HDTenEightyP/NetNews huggingface dataset:
From: gt0179a@prism.gatech.edu (Mike Chu)
Subject: Valves, tubes, whatever you call'em...
Originator: tjk@csd4.csd.uwm.edu
Organization: Georgia Institute of Technology
Date: Fri, 24 Jul 1992 12:58:42 GMT


Howdy folks,

Yes, I'm in the market for a good tube amplifier and need a bit of advice.
See, I live about 300 miles away from even a decent hi-end shop and might have
to make the purchace through mail-order.  Anyhow, what it boils down to is that
I might have to by the amplifier without any auditioning.  It's not that I
haven't heard dozens of high end amplifiers before; however, I've never heard
anything good enough to shell out big bucks for.  Surely there are products
around that I will find satisfying, but I just geographically have no access to
shops that sell them. 

I've talked to reputable retailers from all over, but it's difficult to get
any real objective advice from these folks.  Here are some of the amps I'm
considering.

1.  Air Tight ATM-1 
2.  VTL 60/60 stereo
3.  Lectron integrated
  
and maybe solid state:

4.  Symphonic Line amp
5.  First Sound Preamp
6.  Classe amps and preamps
7.  PSE amp and preamp
8.  Naim 62/90 preamp and amp
  

All of which I have been told sound pretty good with my ProAc minimonitors.
The ProAcs are EXTREMELY detailed and a little hot on the top.  To balance out
and emphisize the bad and good characteristics of these speakers, the amplifier
must be detailed and "airy," yet not scream the HFs.

The ATM-1 from Air-Tight is a very good prospect having had rave reviews and
being kin to the famous ATM-2.  A retailer even went so far to assure me that
the ATM-1 was far superior to the Stereophile Class A Jadis amps.  Although
I have reservations to such an assertion, the Jadis being twice the price of
the Air Tight unit, in light of his experience, I have little room
to doubt his comparison.

The solid state products are simply less expensive than the tube gear (of coursemoney is of prime consideration), offering fine sound for less price.  I, like
many of you who read this group, am willing to invest a bit more money if
the sound improvements are substantial.

Mike Chu  
-- 
Mike Chu  --  Freshman Chemical Engineering
Georgia Institute of Technology, Atlanta Georgia, 30332
uucp:	  ...!{decvax,hplabs,ncar,purdue,rutgers}!gatech!prism!gt0179a
Internet: gt0179a@prism.gatech.edu

Newsgroups: rec.audio.high-end
From: gordie@duts.ccc.amdahl.com (Gordon Freedman)
Subject: Re: Audio Alchemy DDE 1.0
Originator: tjk@csd4.csd.uwm.edu
Reply-To: gordie@duts.ccc.amdahl.com
Organization: Happy hacker bait and tackle shop
Date: Fri, 31 Jul 1992 13:13:25 GMT
  (5.65c/IDA-1.4.4 for <rec-audio-high-end@ames.arc.nasa.gov>); Thu, 30 Jul 1992 12: 14:27 -0700
	id <m0mDfwQ-0001AuC@amdahl.uts.amdahl.com>; Thu, 30 Jul 92 12: 13 PDT
	id <m0mDfvP-0000NKC@juts.ccc.amdahl.com>; Thu, 30 Jul 92 12: 12 PDT


In article 92Jul29100414@pilsner.bbn.com, rshapiro@bbn.com (Richard Shapiro) writes:
>In article <28JUL199222442179@zeus.tamu.edu> p0p4018@zeus.tamu.edu (PREMTHAMKORN, PRAKIT) writes:
>   If you are upgrading your CD player and your CD has a digital output (either
>   coaxial or optical type), buy this converter unless you want to spend a lot 
>
>
>
>The Audio Alchemy is a very decent bitstream-type dac at a *very*
>reasonable price. I feel I should warn potentinal buyers of one
>possible drawback though: this dac will *not* handle 48kHz DAT digital
>out. So if you're thinking of using this item with a DAT deck as well
>as a cd player, forget it. 

BZZZZZZZZZZZZTTTTTTTTTTTT!!!!!!!

WRONG...... I have the DDE and it works fine with my DAT deck at 48khz. The
manual says it will sample 44.1 and 48, but not the 32khz used by some
satellite broadcast and the "slow" speed on DAT.



---
Gordon Freedman: gjf00@duts.ccc.amdahl.com Sigs are for kids
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.high-end
Subject: Re: Speaker radiation patterns
Date: 22 Jul 92 13:08:16 GMT
Organization: Grass Valley Group, Grass Valley, CA
Originator: tjk@csd4.csd.uwm.edu


My comments:

In his book on speaker design Martin Coloms discusses this topic of
point source vs difuse field.  The BBC did lots of testing and they
choose the point source because of the sharper image.

It is my humble opinion that the diffuse field systems are intended to
widen the sweet spot for listening (I do realize that this is not the
case with some high end bipolar designs), at least so some of the
advertising lit suggests.

It is also my opinion that the point source system will provide the
best reproduction in a given room.  I believe this because the
recording engineer usually takes great pains to "capture" the room
sound in the recording.

Adding to that with a diffuse field projection of the sound only serves
to blur the desired effect.

While this is contrary to the suggestion that a concert hall listener will
get a diffused sound, I would like to point out that the listener that is
reasonably close to the orchesrta will hear the source first and then the 
room sound. 
-- 
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.high-end
From: John Stimson <jstimson@jarthur.Claremont.EDU>
Subject: Re: Stacked Quads
Originator: tjk@csd4.csd.uwm.edu
Organization: Harvey Mudd College, Claremont, CA 91711
Date: Tue, 21 Jul 1992 13:07:52 GMT
          20 Jul 92 8: 09 PDT

In article <BrJzvx.LBC@watserv1.waterloo.edu> scholz@watsci.waterloo.edu 
(Guenter A. Scholz) writes:
>  Re. the mid/tweeter cavity, I would think (I have 
>not measured this) that diffraction is not important for an extended source
>it simply beams too much.  Diffraction is a very important problem mostl
>for point sources.

I guess you haven't seen what a diffraction grating can to to a column of
light then.  If the Quads are like most (all) electrostatics I've seen,
the drivers are shaped like a big grid, which would make a wonderful
diffraction grating!  Not sure of what frequencies this would affect the
most, since I don't know the spacing of the mesh...

							John Stimson
							Harvey Mudd College

Newsgroups: rec.audio.high-end
From: Scott Dorsey <kludge@grissom.larc.nasa.gov>
Subject: Murray Hill Records
Originator: tjk@csd4.csd.uwm.edu
Organization: University of Wisconsin - Milwaukee
Date: Wed, 29 Jul 1992 12:54:48 GMT


I have to opportunity to pick up a number of LPs on the Murray Hill label.
This is one which I have never heard of before, and from the general look of
the packaging it appears to be an early 70's low-budget operation of some
sort.  Any suggestions?  Is this a long-hidden audiophile label, or one of
those folks that advertise on late-night TV?
--scott

Newsgroups: rec.audio.high-end
From: eric@prodigal.psych.rochester.edu (Eric Hansen)
Subject: Connecting NAD 5000 to Aragon 4004 directly
Summary: Does anyone have experience with using CD direct into their amp?
Originator: tjk@csd4.csd.uwm.edu
Keywords: NAD ARAGON VARIABLE OP-AMP
Organization: University of Rochester - Rochester, New York
Date: Wed, 29 Jul 1992 12:54:27 GMT

Esteemed Audiophiles:

I'd like to connect a CD player directly to an amp, thereby eliminating (or 
rather, postponing until funds permit) the need for a preamplifier.  The
CD player is a NAD 5000, which has variable output, and the amp is
an Aragon 4004.  So, I have several specific questions -- any help from
people who use/have heard this type of (or similar) arrangment would be much
appreciated!

1)  I've been told that connecting a CD player directly to the amp will
  theoretically provide the 'purest' sound possible since there's
  basically nothing in the signal path.  I've also heard that while this
  is true (and only possible with a variable output unless you like your
  music very loud), the op-amps inside the CD player which make this possible
  are usually not so great -- suitable for headphones, but not great as
  compared to the gain stages which are built into legitimate preamplifiers.
  Anyone know about the volume/op-amp stage of the NAD 5000?

2)  There has also been question as to the dynamic response which is
  heard without a preamp - namely, if there is a lack of it.  Since I've never
  used this arrangement, I don't know.  Most salesman have told me that
  to get the best dynamics, you *need* a preamp - of course, to make the
  most profit, you *need* to sell the preamp, so I don't know how
  accurate this claim is...  It certainly seems reasonable to invest in
  the preamp if your dynamics will otherwise be lacking, but is this
  the case?

3)  Last but not least, there's the impedance matching issue.  The
  Aragon has in input impedance of 22 kilohms.  The NAD has output of 120
  ohms.  Assuming that one of the principal jobs for the preamp is to match
  impedances between sources and the amp, is this difference of impedance
  a big problem?  Will it cause things like hum and/or low volume ceilings?

Since I'm no salesman or electrical engineer, I don't know if (and to what
extent) I am misinformed, but that's why I'm trying to learn from this
group.  Thanks in advance for everyone's help!

Thanks,

Eric Hansen

---------------------------------------------------------------------------
eric@prodigal.psych.rochester.edu           Center for Clinical Computing
eric@binoc.bih.harvard.edu                           Boston, MA
______                                                             ________
Hacker \            "Think globally, program locally"             /  Surfer
---------------------------------------------------------------------------

Newsgroups: rec.audio.high-end
From: mccrate@netcom.com (Joe McCrate)
Subject: Re: Valves, tubes, whatever you call'em...
Originator: tjk@csd4.csd.uwm.edu
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Mon, 27 Jul 1992 12:45:24 GMT
  (5.65c/IDA-1.4.4 for <rec-audio-high-end@ames.arc.nasa.gov>); Sat, 25 Jul 1992 12: 01:58 -0700

The following Conrad-Johnson products are excellent:
	PV11 tube pre-amp
	MF200 FET 200w amp
	MV120 tube 120w amp

And so are the following Audio Research products:
	LS1 hybrid pre-amp
	LS2 hybrid pre-amp
	Classic 60 hybrid 60w amp
	Classic 120 hybrid 120w amp

I have listened to and enjoyed all of the above.  I bought the PV11 and MF200.

Joe McCrate


Newsgroups: rec.audio.high-end
From: daniel@netcom.com (Sam Daniel)
Subject: Re: Murray Hill Records
Originator: tjk@csd4.csd.uwm.edu
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Thu, 30 Jul 1992 13:05:21 GMT
  (5.65c/IDA-1.4.4 for <rec-audio-high-end@ames.arc.nasa.gov>); Wed, 29 Jul 1992 21: 27:29 -0700

Scott Dorsey <kludge@grissom.larc.nasa.gov> writes:


>I have to opportunity to pick up a number of LPs on the Murray Hill label.
>This is one which I have never heard of before, and from the general look of
>the packaging it appears to be an early 70's low-budget operation of some
>sort.  Any suggestions?  Is this a long-hidden audiophile label, or one of
>those folks that advertise on late-night TV?
>--scott

I remember buying Murray Hill records from the Publisher's Clearing
House catalog in the early 60's.  Everything from Sherlock Holmes
stories to Josef Krips' set of the Beethoven symphonies.

I don't remember being disappointed by them, but then again, I don't
remember what they sounded like...
-- 
*
*
Sam Daniel          *   UUCP (Smart):  daniel@netcom.com
Paramax Systems     *         (Dumb):  {...}!uunet!netcom!daniel
1001 W. Maude Ave.  *          Voice:  1-408-235-2661
Sunnyvale, CA 95131 *     Disclaimer:  It's only my opinion, but it's
                                       a DAMN good one...

Newsgroups: rec.audio.high-end
From: Marcio Chiaramonte <MJCHIARA%BRUSPVM.bitnet@UICVM.UIC.EDU>
Subject: Where is Takesue Kazuma?
 <tjk@csd4.csd.uwm.edu>
Resent-Message-Id: <9207241240.AA04039@csd4.csd.uwm.edu>
Resent-Date:  Fri, 24 Jul 92 09: 38:22 BD2
Originator: tjk@csd4.csd.uwm.edu
Resent-To: Dear readers <Info-high-audio@csd4.csd.uwm.edu>
Organization: University of Wisconsin - Milwaukee
Resent-From: Marcio Chiaramonte <MJCHIARA%BRUSPVM.bitnet@UICVM.UIC.EDU>
Date: Fri, 24 Jul 1992 12:59:27 GMT

I would like to contact Mr."Takesue Kazuma", which propably lives in
Fukuoka - JAPAN. I think:After Mr. Futermam, Mr. Takesue is the "papa"
of OTL amps. If anybody has some information about him, please send me
a mail.   Thanks   Marcio Chiaramonte  - MJCHIARA@Bruspvm.ansp.br

Newsgroups: rec.audio.high-end
From: mhemy+@cs.cmu.edu (Michael Hemy)
Subject: Re: e: Best Buh's from "Hi-Fi Choice"
Originator: tjk@csd4.csd.uwm.edu
Organization: School of Computer Science, Carnegie Mellon
Date: Tue, 28 Jul 1992 12:52:26 GMT

You can subscribe to "Hi-fi Choice" by calling 
`International Subscription'
Tel # 1-800-544-6748

Note: Subscribing is going to cost you exactly the same as buying the
issues separately ($5.95 per issue vs. $71.40 yearly). I did not
subscribe and opted for buying individual magazines which have reports
that are interesting to me. The buyer's guide is present in every
magazine anyway.

--Michael

Newsgroups: rec.audio.high-end
From: John Stimson <jstimson@jarthur.Claremont.EDU>
Subject: Vandersteen Acoustic Coupler
Originator: tjk@csd4.csd.uwm.edu
Organization: Harvey Mudd College, Claremont, CA 91711
Date: Fri, 24 Jul 1992 12:58:35 GMT
          23 Jul 92 10: 01 PDT


Someone mentioned (perhaps in rec.audio) that he thought the Vandersteen
2C's "Acoustic Coupler" (the radiator in the back) was a passive driver
with the voice coil hooked up to some sort of passive circuit which 
provides the proper response.  I'd gotten the impression that the 
Acoustic Coupler was just a fourth driver (in the 2Ce literature it is
referred to as the "Active Acoustic Coupler" and its voice coil and
magnet are described).  

Does anyone have a clue as to how this works?  And does it work the
same way in the 2C, 2Ci, and 2Ce?  (I'm still trying to discover the
differences between the three, since the 2Ci seems to sell for $150 more
than the 2C used)

						John Stimson
						Harvey Mudd College

Newsgroups: rec.audio.high-end
From: henrik@carmen.volvo.se
Subject: Ittok rewire
Mailer: Elm [revision: 66.25]
Originator: tjk@csd4.csd.uwm.edu
Cc: Info-High-Audio@CSD4.CSD.UWM.EDU
Organization: University of Wisconsin - Milwaukee
Date: Fri, 24 Jul 1992 12:58:54 GMT

Peter Campbell wrote:

>Has anyone tried to rewire an Ittok tone arm? I am considering this and
>would like to know what to expect when I get inside. Does it have damping
>material?  Is this easily removed and replaced?  Has anyone experienced any
>improvements or losses doing this?  I was considering van den Hul wire.  Is
>the head shell glued as well as screwed on?  Can I get replacements for the
>plug and socket for the arm lead?

Peter,
There are several reasons NOT to rewire an Ittok. 

You run the risk of destroying your arm. Since the design of the Ittok 
is different from most other arms, things tend to go very wrong when 
people start messing with their arms. The bearings are easilt damaged. 
Repairs are often as expensive as buying a new arm.

As a Linn dealer I have never replaced an arm that has been used "normally".
All replacements have been done on "improved" arms that had their bearings,
cabling etc destroyed. 

Finally, I have NEVER heard modifications to Ittoks that improved the arms.
Believe me I've heard a lot of arms... If someone did improve an Ittok,
he would probably get a job at Linn very soon.:-)

If you want to improve your arm consider replacing the old counterweight 
with the latest revision. You are probably in posession of one of the ol' 
LVII arms. (Old arms have screws in the counterweight). This is a big 
improvement. The current revision of the Ittok is the LVIII mark II. This 
arm has the Ekos headshell. There has also been some tuning/improvement 
of the bearings and overall assembly. 

What you really want is an Ekos! There has recently been an upgrade. "Old" 
Ekos arms are thus quite cheap. 

You don't mention what kind of deck you have the arm mouned on. There are 
several things concerning placement etc that will improve the performance 
of your system. If you send me mail about your system, we can discuss upgrades
, tuning etc. 

I also suggest a trip to your local Linn dealer. He can supply you with 
the counterweight, as well as advice about improving your system. Soon 
he will be also be able to demonstrate the new Linn cartridge. Don't miss 
that one!

Regards
**************************************************************************
Henrik von Klopp                              
Volvo Data Corp, Gothenburg, Sweden	    
email: henrik@carmen.volvo.se  memo: vd.hvk
voice: +46 31 667807 fax: +46 31 477968.    
**************************************************************************
I am a biased music enthusiast. Volvo don't make HiFi, so they don't agree.



Newsgroups: rec.audio.high-end
From: carlwu@magnus.acs.ohio-state.edu (Carleton Wu)
Subject: Re: Connecting NAD 5000 to Aragon 4004 directly
Originator: tjk@csd4.csd.uwm.edu
Keywords: NAD ARAGON VARIABLE OP-AMP
Organization: The Ohio State University
Date: Fri, 31 Jul 1992 13:11:20 GMT

With regard to using variable outputs on a CD player:

1) Op-amps.
     My dbx DX-5 has attenuation with cheap op-amps in unity gain 
configuration.  These are the same op-amps that are used in the filter stage so
if your player is the same, I don't see the quality being that much out of line
with the rest.  I was a little concerned about current drive so I installed PMI
BUF-03 buffers as described in The Audio Amateur.  Even longer interconnects
shouldn't be a problem.  
     This IS buffered attenuation.  It`s just that
non-audiophile resistor elements and cheap op-amps are used.  Beats shelling
out the big bucks for a pre-amp.  I am very doubtful that even better quality
parts can outway the disadvantage of a longer signal path, numerous extra
solder joints, not to mention the extra RCA-RCA interface!  The "cheap
pre-amp circuits" myth is deceiving.  The extra circuit involved is really very
simplistic.

2) Dynamic response.
     If you're using relatively short interconnects, even the cheap op-amps
shouldn't have problems.  I consider this a non-issue.

3) Impedance matching.
     I really don't know.  I'll leave this one to the more knowledgeable.

-carleton

Newsgroups: rec.audio.high-end
From: checksix@flyboy.EBay.Sun.COM (Al Conte)
Subject: FOR SALE: Adcom 565 and EAD DSP-7000
Originator: tjk@csd4.csd.uwm.edu
Reply-To: checksix@flyboy.EBay.Sun.COM (Al Conte)
Organization: Sun Microsystems, Inc.
Date: Fri, 31 Jul 1992 13:13:44 GMT


Thats right, I have a pair of Adcom 565 monoblocks that are less than 6 mos.
young, and a nice EAD dsp-7000 DAC unit for sale.

You make the offers on the package or amps alone or DAC alone.


Al 


Newsgroups: rec.audio.high-end
From: 92marsh@gw.wmich.edu
Subject: ad-com vs Rotel
News-Moderator: Approval required for posting to rec.audio.high-end
Originator: tjk@csd4.csd.uwm.edu
Organization: Western Michigan University
Date: Wed, 29 Jul 1992 12:54:34 GMT

         Cheers,
           I am shopping for a new amp/preamp system or an integrated. 
         I spent half of today comparing Rotel to Ad-Com.  It seemed
         to me that if I were spending 1000+, ad-com would be my
         choice, but since price IS an issue, Rotel is quite a bit
         more impressive in the $700 area.  I am looking at their
         RA980BX model (100 watt int. amp.).
           The ad-com sound seems lighter and airy.  The Rotel sound
         seems focused and solid.  Both demonstrated a great deal of
         depth.
           I am playing these on a pair of Kef, C-90 speakers.

           I am looking for comments on Rotel.  I have heard that
         years ago they had a terrible record for service, but now
         they have drastically improved (since the British bought the
         company).  I have only listened to the system for 20 minutes
         or so, so when I go back, I want suggestions on what to
         listen for.  What are Rotel's classic weaknesses?  I would
         get a five year warantee, so repairs do not fighten me.

           Am I being a fool to choose Rotel over ad-com?  Has anyone
         else out there owned an ad-com or rotel and can tell me how
         they felt?

           Sending me e-mail would be the best, but post here if you
         choose.  I will post an evaluation of my findings in a couple
         of weeks.

         Charles Marsh
         92marsh@gw.wmich.edu
From: p0p4018@zeus.tamu.edu (PREMTHAMKORN, PRAKIT)
Newsgroups: rec.audio.high-end
Subject: FOR SALE: Audio Alchemy DDE 1.0
Date: 29 Jul 92 12:55:02 GMT
Article-I.D.: zeus.28JUL199222442179
Organization: Texas A&M University, Academic Computing Services
Originator: tjk@csd4.csd.uwm.edu

For Sale:  Audio Alchemy DDE 1.0 D/A converter
	   10 month old, in perfect condition
	   Warranty Trasferable (another 4 years)
	   Asking: $280 or best offer

Probably I don't have to say much about this well-regarded equipment.  It is
comparable to Meridian 203 ($1000) but priced at 60% less (current retail is
$450).  I use digital output from Rotel 855 with good result.  I am selling it
because I have bought an used Aragon D2A II.

If you are upgrading your CD player and your CD has a digital output (either
coaxial or optical type), buy this converter unless you want to spend a lot 
more.

I also have the Clear Stream cable.  I work very well with the converter. I
ask for $30 for this.

E-mail or call me at 409-846-6851 if you have questions. 
Newsgroups: rec.audio.high-end