaded Floor Wedges (5)                              $ 40 each unloaded,
                                                           $150 each w/JBL E120
Amplifiers:
  * Crown PSA2's (3)                                       $750 each

Electronics:
  * UREI 527A 27 Band Graphic EQ (1)                       $250
  * White 31 Band Graphic EQ (1)                           $300
  * Custom 3-Way Crossover Limiter (1)                     FREE
    (as bonus w/main speakers)

Misc:
  * Amp Racks (2)                                          $75 each
  * Gear Boxes (2'x2'x2') on wheels (2)                    $75
  * Speaker Cable (~600')                                  $100
  * Mic Cable (~200')                                      $50
  * AKG Tripod Mike stands (chrome) (6)                    $25 each
  * AKG Telescoping Booms (chrome) (6)                     $15 each
  * AKG Tripod Mike stands (black) (2)                     $25 each
  * AKG Telescoping Boom (black) (1)                       $15
  * CV Lloyde 200' Splitter Snake (1)                      $400