emrath@uiuccsb.UUCP (08/22/83)
#R:tekcad:-53500:uiuccsb:5700002:000:81 uiuccsb!emrath Aug 21 01:50:00 1983 I for one don't consider Hirsch's name to be mud. This isn't net.audiophile :-)
freund@nsc.UUCP (09/04/83)
#R:whuxk:0:nsc:-1:37777777600:545 nsc!freund Jul 29 19:12:00 1983 Recently I purchased three of the Telarc CDs. They were: Stravinsky Right of Spring Stravinsky Firebird (1919 version) Beethoven Opus 73. In general I was very pleased with the quality of these recordings especially so in the case of the Opus 73. The Telarc approach produced superior imaging and very little evidence of mixing "editorializing". So far these are perhaps the best I have heard except perhaps for the Archiv Four Seasons and the DG Eine Kliene Nacht Musik. Bob Freund National Semiconductor ...menlo70!nsc!freund
michaelk@tekmdp.UUCP (09/04/83)
#R:tektroni:0:tekmdp:-1:37777777600:816 tekmdp!michaelk Jul 29 16:58:00 1983 How much phase shift does a "typical" speaker system introduce ( I have AR9 and B&O M100 speakers if you know those numbers) as compared to the phase shift in a CD player? Kim Rochat mentioned 180 degrees at 20 KHZ for some CD player (I have a SONY). It seems to me that if I move my head back (from the speakers) about 0.3 inches, that I have caused a 180 degree phase shift at 20Khz, but less than 10 degrees shift at 1KHz, so does a 0.3 inch headmovement have the same effect as the total error in the CD player process or am I missing something? Anyway, how much phase shift is caused by the speakers, and how much by headmovement, and how do these compare in maginitude to the shift caused by a CD at very high (audio) frequencies? Mike Kersenbrock Tektronix Microcomuter Development Products Aloha, Oregon
rdg@hpcnoa.UUCP (11/26/83)
#R:dartvax:-29700:hpcnoa:3500003:37777777600:495 hpcnoa!rdg Nov 1 07:47:00 1983 Hear, hear!! I'd like to second that opinion: The Abso!ute sound is the best publication going on audio - since I started reading it, my system has improved 1000%. Just listening to the records they recommend produced dramatic improvements. I would also venture to call TAS "literature" in the sense that you don't just glance through it like stereo review, but most people read it cover to cover several times. But beware: they do not like digital. Robert Gardner ihnp4!hpfcla!hpcnoa!rdg
rdg@hpcnoa.UUCP (11/26/83)
#R:allegra:-189500:hpcnoa:3500005:37777777600:1704 hpcnoa!rdg Nov 2 08:02:00 1983 I went through the DG/Philips stage about 2 years back, and though they are generally good recordings/performances, I found them to be mostly unexciting and unsatisfying. I'd like to tell you about some other high-quality record labels which are essentially far better than DG/Ph., but are usually somewhat harder to get. They are: 1) Harmonia Mundi of France - specializing in earlier music, Baroque, early classical, with some later music. Overall excellent recordings. 2) BIS - lots of romantic stuff, including a complete set of Grieg's works, available singly. Also generally excellent. 3) EMI of the UK - the British counterpart to American Angel - mostly the same catalog as Angel, but much better masterings and usually superior sound. 4) Audiosource imports - this includes the labels Accent, Astree, Ricercar, Audiofon, and some others. These are beautiful recordings, (especially the French Astree) with perfect surfaces, and wonderful performances. 5) Qualiton imports - Includes Hungaroton, Supraphon, BIS, and others. I mentioned BIS seperately because they are exemplary; the other labels from Qualiton are not quite as good, but most are still superior to almost any of the commercial American disks, i.e., Columbia, London, recent RCA. I get most of my records from Rocky Mt. records in Boulder - they have an admirable selection of the above. Audiosource & Qualiton have extensive catalogs from which you can order. I have found that a random disk from one of the above labels will virtually always be worth whatever it cost. I'll post some specific titles soon, and I'd be happy to recommend some titles to anyone who asks. Robert Gardner ihnp4!hpfcla!hpcnoa!rdg
wjm@whuxk.UUCP (11/28/83)
For those of you in the NYC area who are interested in these recordings, Tower Records (Bway & E4th St in Greenwich Village) has some titles of these recordings. However, Tower's organization is (to me) absolutely aggravating. They group everything by work in browser bins rather than by catalog number and record company as do the other large NYC record stores (J&R, Record Hunter, and Barnes & Noble). Bill Mitchell (whuxk!wjm)
rmd@hpcnoa.UUCP (12/08/83)
#R:seismo:-43000:hpcnoa:30200001:37777777600:321 hpcnoa!rmd Dec 5 19:52:00 1983 Have you ever considered the possibility that the reason a 12Khz square wave sounds different to you than a 12Khz sine wave is intermodulation distortion? You could listen to radio frequencies and still get intermodulation products in the audio range under the right conditions. -- Rick Dow hpfcla!rmd
rmd@hpcnoa.UUCP (12/09/83)
#R:whuxk:-34200:hpcnoa:30200002:000:110 hpcnoa!rmd Dec 6 21:26:00 1983 Does anyone have any opinions or test results comparing tube and FET amplifiers? --Rick Dow hpfcla!rmd
rdg@hpcnoa.UUCP (12/10/83)
#R:whuxk:-34200:hpcnoa:30200003:000:487 hpcnoa!rdg Dec 7 08:34:00 1983 /***** hpcnoa:net.audio / rmd / 9:26 pm Dec 6, 1983*/ Does anyone have any opinions or test results comparing tube and FET amplifiers? --Rick Dow hpfcla!rmd /* ---------- */ Why must there always be 'tests' to show there is a difference? I'm not taking sides in this particular argument, but it seems to me that the existence of tests can show up differences, but the non-existence of tests is NOT sufficient to prove that there are no differences. Rob Gardner hpcnoa!rdg
tynor@uiucuxc.UUCP (01/07/84)
#R:itm:-104700:uiucuxc:18500014:000:54 uiucuxc!tynor Jan 6 12:20:00 1984 Isn't this how Binaural recordings are miked? steve
gregs@uo-vax1.UUCP (01/20/84)
#R:uo-vax1:2900007:uo-vax1:2900010:37777777600:125 uo-vax1!gregs Jan 5 12:12:00 1984 It looks like no one has anything unfavorable to say about The Source, so I'm going to sign up. Greg Stewart uo-vax1!gregs
muller@inmet.UUCP (01/27/84)
#R:decwrl:-490100:inmet:2600031:177600:5972 inmet!muller Jan 26 16:45:00 1984 There are several possible reasons for your experience, all related to sound reinforcement phemonena, not signal processing. Without more info tho', we can't say zactly what caused it. You said there was a monitor at each end of the stage...were they really monitors, i.e., speakers for the performer's benefit, or were they actual reinforcement speakers for the audience? (I suspect the latter.) This might make a difference... The first possibility is that you were hearing feedback effects. Yes, feedback can produce significant frequency coloration well below the self-sustain level, e.g., +3 to -6 (?) dB at 3 dB below self-sustain. (We can call this amplitude response rather than frequency response, if you prefer, tho' some relative phase shifts also occur. These numbers were recalled from my fuzzy memory of having actually plugged munbers into the equations once...and we don't know how close the engineers were actually running it anyway.) These levels are well within your and others' discernibility. This is caused by the interference between the coherent sounds FROM 4 sources (2 speakers, 1 piano, 1 voice), and INTO 2 mics. As a recording engineer, you probably have never run into the FROM problem, but may have had to fight the INTO problem. I would guess that the vox mic was mixed hotter than the piano mic, and thus was the real offender. This problem would be more likely if the speakers on the stage were true monitors. Other contributing factors include the off- axis rejection characteristics of the mics and the angle at which they were pointing. Unfortunately there are many so-called engineers doing reinforcement who don't understand wave phenomena at all. The second possibility involves your seating position. The relative distances to the speakers was probably such that you were hearing both at similar amplitudes (assuming the speakers were pointed at you, not at Mr. Winston) if you were near center. Similar amplitudes is, of course necessary for significant interference to occur. If, then, one speaker were perhaps just a few decimeters (give or take one order of magnitude!) closer than the other, PRESTO! instant frequency-dependent interference, again at a level you could most certainly discern. The summation of 2 equal coherent signals would give +6 dB, while the cancellation of those frequencies out of phase could give -10, -100, or -EVERYTHING! dB, if the amplitudes were similar enough. Ironically, those people seated to the sides probably had better sound than you did, since they "heard" one speaker much more than the other. There are several solutions to this: 1) use a hall with a center aisle, thus no seats have this problem until you get further back from the stage (the problem zone widens as you go back, but those folks won't feel like they got ripped off by paying for a choice seat which did't sound so good!, 2) run a stereo mix - this works for every sound source on the stage except those performers right at center stage, who will probably still be panned equally into each channel, but it can accentuate the feeling of being-off-to-the-side for those people with side seats (stereo mix probably was not done at your concert, I would guess), or 3) use a better speaker placement, i.e., only ONE (if you are mixing in mono), placed above the performer, with a full spread angle (180 degrees or whatever is necessary) - this also has the benefit of increasing the throw of the coherent sound from the speaker into the reverberant field of the room. This last solution is rarely done partly becuz it isn't practical with portable (for hire) sound systems, and partly because engineers have a fixation with two speakers (ya' know, high-end stereo stuff, and all), and sometimes becuz multi-speakers are needed for audience coverage. This last solution also has the benefit of allowing some of the patrons to experience the proximity effect, making them think they are hearing the performer directly rather than the PA system. Unfortunately a lot of (even pro) sound reinforcement engineers don't understand this either. As you can see, the problems of SR'nfrcmnt are usually the result of the actual sound fields, and typically dominate the smaller electronics or signal processing concerns that SR'prdctn involves. Worrying about relative phase response between frequencies in an amplifier, or whatever is misguided when you can have +/- 5 dB in amplitude response from the sound field, lots of phase shifts in microphones, as much as 100%(!) harmonic distortion in (admittedly the cheapest) PA speakers, poor frequency/dispersion characteristics and nonconstant efficiencies (varying impedance) with volumn or frequency, etc., that comes from optimizing a speaker for high efficiency/high power handling ability. Couple this to the fact that anyone can buy PA stuff any then consider that a rigorous quantitive analysis of any concert setting is not practical (so that experience often counts for more than theory) and you can see why there is variability in concert PA system performance. I'm not trying to criticize either sound engineers or your own thoughts on recording, rather just trying to put things into perspective. Notice that I haven't even touched on the question of PERCEPTION. Most of what I have said I can substantiate with experience. I am a semi-pro musician, semi-pro sound reinforcement engineer, and a (professional) signal processor (underwater acoustics) and scientist (seismology). I HAVE probably spent more time thinking these problems than most people in the SR'nfrcmnt business. Yeah, I know I misspelled voluum, and a few other words.... Jim Muller 8 Bates Rd East Watertown, MA 02172 Yes, interference between the direct and speaker sound is real possibility though it is more likely that the requisit similarity of amplitudes for any frequency was obtained between the two speakers.
paul@hpfclk.UUCP (02/06/84)
Anyone know what the status is of the lawsuit brought by Bose against Consumer's Union ? Last I heard, Bose had won a lower court ruling. ...ihnp4!hpfcla!paul Paul Beiser
rmd@hpfcla.UUCP (02/09/84)
I have gotten a request to post more information about the geography of my area. Here it is: I leave on the plains 6 or 7 miles east of the foothills of the Rocky Mountains. Most of the stations I listen to broadcast from mountains near Denver, so they are 60 miles away and 2000 to 4000 feet higher. There are no hills or tall buildings directly in the signal path, but there is a continuous wall of mountains a few miles to the west all the way from here to Denver. There are few trees around here, but quite a few lakes. There is one station in Laramie, Wyoming which is separated from me by fairly rugged terrain. In this case, the Carver tuner improves the distortion quite a bit. Rick Dow inhp4!hpfcla!rmd
fritz@hpfcms.UUCP (02/19/84)
My brother, who has a degree in music, listens to a LOT of classical music and jazz, at all levels from background to earthshaking. He swears by his 601's and would only trade them for 901's (but I'm not even sure he'd do that!) Like the man sez, it's all a matter of preference.
grw@inmet.UUCP (03/08/84)
#R:vice:-130600:inmet:2600043:000:702 inmet!grw Mar 7 11:00:00 1984 Has anyone had any experience with the Technics 245X cassette deck? It has Dolby B/C and dbx. The deck is available through mail order places for about $200 (I have seen $179). Though not built 'like a tank' might it be a good interim tape deck for someone who doesn't want to spend $350? I hear that this deck disconnects the record level control when dbx is engaged (I assume the channel balance control works!) because the claimed dynamic range of the deck with dbx exceeds the dynamic range of most program sources. Can anyone verify this feature? Does it make sense? -- Gary Wasserman ...harpo!inmet!grw ...hplabs!sri-unix!cca!ima!inmet!grw ...yale-comix!ima!inmet!grw
jlp@inmet.UUCP (03/15/84)
#R:burdvax:-153400:inmet:2600052:177600:322 inmet!jlp Mar 12 16:31:00 1984 FM time constants : let's see, somewhere deep in my memory banks. Doesn't 75us sound right ( with 25us preemphasis for Dolby)? 120 is used for standard type 1 formualation tapes ( FeO2 ). 70 us is used for types 2 - 4 ( CrO2, FeCr, metal ). The Organ Keyboard of Jerryl Payne {esquire,harpo,decvax!cca!ima}!inmet!jlp
andrew@inmet.UUCP (03/15/84)
#R:hpfcla:-1310000600:inmet:2600050:177600:1621 inmet!andrew Mar 12 09:18:00 1984 > 2. Extra speaker in addition to the normal stereo pair. Most people > thought that the change that occurred when the other speaker was brought > into the room was incredible. They thought the sound was muddier and > more veiled. This is how Casey explained it: (paraphrase) > > "Well, a speaker has a woofer and a tweeter, so what else must it have? > Well, it has to have a crossover. Now, tell me, what's in a crossover? > Well, things like resistors, capacitors, and...AHA! Capacitors! And > now what do capacitors do? They store charge. The active speakers > excite the extra one, and cause the woofer to vibrate in sympathy with > the music. Current is generated in the voice coil of the moving woofer, > and this in turn charges up the capacitors in the crossover. They > charge for a little while, then they decide to discharge whenever they > damn well please, and cause the tweeter to become active all of a > sudden, generating some sound that is not only greatly distorted, but > way out of phase." This isn't quite as far-fetched as it sounds. THE AUDIO AMATEUR ran an article a few years back entitled "The Not-Quite Passive Radiator". The premise of this article (sorry, I no longer have it) was basically: When using a conventional woofer as a passive radiator, an R-L-C network could be attached to it to 'tune' its response by reinforcing the voice coil current at desired frequencies and opposing it at others. Casey's premise is not all that different; he also takes into consideration the effect on the tweeter. Andrew W. Rogers, Intermetrics ...{harpo|ima|esquire}!inmet!andrew
andrew@inmet.UUCP (03/15/84)
#R:cubsvax:-17700:inmet:2600049:177600:219 inmet!andrew Mar 12 09:05:00 1984 Tubes are indeed advertised in Guitar Player, but the selection available is limited to those most commonly used in guitar amps (6L6, 12AX7, etc.). You will have little success finding others through those companies.
andrew@inmet.UUCP (06/27/84)
#R:tektroni:-275800:inmet:2600091:177600:1376 inmet!andrew Jun 25 16:20:00 1984 > Would someone recommend a cheap pair of speakers for a 15 watt "system" > that would run about $100 (yes, for both) ? My present inclination is > toward "Speaker Lab" do-it-yourself speaker kits ... I don't think you'll find much for $100/pair new and assembled, but I'll suggest two (both of which I own): 1) Auratone 5-S. This is a home version of the 5-C "Super Sound Cube" commonly used in recording studios; its longer, shallower shape provides smoother frequency response (better bass, smoother lower-midrange) than its studio counterpart. $90/pr. is sort of high for a full-range, though. 2) Realistic Minimus-7. Really! These mini-speakers are quite good for the money; when one of the audio mags tested a group of minis, these were rated second overall despite being the least expensive speaker tested. These are the only Radio Shaft speakers worth the list price (most aren't even worth the sale price), possibly because RS buys them from an outside source instead of contracting their manufacture. $100/pr. last I knew; discounted *very* rarely (i.e., don't hold your breath waiting). I don't know enough about Speakerlab products to comment on them. An alternative would be to look around for used speakers, or to raise your budget to the $150 range (eg., Polk 4A, Boston Acoustics A40). Andrew W. Rogers ...{harpo|ihnp4|ima|esquire}!inmet!andrew
wmartin@brl-tgr.ARPA (Will Martin ) (06/28/84)
This might completely spoil any pretense I may have to audiophile standing... Anyway, I second the recommendation for the Radio Shack Minimus-7's. I was looking for some physically-small speakers to use with an old receiver as a bedroom system, and didn't feel it would be worthwhile to spend much on them. I listened to several bottom-of-the-line 2-ways at a couple stereo shops, but they were still $60 each or so, and sounded poor, and seemed poorly-contructed. I had always ignored Radio Shack, except to get my freebie batteries, but noticed that the Minimus-7's were on sale at $40 each, so gave them a listen and was quite pleasantly surprised. Bought a pair, and they work fine with a 60w/channel old Kenwood TK-140X. One thing to watch out for; I first tried sitting them on top of a TV. I then noticed terrible color distortions in the TV picture. It turns out that the magnetic field from the drivers in the tiny box radiates far enough to adversely affect CRT displays nearby. I moved them over to a dresser next to the tv, and the distortion went away. Also be careful about letting cassette tapes get near them! I wouldn't be surprised if they would cause partial erasure by that field. They don't match my Klipschorns, but they are certainly easier to find a place for! :-) (I thought they were fairly commonly on sale for $40 each, by the way.) Will
andrew@inmet.UUCP (07/17/84)
#R:brl-tgr:-306800:inmet:2600093:000:442 inmet!andrew Jul 9 09:01:00 1984 I posted the original Minimus-7 suggestion, and mentioned that they are seldom on sale... a couple of days later, I got a RS flyer pushing them for $30 each ("Lowest Price Ever!"). As a couple people pointed out via private mail, it sounds like RS is trying to close them out. Oh well, they're great for $50, unbeatable for $30... sounds like I'll have to pick up another pair. Andrew W. Rogers ...{harpo|ihnp4|ima|esquire}!inmet!andrew
tynor@uiucuxc.UUCP (07/19/84)
#R:brl-tgr:-306800:uiucuxc:18500033:000:204 uiucuxc!tynor Jul 5 23:20:00 1984 I just bought a pair (minimus-7's) for $29.99 each. They make great car speakers. Steve Tynor ihnp4!uiucdcs!uiucuxc!tynor University of Illinois Champaign-Urbana
carl@hpcnoe.UUCP (carl) (08/10/84)
BYTE is experimenting with a new system where they send you a subscriber-number card. You can then call them up with a Touch-Tone(R) telephone, punch in a few numbers, and supposedly get information in a matter of days. This system has yet to be completely installed, so the jury's still out on how well it will work.
fritz@hpfclk.UUCP (fritz) (09/09/84)
There are some recordings (e.g. "Whole lotta love" by Led Zeppelin) which have *very* noticeable pre-echo -- as loud as it is, I've always kinda assumed that it was intentional, for "effect". That could be the type of thing you're hearing on your CD's. Gary Fritz
dswankii@uok.UUCP (10/19/84)
You are in for fun times. If the Clarion has a floating ground output, i.e. if you are warned not to connect any speaker lead to auto body ground, then you need an adaptor to eliminate a short to ground through the input section of the booster. For an impeadence/voltage mismatch your only option is again an adaptor between the two units. If you don't use the adaptor, the short to ground will fry the output stages of the reciever. If you just have a mismatch, the sound quality and the volume will suffer plus the potential is there to roast the input on the booster. David Swank II University of Oklahoma ctvax!uokvax!uok!dswankii
emjej@uokvax.UUCP (10/25/84)
/***** uokvax:net.audio / decwrl!lauck / 2:43 am Sep 30, 1984 */ A fair comparison of LP and CD is now possible. Yesterday I bought the digitally mastered CD and the direct disk analog LP of Sheffield lab's "West of Oz". My wife and I listened to the CD first than began the LP. We got as far as "Somewhere" before my wife stopped me and suggested there was no further need for comparison. We didn't need to go "over the rainbow", the LP was so obviously superior. /* ---------- */ Saying something is "obviously superior" doesn't help. When I listen to CDs, I tend to think them "obviously superior" to LPs; what does that prove? Or more precisely, it proves nothing until I say *why* I think them thus (no random grunge, pops, and clicks, with the assurance that it will *stay* that way, as opposed to gradually destroying the medium each time I play it; improved dynamic range; etc.). Please tell us *in what way* you think the LP superior. If it is something that can be reliably detected in a double blind test, then perhaps there are grounds for discussion. James Jones
jmaag@okstate.UUCP (10/29/84)
There is a place called Compact Disc Centre that you can get CD's for 11.99. There address can be had out of the back of either High Fidelity or Stereo Review. -John Maag Oklahoma State University
george@sysvis.UUCP (11/10/84)
<> The entire discussion of LP vs CD and Analog vs Digital is very reminiscent of the discussions about a decade or two ago about the relative merits of vacuum tube vs transistor audio equipment. Most of the points discussed are really religious items, rather than "ultimate truth". The main point that both sides of the issue make is that the listener (beholder) makes much more difference than the topics (phenomena). If you say that you enjoy LP over Digital then this is very true for you. If you say it the other way then it is also true in your case. Both of these statements are beliefs rather than facts. I know one fellow right now who swears that he can hear a difference between tube and transistor equipment.... George Robertson. {convex,ctvax}!trsvax!sysvis!george
perry@hp-dcde.UUCP (perry) (01/14/85)
Dazed and Confused !hplabs!hp-pcd!dhk /* ---------- */ Dear Dazed, Try using a SPDT switch from labstock. Although I've never tried doing what you're doing, it should probably work. Hook all of the speaker grounds to the amp ground (black), and use the SPDT to switch the stereo hot leads. Use the switches just as you would the banana clips. If this doesn't work, go down to your local speaker store and see how they do it there. Perry Scott, FSD (SwillNet 1-226-2891)
ron@brl-tgr.ARPA (Ron Natalie <ron>) (01/16/85)
> > Dear Dazed, > > Try using a SPDT switch from labstock. Although I've never tried doing > what you're doing, it should probably work. > > Hook all of the speaker grounds to the amp ground (black), and use the > SPDT to switch the stereo hot leads. Use the switches just as you would > the banana clips. > > If this doesn't work, go down to your local speaker store and see how > they do it there. > > Perry Scott, FSD (SwillNet 1-226-2891) Gak...what ground. You don't connect the speakers on my amp to ground at all. -Ron
tli@uscvax.UUCP (Tony Li) (01/19/85)
> > Gak...what ground. You don't connect the speakers on my amp to ground > at all. > > -Ron Ummm... I think he means those funny black knobs on back... ;-) -- Tony Li ;-) Usc Computer Science Uucp: {sdcrdcf,randvax}!uscvax!tli Csnet: tli@usc-cse.csnet Arpa: tli@usc-ecl
thom@hpfcrx.UUCP (thom) (02/12/85)
I read somewhere that Pink Floyd was suing the recording company because their original contract did not include CD's prodcution. As a result, the manufacturer recalled all Pink Floyd CD's. This is only a rumour though, but it might explain the sky high price you observed. Tom Morrissey hplabs!hpfcla!thom
fritz@hpfclp.UUCP (fritz) (02/12/85)
I was just in Sweden and Germany. The prices of CD's there seemed to be running about $14-17. This seems outrageous, considering the current strength of the dollar, and the fact that all these discs are manufactured in Europe in the first place! By comparison, some local (Swedish) audiophile- quality albums were going for about $7 ea. Gary Fritz Hewlett Packard Co
thom@hpfcrx.UUCP (thom) (02/21/85)
It searches with the head down (of course, how else could it detect so many seconds of silence between songs). As a result it is wearing off the oxides and guess where they are all accumulating? On the heads right. So, not only does it where the tapes out faster, it wheres the head out faster and the head needs to be cleaned more often. Actually one of my decks has it and I actually like the feature, but I cringe everytime I use it. Tom Morrissey hplabs!hpfcla!thom
rmd@hpfcla.UUCP (rmd) (02/23/85)
Even though few humans can hear sine waves at 22Khz, it should be possible to hear the intermodulation of the high frequencies in a complex signal. For example, a 42Khz signal could mix with a 41Khz signal in the glass doors of your fireplace and produce a 1Khz beat tone. I personally doubt that the magnitude of such intermodulation products are actually audible in the presence of louder sounds, but who knows? Rick Dow hpfcla!r_dow
grw@zurton.UUCP (03/08/85)
I would suggest the technics rsb18 which is available mail order for around $125. Its a single motor deck but should work well enough. The next model up in the technics line uses two motors for a few more bucks but employs the same electronics. Gary Wasserman Hydra Computer Systems, Inc. decvax!cca!ima!hydravax!grw
chan@hpfcma.UUCP (chan) (03/08/85)
> I've listened to some M&K three-way systems. They didn't seem to have much > more bass, and weren't as clear as, the SL-600's. I thought about > three-ways for a while, and decided that, unless I found one that was every > bit as clear & sharp as the SL-600, I'd stick with two-ways. I can always > add a subwoofer later. Are you talking about the M&K Satellite-Volkswoofer combo? If so, what do you mean by "more bass"? I've got this setup, and while I admit they're not the cleanest sounding speaker in the world, they do have some of the lowest bass I've heard (especially compared to non subwoofer systems). They also give a lot of latitude in setting them up (a level control and three possible frequency curves on the woofer, and six possible "sounds" for the speakers). How come people never mention what kind of music they listen to the most when they ask for speaker recommendations? I heartily recommend the M&K's to rock lovers, but they don't do very well with classical (at least not as well as other speakers at the same or higher price). -- Chan Benson {hplabs | ihnp4}!hpfcla!chan Hewlett-Packard Company Fort Collins, Co
berger@datacube.UUCP (03/09/85)
For a modern speaker try: Eastern Acoustic Works, Framingham, Mass They make a whole range of state of the art speakers for large spaces as well as studio monitors. Kenton Forsythe is the designer (of the Forsythe Bass Box). They were selected by the Japanese Govt as the speaker of choice (over JBL, ALTEC, KEF, etc) for a series of youth centers (100,000 seats) accross Japan. From a biased observer (My brother started EAW) Bob Berger Datacube Inc. ima!inmet!mirror!datacube!berger decvax!cca!mirror!datacube!berger decvax!genrad!wjh12!mirror!datacube!berger {mit-eddie,cyb0vax}!mirror!datacube!berger 4 Dearborn Rd. Peabody, Ma 01960 617-535-6644
shep@datacube.UUCP (03/09/85)
Has any body had any experience with TVA amplifiers? They are massive valve (tube) amps made in Britain. A have to fix one and need a schematic. Oh, the TVA stands for "Thermionic Valve Amplifier". A address or phone number would do. Thanks. ima!inmet!mirror!datacube!shep Shep Siegel decvax!cca!mirror!datacube!shep Datacube Inc. decvax!genrad!wjh12!mirror!datacube!shep Peabody, Ma. {mit-eddie,cyb0vax}!mirror!datacube!shep
fritz@hpfclp.UUCP (fritz) (03/19/85)
> I just recently bought a box of Maxell XL-II cassettes. The package is > different and the labelling is "XL-II" where it was formerly "UD XL-II". > Does this represent a real change or just one of those gratuitous/mean- > ingless marketing changes to avoid "foolish consistency"? > -- > Dick Dunn {hao,ucbvax,allegra}!nbires!rcd (303)444-5710 x3086 I understood that the XL-IIS's are an upgrade to the UD/XL-II's. Supposedly they have a denser oxide formulation, which helps the S/N ratio. According to the hype on the wrapper, they also have better high-freq response? I recently bought 20 at $2/ea (w/ the $.50/ea refund from Maxell), and have been quite happy with them so far. But then I've only recorded about 4 of 'em. Gary Fritz ihnp4!hpfcla!fritz
bill@hpfcms.UUCP (bill) (04/13/85)
That's funny - I have an Audio Technica cartridge and really like it. Of course, mine is a $150 model (don't remember the number), so that may be the difference. Bill (just throwing in my 2 cents' worth) Gates
chan@hpfcma.UUCP (chan) (04/18/85)
> (a) Some of us like more than one type of music. True, I like nearly any kind of music (except opera: no flames please), but I listen mostly to R&R so I kept that in mind when I bought my speakers. > (b) Good speakers will play all types of music well. True, but it makes sense to buy speakers that are optimal for the type of music you listen to the most -- as long as other types of music sound decent too. For instance, I can't think of any speakers that play (say) Deep Purple better than mine, but there are tons of speakers that play classical better. BTW, I am not some crank that punches the loudness button and wails on the bass knob. -- Chan Benson {hplabs | ihnp4}!hpfcla!chan
mpm@hpfcms.UUCP (mpm) (04/21/85)
(Unsubstantiated rumor) I heard that with current exchange rates, the price of a CD in Germany is about $10 U.S. That was as of about two weeks ago. -- Mike "What balance of trade?" McCarthy
rjs@hpfclo.UUCP (rjs) (05/08/85)
I'm glad to see this issue brought up. I've wondered about it myself. While we're on the subject, can someone name a few true "high end" transistor type amp/preamp manufacturers? I would like to listen to some and would appreciate some suggestions. Thanks in advance. Bob Schneider {ihnp4|hplabs}!hpfcla!hpfclo!rjs
man@bocar.UUCP (M Nevar) (05/17/85)
< I'm glad to see this issue brought up. I've wondered about it myself. < While we're on the subject, can someone name a few true "high end" < transistor type amp/preamp manufacturers? I would like to listen to some < and would appreciate some suggestions. Thanks in advance. < < Bob Schneider In order of quality, I'd say: Amps ---- Electron Kinetics Eagle 7A Threshold s/500 Series II Electrocompaniet Ampliwire II VSP Labs TransMos For transistor Pre-Amps, try looking into RGR (Robert Grodinsky Research) or the PS Audio units. PS Audio has a kit version, BTW. Still, the best pre-amps are made by the tube people, namely Audio Research, CJ, and Berning. Mark Nevar
rjs@hpfclo.UUCP (rjs) (05/21/85)
> 3. They must not dominate the living room. Being > able to see over them out a window is a definite > asset. My Bose 901 owners manual claims that they are to be 12" to 18" away from the wall. That tends to make them sit out in the middle of things for average sized living rooms. A big pain in the ***. > 4. They must not be critical about room placement. > I do not want to have to remodel every house > I buy to make a place that they can live. Since the speakers are intended to reflect sound off the wall, you need to prevent putting furniture in places that will interfere with the sound. Again, a real pain in the ***! > 6. They must sound good. .... >I have no difficulty imagining that I am seated in >a concert hall instead of in my living room. Your imagination is much better than mine! It has been my experience that the Bose 901's are easy to grow out of. When I wanted to hear Rock, and R&B at high sound levels, I enjoyed the Bose. Now that I find myself more interested in sound quality, I find that listening to the 901's is no longer an enjoyable experience. I am beginning to find myself turning off my system because many times listening to the 901's is tedious at best. I only wish I could afford a pair of those damn Apogee speakers (why did I ever listen to them :-) Bob "Any offers on a pair of Bose 901 model II's" Schneider {hplabs|ihnp4}!hpfcla!hpfclo!rjs
mike@smu (07/25/85)
I'd love to sell you some Spica TC-50 speakers and an Alchemist IIIS cartridge. See note 54 (and response please) for information. You might find the Spicas especially tempting. I'll be glad to set up an audition at your convenience. Thanks, Michael Patrick
mike@smu (07/25/85)
Try the Moscode Minuet or the Audible Illusions Modulus. I don't remember their prices, but they are both WELL under $1000. The Moscode is a tube/transistor hybrid and the Modulus is straight tubes. Both are, in my experience, very sweet sounding for the price... M.H.P.
mike@smu (07/25/85)
P.S. If you happen to live in the Dallas area I'd be glad to set up an audition, that is. Michael Patrick
mpm@hpfcla.UUCP (mpm) (08/13/85)
Re: Carver DTL-100 CD Player GOOD NEWS I am a satisfied owner of the Carver CD player. I bought one in early April and have been using it EXTENSIVELY since then (about three hours plus PER DAY). What I like best about the Carver CD player is the simple front panel layout. It is simple, functional, easy-to-learn, and elegantly executed. By the way, it is also very light. I was most concerned about features when I was shopping around for CD players - programmability and ability to repeat. Other features of the Carver that I like include the ability to see elapsed time per track and total time for the disc. As with other players, the fast forward kicks into overdrive after holding the button down for about ten seconds. Finally, I admit to being a bit of a technology freak: I wanted a player with oversampling and separate (not multiplexed) D/A converters. Note: The Carver unit does not have a remote control or headphone jack which is a pity but I haven't missed them. BAD NEWS Old problem: I had the player in the shop after about two months because it would not play one of my (Warner Brothers) discs once it had warmed up. The repair folk cleaned and realigned the unit and I have not seen a repeat of the problem. (Strange thing was that the fault only occurred with one disc. I have since heard others talk of problems with tracking Warner discs.) I had a Denon loaner unit while my Carver was in the shop and practically went into withdrawal. I did NOT like the Denon. It was overloaded with buttons and framishes. Also my loaner had a problem detecting discs in the tray. (The Denon was very heavy also.) New problem: occasionally my player fails to respond when I push a button (like PAUSE or STOP). A friend of mine thinks it is a prob- lem with the solenoids. Once I have a better grasp of the problem (like how to consistently duplicate it), I plan on taking it in for repair. Meanwhile the problem is a minor irritant. Despite the problems I love the Carver player. I recommend it highly. By the way, the DTL-100 uses 2x oversampling and as far as I know uses separate D/A converters. One last point: the DTL-100 lists for $649. I have not found any mail order houses that offer it for a discount. However, I was able to buy the unit for $589 (about 10% off). -- Mike "digital crazy" McCarthy (ihnp4!hpfcla!hpfcms!) mpm P.S. The "digital time lens" circuit in the player is NOT the same as the "sonic hologram" in other Carver equipment (preamps I think). The DTL circuit is meant to compensate for some sonic differences that Car- ver (the man) found between CDs and LPs of the same recording. I rarely use it. (In fact I'm not sure I can detect its effect.) I had an audio salesperson switch the circuit in and out without me knowing what set- ting it was in and I couldn't tell the difference. (I listened to the player for most of two to three hours when I was auditioning it, but by no means consider myself a golden-eared audiophile.)
mpm@hpfcla.UUCP (mpm) (08/13/85)
Re: Addendum to the Carver Review I forgot to mention this in my review: I wanted a player that was tray loaded from the front. I do not like the top loading design of the Magnavox and Meridian players. For those of you who get religious about your audio equipment: the top-loading CP player designs seem on their way to joining leisure suits and three lane highways (the middle lane was a shared, bidirec- tional passing lane). They just don't meet the needs of the real (?) world. -- Mike "roast me now, or roast me later" McCarthy (ihnp4!hpfcla!hpfcms!) mpm