HDTenEightyP/NetNews huggingface dataset:
From: SteveSgt@cup.portal.com (Steven Eugene Sergeant)
Newsgroups: rec.audio.pro
Subject: Re: Do we need an FAQ?
Date: Mon, 16 Nov 92 18:17:38 PST
Organization: The Portal System (TM)

gmw1@cunixa.cc.columbia.edu (Gabe Wiener) wrote:
> I was just wondering what the general consensus is on whether it
> may be time for a rec.audio.pro FAQ.  It just seems that things
> like "What is bias?" and "How do I record [X] with hardware [Y]"
> seem to pop up a lot.
> 
> Comments, anyone?

Yes.  I think it would be quite worthwhile.  I would be happy 
to contribute to it also...

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Steve Sergeant             Internet: SteveSgt@torrent.sj.ca.us
3266 Tulipwood Ln.            Radio: KC6ZKT [@N0ARY.#NOCAL.US.NA]
San Jose, CA 95132            GEnie: STEVSERGEANT
(408) 945-0395                  FAX: (408) 945-0543
Audio Engineering, Music, Macintosh, Bicycles, Backcountry, Japan 
Newsgroups: rec.audio.pro
From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: Console Question..another possibility
Date: Tue, 24 Nov 1992 01:25:35 GMT
Organization: Colorado Concert Sound

In article <5639@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
>In article <1ejcsuINN7sp@network.ucsd.edu> mbreen@sdacs.ucsd.edu
>(Michael Breen) writes:
>(matrix mixer description deleted)
>>I'm just posting to let all of you know that there are solutions out
>>there for monitor mixes.
>The smart thing to do for multiple stereo stage monitor mixes is to
>use one overall stereo mix as the base and then add the individual
>musicians instrument/vocal/etc in at a little higher level.
>
>This could be a wild stereo matrix mixer (that isn't designed yet) or
>some clever uses of small rackmount mixers (used as a sub matrix
>mixer!).
>-- 
>Chris Christensen 

We use a Midas PR-40M, 36 in by 12 out.  We're currently considering adding
either 4 more outputs or 2 stereo mix outputs.  Even without the stereo mixes,
stereo mixing is very easy, it just takes a little thought to realize you have
two pots to do instead of one, and you have to LISTEN to what you are doing, not
just watch the performer until they nod.  Sometimes they don't have time to nod.
I personally prefer to put my monitor wedges on the floor, just like onstage.
Newsgroups: rec.audio.pro
From: mskogmo@nmsu.edu (SKOGMO)
Subject: Input attenuators for DH-220
Organization: NMSU Computer Science
Distribution: rec.audio.pro
Date: Sun, 15 Nov 1992 20:41:08 GMT

I have a DH-220 power amp and am very pleased with it.  That is except
for the fact that it doesn't have input attenuators.  I use it to run
the mid-highs in my system.  My problem is that before my mixer even
begins to pick up it's needle, the volume is too loud for just home
listening levels.  If anyone has a solution, please reply.

Thanks in advance,

Matt
mskogmo@dante.nmsu.edu
Newsgroups: rec.audio.pro
From: ssmithap@cc.curtin.edu.au
Subject: Searching for 24 Channels
Organization: Curtin University of Technology
Date: Mon, 23 Nov 1992 03:17:11 GMT


HI,

I'm using a friend's account to post the following to you.

The church I attend is looking to purchase a new mixer as an upgrade to the
8-channel model presently used.  We would dearly like to extend  to 24 
channels but we have a limited budget of $5000 Australian at best!  Yamaha
sell a nice 16 channel model in the MC series for around $2500 Australian.
They also sell a 24 channel model in the MR series for over $7000 Australian.
I can't understand why the 24 channel is more than double the price of the 
16 channel - unless the performance specs are significantly better.  There 
seems to be a large price jump from 16 to 24 channels.  A local retailer 
claims Yamaha don't make a 24 channel MC mixer, but I would think someone
would make a moderate 24 channel - similar specs and features to the MC 
series to fill the gap in the market, for around $4500 Australian say.

As a guideline to our requirements we would need:
          - usual pad/gain control.
          - quasi-parametric EQ (ie sweepable mid-band frequency) as on MC.
          - at least 3 independent sends for foldback/recording (hopefully
            pre/post fade selectable)
          - 4 subgroups
          - prefade listen (headphone monitor)
The MC series is perfectly suitable - if only there was a 24 channel MC.

The mixer would be used for live mixing of speech, choir, soloists, piano,
organ, synths, guitars (6 string and bass), drums (accoustic and electric),
flute, clarinet, trombone - not all at once! We have a roster.

In particular, we have been considering Allen & Heath, Tascam and Yamaha.
We're not sure about Allen & Heath but they have a 4 band EQ instead of a
sweepable midband which is a possible drawback.  Tascam sounds OK (a bit 
white-noisy) but is knobs are tiny.  We tend to favour Yamaha.

Thankyou for taking the time to read this.  Any suggestions on a mixer that
might be suitable, 16 or 24 channels, or to point out some which aren't worth 
considering would be greatly valued.  Please post your replies or EMAIL this 
account.

Nathanael Rensen.



------------------------------------------------------------------------------
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------------------------------------------------------------------------------
Newsgroups: rec.audio.pro
Subject: Yamaha DAT machines
From: Peter_Belbin@kcbbs.gen.nz (Peter Belbin)
Date: 21 Nov 92 04:17:56 GMT
Organization: Kappa Crucis Unix BBS, Auckland, New Zealand

Jeff,

I own a Yamaha DTR-2.

I presume this is the model number you are referring to.

I have had no problems with my machine.  It has good I/O, except for
AES/EBU.  It has optical & coaxial digital, along with RCA pin and XLR
balanced inputs/outputs.

It records at 44.1 and 48k, and comes nicely rack mountable in 2 units
of rack space.

The annoying things about this machine are:

It does not perform read after write monitoring, but I have never had a
single problem with it saying it's recording, but nothing on the tape.

Unfortunately, it does have SCMS (which I would love to hear from anyone
who has experience/information on disabling).

If you select program time display, it shows correct time until you use
cue/review, after which it decides it can't display program time any
longer.

It does NOT have a peak/margin display which I think is a benefit if you
want your signal to never top out, and you don't want to be glued to the
display.  Don't get me wrong - a margin display won't stop that, but it
will help you know how much you can increase the record level without it
going to the limit. eg: pass 1 sample, then adjust & record for
optimum.

However, I have had no problems, I am very happy with the sound quality,
it's interface capability etc.

I am in New Zealand, and paid around $2500 or so.  NZD is worth about
.50 US cents.  (good for you, not for me).

I believe I could get a panasonic 3500 for about the same money.

Hope this helps,
Peter Belbin.
Newsgroups: rec.audio.pro
From: jleung@ux4.cso.uiuc.edu (A St. Xavier alum)
Subject: Re: * Want opinions on cassette deck <$500 for home studio
Organization: University of Illinois at Urbana-Champaign
Distribution: na
Date: Sun, 15 Nov 1992 22:25:22 GMT

In article <1992Nov15.172209.14601@nevada.edu> johann@bach.nevada.edu () writes:
>I really need to get a decent deck for my humble studio.
>I want to spend as little as necessary (under $500).
>Anyone have any opinions on various brands/models such as Tascam,
>Nakamichi,...
>The Tascam 202 MkII (dual deck) looks interesting ($350), but I am
>a dual-deck bigot.  Anyone use one of these?  I've had bad luck with
>a Tascam 122-B at the radio station where I work (could have been
>from misaligned or dirty heads..tho' the engr. insists it's maintained).
>
>Features I require:
>-smooth accurate mechanism (probably solenoid)
>-Dolby B and C
>-better than avg bandwidth and S/N
>-a usable led VU meter (more than 7-segment)
>-phones jack
>
>Features I want but could live without:
>-3 heads
>-Dolby HX-Pro
>-counter memory (I know..this is asking a lot for under $500)
>-external bias knob
>-phones jack w/volume
>
>Thanks in advance.
>Jason Cathcart		reply to:  johann@bach.nevada.edu
>
I was looking for a casette deck 4 months ago and settled on a Denon DRS 810
for $379.  It is WELL BUILT, and wieghs 6.6kg.  It uses servo circuits to
operate its functions, thus eliminating impact producing solenoids.  It has
Dolby BC/HXPRO, and the SN w/ C is more than 75db(CCIR/ARM)  The vu meter
goes from -40db to +10db, and utilizes 12 segments.  It has a phones jack
w/ volume, 3 heads, real time counter w/ memory, bias fine knob, estimated
time left function, rec return function, f response is 20-20000hz +-3db using
metal tape, WOW and FLUTTER is 0.038% wrms, and the casette loading
mechanism is a horizontal motorized one, w/ the heads mounted on a diecast
aluminum base.  Crosstalk is more than 65db at 1khz, and channel sep is more
than 40db at 1khz.  And to top it off, the unit is gorgeous, with minimal 
buttons showing.
-jason

uses 12 segments, and goes from -40db to +1
Organization: Ryerson Polytechnical Institute
Distribution: na
Date: Tuesday, 17 Nov 1992 13:50:31 EST
From: Andrew Ball <FCTY7402@RyeVm.Ryerson.Ca>
Newsgroups: rec.audio.pro
Subject: Re: RS Minimus-77's as NF Monitors? Anyone?

re: near-field monitors...


We just acquired a pair of PSB Alphas for use in our _tiny_ booth.  Pretty good
 extension for such a small box, with plenty of "slam" when pushed.  They retai
l for $ 200.00Cdn per pair so your mileage will no doubt differ.


For more, read the reviews in Stereophile and TAS.

Summary: I like 'em and I'd buy more.

==========================
ANDREW BALL                    "THE DIFFICULT WE EVENTUALLY SEE.
FCTY7402@RYEVM.RYERSON.CA       THE COMPLETELY OBVIOUS, IT SEEMS,
ABALL@ACSSERV1.RYERSON.CA       TAKES LONGER" - TED NELSON
==========================
From: cms2839@ultb.isc.rit.edu (a.stranger)
Newsgroups: rec.audio.pro
Subject: Re: * Want opinions on cassette deck <$500 for home studio
Date: 15 Nov 92 20:21:07 GMT
Distribution: na
Organization: Minimalist Music for Hyperactive Children (MMHC)
Originator: cms2839@ultb

In article <1992Nov15.172209.14601@nevada.edu> johann@bach.nevada.edu writes:
>I really need to get a decent deck for my humble studio.
>I want to spend as little as necessary (under $500).
>Anyone have any opinions on various brands/models such as Tascam,
>Nakamichi,...

				i conducted a similar search last year ,
to find a deck for my home stereo system ( i.e. not specifically studio
use ) . the parameters i set were a single transport , single direction
, three head deck , with a budget ceiling of under $600 . i spent almost
two months searching , and got a variety of opinions from the net . i
also listened to almost every major brand of cassette deck on the market
( i.e. record from CD and compare playback to the original ) .

				i finally settled on a JVC TD-V541 ,
because it sounded as good as decks twice as expensive , and offered
every feature i wanted except auto bias calibration , which i can live
without .

>Features I require:
>-smooth accurate mechanism (probably solenoid)

				the TD-V541 features a closed loop ,
dual pulse servo direct drive capstan transport , resulting in a wow and
flutter spec of 0.023% !

>-Dolby B and C

				yep .

>-better than avg bandwidth and S/N

				frequency response at -20 db is :
for metal tape:
10-21,000 Hz ( 15-19,000 1 3db )
for CrO2 tape:
10-19,000 Hz ( 15-17,000 1 3db )

				S/N ration is 59dB ( S=315 Hz , k3 = 3%
, N = A-weighted ) . S/N is improved by about 15 dB at 500 Hz and by
max. 20 dB at 1kHz ~ 10kHz with dolby C NR on and improved by 5 dB at 1
kHz and 10 dB at above 5 kHz with Dolby B NR on ) .

>-a usable led VU meter (more than 7-segment)

				14 segments for each channel , PLUS a
digital headroom indicator , similar to the ones found on some DAT decks
.

>-phones jack

				yep .

>
>Features I want but could live without:
>-3 heads

				yep .

>-Dolby HX-Pro

				yep .

>-counter memory (I know..this is asking a lot for under $500)

				one memory location ( doesn't have to be
zero , though ) , psuedo - real - time counter , and location functions
such as time remaining time elapsed , return to start of last record
operation , and return to the place on the tape with the greatest record
level , as per the headroom indicator mentioned previously .

>-external bias knob

				yep .

>-phones jack w/volume

				no volume knob .

				i paid $279 , which included a lifetime
labour warranty from the store which sold it to me . i've had it for
over a year now , and have no complaints .

-- 
       @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
       @       "Imagination keeps the shadows away  -  Xymox       @
       @~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~@
       @ a.stranger - CMS2839@ritvax.isc.rit.edu - PGP key on req. @
From: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Newsgroups: rec.audio.pro
Subject: Re: Stereo DAT mike
Date: 18 Nov 1992 22:33:47 GMT
Organization: NASA Langley Research Center and Reptile Farm
Distribution: usa
NNTP-Posting-Host: grissom.larc.nasa.gov

In article <1992Nov18.165553.21325@cbnews.cb.att.com> eab@cbnews.cb.att.com (eugene.a.beer) writes:
>Anyone have any experience with the Audio Technica AT822 stereo condenser
>DAT mike?  Has anyone seen a review?  A.T. says it may have been reviewed

I've been looking for a cheap coincident stereo mike for film sound work,
where carrying around a stereo bar can be difficult due to the need to
truck it around on a boom or handhold it.  I've tried out the 822 and
found it a lot better than most of the junk AT makes, but I'm still not
impressed.  So far the only stereo mike I have really been pleased with
is the Sanken model, which is beyond my price range somewhat.  I'm really
not too keen on the idea of coincident pairs, but after trying to hand-hold
a pair of PZMs while hanging onto the back of a motorcycle, I can admit that
there may be situations where a stereo mike would be beneficial.
--scott
Newsgroups: rec.audio.pro
From: cms2839@ultb.isc.rit.edu (a.stranger)
Subject: Re: Demag devices for cassette
Originator: cms2839@ultb
Organization: Minimalist Music for Hyperactive Children (MMHC)
Date: Mon, 16 Nov 1992 23:18:42 GMT

In article <1e8vlcINNhsl@pith.uoregon.edu> jrusby@darkwing.uoregon.edu (Jim T. Rusby) writes:
>
>Near as I can tell, there are two cassette shell style demags. One
>actually has a tape in with a pre-recorded low frequency signal that
>slowly varies in level as it fades out.
>
>The other has electronics built in that generate the signal. 
>
				there's also a third : the Discwasher
D'Mag uses a rotating array of perminant magnets which travels across
the entire tape path . discwasher claims that this device demagnetizes
the capstans as well as the heads , something which , they claim , the
electronic devices do not do .

				i have no information as to the validity
of this claim , although it seems to make sense . i also have no
information as to whether capstan magnetization is such a horrendous
problem in the first place . anyone ?

-- 
       @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
       @       "Imagination keeps the shadows away  -  Xymox       @
       @~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~@
       @ a.stranger - CMS2839@ritvax.isc.rit.edu - PGP key on req. @
From: cullen@ac.dal.ca
Newsgroups: rec.audio.pro
Subject: Re: Console Question
Date: 21 Nov 92 23:38:11 -0400
Organization: Dalhousie University, Halifax, Nova Scotia, Canada

Dave Jensen <djensen@claven.idbsu.edu> writes:
(Snip) 
> 1) Do you perceive a need for stereo on-stage monitoring (In-The-Ear personal
> monitoring being a prime example)?
 
In Rare Cases there is a need that can be met by stereo monitoring 
(assuming that Stereo means that each performer gets two sources with 
different mixes, not that you mic everything in true stereo), however 
I personally feel that stereo in the ear monitoring would be very 
disorienting.

I was involved in an attempt to create a stereo monitoring system for 
a Cape Breton Folk/Celtic group (the Rankin Family, for those who are
interested), which provided positioning across the stage, as well as
stereo reverb in monitors. The attempt worked, but proved too time 
consuming to set up, as well as very expensive in terms of equipment.

> 2) Assuming you desire to, or are required to, provide multiple stereo monitor
> sends, would you prefer to:
> 
>   a)  create on each channel, in the same manner presently used for monitor
> sends,      several redundant stereo mixes (one for each auxiliary send). For
> instance, on each  of 8 drum channels, set levels and pan positions for 6-8
> different aux sends.   
> 
>   b)  create a single stereo subgroup for each group of related sources, which
> in turn feeds (pre- or post-fader) into a stereo matrix field. For instance,
> assign and pan each of 8 drum channels into one stereo submaster. That one
> stereo mix is then available (pre- or post-submaster fader) at each of 8 matrix
> outputs along with any one of 4 aux busses.

A) I believe that in stage monitoring, there is no such thing as related
channels. However, I would like to see a console modded so that there is 
a level and pan control for each dedicated stereo pair of aux busses, perhaps
switchable to two level pots when not using stereo. I had heard that such 
a mod was in the works for the Midas XL3, anyone know anything?

> I perceive b) to be a major advantage and simplification for the purpose of
> stereo monitor mixes. I also wonder if having eight stereo subgroups, as
> opposed to the present situation of using 8 mono subgroups to create 4 stereo
> subgroups, is as attractive to others as it is to me.

Sounds to me like 16 subgroups is what you want, because, as a friend of
mine once said "In a well designed console, A Bus is a Bus is a Bus"

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

Nope, I am too much of a huge stack rock guy, with no room for 
another stack (it is the stage, after all).
But seriously, With a good console (pm 3000 comes to mind) and intelligent
routing, the matrix serves the same purpose.
					Murray
					Cullen@ac.dal.ca
					Cullen@ug.cs.dal.ca

Newsgroups: rec.audio.pro
From: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Re: Whatever happened to biasless recording
Organization: DSO, Stanford University
Date: Wed, 18 Nov 92 18:45:58 GMT

>

stuff deleted...

> No one seems to have asked the obvious... if you have to digitise the  
signal
> to apply the cube root, why not keep it digital to record it? OK, there  
are
> advantages for play-back only in terms of simplicity, but not as a  
recording
> medium...
> Graham B

The signal does not have to be digitized to take the cube root.  It can be  
accomplished with log and antilog analog circuitry, although noise would  
be a consideration.

Jay
From: jrusby@darkwing.uoregon.edu (Jim T. Rusby)
Newsgroups: rec.audio.pro
Subject: Re: Console Question..another possibility
Date: 21 Nov 92 04:57:22 GMT
Article-I.D.: pith.1ekfjiINN3jh
Organization: University of Oregon Network Services
NNTP-Posting-Host: darkwing.uoregon.edu

In article <1ejcsuINN7sp@network.ucsd.edu> mbreen@sdacs.ucsd.edu (Michael Breen) writes:
>Someone posted recently about individual monitor mixes.  In the last studio I
>recorded in the engineer had what looked like a mixer collecting dust in
>the corner.  It had inputs in the side and outputs at the top, so instead
>of 'straight through', the signals seemed to be travelling at a 90 degree
>angle.  This was the physical set-up, but it seemed to have something to
>do with functionality (don't all good physical set-ups have something to
>do with functionality?  I wasn't sure how "good" this set-up was so...)
>I asked the enigneer what the hell this beast was, and he said something
>like "matrix mixer...great for customizing individual monitor mixes".
>OK, so I'm *not* sure exactly what he called it, but it seemed to make
>sense for what it looked like it did.
>
>I can find out what it was (model, manufacturer) if anyone would like.
>I'm just posting to let all of you know that there are solutions out
>there for monitor mixes.

It sounds like the old Rane MM12 monitor matrix mixer, a very neat monitor
mixer. If it is, they dont make it any more.  
That mixer was a good friend of mine once, sort of like vice grips  and
WD40, gaffers tape, electrical tape ........../
jim
jrusby@darkwing.uoregon.edu
Newsgroups: rec.audio.pro
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Call for FAQ
Organization: Columbia University
Date: Wed, 18 Nov 1992 03:28:16 GMT

Since I put up the idea about the FAQ, my mailbox has been deluged with 
people nodding in approbation.

So, without further ado, I will begin the process of compiling it, unless
anyone has some objection to me as FAQ moderator...

To that end, I'd like two things:

	a) ...for people to send me questions.  These can either be
	   questions you have and don't know the answer to, questions
	   you have and sort of know the answer to but aren't totally sure,
	   or questions you are frequently asked and know the answer 
	   to full well and will submit an answer to along with the question.

	b) ...for working audio professionals who wish to take part
	   in the writing of the FAQ to email me with a list of your
	   areas of specialty.  I will then try to direct relevant
	   questions your way.

After we have a preliminary draft, I will post it to the group for 
evaluative comments, and hopefully in a few weeks, we'll have the first
draft of an FAQ.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Xref: sparky rec.audio.pro:2363 rec.music.synth:18586
From: bsanders@mrcnext.cso.uiuc.edu (Barry Sanders)
Newsgroups: rec.audio.pro,rec.music.synth
Subject: WANTED: BBE Maximizer
Date: 18 Nov 92 08:06:18 GMT
Article-I.D.: news.BxwJuK.Ms7
Organization: University of Illinois at Urbana

I'm willing to pay $100 + shipping (in the USA) for a BBE model 422 (or 822) 
Sonic Maximizer.  Since they sell for around $199 new, I think this is a
reasonable offer.  Reply via E-mail.  

Thanks,

Barry
bsanders@mrcnext.cso.uiuc.edu
From: jhenders@jonh.wimsey.bc.ca (John Henders)
Newsgroups: rec.audio.pro
Distribution: misc
Organization:  One of these days for sure
X-News: HERMES MMAIL 1.04 Rev. Sep  5 1992
Subject: Re: Acoustic Speaker System for sale
Date: Wed, 18 Nov 1992 20:46:28 -0800

In <RWC.92Nov18134552@damon.ccs.northeastern.edu> rwc@corwin.ccs.northeastern.edu (Ronald W Conti) writes:

>+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
>+              ACOUSTIC LOAD SPEAKER SYSTEM FOR SALE                  +
>+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
                        ^^^^^^
              Must be some pretty heavy speakers.

> 
>	FEATURES:
	< mercifully deleted >

	Shouldn't this have been posted to rec.humour?


-- 

 "If Rush fans were braindead, why are there so   Bruce Bufalini
 many people posting to alt.music.rush?"              PSU
From: jleung@ux4.cso.uiuc.edu (A St. Xavier alum)
Newsgroups: rec.audio.pro,rec.music.synth
Subject: Re: WANTED: BBE Maximizer
Date: 18 Nov 92 08:41:34 GMT
Article-I.D.: news.BxwLHC.n3z
Organization: University of Illinois at Urbana-Champaign

In article <BxwJuK.Ms7@news.cso.uiuc.edu> bsanders@mrcnext.cso.uiuc.edu (Barry Sanders) writes:
>I'm willing to pay $100 + shipping (in the USA) for a BBE model 422 (or 822) 
>Sonic Maximizer.  Since they sell for around $199 new, I think this is a
>reasonable offer.  Reply via E-mail.  
>
>Thanks,
>
>Barry
>bsanders@mrcnext.cso.uiuc.edu

Ok, thats it.  I'll pay 110 for a bbe!  
jleung@ux4.cso.uiuc.edu
(I want one, but not for 200!!!)
Newsgroups: rec.audio.pro