HDTenEightyP/NetNews huggingface dataset:
From: vaidhyan@ecn.purdue.edu (Ramesh Vaidhyanathan)
Newsgroups: rec.audio
Subject: Infinity Reference 3 speakers - Any comments?
Keywords: infinity, speakers
Date: 26 Aug 92 18:45:33 GMT
Reply-To: vaidhyan@cn.ecn.purdue.edu
Organization: Purdue University Engineering Computer Network

Hello Netters,

I would like to hear your comments about infinity reference 3
speakers. I am planning to buy a new pair of speakers for my
100 W/ch. JVC receiver. I am considering Infinity Reference 3,
Bose 301 series III and Advent Legacy II speakers. These 
speakers are within my price range. But of these speakers,
I haven't heard Infinity reference 3 yet. How does this
speakers compare with the others?

Please mail your comments to vaidhyan@ecn.purdue.edu

Thank you.

-Ramesh.
From: collin@angelo.amd.com (Collin K. Ong)
Newsgroups: rec.audio
Subject: Rockford Fostgate (home) amp overheating problem
Date: 27 Aug 92 17:22:20 GMT
Organization: Advanced Micro Devices, Inc.

My roomate just bought the RF2000 home power amp from Sound City with the
"free" RF200 pre-amp.  When we first plugged things in, we were trying
to figure out the proper positions of the switches on the back:
input stereo/mono, output stereo/mono, ground floating/chassis.  After
several minutes I touched the left side heat sink and noticed that it was
very hot.  The right side was not.  A few minutes later, the unit shut itself
off, because of the heat, I assume.  I've read somebody mention on this 
group that they had one of these Fosgate units; do you have any advice?
We're also curious as to whether the switches on the back mean
buttonup=topfunction or vice versa.  Rockford thinks that it could be a 
biasing problem with the left side.  I'd also like to hear opinions on the
sound quality of this unit to see if it is worth keeping.  Our reference
unit is a Forte 200W/ch amp, B&K Pro-10 preamp, Rotel 955 CD, and Paradigm
11se MkII speakers.
Newsgroups: rec.audio
From: ftsang@Cadence.COM (Frank Tsang)
Subject: B&K AMP AND PREAMP FOR SALE
Followup-To: poster
Keywords: MINT CONDITION
Organization: Cadence Design Systems, Inc.
Distribution: na
Date: Tue, 25 Aug 1992 18:24:42 GMT

FOR SALE: Audiophile Amp and Preamp

B&K ST-140 Power Amp.   $350 obo + shipping
B&K PRO-5  Pre Amp.     $300 obo + Shipping

Both mint; with original packaging, manuals.
Will deliver within the SF bay area.

-- 
Regards,    + Frank Tsang                   |   ^++^    "__"    +
            + (408)-894-2448 (W)            |  @ oo @  @ .. @   +
Frank       + (510)-791-0658 (H)            |   ([])    (())    +
            + e-mail: ftsang@cadence.com    |   Heeelllloooo    +
From: sohl.barry@goofy.apple.com (Barry Sohl)
Newsgroups: rec.audio
Subject: Re: Pro Logic decoder recommendations.
Date: 28 Aug 92 19:27:20 GMT
Followup-To: rec.audio
Organization: Apple Computer, Inc.

Carver makes a unit which is essentially identical to the AudioSource, it
sounds very similar, and doesn't look near as cheap. It goes for about
$400, and is probably worth looking into.  If you can splurge for about
$800-$1000, you should really look at the Luxman or the Lexicon.  They are
a giant leap beyond the AudioSource/Carver/Kenwood processors. Personally,
I went with the Carver and spent the extra money where it counts... real
audio equipment!!  Anyways, I've been very happy with the Carver, and as
much as I don't like their audio stuff, I must say they have the best
manuals in the industry!!

-Barry Sohl
From: grego@bit.UUCP (Greg Sanguinetti)
Newsgroups: rec.audio
Subject: Re: Bi-Amp vs. Bridged Bi-Wire
Date: 2 Sep 92 15:43:49 GMT
Article-I.D.: bit.416
Reply-To: grego@bit.UUCP (Grego Sanguinetti)
Organization: BIT  Portland, OR

In article <1992Sep1.212321.9571@jarvis.csri.toronto.edu> smith@eecg.toronto.edu (Michael B. Smith) writes:
>Assume that you have speakers that can be bi-amped and you happen to
>have four amps available.  One possible setup would be to bi-amp the
>speakers (i.e. one amp for the left tweeter, one amp for the left
>woofer, etc.).  Assuming that your amps can be bridged, it should also
>be easy to hook these speakers to be only bi-wired, but driven by
>a bridged amp.  This should provide about double to triple the power,
>so they'll probably be louder.  But, the big question is, which version
>should sound "better"?  What are the merits of bi-wiring?
>

My experience is that it is better to divide the stereo amps by frequency,
i.e. use one stereo amp to drive L & R woofers and another to drive
L & R tweeters. This assumes that the two channels of a given stereo amp
are powered by the same power supply. If the stereo amp is actually a
"dual mono" job (two distinct power supplies) then it doesn't matter.

Dividing the amps by frequency also alows you to match the amps to the
purpose. Some amps sound better down low, others have better high end....

Another nice feature is that bi-amping gives you control over the
cross-over. Presumably there is a passive cross-over filter in your
speaker cabinets that is bypassed in bi-amp mode. Typically the active
cross-over filter that you will use in a bi-amp configuration is a faster
(higher order) filter. This can be good or bad depending on the speakers
(drivers and box design). Also the cross-over frequencies might be
different. The good news is that you can choose different filter orders
and cross-over points, the bad news is that you will have to experiment
to find out which ones end up sounding the best. There are active systems
on the market that alow you to adjust frequencies. Some even have
choices to roll-off rate (different order filter combinations).
>(This comes from planning a pro-logic system with 10 amps and 5
>speakers, and wondering what to do with all of the extra amps...)
>Michael

10 amps eh? Are they all good quality? If not then don't be tempted to
use them just because you have them. Also be aware that the surge current
(saturating the transformers and charging the filter capacitors) when
all 10 amps fire up, is going to be quite large. 10 amplifiers with
a conservative estimate of 2 amps each at startup is 20 amps. This would
be typical for 10  100w(total) amplifiers. You might want to rig up
a R/C delayed relay system to sequence the amps at startup.

sounds like fun.  -grego
-- 
---------------------------------------------------------------------------
Grego Sanguinetti, Bipolar Integrated Technology | Water, water everywhere,
grego@bit.uucp or grego%bit%ogi.cse.edu          | but I'd rather drink
or bit!grego@ogi.cse.edu or ...!ogicse!bit!grego | beer.
From: gumby@ucrmath.ucr.edu (john donahue)
Newsgroups: rec.audio
Subject: Help: Yamaha Repair
Date: 4 Sep 92 03:17:06 GMT
Distribution: usa
Organization: University of California, Riverside

I have a Yamaha A-720 (circa 1986) amplifier which recently died on me. I
was wondering if anyone knew of a 1-800 number I could call which could
tell me of authorized Yamaha dealers in my area (hopefully ones that might
offer a FREE estimate).

Thanks in advance,

-- John
-- 
INET: gumby@ucrmath.ucr.edu
UUCP: {ucsd, uci, ucdavis}!ucrmath!gumby
"Consequences, schmonsequences, as long as I'm rich" -- Daffy Duck
From: mjf9968@rigel.tamu.edu (Pi(3.143832666))
Newsgroups: rec.audio
Subject: Re: CD deterioration
Date: 2 Sep 1992 17:02:00 GMT
Distribution: usa
Organization: Texas A&M University, Academic Computing Services
News-Software: VAX/VMS VNEWS 1.41

In article <1992Sep2.153652.13952@beaver.cs.washington.edu>, pardo@cs.washington.edu (David Keppel) writes...
>I generally write my name in indellible marker on disks, jewel boxes,
>etc., so I can loan them out and think I have a better chance of
>getting them back.  I loaned a disk (Epic label, 1987 copyright) to a
>friend who had skipping problems.  I held the CD up to a lamp and
>looked at the other side.  Normally, litte light gets through a disk,
>but where my name is written it seems that the metal in the middle of
>the sandwich had disappeared along one edge of my writing, and the
>light shines through brightly.
> 
>		;-D on  ( Lossy storage )  Pardo

	Most permanent markers use fairly viscious solvents,
	frequently mixtures of toluene, ethyl acetate, hexanes
	and the like.  I'd say it's highly probably that writing
	on the CD directly could accelerate a problem already
	present in the CD.  I'd avoid it in the future if I
	was you.  As to what you've already done, there's not
	much you can do.  If you're religious, pray to the God
	of your choice.

	Mike "Pi" Freeman		
	MJF9968@rigel.tamu.edu
Newsgroups: rec.audio
From: kester@mte.ncsu.edu (Dan Kester)
Subject: Re: Wanted: Info about Wholesale Connection
Organization: Mat. Sci. & Eng., NCSU
Date: Wed, 2 Sep 1992 14:27:50 GMT

In article <92245.162043SXK129@psuvm.psu.edu> SXK129@psuvm.psu.edu (Spaceman
Spiff) writes:
>I'm thinking about buying some some stuff from the Wholesale Connection
(63-48,
> 108th St., Forest Hills, NY 11375). Has anyone dealt with them before. Are
>they reliable? I got their phone number (1-718-997-6644) from Stereo Review,
>so I'm assuming that they're o.k. 

Error!!!  Error!!!
Just because Stereo Review (or Audio, etc.) accepts advervisements from a
company, does not mean that the advertiser is okay.  An example of this is 6th
Ave. Electronics, which has huge ads in every issue of Stereo Review, yet if
you follow this group for a while, you'll read all about peoples horror stories
about 6th Ave., and what a sleazy outfit they are.  I imagine that if a company
was compleatly phoney, and Stereo Review received enough complaints, that they
would stop carrying the ads.  But if a company is legitimate, but somewhat
sleazy, like 6th Ave., Stereo Review has no problem carrying their ads.

I don't know anything about Wholesale Connection, but things to watch out for
in general are gray market goods, and whether the units carry a US
manufacturer's warning.  Also be careful of promised delivery dates that keep
changing, as well as the usual bait-and-switch.  Generally the places with the
cheapest prices are not very reliable.

Dan Kester
kester@mte.ncsu.edu
From: checksix@flyboy.EBay.Sun.COM (Al Conte)
Newsgroups: rec.audio
Subject: Re: Green Pens & CDs (was Re: Very expensi
Date: 3 Sep 1992 22:51:31 GMT
Organization: Sun Microsystems, Inc.
Distribution: world
Reply-To: checksix@flyboy.EBay.Sun.COM
NNTP-Posting-Host: flyboy.ebay.sun.com
Keywords: Hold the Mayo

In rec.audio, kurts@hpnmdla.sr.hp.com (Kurt Strain) writes:



>   You are wrong.  50 pound interconnects are rather like green pens for CDs. 
>   If you bought 40 pound interconnects you are smart, but 50 is gullible.

>Wait a minute, what was I thinking?  It's 40 pound interconnects that are
>for gullible people.  Damn, or was it 45 pounds?  I'll have to look it up.

Well, I have always found that in the winter, the heavier 50 pounders are
better but, in the summer I prefer the 40 pounders,,,,,, "with Cheese" !!!!!




Al


Newsgroups: rec.audio
From: boop@cbnewsi.cb.att.com (joseph.a.lapenta)
Subject: Equipment for Sale
Organization: AT&T
Distribution: na
Date: Mon, 31 Aug 1992 13:55:19 GMT
Keywords: Hafler, Denon, Spectrum




EQUIPMENT FOR SALE:

Hafler XL-280 power amp (145 W/channel).............$390

Hafler DH-110 pre-amp...............................$250

Denon DCD-910 CD player.............................$259

Spectrum 410 loudspeaker............................$269

*All equipment is in excellent condition and has original boxes
 and manuals.



Joe LaPenta
(201) 386-4883
From: collin@angelo.amd.com (Collin K. Ong)
Newsgroups: rec.audio
Subject: Tubes
Date: 28 Aug 92 01:19:12 GMT
Organization: Advanced Micro Devices, Inc.

Anybody have ideas as to where I could get large diameter, thick walled
tubes made or cardboard, wood, etc.?  I would like about 15" diameter.
I'm thinking of making a sub similar in design to the Hsu Research one.
Hardware stores?  Construction sites? ???
Thanks...

collin@brahms.amd.com
From: miliu@sdcc13.ucsd.edu (zaphod beeblebrox)
Newsgroups: rec.audio
Subject: 1-beam vs 3-beam
Date: 26 Aug 92 09:28:48 GMT
Organization: University of California, San Diego

I'm wondering, are CD players using single-beam lasers inherently
more prone to skip due to disc surface defects/bumping player than
players using three-beam lasers?  I think I read somewhere that the
two extra beams split off from the main one were used for tracking.
If this is so, this means that single-beams are inherently more
prone to skip.  Anyone have facts on if this is so/not so/opposite?

			Zaphod
From: YKWON@SLACVM.SLAC.STANFORD.EDU (415)
Newsgroups: rec.audio
Subject: Re: Bose AM-7
Date: 2 Sep 92 20:25:45 GMT
Organization: Stanford Linear Accelerator Center

I am another happy customer of Cambridge Soundworks.
I have been enjoying the $399 Ensemble II for more than a year
and from my experience it sounds superior to $700 (or more?) Bose AM5 II.
-Youngjoon Kwon
From: nyarko@ee.ualberta.ca (David Nyarko)
Newsgroups: rec.audio
Subject: Recommendations for a Walkman
Date: 3 Sep 92 14:28:06 GMT
Organization: University Of Alberta, Edmonton Canada

Hi,
Could anyone recommend a good reliable walkman
(personal stereo unit) within the $Cdn150.00 range.
Some desireable features are:
- Dolby noise reduction.
- Auto-reverse
- Equalizer (Optional)
- Bass Boost
- Digital Tuning (Optional)

			David

email address: nyarko@bode.ee.ualberta.ca
From: lstowell@pyrnova.mis.pyramid.com (Lon Stowell)
Newsgroups: rec.audio
Subject: Re: Need some DAT Advice
Date: 2 Sep 92 19:12:35 GMT
Reply-To: lstowell@pyrnova.pyramid.com (Lon Stowell)
Organization: Pyramid Technology Corp., Mountain View, CA
Originator: daemon@sword.eng.pyramid.com

In article <1992Sep1.000127.18041@nmt.edu> dcuddihy@nmt.edu (David Cuddihy) writes:
>
>Hey all,
>	I'm going to be in the market for a DAT-player and I'm completely
>ignorant as to what's up in the market. My experience goes something like this:
>I rented a Casio DA-7(Which retails in the neighborhood of $700) to record a
>live performance. One of my friends did all the actual dealing with the piece
>of equiptment. <end of experience!>
>	My main usage would be for home-studio style mastering purposes. I'd
>want it to be able to deal with 44.1KHz(and higher if this is a common feature)
>so if I were to master CDs from it at a later date, noone would die in a fit
>of hysterical laughter.
>
>	My questions to you -- the rec.audio studs:
>
>1) What type of features are important for good sound quality(i.e. error
>	correction schemes, oversampling, etc...)?
  
  Frankly in consumer gear these are of more interest to the
  marketing droids than any real indication of quality.

  It is nice to have the different sampling frequencies, 44.1 for
  digital copies of CD's and 48 which is the DAT standard.
  But I wouldn't buy a deck without these...

>
>2) What type of other miscellaneous features should I be looking for for
>	home recording(i.e. being able to mark tracks and neato stuff like
>	that)?
>
    That's probably much more important.  Can you add to an existing
    tape, re-record sections of a pre-recorded tape, etc. etc.

    Just imagine you are in the middle of something and the !!@#$
    phone rings....

    Look for good mechanicals in the transport as well....
    Good controls, good remote control, etc. will make more
    difference than the relatively minor differences in sound.

    Also look for off-tape monitoring, it is possible but a bit more
    expensive.  

    Another nice feature is INCREASED resolution near 0 dB.  Unlike
    analog, digital sounds like crap if you exceed 0 dB even by a
    fraction...the result is digitally induced clipping that is
    rarely harmonically related to the music.  Most decks cheat a
    bit--particularly if they can't do realtime monitoring.  


>3) What can I expect to find in the price range of $700 or there abouts?
>
>
   Quite a bit.  That's in the Sony ES range...and if you watch for
   close-outs you can do even better.
From: 92marsh@gw.wmich.edu
Newsgroups: rec.audio
Subject: rotel and adcom review
Date: 27 Aug 92 01:05:31 EST
Organization: Western Michigan University

         Hello,
           Recently (within a month) I requested information on rotel,
         adcom, and other brands of amplifiers in this class.  I
         received a great deal of help.  This is a posting of my
         findings.
           My budeget was definitely under $800.  I never heard a
         negative word concerning either adcom or rotel.  I would also
         wish to add harmon car-*** (or whatever they are) to the list
         of excellent amplifiers.  For the $800 or less price range, a
         60 watt amp/pre-amp combination from adcom and a 100 watt
         integrated from rotel were seriously compared.  The sound I
         was looking for was a pristine and clear sound.  I will be
         generally playing it through kef c-75s, but I am currently
         using B&W 801, series 80 loudspeakers [if you are familiar,
         please e-mail me].
           These two brands, plus to some degree harmon-whatever, were
         the clearest of all.  The rotel's sound is somewhat denser
         than the crystal sound of the adcom.  The rotel has more
         punch per dollar.  If my budeget were unlimited, adcom would
         have been the clear choice.  However, rotel is an excellent
         amp and I am incredibly happy with it.  I would strongly
         suggest to anyone to seriously look into rotel before buying
         any stereo componant.
           What does the rotel integrated amp have?  Good sound and
         not much else.  No remote.  Only two leds on the unit.  No
         nifty options/gimicks you would find on a denon.  The only
         bug about it is I can't shut off the A speakers and only play
         the B speakers.  I can play A, and A+B.  There is a mono
         switch.
           I spent an excellent $700 on the rotel integrated amp and I
         would recommend it to anyone at this point.

         Charles
From: mccrate@netcom.com (Joe McCrate)
Newsgroups: rec.audio
Subject: Re: Where can I find the Nyquest theorem
Date: 1 Sep 92 04:55:56 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest)

sorin@techunix.technion.ac.il (Goldenberg Sorin) writes:

>Question
>A signal say x(t) is bandlimited to W hz.
>I produce a signal x'(t) by multiplying the original signal x(t) by 0 at
>times i/2/W. x'(t)'s spectrum is the same as x(t) s. Then I sample x'(t)
>at time i/W/2, so I get a sampling frequency of 2W. All the samples will be 0,
>so I can't construct x'(t) from it's samples. What went wrong ?

Why do you think x' would have the same spectrum as x?  Actually, it would
have to have a much greater bandwidth than x (unless x already had such
rapid changes in value.)

In fact, it would take an infinite bandwidth for x' to instantaneously move
from a non-zero value to zero at a point.

Joe McCrate
Newsgroups: rec.audio.pro
From: smills@news.weeg.uiowa.edu (MuffinHead)
Subject: Re: QSound?
Keywords: QSound
Organization: University of Iowa, Iowa City, IA, USA
Date: Thu, 3 Sep 1992 01:06:06 GMT

kludge@grissom.larc.nasa.gov ( Scott Dorsey) writes:

>A stereo mike is equivalent to a coincident pair.  There will be no phase
>differences between channels with such a device.

   Why wouldn't there be a phase difference with a stereo mic? The sound
reaches each element at a different time - there ya go.

>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?

Newsgroups: rec.audio.pro
From: kludge@grissom.larc.nasa.gov ( Scott Dorsey)
Subject: Re: QSound?
Keywords: QSound
Organization: NASA Langley Research Center and Reptile Farm
Date: Thu, 3 Sep 1992 19:11:21 GMT

>>>What exactly is the QSound system and how does it work?  Are there any
>>>opinions on the system?
>
>>The Qsound system basically has a pair of digital delay lines for each
>>channel with permits the engineer to adjust the phase as well.  Unfortunately
>>the system is extremely crude.  There is no attempt at matching phase and
>>volume cues either; it's left up to the fellow doing the mix.
>
>Isn't this also approximately how the Hughes SRS (Sound Retrieval
>System) works--namely, preserving phase differences?

No, the concept is completely different.  The Qsound system is used during
recording to artifically add phase differences between channels.

The Hughes SRS system exaggerates phase differences between channels, 
upon playback.  The sound goes through a filter whose phase response differs 
with frequency over a predetermined function.
     The overall effect of the SRS gadgetry is to make
it seem like speakers are more widely spaced than they really are.  If you
have the room to position speakers properly (so there is an equilateral
triangle with speakers at two of the corners and the listener at the third),
then the SRS stuff is worse than useless.  On the other hand, if you can
only separate your speakers by a small amount, the effect of the SRS device
is fantastic.  It's a good idea for TV sets with built-in speakers.
--scott
Newsgroups: rec.audio.pro
From: kludge@grissom.larc.nasa.gov ( Scott Dorsey)
Subject: Re: QSound?
Keywords: QSound
Organization: NASA Langley Research Center and Reptile Farm
Date: Thu, 3 Sep 1992 14:04:56 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:
>
>>A stereo mike is equivalent to a coincident pair.  There will be no phase
>>differences between channels with such a device.
>
>   Why wouldn't there be a phase difference with a stereo mic? The sound
>reaches each element at a different time - there ya go.

The spacing between elements is very small, usually much less than an inch.
This is as opposed to a hybrid pair with a six to eight inch spacing between
the mikes.  Again, the spacing between the elements in a stereomike is 
trivial, compared with the space between your ears.

>>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?

Binaural recording is a method where a pair of microphones are placed inside
a dummy head with realistic earlobes, or just spaced apart the width of the
head (with earlobes attached).  Both Neumann and B&K make the fake heads
(Kunstkopfs?  Someone with a better knowledge of German please correct me.)
Because they reconstruct the same off-axis response of the ears (due to
the earlobe structure), the imaging is fantastic; you can tell height and 
depth, and sounds behind you sound as if they are coming from behind.  The
effect is startling with headphones, though everything turns into goo when
the recordings are played back through a conventional speaker system.
--scott
Newsgroups: rec.audio.pro
From: bsanders@mrcnext.cso.uiuc.edu (Barry Sanders)
Subject: Cheap DAT Portables??
Organization: University of Illinois at Urbana
Date: Thu, 27 Aug 1992 21:34:05 GMT

What is the current cheapest deal on a portable DAT recorder?  
The best I've found so far in my search is an AIWA HDS-1 for $595 from 
Audio Gallery [(310) 829-3429].  Anyone seen a better deal?
Also, if you know of a deal on a used DAT recorder, lemme know.

Thanks.

Barry Sanders
bsander@mrcnext.cso.uiuc.edu
Newsgroups: rec.audio.pro