HDTenEightyP/NetNews huggingface dataset:
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re: HSU Research Sub woofers
Keywords: woofers
Date: 2 Sep 92 19:23:48 GMT
Reply-To: lstowell@pyrnova.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corp., Mountain View, CA
Originator: daemon@sword.eng.pyramid.com

In article <15397@ksr.com> kenyee@ksr.com (Ken Yee) writes:
>
>  Could you two please keep the flaming down?  This is getting close to name
>  calling. 

   We're chatting privately by e-mail....and both are cutting down
   on caffeine.

>  Lon, is this a NO answer?
    I asked that question...but feel free to answer it...

>
>  I'm thinking about getting a good sub for home theatre.  I was thinking
>  about the Hsu SW10 because I think I can start off with just one to
>  see if it has enough bass; I could drive it with one side of the amp
>  I'm using for the center channel.  What concerns me most about the Hsu
>  is that the literature says it overloads below 15Hz and to not play cannon
>  shots; special effects from movies may have frequencies this low.
    
    If you are a real bass freak and like loud levels, I would sede
    if you can audition the HSU's somewhere.  

    They will bottom out (mechanically) quite easily with bass from
    a 90 wpc HK amp.  If your tastes are chamber music, etc. and you
    like the limited range of the typical electrostatic, they would
    be satisfactory (they DO sound good....I just prefer "more
    power"  and power handling capability...)   


>  I haven't looked at traditional good subs (Muse and Velodyne, e.g.)
>  because clean 20Hz ones cost at least $1000, though powered.  Are there
>  any that do this for less than $1000 (preferably much less)?
   
   Sadly not MUCH less.  I don't think you would be very happy with
   the lower end M&K or Velodyne's.  They only go down to about
   30 Hz and only have about 50 watt amps.  IMHO their midrange
   units with about 100 watts that go to 20-25 are about as low as
   you'd be able to go and be happy.  
   In other words, you'd likely prefer the HSU in that price
   range...   

   But the 200 watt units aren't much over a grand...and being a
   cheapskate I tend to watch for the sales that often happen after
   the Summer and Winter CES....or just bargain the dealer down
   until my wallet, my ears, and his profits reach a compromise.  

>  Can we get a bit more constructive with this thread topic?
>
   Not a bad idea....are there any OTHER good moderately priced subs
   out there?  And it would be nice to exclude the "bass modules"
   masquerading as subwoofers...     

   The bigger VMPS sub ain't bad....but again you need a good low
   impedance amp to drive it  the larger VMPS can take enough
   power to crack plaster.   


Newsgroups: rec.audio
From: hisashi@neclpd.NoSubdomain.NoDomain (Hisashi Naganuma)
Subject: JBL LE-8T question
Keywords: speaker
Organization: NEC America, Inc.,  San Jose, CA., USA
Date: Thu, 3 Sep 1992 16:09:44 GMT


I have been using JBL LE-8T 8-inch single corn speaker
for 20 years.  Enclosure is the original of SANSUI but
I have changed speaker units 10 years ago.
The new units are used for 10 years and almost reach its lifetime.
I need to make my mind for the next.

  Questions:
   1. Can I still get new LE-8T unit now?  JBL is still selling?
   2. Is it a good idea to continue using good old speakers?
   3. If change, is there any recommendations for small size speaker
	 at less than $1,000?


I have QUAD pre and main(306) amplifiers and enjoy mainly jazz vocal
and piano trio with low volume.

Thanks in advance for your suggestions.


Hisashi Naganuma
hisashi@lpd.sj.nec.com
From: checksix@flyboy.EBay.Sun.COM (Al Conte)
Newsgroups: rec.audio
Subject: EAD DSP 7000
Date: 2 Sep 1992 20:33:02 GMT
Organization: Sun Microsystems, Inc.
Distribution: world
Reply-To: checksix@flyboy.EBay.Sun.COM
NNTP-Posting-Host: flyboy.ebay.sun.com
Keywords: Upgrade

I just recently did the factory sponsored "receiver chip upgrade to my DSP 7000 DAC.
The upgrade consisted of clipping out two resistors, and swapping the old receiver chip
for the new "Crystal Semiconductor "C" rev chip.

I must say, the sonic change was very noticeable.
The quiet between the notes was much more quiet, and the high freqs were smoother and
cleaner without any hash or grit.
This chip is said to reduce jitter to well below 100 psec RMS, improving the THD+D
figure at 20khz to better than 0.003%.
Hats off to Enlightened Audio Designs, (EAD) for a first rate, (measureable) upgrade.

Oh BTW, the cost for this upgrade was zippo / nothing.
Anybody who owns a DSP 7000 should contact EAD for the upgrade, its worth it.



Al 



Newsgroups: rec.audio
From: serge@dgbt.doc.ca (Serge Ah Hee)
Subject: Re: Where can I find the Nyquest theorem
Organization: The Communications Research Centre
Date: Mon, 31 Aug 92 17:58:49 GMT

In article <1992Aug27.164221.26948@ncrcae.ColumbiaSC.NCR.COM> chris@lightnin.Columbia.NCR.COM writes:
>In article <1992Aug27.125406.18714@dgbt.doc.ca> serge@dgbt.doc.ca (Serge Ah Hee) writes:
>>In article <1992Aug26.115340.4884@ncrcae.ColumbiaSC.NCR.COM> chris@lightnin.Columbia.NCR.COM writes:
>>>In article <1992Aug25.200552.12909@fcom.cc.utah.edu> dave@news.ccutah.edu (dave martin) writes:
>>>   stuff deleted
>>>
>>>Nyquist has theorems in both the analog and digital domain.  With respect
>>>to digital audio maybe the one you were referring to  is Nyquist's
>>>minimum sample rate criteria.  For a sample to be accurately reproduced,
>>>each cycle of the analog input signal (Fa) must be sampled at least twice.
>>>
>>>            Fs >= 2Fa
>>>               
>>
>>Isn't it Fs > 2Fa and not Fs >= 2Fa?
>>            ^                ^^
>>>  Fs = minimum sample rate (Nyquist)
>>>  Fa = highest frequency to be sampled
>>>
>>				only care for what they want."
>>My opinions are mine only.
>
> Fs = 2Fa would be the minimum Nyquist sample rate
>                       ^^^^^^^
> 
>   anything > 2Fa would improve  accuracy of signal reproduction

I don't agree, take a 1Khz sine wave. If Fs=2Khz, then samples are taken at
every 0.5ms. The period of a 1Khz sine is 1ms.Now if the samples were
taken at the crossover pts of the sinewave which occur at every 0.5ms, you would
get samples of 0. Recovering the signal would be impossible from these
samples.




-- 
Serge Ah-Hee                  "Most troubles come from the fact that people 
serge@dgbt.doc.ca		take for granted of what they have, and 
				only care for what they want."
My opinions are mine only.
From: davea@hpscit.sc.hp.com (Dave Angelini)
Date: Tue, 1 Sep 1992 17:51:42 GMT
Subject: For Sale Speakers And......
Organization: Hewlett-Packard, Santa Clara, CA
Newsgroups: rec.audio

    Snell type Q with stands $500

    Tube Traps x7 in beige for room accoustics. A sacrifice at $ 50

    Must sell! call or e-mail 408 225 0923

Newsgroups: rec.audio
From: Richard.Chalk@bbs.oit.unc.edu (Richard Chalk)
Subject: Re: Bose AM-7
Organization: Extended Bulletin Board Service
Date: Thu, 3 Sep 1992 14:37:17 GMT

I am another satisfied Cambridge Soundworks user, with the original
"Ensemble" system.   Try one before you decide on Bose.  They are, IMHO,
much better than any of the Bose satellite systems   

Richard
s
--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  bbs.oit.unc.edu or 152.2.22.80
From: root@hp546.ae.ge.com (Chuck Sanford)
Newsgroups: rec.audio
Subject: Should I use a CD lens cleaner?
Date: 1 Sep 92 17:12:30 GMT

I recently purchased a Sony CDP-321 (?) carousel CD player.  I have
heard mixed comments about using a cleaning disk for periodic cleaning
of the laser lens.  The salesman advised against them saying it is
better to bring the unit in to have it cleaned.  If the cleaner
doesn't harm the lens (eg. scratch it), wouldn't it reduce the amount
of potential buildup on the lens.  If the cleaning kits are ok, which
would be better -- the wet or dry systems.  I have heard that wet
systems which use alcohol as a cleaning fluid can cause deterioration
of rubber parts in VCR's, tape decks, etc..  Is this true for CD
players too?

					Thanks in advance,
						Chuck

--
================================================================================
        and awa		|Chuck Sanford				(513) 583-3547
    up,        a	|Technical Computing 			Fax:  583-3652
Up,             a	|Systems Architecture			Mail Drop: A-301
                a	|General Electric Aircraft Engines
                y!	|Evendale, OH 45215-6301
			|
	     *SPLUT!*	|local: sanford@hp546
			|long distance: sanford@hp546.ae.ge.com
--------------------------------------------------------------------------------
MITTSQUINTER -	n. A ball player who looks into his glove after
		missing the ball, as if, somehow, the cause of the
		error lies there.
================================================================================
From: myers@hpfcso.FC.HP.COM (Bob Myers)
Date: Thu, 3 Sep 1992 16:37:27 GMT
Subject: Re: Where can I find the Nyquest theorem
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.audio

>  Fs = 2Fa would be the minimum Nyquist sample rate
>                        ^^^^^^^
>  
>    anything > 2Fa would improve  accuracy of signal reproduction

Slight quibble; Fs = 2Fa (assuming, as I think was done in the original
posting that used these variable names, that the signal to be sampled is
strictly band-limited to Fa) sets the lower bound on acceptable sampling
rates, but increasing much beyond this point does NOT improve the
accuracy of reproduction.  Let's take, for example, a signal which has
no components above 20 kHz.  What Nyquist (actually, Shannon) said was that
sampling this at even 40.001 kHz would allow you to reconstruct the original
signal *perfectly* (more precisely put, the phase, frequency, and amplitude
of all signal components up to the original 20 kHz limit can be exactly
recovered).  Increasing the sampling rate to, say, 80 kHz won't buy you 
anything unless you're also raising the bandwidth of the original signal.
(This may be counter-intuitive - everyone wants to think that 10 samples of
a 20 kHz sinusoid just HAS to be better at reproducing that signal than 3
samples - but it's true.  The "trick" is that imposing the strict
band-limiting lets you safely assume that any signal component at 20 kHz
IS a sinusoid, and so the additional samples wouldn't tell you anything you
don't already know.)


Bob Myers  KC0EW   Hewlett-Packard Co.      |Opinions expressed here are not
                   User Interface Tech. Div.|those of my employer or any other
myers@fc.hp.com    Fort Collins, Colorado   |sentient life-form on this planet.
Newsgroups: rec.audio
From: serge@dgbt.doc.ca (Serge Ah Hee)
Subject: Re: Where can I find the Nyquest theorem
Organization: The Communications Research Centre
Date: Thu, 27 Aug 92 12:54:06 GMT

In article <1992Aug26.115340.4884@ncrcae.ColumbiaSC.NCR.COM> chris@lightnin.Columbia.NCR.COM writes:
>In article <1992Aug25.200552.12909@fcom.cc.utah.edu> dave@news.ccutah.edu (dave martin) writes:
>>Where can I find the exact statement of the Nyquest theorem?  I have seen
>>some articles attributing certain properties of digital audio to the Nyquest
>>theorem which happen to be false.  I am trying to find out if the theorem
>>is in error (unlikely) or if the author of the piece I read is wrong (more
>>likely).
>>
>>dave@csulx.weber.edu
>>DMARTIN@CC.WEBER.EDU
>
>Nyquist has theorems in both the analog and digital domain.  With respect
>to digital audio maybe the one you were referring to  is Nyquist's
>minimum sample rate criteria.  For a sample to be accurately reproduced,
>each cycle of the analog input signal (Fa) must be sampled at least twice.
>
>            Fs >= 2Fa
>               

Isn't it Fs > 2Fa and not Fs >= 2Fa?
            ^                ^^
>  Fs = minimum sample rate (Nyquist)
>  Fa = highest frequency to be sampled
>
>if Fs < 2Fa, distortion will result--aliasing, foldover.
>
>I am by no means an expert on this stuff.  I remember it from a Digital
>Signal Processing class I took in school.  The mathematical proofs can be
>found in any DSP book.
>
>
>
>
>-------------------------------------------------------------------------
> Chris Landi                               
> Surface Mount Operations Center                 NCR MCPD -- Columbia
> phone: (803) 739-7364                           Operations & Distribution
>   fax: (803) 739-7362                           3325 Platt Springs Road
> email: chris.landi@ColumbiaSC.NCR.COM           West Columbia, SC 29170
>-------------------------------------------------------------------------


-- 
Serge Ah-Hee                  "Most troubles come from the fact that people 
serge@dgbt.doc.ca		take for granted of what they have, and 
				only care for what they want."
My opinions are mine only.
From: dev@mentor.cc.purdue.edu (Larry Weeks)
Newsgroups: rec.audio
Subject: Noise when adjusting volume
Date: 27 Aug 92 06:05:11 GMT
Organization: Purdue University Computing Center

Hi,

When I adjust the volume on my stereo, static can be heard over the
speakers. I was told by a friend that this can be caused by dirt in
the dial's pot. This sounds reasonable to me, what about you? How can
I clean this up? Thanks... please reply by email.

Larry
--
Larry Weeks        | "We are all worms. But I do believe I am a
dev@ecn.purdue.edu |  glowworm." -- Winston Churchill
-------------------+--------------------------------------------------
"One kiss is a dangerous drug, I got what I deserved, I dared to fall 
 in love." -- B. Bourgoise
Newsgroups: rec.audio
From: mather@sees.bangor.ac.uk (Paul Mather)
Subject: How do I use a "bias fine adjustment?"
Organization: Centre for Applied Obfuscation.
Keywords: cassette decks, gizmos, misplaced instructions.
Date: Tue, 25 Aug 1992 18:35:02 GMT
X-Posted-From: sol.sees.bangor.ac.uk
X-Posted-Through: sol.ctr.columbia.edu

My cassette deck has a "bias fine adjustment" control on it.  I remember
reading in my instruction booklet what this was and how you used it.
Sadly my manual is packed away somewhere I can't seem to find it.
Perhaps then someone on rec.audio can help me in its absence?

What does this control actually do?  I know it varies the recording
bias, but since I don't know exactly what role the bias has when
recording, I'm a little in the dark about why you'd want to adjust it?

I have a faint recollection that the fine adjustment control is used
to "tune in" different brands of tape to the cassette deck.  Could
someone briefly explain why this is necessary?

Finally, could someone suggest how I might use my fine bias control
to "tune in" a tape in practise?  I recently used a That's EM-X tape
which came out sounding a little bassy when recording with Dolby on.

I wondered if using my fine bias control could help eliminate this
but couldn't recall the manual procedure for figuring out the setting
for each type of tape.  It involved something along the lines of
recording some radio noise at very low recording level, or something
like that.  If it helps, my cassette deck is an old Aiwa ADF-360.

Cheers,

Paul.

-- 
e-mail: p.mather@sees.bangor.ac.uk

If your mailer can't reach me, I'm obviously not worth talking to.

"This is known in the trade as filler crap ladies and gentlemen."

	--- Frank Zappa, "The Sanzini Brothers", _Tengo Na Minchia Tanta_
From: davek@hplsla.hp.com (Dave Kelley)
Date: Mon, 24 Aug 1992 15:16:27 GMT
Subject: System for ~$1000
Organization: HP Lake Stevens, WA
Newsgroups: rec.audio

'ello audiophites,

A friend of mine wants to put together a stereo system for ~$1000 +- $200.
Since I have experience with only high-end audio, I cannot begin to suggest
what he should look for.  Price should include 1)speakers 2)preamp 3)amp (or
combine 2&3) and CD player.  What would you suggest?  Thanks...

-DaveK
From: T.G.Nattress@newcastle.ac.uk (Graeme Nattress)
Newsgroups: rec.audio
Subject: DDC & Minidisc on BBC
Date: 3 Sep 92 10:53:28 GMT
Organization: University of Newcastle upon Tyne, UK, NE1 7RU

There was a small article on BBC breakfast news this morning on both DCC
and Minidisc.  Both systems were shown working and both were said to have
similar "near CD" sound quality.  I had not seen a minidisc in operation before
and the demo showed it playing a disc while being shook up and down and around
without the music distorting.  The sony guy made some remarks about disc
formats being best due to instant access and no tape to ware out or mangle.
BTW I have been to a philips demo and thought the DCC deck was rather
unimpressive.

T.G.Nattress@uk.ac.ncl
{---    T.G.Nattress@uk.ac.ncl -----------------------------------------}
{--------------------------------- The Moral of this story is: ---------}
{---    Never trust a Venusian Floghorn with a Perigosto Stick. --------}
{-----------------------------------------------------------------------}
Newsgroups: rec.audio
From: johnk@gordian.com (John Kalucki)
Subject: Re: "Mission 707" Speakers
Organization: Gordian; Costa Mesa, CA
Date: Wed, 2 Sep 1992 03:22:31 GMT

In article <1992Sep1.131129.16147@pony.Ingres.COM>, you write:

>Does anyone out there own MISSION 707 speakers? 
Yes! I got them for about $500/pair in the spring of 1987. They are
still my main set of speakers for serious listening.

>Have you updated them to a better pair?

Well, yes and no. I've gotten another pair for a A/V system. I need
something with a lot of bass for movies and whatnot, so I went with
the sat/sub system by Canton. The Canton is nice, similar sound,
better bass ;-), but the imaging isn't as focused. Yes, I've played
with moving the sub around. I fear that really good imaging just isn't
in them. Great for jammin' and flicks, though.

>I would be interested to know how they compare with speakers that
>have been produced in the last year or so. I bought mine about 5
>years ago and while I get a great sound from them I have some money
>to upgade them. I like lots of good tightbase and soul to my music.

The 707's have the typical Euro sound, as opposed to the American
sound. Warning:I don't really care for the American sound much at
all, so I didn't spend much time auditioning typical 'American'
sounding systems like Infinity, Polk, Kliptch(argh!) and their ilk.
I really like the flat response of most european speakers and the
open, sweet midrange that many euro speakers exhibit.  The 707's
really roll off at the highs and lows, but they're not all that
bad.  The Canton system is similar, but the bass doesn't roll off
much at all.

I listened to a number of traditional (ie non-sub) setups in the
$800-$1500 range.  The 707's were truely superior to everything I
heard for under $1000, and at that time I had the 707's on a pair
of MILK CRATES! The mids were far smoother and much more natural
than the Paradigms. The B&W's were pretty good, though. If you like
the 707, you'll like the middle of the line B&W's. I couldn't
afford the higher end B&W's, so I didn't listen to them.

>My present system is :
>
>			Nakamichi CD3 compact disk
>			Musical Fidelity Pre and Power Amp(The "Typhoon")
>			Van Den Hal speaker cable
>			Audio Quest Ruby interconnects
>			Mission 707 speakers on Target stands.

It sounds like your electronics are just rare'in for another set of
speakers!

I've only a Denon DR-55V receiver, dbx CD player, homebrew speaker
cable and generic gold-plated interconnects. Made many audio boutique
and 'Good Guys' like systems worth 3 and 4 times as much played
through silly speakers sound, well, silly.

			-John Kalucki
			johnk@gordian.com

Newsgroups: rec.audio
From: smee@bristol.ac.uk (Paul Smee)
Newsgroups: rec.audio
Subject: Re: How do I use a "bias fine adjustment?"
Date: 26 Aug 92 09:06:15 GMT
Reply-To: P.Smee@bristol.ac.uk (Paul Smee)
Organization: University of Bristol

In article <1992Aug25.193502@sees.bangor.ac.uk> mather@sees.bangor.ac.uk (Paul Mather) writes:
>My cassette deck has a "bias fine adjustment" control on it.  I remember
>
>What does this control actually do?  I know it varies the recording
>bias, but since I don't know exactly what role the bias has when
>recording, I'm a little in the dark about why you'd want to adjust it?
>
>I have a faint recollection that the fine adjustment control is used
>to "tune in" different brands of tape to the cassette deck.  Could
>someone briefly explain why this is necessary?

Can't do an incredibly technical calculation, but in essence the 'bias' 
signal is a very high frequency signal which is supposed to stir the
particles in the tape around, get them moving, so as to make it easier
for the music signal to shove them into the proper orientations.  While
there is a notional standard for the amount needed, in fact different
tapes may need slightly more or less of it for best results.

If you use the wrong bias level, the effects are normally heard as over-
or under-emphasized treble.  (Though, of course, too much treble could
be interpreted as too little bass, and vice versa.)

Now, from my 'archive', one of my earlier postings.

Aiwa give a set of instructions for setting their bias control without
test instruments, which seem to work.  You need a source of pink(-ish)
noise.  A test CD will do, or you can use the noise you can find
between stations on an FM tuner.  You record this noise, and play it
back, trying to make the playback sound the same as the original tone.
(Pay attention to the strength of the 'treble' components of the
noise.)  

Someone pointed out in response to this that you should do this
recording at a fairly low level, say -10 or -20 dB on your meter/leds,
as that makes the differences easier to detect.)  The manual doesn't
say whether you should have Dolby on or off for this.  My assumption
(which I'd love someone to correct if it's wrong) is that since
everything interacts, you should use the Dolby setting you plan to use
when recording for real.

Adjust the knob while you are recording (it has no effect on playback)
until you get a closest match.  If you REALLY can't hear any
difference, then you're not likely to notice any effect on 'real'
recordings either, so you might as well not worry about it.

-- 
Paul Smee, Computing Service, University of Bristol, Bristol BS8 1UD, UK
 P.Smee@bristol.ac.uk - ..!uunet!uknet!bsmail!p.smee - Tel +44 272 303132
From: hanjung@en.ecn.purdue.edu (Jung Han)
Newsgroups: rec.audio
Subject: Stereo amp for sale
Keywords: B&K ST-140, amplifier
Date: 30 Aug 92 23:58:01 GMT
Organization: Purdue University Engineering Computer Network


Audiophile stereo amplifier for sale:

  B&K ST-140, 100 w/ch
  2 years old, excellent condition, with original
  box and literatures

  List price $500.00, ask for $330.00 plus S&H.

Please send mail to hanjung@ecn.purdue.edu or call 
(317)497-3595.

Jung Han
School of Electrical Engineering
Purdue University
West Lafayette, Indiana
Newsgroups: rec.audio
From: smith@eecg.toronto.edu (Michael B. Smith)
Subject: CD(LD) digital output to DSP pre-amp
Organization: Dept. of Electrical Engineering, University of Toronto
Date: 2 Sep 92 22:15:29 GMT

On the back of my Denon DCD-1500 II, tthere is a digital output (fiber).
If one buys a DSP system (eg. Pro-Logic or Hall Effects system), they
rely upon digital technology to produce the ambiance effects and
seperation.  However, all of the DSP products I've seen all have
analog inputs!  I don't know if laser disks have a digital audio
output, but certainly many CD players do.  Obviously, the 

digital -> analog -> analog-cable -> analog_input -> digital -> DSP

sequence is going to introduce some substantial distortion into your
signal.  Even if your DAC/ADCs are perfectly matched, you still have
analog cable to traverse.

The big question is, do any Pro-Logic/DSP systems use digital cable/fiber
inputs instead of analog?  And if none do, why not?  It seems to be
an obvious gap in this entire digital A/V world.

Michael
-- 
--
Michael B. Smith					UofT:(416)978-1652
smith@picton.eecg.toronto.edu				Electrical Engineering
--
Time is a great teacher, but unfortunately it kills all its pupils.