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 %                 The High End Audio Digested Mailing List                   %
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       Volume 20 Number 92                 Tuesday, August 17, 1993
 
 
Today's Topics
--------------
 
 FOR SALE: Audio Research SP15
 THX rear stereo channel.
 Info Needed on Focal Aria 5
 Who makes good tubes?
 REVOX D36/G36
 Re: Cables - Lucifer replies (was God)
 Changing perceptions of a prefered sound
 Re: Rotel Rumours
 Linear Tech parts?
 Vandy/Maggie Conclusion!! 
 Re: Turntable Stands
 Re: Balanced vs. Unbalanced Inputs/Outputs.
 Re:Re:Equalizers in high end systems
 Instructions on making interconects (was Belden 89269 vs. 9269)
 Equalization
 Re: Getting Tired
 Re: Recommendation for speakers
 Listening to music vs. listening to the equipment
 one 'Entry' room  at CES in Chicago
 FOR SALE: _THE_ABSOLUTE_SOUND_ BACK-ISSUES
 Opinions of Spendor LS3/5A Speakers?
 Re: Rotel Rumours
 Miller & Kriesel vs. Velodyne
 The use of Phase Splitters (12AX7s)
 Re: Vander'/ribbon = HELP!!
 carousels question
 Home-Brew Cable Follow Up
 Re: Belden 89269 vs. 9269
 Shahinian loudspeakers
----------------------------------------------------------------------
 
From: kilgore@panix.com (Jeff Joseph)
Subject: FOR SALE: Audio Research SP15
Date: 14 Aug 1993 21:03:06 -0400

I have an Audio Research SP15 preamp for sale Orig. cost $5995.
Black Faceplate. Separate Power Supply. Balanced outputs.
Email for complete details.
Also have a couple of turntables and a laserdisc player for sale.

------------------------------
 
Date: Sun, 15 Aug 93 15:41:38 +0200
From: post@bimacs.cs.biu.ac.il (Eyal Post - Death or Glory?)
Subject: THX rear stereo channel.

Some time ago someone said that the THX rear stereo channel 
is made using the same technique used in some TV sets to make 
fake stereo out of a mono signal.

My questions:

1) How does this technique works? 

2) Is THX using the same technique, or do they have a way of their 
   own, and what is their way?

Thanx

Eyal Post

------------------------------
 
From: b0gross0@nevada.edu (BARRY GROSS)
Subject: Info Needed on Focal Aria 5
Date: Sun, 15 Aug 1993 15:56:27 GMT

I would greatly appreciate any information and references on the
Focal Aria 5 speaker kit.  I have the opportunity to purchase a
pair locally that are beautifully made and sounding.  Where did
the design originate?  I believe Stereophile did an article on
them a few years back, before my subscription started.  I'd be
grateful for any help with information or opinions on these
speakers.

Please post or e-mail response to me at b0gross0@redrock.nevada.edu

------------------------------
 
From: a0739033@ecos1.cc.monash.edu.au (WEARN CHONG)
Subject: Who makes good tubes?
Date: Mon, 16 Aug 1993 06:03:00 GMT

Dear netters,

There are a number of tube manufacturers out there e.g. Gold Aero, Golden
Dragon, Tesla, Mullard, etc... Although they make the "same" tubes I've been
told and also read that the different companies produce tubes of different
quality and consequently the tubes can sound different. Which company in
YOUR opinion makes the better/best tubes?

Is there a book or publication which is suitable for a beginner to read up
on tubes?

-----------------------------------
|            JOHN CHONG           |
|---------------------------------|
| a0739033@ecos1.cc.monash.edu.au |
|   cwccmk@yoyo.cc.monash.edu.au  |
|---------------------------------|
|        Monash University        |
|        Clayton, Victoria        |
|            Australia            |
-----------------------------------

------------------------------
 
From: RLOOS@crnvma.cern.ch (ROB LOOS)
Subject: REVOX D36/G36
Date: Mon, 16 Aug 1993 07:02:03 GMT

Can someone explain to me the difference between the 
REVOX D36 and G36 taperecorder.
How much are they worth nowadays.
 
																		Cheers rob

------------------------------
 
From: Struan Gray <struan.gray@sljus.lu.se>
Subject: Re: Cables - Lucifer replies (was God)
Date: Mon, 16 Aug 1993 11:31:07 GMT

Craig Stark takes exception to my adopting a pseudonym consistent with
the religous fervour which cables seem to engender in some:

>"God" (or do you answer to your given name of Struan?),

    'Sir' is acceptable, provided that you tug your forelock as you say
it.

[>Deleted stuff concerning EE101 and general rules of thumb.]
>
>What "God" seems to forget to do is to actually listen to the cables.
>When I began this, I firmly believed that cables should not make a big
>difference in the sound. ..........

    I think you are disagreeing with what you thought I wanted to write
rather than with what I actually wrote.  Why would I post a set of
general principles for constructing cables if I didn't think that they
made a difference?

    I do think that cables make a difference.  I don't think that
esoteric 'audiophile' cables are worth the price asked.  I do think that
it is worth making your own.  Where do we disagree o' mortal?

    I thought people might like to read my view of which issues are
important and what to concentrate on when choosing components out of an
electronics supplier's catalogue or stockroom.  Rather than concentrate
on specific wire product numbers or fill my post with ascii equations, I
tried to write English.  At least two readers enjoyed my non-techie
explanation of some of the reasons why cables do make a difference - they
emailed me to say so.

    Were any of my 'facts' wrong?  If so, which ones and why?  Did I miss
out an important contributory factor to the sound of cables?  If so, tell
us.  If you just want to flame my use of parodic apellations - email me
and spare the group.

Struan

------------------------------
 
Date: Mon, 16 Aug 93 09:38:52 EDT
From: Geoff Knobl <MAYFLON@VTVM1.CC.VT.EDU>
Subject: Changing perceptions of a prefered sound

Recently I auditioned Quads 606 power amplifier.  The store owner (Hi-Fi
Farm out of Roanoke, VA) was concerned about getting a "good audition"
for the amp when he found out my pre-amp was the Yamaha DSP-A1000.  Most
consumer oriented equipment from Japan, even the high priced stuff as
the A1000 is, is considered to have an uptilted response and generally
of poor or mediocre quality.  The uptilted response gives inflated
treble and the quality provides a grainier texture.  The owner gave me
a Quad pre-amp to go with the amp to avoid the "bad audition".  I
decided to try the 606 amp with both pre-amps.

When I pluged the 606 in and listened to some of my favorite music I
immediately percieved a change.  It should be noted here that my amp is
currently an old Scott receiver from about 1981 - which is why i'm look-
ing for a new amp for my Apogee Stages.  The 606 had a DEEP soundstage,
deeper than any other amp i've listened too on my system including the
Krell KST-100 (err, which ever series was just discontinued; I get the
#'s mixed up).  The detail very good, imaging precise, though the width
of the soundstage may have been shorter than with the Hafler 9300 and
Krell.  In short, I was impressed.

Next, with the Quad pre-amp shoved into the system bypassing the Yamaha,
I noticed a smoother sound but percieved less detail or smoothing of
the detail.  Also, the treble did not seem to have the airyness I
normally appreciate.  I tilted the freq. resp. up with the pre-amp's
controls to see if the change was due to a less exagerated or normal
treble balance in the Quad pre.  This did not entirely ameliorate the
problem and did not change the drop in detail I noticed.  I preferred
the sound with my Yamaha.

So, here is the problem...  Do I like the sound of consumer electronics?
Am I so use to the uptilted response (brigthness) of most "cheap"
Japanese imports that when I here something normally considered hi-end
in a system's sound, I don't recognize or appreciate it?  Or is it
possible that there truly was a lack of detail to the pre-amp that
made the sound less real to my ears?  Before anyone comments on this,
I realize that whatever I prefer is right since the aim of any personal
system is to PLEASE ITS OWNER, not please anyone else.  In fact, unless
I begin to appreciate otherwise, I will act only on my current preferences.

To sum up, I think I may prefer a bright, overdetailed or grainy sound
that others find bright and overdetailed and I do not.  To me, their
smooth detailed sound lacks detail, air, and perhaps correct treble
response, not mine.  Lastly, does anyone offer an ear training corse
to identify what a "good" system should sound like?

I'd appreciate some serious discussion on this topic as I am interested
in putting together a truly hi-end system but will not sacrifice my
preferences for what others tell me unless I discover I like another's
preferences and thus modify my perception of what sounds good.

Geoff Knobl
Mayflon@vtvm1.cc.vt.edu
Programmer, Virginia Sea Grant, Virginia Tech, Blacksburg, VA

------------------------------
 
From: palane@iastate.edu (Paul A. Lane)
Subject: Re: Rotel Rumours
Date: Mon, 16 Aug 1993 14:25:12 GMT

In <24o04vINNcdt@uwm.edu> "James A. Cobbs" <JAC%WRLCVM.BITNET@AUVM.AMERICAN.EDU> writes:

>    Heard an unconfirmedrumour the other day at a very high end
>establishment that Rotel was going to drop a rather high-end line on
>the market 'within 3 or 4 months.'  Anyone else heard such info????

More than confirmed. Their high-end tuner ($1200) showed up a few
months ago in Audio (what's new, not a review). The blurb mentioned
it was part of a new line of components. Nice styling, but I have a
hard time spending that much on a tuner (but then again, I'm a beer-
budget audiophile.)

Paul

------------------------------
 
From: <formail.TCPBRIDGE.FS3.CO-OP%smte@formail.formation.com>  (chris andrichak)
Subject: Linear Tech parts?
Date: Mon Aug 16 10:26:11 1993

I am trying to get 2 Linear Technology 1033CT negative
regulators. Digi-key doesn't carry them (at least that's what the
lady said on the phone). Linear Tech said that their other
distributors wouldn't be set up to take small quantity orders.
Any body else have any ideas?
thanks in advance
chris andrichak
andriccs@duvm.ocs.drexel.edu
day 609-234-5020 x2258
evenings 215-243-0927

------------------------------
 
From: sl45z@cc.usu.edu
Subject: Vandy/Maggie Conclusion!! 
Date: 16 Aug 93 09:04:44 MDT

	I can't believe that phaze one is over.  It's such a comforting
thought.  Let me tell those  who've followed my plight and given such good
advice how this story ends.
	I found a pair of Vandsersteen 2Ce's used for $900 w/ stands.  The
original owner had them for a couple months ( < 6 ) when he came into some
money and decided to upgrade into some $9600/pr Apogee's.  The warranty was
never sent in, so I get the full thing ( 5 years parts and labor ) as well as
speakers that are almost, if not already broke in.  I was going to wait until
Christmas, but I felt that this was too good to pass up.
	I was seriously considering the Maggies .5 model, but for another $100
I would have got much worse bass as well as a bucket full of ticky-tack
problems I wasn't too sure I wanted to mess with.  (Absolute perfect placement
of the speaker in the room)
	I am now looking forward to getting a Rotel integrated amp.  Thanks for
all of the help and advice.  This is truly a happy ending.

	TC (Travis)

	ps. FYI - I weighed bass extension/quality equally with imaging/clarity
and went the Vandersteen way over the Maggies.

-- 
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
	There is the Dark.  There is the Light.  
	They stand in opposition in all things.
	There is the world.
	Us.
	Why should we stand in opposition,
	Denying the existance of both?
	Welcoming twilight and shadow?
						Anonymous
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| 
	

------------------------------
 
From: jcurcio@jade.tufts.edu (John Curcio)
Subject: Re: Turntable Stands
Date: Mon, 16 Aug 1993 15:09:39 GMT

I have the Lead Balloon turntable stand and I LOVE it! I am, however, a
little confused.....the only model of Lead Balloon turntable stand that I'm
aware of is a dedicated turntable stand. It is impossible to add on addi-
tional shelves. (I haven't been watching any current developments, but
you may want to double check to be sure the salesperson gave you the correct
facts.)

Good Luck..........John C

------------------------------
 
From: tkite@ccwf.cc.utexas.edu (Tom Kite)
Subject: Re: Balanced vs. Unbalanced Inputs/Outputs.
Date: 16 Aug 1993 10:40:08 -0500

In article <24o05gINNcec@uwm.edu> "James A. Cobbs" <JAC%WRLCVM.BITNET@AUVM.AMERICAN.EDU> writes:
>    OK, I'll show my ignorance.  I understand the differences in balanced
>and unbalanced CABLE construction;  but I haven't the foggest idea of what
>having 'balanced' input/output from a preamp or amp means.  I know that
>some vendors charge a bunch more for 'balanced.'   I suspect this may
>have something to do with 'digital' and/or 'optical' cables, but again
>the purpose for these cables eludes me.  I hate to think I'm 'unbalanced.'

An unbalanced input, usually an RCA jack, has the signal on the centre
conductor and the ground on the outside.  The grounds of the two pieces of
equipment are connected together by the cable.  The signal is referred to
this ground; when we say the signal is 1V peak, that means that the signal
is 1V above the common ground.  This works fine for short cable runs. 
Over a long run, EM interference can get into the signal conductor and
cause noise.  The ground stays at ground but the signal has noise added to
it: hence, the noise appears at the equipment at the receiving end.

Balanced cable/inputs solve this problem by sending the signal along two
wires.  The signal on one wire is inverted relative to the signal on the
other wire.  At the receiving end, one signal is subtracted from the
other.  If the music signal was at 1V peak on one wire, it would be at -1V
peak on the other wire, so the difference would be 2V.  However, any noise
which crept in on the way would affect the two signal wires equally (since
the wires are right next to each other); hence the subtraction removes
this noise.  This is important for long cable runs and small signals.

In a home hi-fi set up, there is hardly any point in using balanced inputs
because the cables are short.  The only use would probably be between a
turntable and the phono preamp; the signal is very small here.

Hope this sorts things out.

Thomas Kite
Teaching Assistant, EE Senior Design Lab
UT Austin

------------------------------
 
From: <formail.TCPBRIDGE.FS3.CO-OP%smte@formail.formation.com>  (chris andrichak)
Subject: Re:Re:Equalizers in high end systems
Date: Mon Aug 16 11:49:47 1993

~uli@ira.uka.de (Uli Bodenhausen) writes:
~In article <24df3aINN4kq@uwm.edu>, gregr@tekig5.pen.tek.com
~(Gregory S Rogers) writes:
~|> > Then, - look at the settings of the equalizer at the
~high-end system.
~|> > (I have never seen a high-end system *with* an equalizer
STUFF DELETED! 
~|> Fortunately however, high end sound quality is RETAINED when
~|>using these TWO,
~|> REQUIRED equalizers even with their severe transfer
~|>functions.  Unfortunately,
~|> high end sound quality is completely LOST when using an
~|>equalizer
~|> This message was brought to you by the RIAA [:-)] and the
~|>friends against 
~|> audio mythology.
~|> 
~|> Greg Rogers
~I have been wondering about this for a long time. Does anyone
~have an explanation why equalization on the music production
~level does not lead to the same reduction in sound quality as
~the equalization of loudspeaker
~imbalances?
~	Uli

  My explanation would be that it _does_ lead to a reduction in
sound quality, going with the 'less is better' signal path
theory. But many (most?) producers/recording engineers find it
necessary to use it anyway. In some cases (all, if you ask the
person who used it) it was probably necessary. This is why the
various 'audiophile' recording companies exist, to satisfy the
needs/wants of those of us who flinch when we see 31 little
sliders in a row.
  Those useful but often overused little knobs/sliders can be
heard on most of the major label releases. (Along with many other
knob controlled and oft-overused effects). That is IMHO, though.

chris
andriccs@duvm.ocs.drexel.edu

------------------------------
 
From: mandal@cis.ohio-state.edu (Manas Mandal)
Subject: Instructions on making interconects (was Belden 89269 vs. 9269)
Date: 16 Aug 1993 12:34:41 -0400

Since the majority of the folks in this group seem to endorse
Belden 89269 for interconnects, I am interested in building a set.

Is there a "Instructions of Making Interconnects" write-up available
already? If not, could someone please post the information? If you
have recommendations on which connectors to use with these wires, I
would be grateful for that too.

Thanks in advance,
Manas
-- 
:     Manas Mandal             Department of Computer and Information Science :
:                                        The Ohio State University            :
: mandal@cis.ohio-state.edu     2036 Neil Avenue, Columbus, OH 43210-1277 USA :

------------------------------
 
Date: Mon, 16 Aug 93 13:35:28 EDT
From: Scott Dorsey <kludge@grissom.larc.nasa.gov>
Subject: Equalization

>I have been wondering about this for a long time. Does anyone have an
>explanation why equalization on the music production level does not 
>lead to the same reduction in sound quality as the equalization of loudspeaker
>imbalances?

It does.  It certainly does.  This is why most minimalist recordings are
made without any eq at all.  Equalization in the recording process can
be as evil as in the playback process.
--scott

------------------------------
 
From: Rick.Brusuelas@corp.sun.com (Rick Brusuelas)
Subject: Re: Getting Tired
Date: 16 Aug 1993 17:48:06 GMT

In article 24g31pINNjh1@uwm.edu, "Wayne, x7089" <MCNINCH@LANDO.HNS.COM> () writes:
 
> Looks like you've decided on the Vandersteens, even though they're 
> "not as bright and clear as the Maggies..."  Shouldn't you be asking 
> if anyone has grown tired of Vandersteens?
> 
> Happy listening,
> Wayne

Well, I have been (happily) listening to my Vandersteen 2C 
speakers for five years now, and I never tire of their 
sound.  I did consider the Magnepan (the 1.5 I believe), 
but I found their mid-range to be a little "pushy"... 
what I have heard others call the "Maggie slam").
Associated components are B&K ST-140 and Pro 5, NEC tuner, 
Denon 1520 CD, Distech cables.

Rick Brusuelas
Sun Library

------------------------------
 
From: jliao@chaph.usc.edu (Jason Liao)
Subject: Re: Recommendation for speakers
Date: 16 Aug 1993 10:53:44 -0700

In article <24o04nINNcdn@uwm.edu> brad@helga.setd-ctl.nawcad.navy.mil writes:
>I have read and enjoyed this newsgroup for several months (mostly through 
>the digest) but now I have posting capabilities and have can finally ask 
>this question to the net.  I am looking for a recommendation for speakers 
>in the $500-1000 price range.  My current sources/electronics are as follows:
>
>Sonographe SD-1 CD Player
>AR Turntable with Shure V-15VMR cartridge
>PS Audio 4.5 Preamp
>B&K ST140 Power Amp
>

Checkout the following speakers:

  Celestion 100 ~$1000 british sound, warm midrange, gentle treble roll-off
     fairly accurate soundstage, lack bass, and you need a good stand to
	 go with it.
  Thiel 1.2 ~$1200 great transpancey, execellent construction, one of the
	best buy at this price range.
  Genesis ~$800, model 400(?) I heard this model in Winter CES this year,
	This is a expensive sounding speaker, with very neutral midrange 
	and great soundstage.
  Monitor Audio 20, I believe this little speaker sells for $800, but 
  sounds amazing, got to hear it to believe it.

There are many other excellent speakers.  Just have to go audition them,
hopefully with your own equitement, before you buy them.  I personally
own a Thiel 1.2, and I highly recommand them.

Jason

------------------------------
 
Date: 	Mon, 16 Aug 1993 14:32:16 -0400
From: doheare@jetform.com (Dave O'Heare)
Subject: Listening to music vs. listening to the equipment

I've run into a problem with a couple of acquaintances who style them-
selves "golden-eared". Perhaps problem is too strong a word...

I listen to music a lot. Several hours a day -- while working, reading,
driving, even, occasionally, just listening :-).  My home system is not
terribly high-end (modded Yamaha R-8, Wharfedales, Lenco, Shure Bros.
cartridge), but it'll do for a little while. I don't find that it gets
in the way of my enjoyment of the music.

These other folks, though, seem more concerned with the air around a
given sound than they are with the sound itself. They find that the
hardness of one set of speakers, say, offends them so badly that the
enjoyment of the listening experience gets lost.

Where does one draw the line, and why?

a little background on me -- I listen to almost everything. Most
opera doesn't do much for me, nor does much of the most outside of
the current jazz stuff. Beyond that, anything is fair game. Celtic,
folk, mediaeval, blues, rock, country, classical (yeah, okay, let's
just pretend we all know what *that* means), swing, etc., etc., etc.
I play bass and do most of the arranging in a blues-based trio (my
otlaryngologist says that my ears are 'way better than average for 
my age --- mid 30s (I always wear decent earplugs when rehearsing,
and often when playing)).

Am I missing something, or are they?

I agree that high-end audio equipment does change the sound. As
simple (?) a change as a new mat on the turntable platter made a
terrific improvement on my system. I'd love to have the budget and
the room for a more sophisticated listening environment. But until
I do, I'll continue to listen to the music (and maybe drool over 
that new Linn turntable in the store downtown...).

Dave O'Heare
doheare@jetform.com

------------------------------
 
From: merblich%imola.guard@Sun.COM (Mitchell Erblich)
Subject: one 'Entry' room  at CES in Chicago
Date: 16 Aug 1993 20:05:31 GMT

I think I read in the August Sterophile magazine that one of the items that made
the room sound great were these columns (rommtunes or something). Did anyone go
to the room and hear what it sounded like or can give any opinion as to whether
these items are a must in a high end room?

I have a high end system but with no items to improve the acustics (can't spell)
of the room.

Mitchell Erblich : mitchell.erblich@EBay.Sun.Com

------------------------------
 
From: mjcarte@hubcap.clemson.edu (michael j carter)
Subject: FOR SALE: _THE_ABSOLUTE_SOUND_ BACK-ISSUES
Date: Mon, 16 Aug 1993 21:10:24 GMT

FOR SALE: "The Absolute Sound" backissues.
Issues: Autumn 1985 - May/June 1991
Price: $50.00 + shipping (COD)

Michael 
mcarter@lanl.gov

------------------------------
 
From: gdgray@vnet.IBM.COM
Date: Mon, 16 Aug 93 17:22:53 EDT
Subject: Opinions of Spendor LS3/5A Speakers?

Concerning speakers,
asanders@adobe.com (Alan Sanders) asks:

>Has anyone out there been listening to the Spendor L3/5A's
>for awhile?

(rest of short text deleted)

I've always liked them, though I didn't buy 'em (I came VERRRRY close).
(By the way, I think they're "LS3/5A" -- others can confirm or deny.)
They are clear and refined speakers, especially for 'smaller ensemble'
classical music, such as string quartets and original instrument "early"
recordings. Technically, I've heard (but don't remember 100%) they're
of 16 ohms impedance, rather than the standard 8 (or even 4), so that
may affect what amplification would work best with them.

They also sounded good with some older acoustic jazz recordings, though
on the system I heard them with, the LS3/5As sounded more colored in
the midrange, to me. What was 'euphonic' on, say, a Schubert string
quartet, sounded a bit 'thicker' than ideal on a tenor sax/piano/bass/
drums jazz recording. And they were NOT, in my experience, the speakers
to play things like Nirvana's "Nevermind" recording, or Power Tools'
"Strange Meeting", or other, noisier, kinds of things. (I compromised,
and now have a pair of Celestion SL6Si speakers-- close to the refine-
ment of the Spendor, but a bit more 'open', AND they can handle anything
pretty well, within their limits.)

But for classical music, I very much liked the Spendors, in their price
category... in British speakers, KEF and B+W also have some models you
might consider. Good luck...

_____Views expressed are of the poster, not necessarily of IBM_________________

Geoff Gray, Advisory Information Systems Availability Specialist
IBM Corporation, 1001 Jefferson Plaza, Wilmington, Delaware, USA
Internet: GDGRAY@VNET.IBM.COM, phone +1.302.428.5116, fax 428.5032
_______________________________________________________________________________

------------------------------
 
From: apctrc!znpt01@uunet.UU.NET (Norman P. Tracy)
Subject: Re: Rotel Rumours
Date: Mon, 16 Aug 1993 21:14:17 GMT

In article 24o04vINNcdt@uwm.edu, "James A. Cobbs" <JAC%WRLCVM.BITNET@AUVM.AMERICAN.EDU> () writes:
>    Heard an unconfirmedrumour the other day at a very high end
>establishment that Rotel was going to drop a rather high-end line on
>the market 'within 3 or 4 months.'  Anyone else heard such info????

Rumor? See the full page color ads in recent Stereophile and TAS issues.
>
>    If true it will be interesting to see what is offered.  The Rotel
>900 line is, IMHO, well designed, uses quality parts, and offers a LOT
>of bang for the buck ...................

I agree with James' comments re. 900 line. The 'new' line has been available
in the UK at least for a year or so. Think of a 900 type design only more`er
and bigger`er and better`er in silver casework. Has received good reviews in
UK press for whatever that's worth. Line has a big stereo power amp, active
and "passive" pre-amps, phone-stage and a tuner. No CD player or DACs yet.

>
>    If this rumour turns out to be true, it will be very interesting to see
>their marketing approach.  Done right they could end up eating the lunch of
>a lot of 'high end icons' OR expanding the high-end market place dramatically.
>
>-Jim Cobbs

Best of luck to them, esp. if they could do something about "expanding the
high-end market place dramatically". Maybe some ads in Esquire, Robbs Report,
and Cosmopolitan rather than The Absolute Sound? 

Should be interesting indeed how they price it. Too far down to "get" the Adcoms
and Sonys and they end up competing with themselves in the form of the 900 line.
Too deep into 4 figure price tags and USA audiophiles have demoninstrated time
and again they will stick with the real or imagined virtures of domestic gear.
Just ask Luxman, Acuphase, or Sony Esoteric.
---
Norman Tracy

znpt01@trc.amoco.com

------------------------------
 
Date: Mon, 16 Aug 1993 19:16:46 EDT
From: Jason J. Bittner <JB4704A@auvm.american.edu>
Subject: Miller & Kriesel vs. Velodyne

I recently posted a question about the differences between the MK100 versus a
Velodyne Foundation 1500.   Any one have a good or bad story on either?  I am
hoping to make a decision by the end of the week.  Thanks.

------------------------------
 
Date: Tue, 17 Aug 93 10:55:51 EST
From: peterca@ento.csiro.au
Subject: The use of Phase Splitters (12AX7s)

Jeff writes,
>howdy!
>
>I am about to construct the HiFi World EL34 based mono blocks and
>noticed that if I could figure out how to replace the 12AX7 phase
>splitter with a very high quality signal transformer (B&K, AKG or
>Jensen), then I could eliminate a lot of parts.
>
>First off, is there a reason why designers use a tube at this
>point instead of a signal transformer.  It seems that, given a
>transformer of sufficient quality and winding, such a replacement 
>would be natural.
>
>Secondly, has any one seen this attempted?
This is a question I have been wondering about.  The lack of symetry in
single ended output stages require very good, over sized transformers to
fix.  However, many people swear by them.  I was wondering whether the
reason was that lack of symetry in phase splitter stages outweighed the
benefit of symetrical, cancelling bias current in a push pull output
transformer.  I believe that older (pre-1940s) amps often used transformer
coupling between stages and I guess this may have included phase reversal
for pushpull output stages.  Given that my moving coil stepup device is a
transformer and it produces little distortion without any feedback, I would
expect that transformer coupling could be used sucessfully.  I would also
like to hear peoples' thoughts on this.

Peter Campbell (peterca@ento.csiro.au)
C/O Div. Entomology, C.S.I.R.O.
Box 1700 Canberra A.C.T. 2601    Ph.61-6-2464158 (w), 61-6-2516213 (h)
Australia                           61-6-2464173 (fax)

------------------------------
 
From: romeo@niagara.Tymnet.COM (Michael Stimac)
Subject: Re: Vander'/ribbon = HELP!!
Date: 17 Aug 93 02:08:27 GMT

In article <24aqttINNije@uwm.edu> chowkwan@alumni.cco.caltech.edu (Raymond Maihin Chowkwanyun) writes:
>In article <23lo3jINNd3k@uwm.edu> sl45z@cc.usu.edu writes:

>You should listen to the Eminent Technology 8.  The mids/
>highs use similar technology to the maggies.  (maggies 
>have magnets on one side of driver panel, ET has magnets on both sides).

Not quite correct.  One of the features of the new Magnepan Model 20
is the use of magnets "on both sides".  They also use a new magnet material
that has much more magnetic force.

The new model 20 is named for the fact that the speakers are down
only 3dB at 20Hz.

No longer need Magnepan owners put up with snide remarks about 
"wimpy bass"!

Michael Stimac
-- 
Michael Stimac
(415) 355-8889
romeo@tymnet.com
These opinions are not necessarily anyone's but my own.

------------------------------
 
From: mbauer@unixg.ubc.ca (Martin Bauer)
Subject: carousels question
Date: 17 Aug 1993 02:26:29 GMT

Has anyone seen a review of the Sony ES CD-carousels in a high-fi
magazine? I'm interested in the transport part rather than the D/A converter
since if I buy one of these units I'll eventually add an outboard D/A
converter. The Sony ES units certainly seem more solid than the Carver
carousel, but I don't know if this will affect sound quality.

Martin

------------------------------
 
Date:    Mon, 16 Aug 1993 22:35:56 EDT
From: STOKES@BART2.LARC.NASA.GOV
Subject: Home-Brew Cable Follow Up

I have gotten a deluge of mail from people asking me for my home-brew
cable article.  I guess I should have posted it even though it was long.
If only half of the people who contacted me, actually buy the cable, there
is going to be an extended production run at Belden :-)

Seriously, I hope you all don't take MY findings as an absolute.  I haven't
tried those cables on any other systems.  

I am interested in the findings of all of you that try the 89269.  Please
drop me a line (or post) if my findings helped you, and if you also found
the Belden to be wonderful.  I am also interested in the 9269 vs. 89269.
If any of you have compared the two, I think there are a lot of people on
the net who would be interested in the findings.

My gut feelings are that the teflon is part of the "magic".  Not that there
is any magic in cables.  I think that the sound differences are in the
dielectric.  I have also been thinking that there could be an effect due
to vibration.  If you think about it, when you move a wire through a 
magnetic field (across field lines), there is a current generated in the 
wire.  Well we are living on a magnet, and vibration Is motion.  The Currents
caused by the vibration of a cable in the earth's magnetic field are very small
but STILL present.  So this is a factor, a small one, but a factor.  And MY
cables are just hanging in the air between components, so they are free to
vibrate.  Fortunatly I'm not crazy enough to start doing cable damping 
experiments.

************
New Topic:
************

I saw someone posted a question in response to my WANTED ad for skipping
CD or LD players.  He asked what makes a CD player skip.  Nobody replied,
so I thought I would.  I didn't find his posting when I looked through
the back issues, so I'm posting it to the group.

In MY experience; 90% of CD player skipping is due to crud in the laser
movement mechanism.  Cleaning this crud off and lubricating the crummy
portable stereo quality mechanism makes the problem go away (until the 
crud builds up again

The other 10% is drifting adjustments (I've only seen 2 of these).  There
are adjustments for focus, tracking, and laser power.  One player I worked
on had the tracking adjustment all messed up, it couldn't keep up with 
fast forwards or rewinds.  This was combined with some crud on the rails
and the player was dead (stick a fork in it; it's done).  The other player
that required adjustment was a laser power problem.  Apparently the laser 
wasn't putting out enough power to regester on the photo diodes.  I tried
every trick I knew and the player wouldn't read a disk.  I had two options,
first roof test it, and second turn the laser power pot (laser power is 
generally set at the factory and shouldn't be messed with).  I tweaked the
pot and it worked!!!  My friend has been using it for a month now.  I am 
a little worried about it's future though, Loss of power is a sign that the 
diode is "on it's way out".  Most diodes just fail, and work perfectly until
they stop, then they are totally dead.  This player is 6 years old, so it's
had a productive life and my cheap friend will have to shell out some bucks
when it dies.  Who knows it may work fine for another 6 years.  The player
really sounds awful, so it will probably hang on for years :-)

Sheldon
stokes@bart2.larc.nasa.gov

------------------------------
 
From: b0gross0@nevada.edu (BARRY GROSS)
Subject: Re: Belden 89269 vs. 9269
Date: Tue, 17 Aug 1993 03:42:27 GMT

In article <24o04oINNcdo@uwm.edu> Michael_LaBella@vos.stratus.com writes:
: fyi: 
: 
: for those in the Boston area who want to purchase belden 89269: 
: 
: In-Stock 
: Westboro, MASS: 
: 
: 1-800-225-3018 
: fax 508-898-3616 
: 
: BELDEN 89269  500ft  $180.00   .36/foot   nom/o.d.   5.08 
: 
:   
Is there sufficient interest out there to split a roll of 89269?  I'd
love 50 feet of this stuff.  And if one interested person lived near
Westboro, he could pick it up, cut it up, and ship it out.  Ten of us
could each pay $18 plus $7 toward shipping & handling.  What say?

Barry     b0gross0@redrock.nevada.edu

------------------------------
 
From: kiess@ira.uka.de (Heiko Kiessling)
Subject: Shahinian loudspeakers
Date: 	Tue, 17 Aug 1993 11:31:56 +0200

Last weekend I was on the German High End exhibition with the same name in
Frankfurt. There I was able to listen to the best loudspeakers I ever heard
in my life. Unfortunately, this is to be taken with a grain of salt since
listening conditions are not that great in the hotel the exhibition took
place in. The speakers are called Shahinian Diapason. I was also lucky to have
an interesting little talk with the designer, Richard Shahinian.

Now to my question. Since Shahinian is a newcomer in Germany (they are on
the market for exactly 62 days now :-) I would like to know opinions from
the US on speakers by Shahinian (not only of Diapason because they are a
little bit expensive :-). What did for example The Absolute Sound and
Stereophile write about them?

Since the next outlet for Shahinian speakers is way far from Karlsruhe in
Stuttgart I would like to know if driving to Stuttgard would be regarded.

Thanks in advance!

Ciao, Heiko

-- 
  Heiko Kie\3ling                      E-Mail   : kiess@ira.uka.de
  University of Karlsruhe              Telephone: +49 721 608-4055
  Department of Informatics
  Operating Systems Research Group

  Am Fasanengarten 5
  D-76128 Karlsruhe
  Federal Republic of Germany


------------------------------
                                        
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