HDTenEightyP/NetNews huggingface dataset:
From: kharstin@mtholyoke.edu (Ken Harstine)
Newsgroups: rec.audio.high-end
Subject: Re: Why digitize: some bunk
Date: Fri, 6 Nov 1992 17:03:06 GMT
Organization: Mount Holyoke College
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I think that there is a basic mis-understanding of what the term analog
means.  To have an analog of something, is to have a representation of
that something in another form.  If that something is a 20-20kHz audio
signal, it has been proven mathematically that all of the information
present can be represented by samples taken at a rate greater than 40kHz. 

Therefore a digitally sampled signal is an analog of an audio event. 
Unless you are talking about DCC, or mini-disc, there is no attempt to
remove information from the signal.  If you mean to say that using a band
pass filter to restrict the information to the 20-20kHz signal is
removeing information, then how is this any different than the mechanical
band pass filters of the phonograph process, or the electro-magnetic band
pass filters of the "analog" tape recording process.  This filtering
processes behave in exactly the same ways (re phase shift and amplitude
vs. frequency).

I would be quite willing to believe that present digital systems do not
represent the original sound as well as LPs for instance, however the
problem is not with theory, but a matter of perfection of the process.

---Ken Harstine
From: msibbern@nyx.cs.du.edu (Michael Sibbernsen)
Newsgroups: rec.audio.high-end
Subject: FOR SALE: Infinity RS 2000, Boston Acoustics A70's
Date: Mon, 9 Nov 92 03:37:12 GMT
Organization: Nyx, Public Access Unix (sponsored by U. of Denver Math/CS dept.)
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Originator: tjk@csd4.csd.uwm.edu

FOR SALE:

Boston Acoustic A70's (stands inc.) $175
Infinity RS 2000's  $125

If you would like more information on the above speakers, please give me
an Email.  Thanks
Michael Sibbernsen
From: "Don Eastman" <deastman@vnet.ibm.com>
Newsgroups: rec.audio.high-end
Subject: Hum Problem
Date: Tue, 10 Nov 92 08:45:12 PST
Organization: University of Wisconsin - Milwaukee
   Tue, 10 Nov 92 11:55:49 EST
Reply-To: deastman@vnet.ibm.com (Don Eastman -IBM,San Jose,CA)
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Originator: tjk@csd4.csd.uwm.edu

> Reference net posting by redfreak@purdue.edu (Thomas Lobonc)

> steady hum/buzz that occurred whenever the VCR was hooked to any line inputs.

I had a severe hum problem in my system and discovered it to be the GROUND on
the CABLE TV LINE causing a ground loop.  Many strange hum/buzz noises, same
as you are describing, until I finally disconnected all cables and started
from scratch evaulating each connection as I went.  All was well until I
connected that DAMM cable tv to my VCR.  That was the problem along.  If you
have cable tv, or even a house antenna connected to your VCR you might try
disconnecting it and see if your noises go away.  If so, you can insert a
ground isolater in the tv coax line.
From: fsgab@acad3.alaska.edu
Newsgroups: rec.audio.high-end
Subject: Help: cheap used system
Date: Thu, 12 Nov 1992 19:30:41 GMT
Organization: University of Alaska Fairbanks
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I'm just a regular guy who's tired of consumer grade junk which breaks just
after the waranty period.  I am looking for used high-end gear from a good
manufacturer.  I want to put together a system for under $1k, and any cheaper
would be better.  All I need to listen to is CDs (I know, digital.... no need
for flaming) in my small dorm room.  No big deal.  Any sources/ideas?

Thanks.
From: Craig Stark <cs6h+@andrew.cmu.edu>
Newsgroups: rec.audio.high-end
Subject: Re: SPDIF jitter
Date: Thu, 12 Nov 1992 12:26:45 -0500 (EST)
Organization: University of Wisconsin - Milwaukee
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paul@gaitlab1.uwaterloo.ca (paul j guy) writes:

>   In desperation, I may set up a circuit on my bench to make a
>'precision' jitter so that I can listen to its effects, but
>hope that some kind person can clue me in as to what it should sound
>like, and spare me the agony of breadboarding some whacky circuits.
>(The circuit would consist of two RC circuits, fed by audio signals
>180 degrees out of phase, and combined differentially. The
>capacitor in the RC network would be a DC isolated varicap diode,
>modulated by an external signal. As the varicaps change, the group
>delay of the RC filter will shift. The differential circuitry will
>cancel feedthrough of the modulating signal. And there are many more
>potential bugs to be solved...)
>   So tell me.... (flames if necessary) what does jitter sound like ?

No need to go to all the trouble.  Head down to a shop that carries
Audio Alchemy and listen to the DTI.  It's an anti-jitter device (well
done PLL circ.) that is cheap enough for a grad student such as myself
to afford.  I listened with a both an NAD CD and the Alchemy transport
running through the Alchemy v 2.0 D/A and the difference was
phenomenal.

[OK, fine.  I'm bracing myself for flames on the Audio Alchemy
equipment.  Sure, it's not Levinson and such, but not all of us can
afford that price range and IMHO the AA equipment does damn well for
the price.  Kicked the pants off the D/A's in my Denon DCD-1700.]

Craig
From: mike@hernix.org (Mike Herman)
Newsgroups: rec.audio.high-end
Subject: Re: INFO. REQUESTED ON MCINTOSH 7300 AMP
Date: Fri, 06 Nov 1992 18:50:41 GMT
Organization: Michael A. Herman Software
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

I have 2 Mac power amps, and love them.  They are 17 years old, and
IMHO, they sound better than a lot of stuff today.  I'm NOT saying they
can compete with real high end stuff, Levinson, Audio Research, etc.
But, for what I paid for them, they are better than comparably priced
new stuff built today.
I don't like speakers made by them.  I don't like preamps made by them.

-- 
--------------------------------------------------------------------------
     mike@hernix.org	hernix!mike   wb8evi   Strongsville, Ohio USA
--------------------------------------------------------------------------
From: Paul Winser <paul@prl.phil.co.uk>
Newsgroups: rec.audio.high-end
Subject: Re: Why digitize: some bunk
Date: Tue, 10 Nov 92 10:03:08 GMT
Organization: University of Wisconsin - Milwaukee
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kharstin@mtholyoke.edu (Ken Harstine) writes:

> If that something is a 20-20kHz audio
> signal, it has been proven mathematically that all of the information
> present can be represented by samples taken at a rate greater than 40kHz.

For steady-state sine waves, OK. But steady-state sine waves
(mathematically) carry zero information. Music, on the other hand is by
definition an information signal and consists of a series of transients
or events in the time domain. Can you be sure that all non-repetative
transient audio waveforms can be losslessly represented by 44KHz samples?

> If you mean to say that using a band
> pass filter to restrict the information to the 20-20kHz signal is
> removeing information, then how is this any different than the mechanical
> band pass filters of the phonograph process, or the electro-magnetic band
> pass filters of the "analog" tape recording process.  This filtering
> processes behave in exactly the same ways (re phase shift and amplitude
> vs. frequency).

There *is* a difference between the practice of bandlimiting signals in
analogue and common digital equipment. Consider the response to an
impulse of very short duration. A band-limiting analogue filter will
output an initial large excursion followed by a ringing of diminishing
amplitude. Digital filters for audio are nearly always designed to take
advantage of the possibilty for mathematically optimal filter design
that the storage of samples can provide. The output of such filters is
seen to be a large excursion with *symmetrical* pre- and post-ringing.

The pre-ringing of the impulse response in the time domain is acausal,
that is we appear to get an output before the input has arrived.
Gross Speculation: Might it be possible that our perception mechanisms,
optimised by evolution for processing naturally filtered sounds, is
upset by this very un-natural behaviour? Have there been any attempts
to design digital filters for audio that mimic the response of analogue
filters to produce strictly causal outputs?

Most of the objections to the sound quality of CD's that people have
expressed to me have to do with vague terms such as "musicality"
and other perception related notions, rather than specific criticisms
of what they are hearing (assuming a decent CD player & disc). If
digital audio practice is flawed, I think it is because the system
design places too much emphasis on frequency domain response and too
little on time domain issues.

Paul Winser                  Usual Disclaimers
"What other social benefits can you claim for this" asked a man in
 the circle, "apart from the fact that it is, as you say, junk?"
                                Jeoff Ryman, "The Child Garden"
From: weems@cs.umass.edu (CHIP WEEMS)
Newsgroups: rec.audio.high-end
Subject: Re: Hum Problem
Date: 10 Nov 92 17:33:00 GMT
Organization: University of Massachusetts CS Department
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In article <1dof0qINN850@uwm.edu>, redfreak@ecn.purdue.edu (Thomas Lobonc) writes...
>I've got a noise problem with my system, and I would like some advice.
> 
>I still have a cross between a buzz and a hum when the phono is selected.
>The noise is not the same as the one that was eliminated,is there
>regardless of whether the table is connected or not, and is in both channels.  
>The noise increases as the volume is increased, but is not audible until
>about 1/3 - 1/2 rotation. If the output is muted, (via a switch) there is
>no noise.  Adding a ground wire from the table to the preamp increases the
>noise. I did not have this noise problem in my previous apartment, or any 
>of the others before that, and I have had this system in a lot of places.
> 
>Can anyboby help?

Also check that your most recent move of the system hasn't placed the
cartridge or the phono stage near any transformers or other generators
of stray electromagnetic fields. Dimmer switches are a notable problem,
as they can cause a significant field to be broadcast all along the
wire to which they are connected.

I found, one time, that a Krell KSP-7B preamp couldn't stand to be within
three feet of a KSA-150's backside. Since I only had a short cable for
the demo setup, I wound up turning the amp sideways and standing the
preamp on one end to attenuate the hum in the phono section sufficiently
to listen -- and it was still annoying. One clever trick that I've seen
for crudely checking for stray fields is to take an old portable cassette
player, pull the playback head out and wire it back in with a short
run of coax, then set the player to play and listen to the noise from
the speaker as you wave the head around the room and equipment. You can
find some really surprizing field sources that way.

Chip
From: Scott Dorsey <kludge@grissom.larc.nasa.gov>
Newsgroups: rec.audio.high-end
Subject: Small Value Film Caps
Date: Wed, 4 Nov 92 11:51:41 EST
Organization: University of Wisconsin - Milwaukee
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu


I am looking for extremely small film capacitors (in the 100-1000 pF range)
for use in stabilizing feedback loops in power amps.  I don't want to use
the standard ceramic caps because I have had difficulties in the past with
small amounts of distortion and microphonics caused by piezoelectric effects.
Unfortunately, no very small film caps seem to be made, and I don't want to
string a number in series to reduce the value.  Has anyone out there ever
seen such creatures for sale?  Polypropylene or polyester would be fine, to
start out with anyway.
--scott
From: ankleand@mtl.mit.edu (Andrew Karanicolas)
Newsgroups: rec.audio.high-end
Subject: Re: Why digitize: some bunk...
Date: Thu, 5 Nov 1992 05:33:14 GMT
Organization: MIT Microsystems Technology Laboratories
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Originator: tjk@csd4.csd.uwm.edu

In article <1d8pl2INNpnu@uwm.edu> abrams@cs.columbia.edu (Steven Abrams) writes:
>In the *strictest* sense of the words, everything is discrete.
>Quantum physics and all that.  However those technologies
>traditionally labeled "analog" do not decrease the reslution of the
>discrete signal on purpose, whereas so-called "digital" technologies
>do.  

Quantum physics is a model.  Quantum physics has discrete and continuous
quantities.  The universe simply _is_, regardless of how you feel about it.  

>I guess your reason for calling digital a "discrete-analog"
>representation is because the stored numbers are analogous to the
>original wave form.  Isn't that stretching it?  I always looked at
>analog as meaning there was something physical on the recording medium
>which is  analogous to the input wave form.  Either magnetic particles
>whose density varies as the sound's air pressure, or the cut grooves
>in the LP, or what have you.  In digital, obviously this isn't so.
>You need to decode the bit patterns according to some algorithm before
>you even have a set of numbers -- not very analogous to air pressure
>variations.  
>
>'Course, this is getting way far afield, and what it has to do with
>sound, I have no idea.  I think we'll only confuse the issues if we
>start using weird terms like "continuous-analog" vs.
>"discrete-analog," not that I think Dick was serious...

These terms are not so weird actually.  A continuous signal that is
sampled at discrete time intervals is called a discrete-time signal.
The amplitudes at the sampling intervals are samples of the original
waveform and thus can assume any value.  When those amplitudes are
quantized then the signal is discrete in time but also now discrete in
amplitude.  Signals that are discrete in time but have analog
amplitudes are used all the time in switched-capacitor circuits, for
instance.

-- 
Andrew Karanicolas
MIT Microsystems Technology Laboratory
ankleand@mtl.mit.edu
From: dancer!whs70@uunet.UU.NET (22501-sohl)
Newsgroups: rec.audio.high-end
Subject: Re: DAT is King of Audiophile Digital Recording
Date: Fri, 6 Nov 92 16:05:50 GMT
Organization: Bellcore, Livingston, NJ
  (5.65c/IDA-1.4.4 for rec-audio-high-end@uunet.uu.net); Fri, 6 Nov 1992 11:05:54 -0500
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In article <1ddu9pINNl44@uwm.edu> island!rich@uunet.UU.NET (Rich Fanning) writes:
>jas@proteon.com (John A. Shriver) writes:
>
>John, I agree with what you said except this:
>
>>You have to extract some energy (do work) to play
>>any magnetic tape, it must change some every time you play it.
>
>I don't know about *must*; the energy required does not as far as I can
>tell come from the tape, but from the relative motion of the tape and heads.
>I don't have any official statistics, but tapes can be played hundreds
>or thousands of times, and the limits seem more to do with physical wear
>than "magnetic" wear in the signal itself.

The sensing process of the magnetic signal present on audio tape does
not absorb or use any energy from the tape itself.  Long term degredation of
the magnetic signal will occur if the tape is played or not played.

Odds are that if the tape is played often enough, the magnetic oxide
material on the tape will wear away and be the primary reason for
any tape degradation, not any long term loss of magnetic signal
strength.  The same is true for DAT tapes, except as long as the
DAT tapes is 100% readable without error, you can still make a
new, perfect reproduction DAT tape even though the tape has some
wear/signal loss on it.  That is one of the major advantages of digital
technology.  

Standard Disclaimer- Any opinions, etc. are mine and NOT my employer's.
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From: chcho@vnet.ibm.com ( Chul-hee Cho )
Newsgroups: rec.audio.high-end
Subject: Advice for selecting amp./speaker
Date: Mon, 9 Nov 92 18:04:18 KST
Organization: IBM Korea
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Disclaimer: This posting represents the poster's views, not those of IBM
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Originator: tjk@csd4.csd.uwm.edu

I would appreciate very much if somebody helps me decide on my
first system.
Well I am considering Spendor SP2/2 , Snell K III or Q III which
will be driven by either Acurus MIA100 integ. amp. or British
Aura integ. amp. (100 watt per ch.).
Rotel 955 is the CD player I have in mind.
Sources will be mostly classical and I want to hear comments on
the above hardwares.


Chul-hee Cho
IBM Korea                                      Voice : 82-2-781-6315
chcho@sulvm1.vnet.ibm.com                        Fax : 82-2-785-5948
From: jbk@world.std.com (Jeffrey B Kane)
Newsgroups: rec.audio.high-end
Subject: Speaker switch box/attenuator
Date: Wed, 11 Nov 1992 06:37:52 GMT
Organization: The World Public Access UNIX, Brookline, MA
	(queueing-rmail) id 014118.2332; Wed, 11 Nov 1992 01:41:18 EST
NNTP-Posting-Host: 129.89.7.4
Summary: Quality switch box for high end amp
Keywords: SWITCH SPEAKER
Originator: tjk@csd4.csd.uwm.edu

I need some recomendations for a high end A/B (actually an A/B/C) switch
box.  I have some friends that purchased a wonderful speaker/amp system
but due to impedence and efficiency differences they need a 3 way switch
box with attenuator to control each volume individually.  The box would go
between the amp and speakers and minimal distortion is a must.  The amp
has no speaker switches at all, so this is the only way to control the
system.  Please email me any suggestions.
    Thanks!
       Jeffrey

jbk@world.std.com
From: slj1k@cc.usu.edu
Newsgroups: rec.audio.high-end
Subject: Re: Faure's Requiem
Date: 11 Nov 92 13:14:52 MDT
Organization: Utah State University
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Originator: tjk@csd4.csd.uwm.edu

In article <1dof13INN858@uwm.edu>, puerile@wam.umd.edu (Mohan R. Ramanathan) writes:
> Hi, I am an avid fan of Faure and Ravel, and was wondering if any of
> the net audiophiles had recommendations on the different recordings
> available of these composers. Specifically, I am looking for a recording
> of Faure's Requiem, Pavane, and Pelleas and Melisandre. I have the London
> label recording with Charles Dutoit conducting the Montreal Symph. Orch.,
> Kiri Te Kenawa singing the Pie Jesu. This recording has all three pieces,
> which is nice, but not necessary. I would like to find "audiophile" quality
> recording, and a good performance. Please send mail to my address, or post to
> the net, which ever is easiest.
> 					Thanks,
> 						Mohan
> 

	faure's pavane is best represented, IMHO, on telarc's recording which
        also features vaughan williams's adagio for strings, and a theme on
	thomas tallis.  i apologize that i do not have the listing #, maybe
	someone might help.  his requiem is brilliant from collegium records,
	again i have no #, as john rutter and the cambridge singers do it
	justice.  i have also heard an erato label disc with the requiem, very
	nice.  if you happened on either the collegium or the erato, the 
	audiophile in you would be satisfied.


Mark L. Reece SLJ1K@CC.USU.EDU. + ``... and the trees are all kept equal with
hatchet, axe and saw.'' - the professor on the drum kit, Neil Peart.
From: daver!cypress.com!ssr@decwrl.dec.com (Bapcha/FPGA)
Newsgroups: rec.audio.high-end
Subject: Re: Small Value Film Caps
Date: Fri, 6 Nov 1992 01:48:41 GMT
Organization: Cypress Semiconductor, San Jose, CA
NNTP-Posting-Host: 129.89.7.4
Originator: tjk@csd4.csd.uwm.edu

In article <1db92sINN8lb@uwm.edu> Scott Dorsey <kludge@grissom.larc.nasa.gov> writes:
>
>I am looking for extremely small film capacitors (in the 100-1000 pF range)
>for use in stabilizing feedback loops in power amps.  I don't want to use
>the standard ceramic caps because I have had difficulties in the past with

You can get small value chip caps to 25 Volts.  THey are also very small and
nice to use (but difficult to solder).

-Bapcha-

-- 
Bapcha - A very bad boy from Cypress Semiconductor
3901 N.  First Strasse
San Jose,  CA 95134, 408-943-2719
From: gt0179a@prism.gatech.edu (Mike Chu)
Newsgroups: rec.audio.high-end
Subject: Re: Creek and other British Gear -- Love it or Hate it?
Date: 11 Nov 92 23:32:12 GMT
Organization: Georgia Institute of Technology
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In article <1drc78INNl9l@uwm.edu> burgoyne@access.digex.com (J. Robert Burgoyne) writes:
>Anyone out there own and like Creek or other British high end equipment?
>
>I'm sort of interested in the CD player they make, and would like to get
>as many opinions as possible about Creek or any other British stuff.
>
>Thanks very much.
>
>Robert Burgoyne
>Ellicott City, Maryland

Yes, I do have some British stuff.  The integrated amps are the best way to
get high-end sound on a tight budget.  I have a Rega Brio Amp.  Bought it
for under 600 dollars....

If you want to get into British gear and other good stuff, Talk to
Joseph at Savant Audio in New Jersey.  The number is Audio, Stereophile, 
etc...


-- 
Mike Chu  --  Chemical Engineering
Georgia Institute of Technology, Atlanta Georgia, 30332
uucp:	  ...!{decvax,hplabs,ncar,purdue,rutgers}!gatech!prism!gt0179a
Internet: gt0179a@prism.gatech.edu
From: hunter@work.nlm.nih.gov (Larry Hunter)
Newsgroups: rec.audio.high-end
Subject: Duntech update
Date: 9 Nov 92 12:48:44
Organization: National Library of Medicine
Distribution: net
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Originator: tjk@csd4.csd.uwm.edu


I appear to have been wrong about what happened to Duntech after the Utah
manufacturing plant closed.  According to Andrew Fefenman, they were bought by
Harmon/Kardon, who then changed the names and availability of various models.
Gabe Wiener independently wrote to tell me that he's heard from many people
that "Duntech's drivers are not quite what they were...."  According to the
Audio directory issue (Oct '92), "Duntech Sales" is now in Illinois.  I'll
check into this further and see what I can find out.  It would be a shame to
lose one of the great researchers in and manufacturers of high end speakers to
the viscissitudes of capitalism.  (I think we all benefit by profit-making,
quality-conscious firms, in addition to all those pure profit-maximizing
outfits...)

Anybody know what John Dunlevy is doing now?

Larry
--
Lawrence Hunter, PhD.
National Library of Medicine
Bldg. 38A, MS-54
Bethesda. MD 20894 USA
tel: +1 (301) 496-9300
fax: +1 (301) 496-0673 
internet: hunter@nlm.nih.gov
encryption: PGP 2.0 public key via "finger hunter@work.nlm.nih.gov"