HDTenEightyP/NetNews huggingface dataset:
From: paspro@.ic.ac.uk (Mr P.N. Asproulis)
Subject: Comparison of Headphones 
Organization: Imperial College
Date: Mon, 16 Nov 92 14:15:16 GMT

I want to buy a new set of headphones and I would like a comment
from the group on the Sennheiser HD 560 Ovation II compared to
the AKG K400 / K500 all in the same price range. Any other
suggestions ?

Thanks.

---------------------------------------------------           / \
 Department of Aeronautics                                    | |
 Imperial College of Science, Technology & Medicine   ________| |________
 Prince Consort Road, London SW7 2AY, U.K.           |________| |________|
 Room E355, Tel. : (071) 589 5111 Ext. 4028                   | |
 E-mail: p.asproulis@uk.ac.ic.ae                           ___| |___
---------------------------------------------------       |___\_/___|
 P. N. Asproulis
Newsgroups: rec.audio.pro
Subject: Re: Whatever happened to biasless recording
From: MATGBB@LURE.LATROBE.EDU.AU (BYRNES,Graham)
Date: Mon, 16 Nov 1992 01:39:01 GMT
Organization: La Trobe University
X-News-Reader: VMS NEWS 1.24

In <1992Nov10.192017.14666@leland.Stanford.EDU> jay@cmn19.Stanford.EDU writes:

> In article <BxIDnI.2st@cen.ex.ac.uk> PVossler@cen.ex.ac.uk (P.J.Vossler)  
> writes:
>  
> > 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.

[...]
> Yes, it is the cubic relationship between magnetic flux amplitude and the  
> remanent flux that is supposed to explain this biasing scheme.  The system  
> works by taking the cube root of the audio signal up to a threshold level  
> which corresponds to the saturation level of the tape.  Above the  
> threshold, the signal is linear.  No special playback electronics are  
> required, but the playback time constant needs to be changed due to a 6  
> dB/octave rise in amplitude generated by the system.
> 
> As I see it, the problems are two-fold: a cube root circuit is far from  
> simple to implement accurately and with low noise and the system can only  
> record on virgin tape, since it does not provide an AC bias erase head.   
> This may be enough to explain it's obscurity: according to Studio Sound,  
> Philips has passed on the offer from Pettigrew because it "did not reach  
> our expectations".  
> 
> Jay
> jay@ccrma.stanford.edu

No one seems to have asked the obvious... if you have to digitise the signal
to apply the cube root, why not keep it digital to record it? OK, there are
advantages for play-back only in terms of simplicity, but not as a recording
medium...
Graham B
Newsgroups: rec.audio.pro
From: kauff@neit.cgd.ucar.edu (Brian Kauffman)
Subject: cross-talk in a snake
Organization: NCAR, Boulder CO
Distribution: usa
Date: Fri, 20 Nov 1992 17:31:10 GMT

How real is the problem of mike-level/line-level cross-talk in a snake?
It's seems rather common that 100', 12/16/24 channel snakes contain both
balanced mike inputs & balanced board outputs all bundled together.
Perhaps cross-talk would only occur in larger/longer snakes?

-Brian
From: c60b-1hy@e260-3d.berkeley.edu (Albert Wu)
Newsgroups: rec.audio.pro
Subject: Re: Do we need an FAQ?
Date: 17 Nov 1992 21:23:40 GMT
Organization: University of California, Berkeley
NNTP-Posting-Host: e260-3d.berkeley.edu


I would really appreciate it if a FAQ were put out.  I was about to
ask a question that I have a feeling is a FAQ so I'll wait until
the FAQ is put out if it will be put out.

Albert Wu
UC Berkeley
c60b-1hy@web.berkeley.edu

Newsgroups: rec.audio.pro
From: vjurgens@ncsa.uiuc.edu (Vincent Jurgens)
Subject: Seagate drives for digital audio?
Followup-To: rec.audio.pro
Organization: NCSA
Date: Fri, 20 Nov 1992 23:08:48 GMT

Has anyone used the newer Wren 9 Seagate hard drive for long digital
recording sessions in something like Digidesign Sound/ProTools yet?
Or for video digitizing?

I'm waiting on Digidesign to approve it before buying.

(Some drives have thermal recalibration routines which interrupt
long read/write operations.  The Seagate Wren 7 and 8 and Elite series
don't.  Macweek and Digidesign)

Vincent Jurgens
Media Systems Specialist
NCSA
Newsgroups: rec.audio.pro
From: s35130w@kaira.hut.fi (Tom Mikael Ahola)
Subject: Digital Audio Interfaces. S/PDIF, AES/EBU and Alesis ADAT!
Summary: Info on Digital Audio Interfaces (Wanted)
Keywords: S/PDIF, AES/EBU, ADAT, Digital Audio
Organization: Helsinki University of Technology, Finland
Date: Mon, 23 Nov 1992 07:25:42 GMT

Hello everybody!

I'm planning to build some fancy digital audio equipment and
would like to use the optical digital output from the Alesis
ADAT. This output carries 8 audio channels on one optic fiber
and is probably not standardized.  I probably have to call
Alesis for any info on the format used but I also would like to
hear comments from anyone on the net who has info/experience
about this interface. Could I perhaps use S/PDIF chips running
at 8x speed to decode the format?

I'm also interested in the S/PDIF and AES/EBU formats. I don't
like to pay lots of $$$$$ to buy a thick book with a couple
of useful sides with the formats explained - so I use the scope.
This is what I discovered by monitoring the S/PDIF output with
an o-scope:

   Sample rate:           44100 Hz
   Frames/sample:             2         (left frame, right frame)
   Bits/frame:               32         (64 bits per sample)
   Bit rate:          2 822 400 bits/sec
   Transmission coding:   Bi-Phase Mark (Harvard-FM)

Frame format:

  left frame:  0101 0000 0000 xxxx xxxx xxxx xxxx ab0c
  right frame: 0110 0000 0000 xxxx xxxx xxxx xxxx ab0c

                x = audio data bits,  16 bits/frame
                a = changes 1/0 in pause mode
                b = changes 1/0 always
                c = checksum bit (restores signal level to zero)

The first four bits are obviously some kind of frame synchronization
bits and are coded differently from the other (without bit clock?
NRZ-FM). There seems to bee 8 extra (subcode) bits in a frame!

I would like to know what the functions of bits a and b are. Has
the b-bit something to do with SCMS?

Mail me corrections and more info if you have it and I'll summarize
here the complete format specs (or is this a FAQ?).

  Thank You!
  

OoOoooOOooOoOoooooOooooOoooooOOoOooOoOoooOooOooOooOooOOoooOoOoooOoooOooO
+       Tom Ahola     tahola@otax.tky.hut.fi  (128.214.8.1)            +
oOoooOoOoOooooOoOooOoooOoooooOooOooOoooOooOoOooooOoOooOooooOooOoOOOooOoO
From: jrusby@darkwing.uoregon.edu (Jim T. Rusby)
Newsgroups: rec.audio.pro
Subject: Demag devices for cassette
Date: 16 Nov 92 20:17:48 GMT
Article-I.D.: pith.1e8vlcINNhsl
Distribution: world
Organization: University of Oregon Network Services
NNTP-Posting-Host: darkwing.uoregon.edu

I've been using a conventional demagnetizer (wand style) for all my gear,
and a student asked me what I thought about the demag devices for cassette
decks that are mounted in cassette shells. 
Ive never really given them much thought, so I sent him off to the library
to peruse the periodicals for info.

But, we've got this group heh.heh.heh- 

Near as I can tell, there are two cassette shell style demags. One
actually has a tape in with a pre-recorded low frequency signal that
slowly varies in level as it fades out.

The other has electronics built in that generate the signal. 

Does anyone have any comments on these type of devices?  
jim


jrusby@darkwing.uoregon.edu
From: atossava@kruuna.Helsinki.FI (Atro S Tossavainen)
Newsgroups: rec.audio.pro
Subject: Re: recording guitar
Date: 19 Nov 92 09:24:18 GMT
Organization: University of Helsinki

In article <1992Nov19.062540.1334@latcs1.lat.oz.au> derijk@elc1.lat.oz.au (Marc De Rijk) writes:

> What I'm looking for is some tips on whether to DI the guitar, when to
> use DI, when not to use DI, whether to use the amp, or just a preamp, and
> if using an amp, what positions work with the microphone etc etc....

   I've had good results with both. I use a Gallien-Krueger 2000CPL preamp
 and I've found that while routing the signal through an amp and speakers
 and miking that will generally improve the distorted sound somewhat, I can
 also go direct and color my tone with the EQ's in the GK, in my QuadraVerb
 and in the desk - to remove extra high end, most often. This results in a
 highly defined, very technical tone, and can be very airy when spiced with
 the appropriate processing. This may not be what you're after. With clean
 sounds, the GK's own sound and the additional treble brought on by going
 direct results in a ultra-clean tone. I like it, but not very many of my
 friends do. ;->

   If you are miking, first adjust the gain of the mike, then take the
 mike signal into a pair of (preferably closed) headphones. Have someone
 play the guitar through the amp while you move the mike and try to find
 a position where the sound is the brightest. Of course, this only applies
 if you are using a directional mike. If you are using an omni, place it
 at some distance from the speaker and enjoy. ;->

--
Atro Tossavainen			E-mail: atossava@cc.helsinki.fi
@ University of Helsinki, Finland	Snail:	1 D 18 Sarvastonkaari
majoring in English...				SF-00840 Helsinki, Finland
at least for the time being		Voice:	+358 0 698 5043
"One can only love like a fool" - (c) Tero Valkonen
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.audio.pro
Subject: Re: Console Question..another possibility
Date: 20 Nov 1992 19:05:02 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

Someone posted recently about individual monitor mixes.  In the last studio I
recorded in the engineer had what looked like a mixer collecting dust in
the corner.  It had inputs in the side and outputs at the top, so instead
of 'straight through', the signals seemed to be travelling at a 90 degree
angle.  This was the physical set-up, but it seemed to have something to
do with functionality (don't all good physical set-ups have something to
do with functionality?  I wasn't sure how "good" this set-up was so...)
I asked the enigneer what the hell this beast was, and he said something
like "matrix mixer...great for customizing individual monitor mixes".
OK, so I'm *not* sure exactly what he called it, but it seemed to make
sense for what it looked like it did.

I can find out what it was (model, manufacturer) if anyone would like.
I'm just posting to let all of you know that there are solutions out
there for monitor mixes.

Michael Breen
singing and philosophizing
(and wondering why no one in my band wanted guitar in their mix, either)
From: weems@cs.umass.edu (CHIP WEEMS)
Newsgroups: rec.audio.pro
Subject: QRD's
Date: 20 Nov 92 18:49:00 GMT
Organization: University of Massachusetts CS Department
News-Software: VAX/VMS VNEWS 1.41

Does anybody have experience using Quadratic Residue Diffusers? I'm
interested in criteria used for determining the number and placement
of them in different environments. I've read the discussion in the
Master Handbook of Acoustics, and am looking for information gained
from practical experience, especially small studio, control room, and
listening room setups. Personal opinions on their effectiveness are
also welcome.

Chip
From: kenh@w8hd.org (Ken Hoehn)
Newsgroups: rec.audio.pro
Subject: CD tech standards wanted
Summary: Wanted: Technical standards for audio CD protocols
Keywords: CD compact disc technical
Date: 22 Nov 92 17:20:43 GMT
Organization: w8hd.org

Can anyone provide me a reference on a good technical manual 
defining the complete standards and protocols for Compact Disc
technology?

The whole banana, if possible: encoding, data rates, speeds, 
sizes, etc.

Thanks!
:wq
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: cross-talk in a snake
Date: 23 Nov 92 18:30:46 GMT
Distribution: usa
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Nov20.173110.17530@ncar.ucar.edu> kauff@neit.cgd.ucar.edu (Brian Kauffman) writes:
>How real is the problem of mike-level/line-level cross-talk in a snake?
>It's seems rather common that 100', 12/16/24 channel snakes contain both
>balanced mike inputs & balanced board outputs all bundled together.
>Perhaps cross-talk would only occur in larger/longer snakes?

The only time I have heard of a crosstalk problem on a snake cable was
due to breaks in the shielde of the cable.

With individually shielded balanced signals I don't expect there would
be much of a problem.

I have not noticed any crosstalk and I have combined runs of 200'
periodically.  I haven't measured it mind you.  I would expect that
the leakage of all the mics on stage would be far greater than the
electrical crosstalk.
-- 
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: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Console Question..another possibility
Date: 23 Nov 92 18:44:34 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1ejcsuINN7sp@network.ucsd.edu> mbreen@sdacs.ucsd.edu
(Michael Breen) writes:

(matrix mixer description deleted)

>I can find out what it was (model, manufacturer) if anyone would like.
>I'm just posting to let all of you know that there are solutions out
>there for monitor mixes.

Yes Michael there is a matrix mixer.......

For stage monitors I use a seperate stage monitor mixer (yes it _can_
be called a matrix mixer)  Mine is configured as a 16 (input) by 6
output.  I have done three channel monitor mixes (Stephen Stills) and
single channel mixes.

As far as the discussion of stereo monitor mixes,  lighten up guys!

My opinion is that if performers _want_ stereo ITE mixes then give it
to them!  You will find that performers who are high end recording
artists may be used to recording with a stereo headphone mix and theat
progression to the stage will happen.

On the jobs and venues that can afford the expense that is caused by
several stereo mixes the influence of the stage sound should be
minimal based on the size of the stage.

The smart thing to do for multiple stereo stage monitor mixes is to
use one overall stereo mix as the base and then add the individual
musicians instrument/vocal/etc in at a little higher level.

This could be a wild stereo matrix mixer (that isn't designed yet) or
some clever uses of small rackmount mixers (used as a sub matrix
mixer!).
-- 
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: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Tascam timecode DAT
Organization: Columbia University
Date: Sat, 21 Nov 1992 06:21:30 GMT

Someone had mentioned that Tascam is coming out with a new timecode DAT that's
about half the price of the Sony and Otari machines (i.e. $4K instead of $8K).

Has anyone a) seen it or b) gotten any info on it?


--
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: mpdavis@unccsun.uncc.edu (Michael Parker Davis)
Subject: ? is a good low-priced 50wpc amp
Organization: University of NC at Charlotte
Date: Wed, 18 Nov 1992 17:04:13 GMT

... for use in a home studio.  Keyboards/monitor mix/drum machine will be
pushed by it through Yamaha NS 535's (8" 3 ways).
thanks
.

-- 
________________________________________________________________________________
 mpdavis@unccsun.uncc.edu   |    My motto  :  "Boogie til ya puke."
 Michael Davis              | Your Warning :  My computer has been equipped with
 Univ. Of N.C. at Charlotte |                 airbags.  Who needs caution now!
From: g_house@goes11.enet.dec.com (Greg House)
Newsgroups: rec.audio.pro
Subject: Re: 4-track recommendation please (USA)
Date: 16 Nov 92 23:10:16 GMT
Reply-To: g_house@goes11.enet.dec.com (Greg House)
Organization: Digital Equipment Corporation, Colorado Springs CO


The current "hot item" in the inexpensive 4-track market seems to be the
Tascam 424.  You can get one new for about $425-$450.  I have a couple of 
friends that have them and are happy with them.

Greg
From: gt3281c@prism.gatech.EDU (TABLER,JOHN ALEXANDER)
Newsgroups: rec.audio.pro
Subject: ADAT
Date: 17 Nov 92 16:27:16 GMT
Organization: Georgia Institute of Technology

We are considering the purchase of a digital multti-track machine.
The unit we are primarily considering is the Alesis ADAT 8-track.  It is
possible to link multiple units togther to have more tracks.  

Any comments on the Alesis ADAT unit?

Any market for used digital multi-track machines? (we would consider buying one)

Any recomendations in general w.r.t. digital multi-track on a budget (no, I am not kidding)?

Your replies will be appreciated.

Thank You

John T.
From: franko@cco.caltech.edu (Frank Filipanits)
Newsgroups: rec.audio.pro
Subject: Re: Console Question
Date: 19 Nov 92 04:12:58 GMT
Article-I.D.: gap.1ef48aINNs31
Organization: California Institute of Technology, Pasadena
NNTP-Posting-Host: alumni.caltech.edu

gw214790@LANCE.ColoState.Edu (Galen Watts) writes:

>In article <1992Nov18.182958.9543@guinness.idbsu.edu> Dave Jensen <djensen@claven.idbsu.edu> writes:
>>1) Do you perceive a need for stereo on-stage monitoring (In-The-Ear personal
>>monitoring being a prime example)?

>Given a choice, anyone would want stereo monitors.
I would like to take exception here;  there is a reason most headphone
boxes are wired for MONO.  It is much easier to cue off a mono signal than
a stereo one.  Particularly with neato swooshing choruses, etc.

Stereo monitoring introduces alot of unusual properties such as position-
dependant phase shifts that are distracting for a musician.  The only person
who should be concerned about stereo imaging is the engineer sitting in a
controlled environment with fixed listening position (control room) or
wearing a pair of headphones.

I'm not clear on what your intended use would be, so let me address a few
scenarios:

If you are dealing with a rock/pop live sound reinforcement application,
stereo is a moot point.  At stage volume levels, stereo imaging is 
non-existant.  And if the performers are standing still enough to
appreciate stereo imaging, they need to work on stage presence.

If you are miking an ensemble, what need is there for a stereo monitor for
the musicians?  I understand the utility of having a send for a stage hand
adjusting mic placement, etc. but I fail to see why a musician would benefit
from a stereo monitor.

I guess in ANY situation, what is the utility of having a stereo monitor
for the musicians?  and what stereo image do you present?  How does this image
correspond to the image s/he is already receiving without monitors?

Maybe I'm missing something here... please share your views on this.

I can say one thing with absolute certainty;  I prefer mono when I am 
recording (as a musician... of course I use stereo when I'm the engineer :)


-- 
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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
Newsgroups: rec.audio.pro
From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: Console Question
Date: Wed, 18 Nov 1992 21:47:41 GMT
Organization: Colorado Concert Sound

In article <1992Nov18.182958.9543@guinness.idbsu.edu> Dave Jensen <djensen@claven.idbsu.edu> writes:
>1) Do you perceive a need for stereo on-stage monitoring (In-The-Ear personal
>monitoring being a prime example)?

Given a choice, anyone would want stereo monitors.

>2) Assuming you desire to, or are required to, provide multiple stereo monitor
>sends, would you prefer to:
>  a)  create on each channel, in the same manner presently used for monitor
>sends,      several redundant stereo mixes (one for each auxiliary send). For
>  b)  create a single stereo subgroup for each group of related sources, which
>in turn feeds (pre- or post-fader) into a stereo matrix field. For instance,
>assign and pan each of 8 drum channels into one stereo submaster. That one
>stereo mix is then available (pre- or post-submaster fader) at each of 8 matrix
>outputs along with any one of 4 aux busses.
>I perceive b) to be a major advantage and simplification for the purpose of
>stereo monitor mixes. I also wonder if having eight stereo subgroups, as
>opposed to the present situation of using 8 mono subgroups to create 4 stereo
>subgroups, is as attractive to others as it is to me.

This(b) would give the musician the same mix as the house (in the subgroup).
If they need a different mix (like snare only as opposed to the whole kit) you
have to use other aux sends to get individualized mixes.  If you need more
aux sends for monitors and effects, you're in trouble.

I prefer to let the monitor man do his thing on his console, especially if the
monitors get really complex.  If all the band wants is two or so mixes, I will
do them from the house.

>Finally, I am surprised that apparently no one sees any potential for
>left-center-right outputs. Are there no takers?      

L-C-R outputs would be great, but where do you put the center stack if it's
a low budget kind of show?  You could use the C feed for front fill with low
profile speakers, but for true L-C-R you must rig a large array over the apron.
Easy if your rigging everything else, but outdoors it can be nearly impossible
(big cranes, lots of money, etc.)  If it's a club, there may be no room above
the stage/apron to put anythingin a reasonable array.
For a permanent installation, L-C-R would be great!!!!!!

Mixing in L-C-R format takes some real thinking to get a good acoustic image.
I'd hate to have to spend the whole show helping some band engineer get his
mix together.  He might end up hating our wonderful L-C-R system and we'd lose
a gig because they didn't understand the concept.


Newsgroups: rec.audio.pro
From: gburton@magnus.acs.ohio-state.edu (Garland O Burton)
Subject: Re: Seagate drives for digital audio?
Organization: The Ohio State University
Date: Sun, 22 Nov 1992 08:32:18 GMT

the wren drives are supposed to be the good'uns for this application.

i have a kink that lead to my enlightenment possibly from a mac expert.
when i rnn soundtools II in the computers 32 bit mode, it seems to lock 
up and cripple my soundfiles.  if i run in non-32 bit mode, the program runs    like a champ.  mostly.

to run the ram based crossfades, i need to switch to the 32 bit mode to 
get all of my ram functioning.  (32 meg)

otherwise, i can only utilize about 8meg of the ram.  

kink #2.
what do i want my cache settings to be.  32k? 900?  9000?
what does that do to the accuracy and or speed?

mac rookie


-- 
gburton@magnus.acs.ohio-state.edu.............copyright 1992 gary burton........