HDTenEightyP/NetNews huggingface dataset:
From: gt0213c@prism.gatech.EDU (LENAKOS,JASON GEORGE)
Newsgroups: rec.audio
Subject: Bose 401 parts
Keywords: Bose, Junk
Date: 7 Sep 92 02:58:06 GMT
Followup-To: gt0213c@prism.gatech.edu
Organization: Georgia Institute of Technology

I am moving into a new apartment and came across some stuff left over from
a speaker modification project I did a while back.  It's not doing me 
any good, and I'm sure I'll never use it, so I'm offering it to 
whoever wants it.  All these parts were originally from a pair of Bose
401 direct reflecting speakers.

	1) Tweeters (3) - One is almost new, with about 10 hours max. on it.
	   The others have many hours on them, and dented dust caps, but they
	   work fine.    

	2) Crossover (2) - These bogus-that-makes-Bose-rich crossovers seem 
	   to be just a first order filter positioned on the tweeter and
	   have a "light bulb", a.k.a. Bose's Tweeter Protection Circuit,
	   also in series with them.  

	3) Speaker Grill (1) - The 401's need 4 grills, so don't ask me
	   what you can do with only one of them.  This one has a small
	   hole (about 0.25")  in the mesh near the bottom and a smaller
	   hole next to it.  Sorry, no Bose logo. 

	4) Speaker Stuffing - Approximately 7 sq. ft. x 1.5  - 2 inches thick
	   (yes, I actually measured it).  It seems to be non-natural wool
	   type material.                                      

You get the whole mess for $10 bucks, or will trade for an MST 3K coffee mug.
I'll even include the cruddy internal wiring, if you like, even though I think
it is useless.  The ten bucks is mainly for shipping and the almost new 
tweeter; if you call up Bose for a (1) replacement tweeter for a 401, they'll
charge you around $30.  First come, first serve, via e-mail.  Thanks.      
 
-- 
Jason Lenakos          		 |   "Nobody will fly for a thousand years!"	
Georgia Tech Aerospace		 |
gt0213c@prism.gatech.edu	 |	Wilbur Wright,1901, in a fit of despair
From: garyj@pyrtech.mis.pyramid.com (Gary Johnson)
Newsgroups: rec.audio
Subject: Looking for record cleaning recipes
Keywords: record cleaning solutions
Date: 15 Sep 92 14:52:57 GMT
Originator: daemon@sword.eng.pyramid.com


Well, I just ordered a Record Doctor II cleaning machine for my record
library. I would have liked to have gotten the MiniPro from Nitty Gritty
but there are other toys on my list to buy :-)

It seems that the cleaning solutions themselves are very overpriced. I've
seen mention of "Homebrew" solutions on the net. Most of them seem to use 
distilled water, Isopropol alcohol and some flavor of Labrotory detergent
in various quantities. 

The purpose of this post is to solicit recipes for record cleaning solutions.
Send me or post your favorite one. If you have a particular reason for any
ingredient, I'd be interested in that too.

Thanks in advance,

Gary Johnson
Newsgroups: rec.audio
Newsgroups: rec.audio
Date: Tue,  8 Sep 1992 17:21:19 -0400 
From: Seng-Su Tsang <st1g+@andrew.cmu.edu>
Subject: QUAD ELS63 for sell

QUAD ELS63 US MONITOR:
    Three years old. 
    Goes with original steel stands.
    List price of QUAD ELS63 in three years ago was $3990.
    Now the list price is $4500.

    The Quads are excellent in midrange but short of bass.  Therefore I
want to sale them instead of buying a full range speakers.  Make a
resonable offer.
    
Xref: sparky rec.audio:12316 sci.electronics:15453
From: cgs@snoopy.umd.edu (Chris G. Sylvain)
Newsgroups: rec.audio,sci.electronics
Subject: Thanks for Antique pinch-roller and Teac cleaner advice
Keywords: Pinch, Roller, Teac
Date: 10 Sep 92 17:25:50 GMT



(This is being posted for a friend)
-==- -==- -==- -==- -==- -==- -==- -==- -==- -==-

Many thanks to the following folks who responded..
----
Scott Dorsey <kludge@grissom.larc.nasa.gov>;
decvax!r-node.gts.org!ziggy@decwrl.dec.com (Adrian Buss  Sys-Op);
douglas@wpi.WPI.EDU (Douglas C White);
Rick Karlquist <rkarlqu@sc.hp.com>;
crabe@evans.den.mmc.com (Carlyle J. Rabe 7-1697);
Michael A. Covington <mcovingt@athena.cs.uga.edu>;
SJM2228@ZEUS.TAMU.EDU;
schuster@panix.com (Michael Schuster);
----

..to my inquiry of 08 Aug 1992.

Responses provided the following information:

   The pinch roller can possibly be replaced, (if stocked) or
definitely resurfaced by Premium Parts Plus aka Projector-Recorder Belt Co.
in Whitewater, WI phone 1-800-558-9572.  The cost to resurface is
$19.95 + S/H and turnaround is three weeks.  They instruct you to ship
the original part with a letter (concerning return info, etc.) by UPS.
If a replacement is stocked, you will get both back, otherwise, they
will resurface your old part.

   The rubber cleaner is available as Tascam Rubber Cleaner RC-2 (made by
Teac professional division) and is available from The Soundd Investment Co.
aka Tape Warehouse in Chamblee, GA phone 1-404-458-1679.
The cost is $4.50 for 6 fluid ounces.


John Ferrell
-==- -==- -==- -==- -==- -==- -==- -==- -==- -==-
-- 
--==---==---==--
Gyre: To go round and round like a gyroscope
--   ARPA: cgs@umd5.UMD.EDU     BITNET: cgs%umd5@umdd   --
--   UUCP: ..!uunet!umd5.umd.edu!cgs                    --
From: tomb@hplsla.hp.com (Tom Bruhns)
Date: Thu, 10 Sep 1992 16:26:18 GMT
Subject: Re: Inverting buffer?
Organization: HP Lake Stevens, WA
Newsgroups: rec.audio

wkb@cbnews.cb.att.com (wm.keith.brummett) asks,

> can one make a similar unity-gain INVERTING buffer?

Yep, but you _do_ have to use resistors.  Simply put resistors in the input
and feedback paths.
                         R2
                   ____/\/\/\____
                  |     __       |
  In  __/\/\/\____|____|  \      |
         R1            | -  \____|____  Out
                   ____| +  /
                 _|__  |__/
                 ///

>    I can't seem to find any example of such an inverting buffer anywhere
>    (one using no resistors, that is).  And, a Radio Shack engineering book
>    claims that with the resistors, the gain is (1 + R2/R1), whereas the
>    gain of the similar non-inverting buffer is just (R2/R1).  If this is
>    true, how does one make a unity-gain, inverting buffer?

Actually, the gain of the inverting buffer is -R2/R1.  It's true; if
you ground what's labeled "in" and feed the signal into the + op amp
input, then the gain is 1+R2/R1.  So if R2=R1, you get unity gain
as an inverting amp and gain-of-2 as non-inverting.  You can get gain-
of-one non-inverting from it by feeding the + input with a voltage
divider, two equal-valued R's.

Burr-Brown sells an INA105 that packages all this up in a single 8-pin
package (DIP or SOIC); it's called a unity gain differential amplifier.
You can ground either input, feed the signal into the other, and get out
either the signal or -1* the signal.

If you want to really accurately switch between + and - with the same
gain, the R's have to be matched quite well.  I have a trick that
reduces the matching requirement, but only if you are willing to
accept gain in the stage.

Newsgroups: rec.audio
From: Vince@alchemy.tn.cornell.edu (Vince Koh Kia Keng)
Subject: ProArte Surround CDs.
Organization: Alchemy International
Date: Thu, 10 Sep 1992 00:54:46 GMT

	I've gotten a number of request as to where to get these Dolby pro-
logic surround encoded CDs.

   I used to have a catalog from "Heritage House" that had a lot of    
Surround CDs for sale, but I've lost that catalog.  Anyways, here is   
the address for the company that manufactures the Surround CDs:        
                                                                       
         Intersound Inc.                                               
         11810 Wills Rd.                                               
         P.O. Box 1724                                                 
         Roswell, Georgia 30077                                        
                                                                       
   Incidently, you should be able to get them at your local CD store.  
You might have to look hard, since they are always mixed in with normal
classical CDs.  Also, RCA produces some too.  Their Henry Mancini      
collections have a couple that are in Dolby Surround.  Haven't checked 
them out though.                                                       
                                                                       
-Vince
From: shari@ccwf.cc.utexas.edu (Wild and Crazy Kind of Girl)
Newsgroups: rec.audio
Subject: Wanted: Technics 1200 Turntable
Date: 14 Sep 92 15:48:55 GMT
Organization: The University of Texas at Austin, Austin TX


	Hi! I am looking for a used, reasomably priced Technics turntable or
a Gemini 1800 turntable... something with slide pitch control, belt driven, etc
If you have such a turntable and would like to sell it please email me.

Thanks, 
Shari
From: exuhag@exu.ericsson.se (James Hague)
Newsgroups: rec.audio
Subject: headphones for deaf people?
Date: 9 Sep 92 21:08:54 GMT
Reply-To: exuhag@exu.ericsson.se
Organization: Ericsson Network Systems, Richardson, TX

Deaf in only one ear that is.  A friend of mine is a serious audiophile
and fits this description.  Obviously, it makes headphones rather unusable.
He's not willing to go for any solution which will hurt the sound quality
too much and has been looking into this problem for a while.  He has
found a contraption which will remix (don't know how) stereo recordings
for "optimal" sound in this situation (it doesn't just pipe both tracks
into the same speaker).   It costs $3,000 though.

I'm sure *somebody* else is in this same boat or has some ideas on the
subject.  Any ideas would be appreciated.  E-mail please, and I'll
summarize if there are sufficient responses.

--
James Hague   
exuhag@exu.ericsson.se
Newsgroups: rec.audio.pro
From: ssmithap@cc.curtin.edu.au
Subject: Wanted: comments on mixer
Organization: Curtin University of Technology
Date: Tue, 8 Sep 1992 11:32:13 GMT


 Hi,

 Currently our Church is upgrading the audio system being used and are
 looking at getting either a 16 or 24 channel mixer.  At the moment we 
 are looking at the  Yamaha MC series and the Allen & Heath SR series
 of mixers.  

 Some comments on these brands and their performance etc. would be 
 greatly appreciated, if anyone has used or is using one.  Also any 
 other comments and recommendations would be great!

 You can either post or e-mail me your reply.

 Thanks

 Andrew
 ssmithap@cc.curtin.edu.au

Newsgroups: rec.audio.pro
From: david@agora.rain.com (David Robinson)
Subject: Re: QSound?
Keywords: QSound
Organization: Open Communications Forum
Date: Sat, 5 Sep 1992 22:38:27 GMT

In article <1992Sep3.010606.11828@news.weeg.uiowa.edu> smills@news.weeg.uiowa.edu (MuffinHead) writes:
>kludge@grissom.larc.nasa.gov ( Scott Dorsey) writes:

[delete, delete, delete....]

>>No.  The only way that you can get a proper stereo image using headphones is
>>with binaural recording.  Incidentally, binaural recording is absolutely
>>incredible if you happen to be playing back with headphones.  Otherwise it's
>>rather poor.
>
>   What exactly is binaural recording and are there any commercially available
>examples?
>

Try "The Binaural Source," the self-proclaimed "only catalog of exclusive 
recordings for headphone experiences.

They have over 60 binaural recordings from the U.S. and Germany.

Contact John Sunier at:

THE BINAURAL SOURCE
Box 1727F
Ross, CA  94957
(415) 457-9052

Standard disclaimer:  I have no commercial connection nor interest in
Mr. Sunier's products or operations.  And so on....



-- 
My opinions belong to me...and vice versa.  They're not copyrighted;
third party thinkers should feel free to clone them at will.              
david@agora.rain.com                        
david@3cpu.rain.com (just in case!)
From: burris@highspl (David Burris)
Newsgroups: rec.audio.pro
Subject: Re: Sound reinforcement questions
Date: 11 Sep 92 05:18:13 GMT
Organization: Dave's Home PC

From article <1992Sep10.002132.21049@news.weeg.uiowa.edu>, by smills@news.weeg.uiowa.edu (MuffinHead):
> In article <H.dkL5ZTYtBvs@jonh.wimsey.bc.ca> jhenders@jonh.wimsey.bc.ca writes:
> 
>>p.s. another quick question: Do sound engineers usually know more about 
>>tuning drums than drummers. ;-)
> 
>    Yeah, most sound engineers know how to make ANY drummer's drums sound just
> like the drummer they engineered last weekend. Most have one sound in mind:
> "Man, that kick is BOOMING and I got the snare to sound like a machine
> gun." A real soundman will ask for a detailed description of how a drummer
> wants his/her drums to sound. He'll even have the drummer tweak the EQ's
> while someone else hits the drums.

I think to a large extent, a GOOD sound enginner will not have to
ask. He can mostly infer from the kit, head tuning and playing
style what sound is appropriate.

-- 
================================================================
David Burris					Aurora,Il.
burris@highspl		           ..!linac!highspl!burris
================================================================
Newsgroups: rec.audio.pro
From: g_house@goes11.enet.dec.com (Greg House)
Subject: Re: QSound?
Reply-To: g_house@goes11.enet.dec.com (Greg House)
Organization: Digital Equipment Corporation
Date: Fri, 11 Sep 1992 20:29:05 GMT


In article <TONYB.92Sep10133901@titania.juliet.ll.mit.edu>, tonyb@juliet.ll.mit.edu ( Tony Berke ) writes:


|>(I refuse
|>to get a crewcut just to make better recordings!!!).

How about a mohawk?

;^)
From: tonyb@juliet.ll.mit.edu ( Tony Berke )
Newsgroups: rec.audio.pro
Subject: Re: QSound?
Date: 8 Sep 92 20:26:14 GMT
	<Bu09s8.Ltw@news.larc.nasa.gov>
	<1992Sep3.152613.21178@nntp.uoregon.edu>
Organization: MIT/LL - Weather Radar Group

In article <1992Sep3.152613.21178@nntp.uoregon.edu> jrusby@darkwing.uoregon.edu (Jim T. Rusby) writes:

   [much text deleted...]

   Recordists who use a stereo pair find very quickly where their problems
   lie , or if they have them by doing a mono sum. Suddenly a spacious
   beautiful ensemble is reduced to a  hollow ringing band of something!

   Every now and then I find a tape that has a great deal of phase
   cancellation between the two channels. THe only fix I have found so far is
   some minor restoration using a BBE 822. The results are nowhere close to
   doing it right the first time.


I make recordings that I don't really worry about being broadcasted in mono.
If that is the case, am I to interpret the above paragraphs as meaning that
my stereo recordings will still sound better if they are free of comb-filtering,
etc, when combined to mono?  If so, what should I be on the lookout for?

I've noticed when testing loudspeakers that a single speaker invariably sounds
worse than a stereo pair.  I always assumed that this was mainly due to the
ear's ability to average out room-mode induced response irregularities when
a pair of speakers are running.

If one were to take this experience and invert it, wouldn't the best thing to
do when setting up stereo mikes be to listen to each channel seperately, but
sent to both monitor speakers simultaneously?

On a related topic -- when doing remote recordings, I pretty much always
wind up monitoring with headphones.  This is frequently the source of surprises
when I get back home and listen with loudspeakers.  I'm slowly developing a
feel for the translation between loudspeaker and headphone sound, but...

Does anyone feel like offering specific suggestions pertaining to headphone
monitoring?  "Don't!" is a valid, but unhelpful, response.  I'm hoping for
advice as to how to minimize the likelihood of finding out after the fact
that, for example, my channel levels don't balance well, or the image is too
wide/too narrow, or that the direct/reverberent balance is off, etc.

Thanks,

Tony Berke
Newsgroups: rec.audio.pro
From: jsalmi@lookout.it.uswc.uswest.com ( John Salmi )
Subject: Re: Sound reinforcement questions
Organization: US West Information Technologies, Denver
Date: Wed, 9 Sep 1992 18:36:16 GMT

In article <1992Sep8.063920.15950@ucc.su.OZ.AU> theo@physics.su.OZ.AU (Theo ten Brummelaar) writes:

[ body of article deleted ]

>
>Hope this helps,
>
>	Theo.
>
>P.S. A quick question: Do sound engineers know more about serial numbers
>     of microphones than music ?

in a word, no.  speaking for myself, that is.

cheers,
-- 
John Salmi		<jsalmi@uswest.com>		(303) 595-2863

Last night, as I lay awake in bed looking at the stars, I asked myself:
                     Where the heck is my roof?
Newsgroups: rec.audio.pro
From: muller@world.std.com (James L Muller)
Subject: Re: Sound reinforcement questions
Organization: The World Public Access UNIX, Brookline, MA
Date: Tue, 8 Sep 1992 12:54:31 GMT

In <1992Sep8.063920.15950@ucc.su.OZ.AU> theo@physics.su.OZ.AU
   (Theo ten Brummelaar) writes:
>P.S. A quick question: Do sound engineers know more about serial numbers
>     of microphones than music ?

Good question.  Most of the bad ones we've worked with had that as one
of their faults.  And most of the good ones knew music as well as the
specs of their equipment.
-- 
Jim Muller  muller@world.std.com
From: jhenders@jonh.wimsey.bc.ca ( John Henders )
Newsgroups: rec.audio.pro
Organization:  One of these days for sure
Subject: Re: Sound reinforcement questions
	<1992Sep8.063920.15950@ucc.su.OZ.AU>
	<H.dkL5ZTYtBvs@jonh.wimsey.bc.ca>
	<1992Sep9.060656.22351@ucc.su.OZ.AU>
	<1992Sep10.002132.21049@news.weeg.uiowa.edu>
Reply-To: jhenders@jonh.wimsey.bc.ca
X-Software: HERMES GUS 1.03 Rev. Apr 14 1992
Date: Thu, 10 Sep 1992 00:50:24 -0700

In <1992Sep10.002132.21049@news.weeg.uiowa.edu>, MuffinHead writes:
>
>   Yeah, most sound engineers know how to make ANY drummer's drums sound just
>like the drummer they engineered last weekend. Most have one sound in mind:
>"Man, that kick is BOOMING and I got the snare to sound like a machine
>gun." A real soundman will ask for a detailed description of how a drummer
>wants his/her drums to sound. He'll even have the drummer tweak the EQ's
>while someone else hits the drums.

	While I don't want to get into a flame war over this, I have to 
say, this situation is really one I like a lot. I've had drummers 
want to do this before, and I'll explain it t you the same way I 
explain it to them. Every drummer hits differently. If you've ever
gone to jam sessions, you must have noticed that different players
sound different on the same instruments. Take a good guitar player
who has developed his sound. Even on borroed gear, he'll sound more
like himself, than like the owner of the gear. Same goes with drummers.
Some hit directly into their heads, some brush the stick sideways with
wrist flick just as they hit, etc,etc. Same with the way you hit the
kick drum. So if you want the soundman to make another guy sound good
on your kit, go ahead.



-- 
jhenders@jonh.wimsey.bc.ca
From: jhenders@jonh.wimsey.bc.ca ( John Henders )
Newsgroups: rec.audio.pro
Organization:  One of these days for sure
Subject: Re: QSound?
	<1992Sep3.010606.11828@news.weeg.uiowa.edu>
	<Bu09s8.Ltw@news.larc.nasa.gov>
	<1992Sep3.152613.21178@nntp.uoregon.edu>
	<TONYB.92Sep8132614@titania.juliet.ll.mit.edu>
Reply-To: jhenders@jonh.wimsey.bc.ca
X-Software: HERMES GUS 1.03 Rev. Apr 14 1992
Date: Thu, 10 Sep 1992 00:19:36 -0700

In <TONYB.92Sep8132614@titania.juliet.ll.mit.edu>,  Tony Berke  writes:
>
>Does anyone feel like offering specific suggestions pertaining to headphone
>monitoring?  "Don't!" is a valid, but unhelpful, response.  I'm hoping for
>advice as to how to minimize the likelihood of finding out after the fact
>that, for example, my channel levels don't balance well, or the image is too
>wide/too narrow, or that the direct/reverberent balance is off, etc.
>
	I don't usually record live except for my own references, and archives,
but I've done it a lot, as it helps to pass those dull midweek nites on
weeklong gigs. Also, I found their handy for bands interested in polishing 
up there shows. This isn't the quiet vocal/choral stuff that you and Chris
do, but louder bands, rock, jazz, alternative etc. My personal experiece
is, like Chris', that Sony's are good for not being totally shoched 
listening the next day, except for those times when I'd be so intent on 
trying to tweek the snare sound( which had been bugging me all nite ) and
misssed a solo or something. 
	However, unlike Chris, I don't use the MDR6's for this, though I have 
them and like them. I use the MDR3's which are smaller, and thus allow a
lot more leakeage. Before these, I used to use AKG 140's, which are similar,
but not as crisp as the Sonys. 
	These allow you to listen at lower levels and still hear the mix, 
combining the freqencies in the room that don't come through clearly on the 
phones with the output of the phones. I find the volume right if I can
press the phone to my ears when pfl'ing a channel and hear the channel 
clearly.
	This of course, means everything must be in the mix, easier with a choir 
than a rock band. ;-)





-- 
jhenders@jonh.wimsey.bc.ca
From: jhenders@jonh.wimsey.bc.ca ( John Henders )
Newsgroups: rec.audio.pro
Organization:  One of these days for sure
Subject: Re: Sound reinforcement questions
	<1992Sep8.063920.15950@ucc.su.OZ.AU>
	<H.dkL5ZTYtBvs@jonh.wimsey.bc.ca>
	<1992Sep9.060656.22351@ucc.su.OZ.AU>
Reply-To: jhenders@jonh.wimsey.bc.ca
X-Software: HERMES GUS 1.03 Rev. Apr 14 1992
Date: Thu, 10 Sep 1992 00:27:48 -0700

In <1992Sep9.060656.22351@ucc.su.OZ.AU>, Theo ten Brummelaar writes:
>In article <H.dkL5ZTYtBvs@jonh.wimsey.bc.ca> jhenders@jonh.wimsey.bc.ca writes:
>>
>>p.s. another quick question: Do sound engineers usually know more about 
>>tuning drums than drummers. ;-)
>>
>SOAP BOX ON
>
>Unfortunately, this seems to be true. I didn't start to learn how to tune
>my drums until I started trying to mic them up and working with sound 
>reinforcement people. Basically I didn't know what to really listen for.
>By the same token, a number of sound engineershave said they learnt a few
>things by listening to what the musicians have to say.

	Well said. I never played drums, but did play bass before getting into 
mixing for a living. I had to learn how to tune drums, and I learned by
asking drummers and sound engineers. I learned a lot of good tricks from
both, and am happy to pass them on to drummers willing to listen. At the 
same time, I alway carry gates, 2 parametric eq's, and a compressor to
deal with the one's who won't listen, or don't care. Nothing is more 
distracting, than a bad sounding instrument, when you're trying to do
a good mix. 

	Around here, a popular snare fix is a 1" ring from another head, resting
on the sanre head. Anyone else use these?



-- 
jhenders@jonh.wimsey.bc.ca
From: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Newsgroups: rec.audio.pro
Subject: Re: Sound reinforcement questions
Date: 4 Sep 92 19:26:45 GMT
Reply-To: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Organization: Control Data Corp., Arden Hills, MN

In article <1992Sep4.141808.20794@uc.msc.edu>, dpm@msc.edu (David P.
Mottaz) writes:
[guitar amp miking question deleted]
|>
|>Another area of concern;  We have never been able to get a very good
|>sound from the kick drum.  It's a huge Tama.  It has a lot of initial
|>attack "thwap" but it lacks serious "boom".  This is acoustically(sp?)
|>and it(of course) doesn't get any better amplified.  He uses a felt
|>beater.  I don't know what else is needed to diagnose this one.  Any
|>ideas?  The drummer for some unknown reason is reluctant to analyze
|>this so I am fishing around for solutions.

Too bad about the drummer. Maybe he doesn't wanna be heard...

Kick drums that don't "boom" aren't tuned right or are deliberately
muffled, or both. Maybe you can find out what's happening here by
talking to the drummer (and maybe other drummers).
                            
Alex.

----------------------------------------------------------------
A. T. (Alex) Stagg/ARH215      | INTERNET: ats@udev.cdc.com
Control Data Systems, Inc.     |
4201 Lexington Ave.N.          | fax:      01-612-482-4455
Arden Hills, MN USA 55126-6198 | Voice:    01-612-482-4718
Newsgroups: rec.audio.pro