Sound Practices Mailing List Files - Volume 1
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From: bill gardner <wg44929@navix.net>
Subject: yamaha drivers
Date: Thu, 05 Nov 1998 08:13:36 -0600
Source: Sound Digest Archive v01.n481
At 04:36 AM 11/5/98 PST, T. Loesch wrote:
>Hi all,
>I do know that the BSS X-Over is quite popular and have used a Yamaha
>Digtial X-Over in my Pro-Audio day's,
>Thorsten@tnt-audio.com
============================================================================
====================================
Hi Thorsten : When you were doing pro -sound did you use , or listen to a
compression driver in the Yamaha
monitors called a yamaha 6618 ( Nippon Kogei ) . A friend in New York
claims these units are very special and has out performed every other
compression driver he has ever listened to . Thank you and kind regard to
you also .
Wm Gardner Christen were doing a production run of rotors
, I'll steal you a chrome pair when
no ones looking (< :
=========================================================================
From: jc morrison <jcm@eclipse.net>
Subject: yamamura boxes gone...
Date: Sat, 09 May 1998 00:08:10 -0700
Source: Sound Digest Archive v01.n273
yep,
more house cleaning to follow...
jc
=========================================================================
From: Grego Sanguinetti <grego@latticesemi.com>
Subject: YAWIDLWE
Date: Mon, 24 Nov 1997 16:58:41 -0800 (PST)
Source: Sound Digest Archive v01.n119
Yet Another What I Did Last WeekEnd
A house full of amps and not one that I want to place
into service in the family room, sheesh. I want to
have music for the upcomming holiday entertaining
but I didn't want to rush the chassis I am building.
The little amp currently in service has started
making noises and I really didn't feel like doing
a restoration on it.
Then I thought, heck I could do a design and build
it in the same amount of time. Could I come up with
a design and finish two complete rack-ready monoblocks
in one evening?
I quickly remember two military chassis that would
be perfect. Complete with chokes, power transformer,
sockets and some other usefull parts.
What was in the chassis's:
600vct@70mA, 6.3vct@3A, 6.3v@1.2A, 5v@2A
octal wired for 5Y3
two 14H chokes
two other octal sockets
so use the 5Y3,
use one octal for a 6SN7, the old cascade driver
choose output tube that runs 50-60mA at around
300v, octal based, 6.3v filaments. Hmmmm, 6B4G.
ok, I have a couple of 4.5K SE output transformers
perfect. Hmmm, basically the same set up as the
protoboard with the 6B4G's at VSAC, running a little
hotter though. It will do.
ok, done with the design.
An hour of rutting through the parts room for the
other bits and pieces. A few minor design adjustments
to fit the parts on hand.
Turned out the longest part of the job was stripping
and cleaning the chassis, hadn't counted that time
in the proposal....
Then I got worried about the thermal issues with the
tubes mounted inside the enclosed chassis, so I had
to drill a hundred ventilation holes. That slowed me
down some more....
started after dinner, finally gave up at 2am this morning
close, very close. If I hadn't gotten picky with the
chassis work I could have made it.
will finish it tonight after dinner. Let ya know how
it sounds.
- -grego
hope the 6B4Gs don't mind running horizontally. I did
align the grid structure in the vertical plane.
=========================================================================
From: Grover Gardner <groverg@bellatlantic.net>
Subject: Re: YAWIDLWE
Date: Tue, 25 Nov 1997 20:57:08 -0600
Source: Sound Digest Archive v01.n120
At 4:58 PM -0800 11/24/97, Grego Sanguinetti wrote:
>Yet Another What I Did Last WeekEnd
>
>A house full of amps and not one that I want to place
>into service in the family room, sheesh. I want to
>have music for the upcomming holiday entertaining
>but I didn't want to rush the chassis I am building.
snip
>started after dinner, finally gave up at 2am this morning
>close, very close. If I hadn't gotten picky with the
>chassis work I could have made it.
Grego, I'm appalled! Can't knock off two monoblocks after dinner? Sounds
like we need a face off, pal! ;-)
I had a pretty fair weekend myself. Took my 6SL7/46/VV52 amps over to a
friend's house and hooked them up to a pair of ProAc Response 3s (!), with
a little help from his dedicated subwoofers. They didn't do badly at all.
Maxed out on Prokofiev, but of course I'm still only running the 52s at 80
ma to accomodate the FS030s. Gotta get me some of Mikey's big fellas! :-)
Anyway, on jazz and folk they did extremely well. Most encouragingly, they
travelled well, that is they sounded very nice on his system. I like to
know that the amps sound good not just on my system, but in other
environments.
While there I spotted the new Listener and read a review of Art Audio's
VV32 stereo SE amps. A rave, really, boosted by the reviewer's comments
that these did really well on "real-world" speakers, that is, those of
nominal efficiency. Supposedly they are coming out with a VV52 version.
Based on a recommendation, I'm trying out a JBL Sub-10 with my Response
2s--it's a nice little compact job, self-powered with low- and high-level
inputs. You can run it right off the output of your SE amps. It has
volume and phase controls, as well as a cutoff adjuster from 50-200Hz. I'm
using them at 50Hz, just barely snuck in to flesh out the bottom of the
soundstage, and so far it works nicely.
I also came across an interesting TT arrangement. It is mounted on a
finished ply drawer from a custom-built console. The components are a
Weathers tonearm, a Bodine AC motor with three-speed spindle, belt-driving
a massive, 30 lb. solid brass platter. Everything is removable, including
the spindle socket, which could be sunk into something suitably solid. I
mounted my Linn Basik on the plywood plinth and manage to get things quiet
enough for a sample listen. Quite a sound, I look forward to working more
with this. Is this a Weathers outfit, or something put together
specifically for a customer? Anyone know?
Never content to leave things alone amp-wise, this morning I tried the one
driver tube I haven't yet, dunno why--the 300B. Well, it's in a class by
itself. The amp leapt to a whole new level. The bass is the best I've
heard yet on my system. HF roll-off was noticable with the 6SL7, though,
so I debated SRPP or something else, and went for a 12AT7 and retained the
direct-coupling. This brought back a good hi-lo balance. The 300B is
idling along at 30ma and sounds grand. Normally I find the 12AT7 a bit
dry-sounding, but the 300B has lushness to spare, so they would appear to
compliment each other. Gain is reduced a bit but still perfectly adequate
for direct-in. I stand by the 6SL7/46 arrangement as being superb for far
less money, but if you happen to have spare 300Bs lying around, by all
means...:-) If I were doing an SE 2A3 amp, I would try a 5692
direct-coupled to a 46 to drive it. The gain would be just right (15 x 5)
and the 2A3 would take on new life.
Grover Gardner
groverg@bellatlantic.net
=========================================================================
From: Kalman Rubinson <rubinsnk@is2.nyu.edu>
Subject: Re: YAWIDLWE
Date: Tue, 25 Nov 1997 21:29:58 -0500 (EST)
Source: Sound Digest Archive v01.n120
On Tue, 25 Nov 1997, Grover Gardner wrote:
> I also came across an interesting TT arrangement. It is mounted on a
> finished ply drawer from a custom-built console. The components are a
> Weathers tonearm, a Bodine AC motor with three-speed spindle, belt-driving
> a massive, 30 lb. solid brass platter. Everything is removable, including
> the spindle socket, which could be sunk into something suitably solid. I
> mounted my Linn Basik on the plywood plinth and manage to get things quiet
> enough for a sample listen. Quite a sound, I look forward to working more
> with this. Is this a Weathers outfit, or something put together
> specifically for a customer? Anyone know?
Not a standard Weathers arrangement. Weathers TTs were puck-drive,
lightweight affairs. Was the arm black or walnut? Was it a Weathers
cartridge?
Kal
=========================================================================
From: davidbarnett@aristotle.net (David N. Barnett)
Subject: Re: YAWIDLWE
Date: Wed, 26 Nov 1997 08:29:10 GMT
Source: Sound Digest Archive v01.n120
On Tue, 25 Nov 1997 20:57:08 -0600, Grover Gardner
<groverg@bellatlantic.net> wrote:
>The components are a
>Weathers tonearm, a Bodine AC motor with three-speed spindle, belt-driving
>a massive, 30 lb. solid brass platter. Everything is removable, including
>the spindle socket, which could be sunk into something suitably solid. I
>mounted my Linn Basik on the plywood plinth and manage to get things quiet
>enough for a sample listen. Quite a sound, I look forward to working more
>with this. Is this a Weathers outfit, or something put together
>specifically for a customer? Anyone know?
The Weathers turntable had three tiny clock motors and a very
lightweight, stamped platter.
- --dnb
=========================================================================
From: Kalman Rubinson <rubinsnk@is2.nyu.edu>
Subject: Re: YAWIDLWE
Date: Wed, 26 Nov 1997 09:46:04 -0500 (EST)
Source: Sound Digest Archive v01.n120
On Wed, 26 Nov 1997, David N. Barnett wrote:
> The Weathers turntable had three tiny clock motors and a very
> lightweight, stamped platter.
Right except some models had only one motor.
Kal
=========================================================================
From: "T. Loesch" <ezee_e@hotmail.com>
Subject: YAWIDTW (Yet Another What I Did This Weekend)
Date: Sun, 07 Jun 1998 09:58:47 PDT
Source: Sound Digest Archive v01.n304
Hi all,
I know below I'm bragging a lot and I'm clapping myself on the Shoulder.
But I thought You guy's would like to know anyway.
So please excuse any of this....
Yesterday I pitted my modded Marantz against a truely "State of the Art"
Digital Rig.
This used a Audio Synthesis modified TEAK P-1 (I think) Transport and an
Audio Synthesis DAX Dac. The DAX uses the Ultra Analog DAC Chips (said
to be a lot better then the Burr Brown ones), the HDCD Filter (PDM-100)
and is otherwise of immaculate execution, sound and reputation. It would
probably not match the Top-line Mark Levinson DAC or the Spectral, but
probably almost anything else out there....
It should also be noted that in a comparison a while ago between DAX and
the TCP Kit DAC the TCP kit came out a LOT worse....
Another transport at hand was a highly modded and re-clocked Marantz
CD-94 CD-Player using coax Digital and AT&T ST Optical Connections. The
CD-94 was used in the actual shootout, as it was thought to provide a
better sound....
This is about 4000 to 4500 US Dollars worth of Digital Gear, to put a
Sticker on this.
The System includes DIY Electrostatics and large Woofers mounted into
the Floor of the Room, all silverwired, tricky mains cables and is
active triamped using four modified Quad 2 Valve Amp's and one big'n bad
Rotel to drive the Woofers.
The sound of this system is EXTREMELY transparent with a beautifull
spatial resolution. We tested the system and it goes almost flat down to
20Hz. My only gripe is that it does not go very loud....
In this system slotted my Marantz CD-67 Thunderstone Signature, aided by
the mystical and magical Thunderstone Audio Superstealth Megamanga Mains
Line Ultracleaner boxes (two of them) but using a standard Mains Cable.
(Don't ask about the "Thunderstone Audio Superstealth Megamanga Mains
Line Ultracleaners". You'll read how to make them in TNT-Audio
soon.....)
Unfortunatly we where not able to use the digital output of the CD-67 to
drive DAX (reason under investigation).
So the Comparison was DAX + CD-94 as transport via ST-Optical vs. my
modded Marantz Player.
Well predictably DAX won. DAX had a smidgen more Bass extension and an
ever so slightly nicer treble. And with a HDCD loaded DAX really pulled
away.
What was amazing, was just how small the differences between the two
where. The modded Marantz matched DAX above about 50Hz. The Marantz
matched the low-level resoltuion, spatial resolutiona and tonal colors
as presented by DAX almost all way with only a VERY slight treble
harshness spoiling the picture.
And the slight Treble-Harshness I did also note when the TEAK P-1 was
driving DAX.
The Owner of the system asserted that he thought the TEAK Transport was
more truthfull, if so, than the Marantz CD-67 Thunderstone Sig. is that
too.
I feel the major blame for the slightly reduced Bass-Extension is the
rather small Mains-X-Former fitted to the Marantz. I may decide to fit a
nice and large Outboard Supply for the Analog Circuits one of these
days.
But in almost all meaningfull ways the DAX and the CD-67 where EXTREMLY
close and only a very carefull side-by-side test did reveal the minor
differences. I'd say that in almost any lesser system (including the one
I have at home) the
However the real winner of this Contest was my Analog Frontend. Because
IF my CD-Player almost matches a top-notch Digital Source System and my
Analog Frontend truely DESTROYS the CD-Player in my system (my Friend
did not have a working analog frontend handy) then it would do the same
with ANY High-Ends High Price ticket Digital System based on the CD.
So Rex Analogum....
Considering the substantially less sophicticated digital and analog
Architecture of the Marantz Player when compared to DAX, I can only
conclude that the lack of the use of the S/PDIF Interface in the Marantz
is the key Factor. The S/PDIF Interface (even via AT&T optical) in fact
degrades the DAX all the way down to the level of the Marantz. No
elaborate Transports, recloking schemes or other tweaks can change that.
So, buy more records and enjouy the music.
Kind regards Thorsten.
Ps an Article detailing the Mod's can be found here:
http://www.tnt-audio.com/clinica/cd67.html
======================================
e-mail:
Thorsten@tnt-audio.com
Visit TNT-Audio on the Web - the only advertising
free audio web-zine.
http://www.tnt-audio.com
======================================
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
=========================================================================
From: Jim de Kort <jdekort@xs4all.nl>
Subject: YES! It's 1998!!!
Date: Thu, 01 Jan 1998 02:06:50 +0100
Source: Sound Digest Archive v01.n148
Hi,
It's now 2 AM january 1st 1998 over here !!!... and I still have all ten
fingers too!
A happy new year to you all !!!
Jim de Kort
jdekort@xs4all.nl
- -----------------------------------------------
For DHT tube data and tubes
for sale, check out the
PhaetoN HomePage
http://www.xs4all.nl/~jdekort/
- -----------------------------------------------
=========================================================================
From: Kalman Rubinson <rubinsnk@is2.nyu.edu>
Subject: Re: YES! It's 1998!!!
Date: Wed, 31 Dec 1997 20:31:31 -0500 (EST)
Source: Sound Digest Archive v01.n148
On Thu, 1 Jan 1998, Jim de Kort wrote:
> A happy new year to you all !!!
And to you, too, soon.
Kal
=========================================================================
From: "PEARL Cust Serv" <custserv@pearl-hifi.com>
Subject: Yes, We Have No H-bombs
Date: Thu, 14 Jan 1999 17:40:25 -0700
Source: Sound Digest Archive v01.n576
OK Joes:
Here's a capper for thread "Let's Ban Everything in Public Places".
================================
==============================
H2 Beer - A Must Read for All Beer Lovers!
TOKYO (AP) The recent craze for hydrogen beer is at the heart of a
three-way lawsuit between unemployed stockbroker Toshira Otoma, the
Tike-Take karaoke bar and the Asaka Beer Corporation. Mr Otoma is suing the
bar and the brewery for selling toxic substances and is claiming damages for
grievous bodily harm leading to the loss of his job. The bar is countersuing
for defamation and loss of customers
The Asaka Beer corporation brews "Suiso" brand beer, where the carbon
dioxide normally used to add fizz has been replaced by the more
environmentally friendly hydrogen gas. A side effect of this has made the
beer extremely popular at karaoke sing-along bars and discotheques.
Hydrogen, like helium, is a gas lighter than air. Because hydrogen
molecules are lighter than air, sound waves are transmitted more rapidly;
individuals whose lungs are filled with the nontoxic gas can speak with an
uncharacteristically high voice.
Exploiting this quirk of physics chic urbanites can now sing soprano
parts on karaoke sing-along machines after consuming a big gulp of Suiso
beer.
The flammable nature of hydrogen has also become another selling point,
even though Asaka has not acknowledged that this was a deliberate marketing
ploy.
It has inspired a new fashion of blowing flames from one's mouth using a
cigarette as an ignition source. Many new karaoke videos feature singers
shooting blue flames in slow motion, while flame contests take place in pubs
everywhere.
"Mr Otoma has no one to blame but himself.
If he had not become drunk and disorderly,
none of this would have happened.
Our security guards undergo the most careful
screening and training before they are allowed
to deal with customers,"
said Mr Takashi Nomura, manager of the Tike-Take bar.
"Mr Otoma drank fifteen bottles of hydrogen beer
in order to maximise the size of the flames he
could belch during the contest. He catapulted
balls of fire across the room that Gojira
[aka Godzilla] would be proud of, but this was
not enough to win him first prize since the judgement
is made on the quality of the flames and that of
the singing, and after fifteen bottles of lager
he was badly out of tune."
"He took exception to the result and hurled blue
fireballs at the judge singing the front of Mrs.
Mifune's hair, entirely removing her eyebrows and
lashes and ruining the clothes of two nearby customers.
None of these people have returned to my bar.
When our security staff approached he turned his
attentions to them, making it almost impossible to
approach him. Our head bouncer had no choice but to
hurl himself at Mr. Otoma's knees, knocking his legs
from under him."
"The laws of physics are not to be disobeyed,
and the force that propelled Mr Otoma's legs backwards
also pivoted around his centre of gravity and moved
his upper body forward with equal velocity. It was
his own fault he had his mouth open for the next belch,
his own fault he held a lighted cigarette in front of it
and it is own fault he swallowed that cigarette."
"The Tike-Take bar takes no responsibility for the
subsequent internal combustion, rupture of his stomach
lining, nor the third degree burns to his oesophagus,
larynx and sinuses as the exploding gases forced their
way out of his body.
His consequential muteness and loss of employment
are his own fault."
Mr Otoma was unavailable for comment.
===================================================
==============================================
=========================================================================
From: Lancelot Dow <dow@ccmail.ram.co.uk>
Subject: Yes you're all there and I'm still subscribed! Thanks.
Date: Wed, 27 Aug 97 16:22:35 GMT
Source: Sound Digest Archive v01.n003
=========================================================================
From: Grover Gardner <groverg@bellatlantic.net>
Subject: Yet another hum mystery
Date: Mon, 1 Dec 1997 00:24:51 -0600
Source: Sound Digest Archive v01.n122
Okay, Joes, here's another hum mystery but I have some clues, maybe someone
can help. Recently changed 46 driver tube in monoblocks to 300B running at
40-50ma. Sounds great. Only problem is hum. It is 120Hz (or so it seems)
and occurs only when I turn up the pots. The pots are in front of the
12AT7 input tube. With pots down the amps are quiet. If I disconnect the
input cables, which run to a CD player, and turn up the pots, the amps are
quiet. If I disconnect *one* of the cables to one amp, and turn up the
pots, *both* amps are quiet. I'm assuming there is some kind of ground
loop--the two amps seem to be in conflict, with the CD player acting as the
source of grounding conflict between the two. This has only been apparent
since I replaced the 46 with 300B driver. But note that the driver circuit
now has less gain, so I must turn the pots up higher to allow more signal
in. This apparently is also increasing the noise, which may have been less
noticeable before. Does anyone have a clue as to how I might solve this?
Bear in mind these are breadboard amps with the power cord ground attached
to the far end of the circuit bus.
Grego, you work with breadboards a lot--without a chassis for a ground
plane, is it better to connect the power cord ground or leave it
unconnected? Does it have any safety effect either way? I have a feeling
this might be part of the problem. TIA!
Grover Gardner
groverg@bellatlantic.net
=========================================================================
From: Grego Sanguinetti <grego@latticesemi.com>
Subject: Re: Yet another hum mystery
Date: Mon, 1 Dec 1997 12:35:30 -0800 (PST)
Source: Sound Digest Archive v01.n122
> noticeable before. Does anyone have a clue as to how I might solve this?
> Bear in mind these are breadboard amps with the power cord ground attached
> to the far end of the circuit bus.
Yes, it does sound like you have a ground loop. I would not worry about it
too much if these are just temporary prototypes.
In general I am against floating grounds. I would rather seek out and
fix ground loops, internally.
> Grego, you work with breadboards a lot--without a chassis for a ground
> plane, is it better to connect the power cord ground or leave it
> unconnected? Does it have any safety effect either way? I have a feeling
> this might be part of the problem. TIA!
I have a ground strap on my test bench that is connected to the ground
bar of the electrical subpannel in my shop. This is a hard earth ground.
I always clip it to the ground bus on my protoboard so that the ground
is not floating. Nothing on my test bench floats. If I need something
to float, I have an outlet that has an isolation transformer. Otherwise
every AC powered instrument and power supply is grounded.
I mainly do this so that voltage measurements are referenced to the
same ground. Since there is no chassis, then it doesn't really add much
in the way of safety. Every so often it makes debug a little easier.
I have one circuit on the testbench wired with a ground fault interrupting
breaker. I always use that circuit to power a device under test, that has
it's own DC power supply. That way if there is a short somewhere, the breaker
trips instantly and I know to recheck the wiring before I go further.
- -grego
=========================================================================
From: peterca@ento.csiro.au
Subject: Re: Yet another hum mystery
Date: Mon, 1 Dec 97 17:54:33 EST
Source: Sound Digest Archive v01.n122
Sounds like a loop going from the source signal earth (common to both
channels) to both power amps, then from both power amps to the mains safety
earth and completing the loop by joining at the wall.
Dr. Peter Campbell (peterca@ento.csiro.au)
Div. Entomology, C.S.I.R.O. Ph.61-2-62464053 or -62464158 (w)
Box 1700 Canberra A.C.T. 2601 61-2-62516213 (h)
Australia 61-2-62464173 (fax)
=========================================================================
From: Michel Paquette <paqm01@GEL.USherb.CA>
Subject: Re: Yet another hum mystery
Date: Wed, 3 Dec 1997 09:13:33 -0400
Source: Sound Digest Archive v01.n124
Hello guido,
Thanks for the post,
I don't understand one point though: what do you mean by:
>-Hum by heaters: heaters of indirect heated tubes. These heaters should
>be connected and locally decoupled as close as possible by the tube(s).
How do you decouple?
Michel
=========================================================================
From: Guido Tent <gtent@ehv.sc.philips.com>
Subject: Re: Yet another hum mystery
Date: Wed, 3 Dec 1997 13:32:00 +0100
Source: Sound Digest Archive v01.n124
My dear tubists,
connecting to safety earth, or not, does not solve your hum problem (or
SOMETHING ELSE IS WRONG), nor does it garantuee you a quiet amp
As I advised you before:
Find the hum source and kill it there. Popular sources are:
- -Common impedance and big currents.
Heater circuits therefore should have there own wiring, not taking part of
any of your circuit. Connect the heater to only one reference which should
be close to the respective tube
Pi filters build of cap - choke - cap. This hum can be easilly detected. It
consistes in general of 100 or 120 Hz, and has a pulse like waveshape. The
peak current in the first loop (trannie, diodes, cap) causes a small voltage
in that loop (due to resistance and inductance). If this part of the loop is
part of your reference circuit you have a high chance on hum. Always take
the reference from the last electrolytic of the pi-filter
- -Hum on anode voltage can be easilly checked with a scop. Calculate the
transfer to the speaker and compare the amplitude with the output hum
amplitude. If it matches it 's bingo
- -Hum by heaters, twice:
1-heaters of indirect heated tubes. These heaters should be connected and
locally decoupled as close as possible by the tube(s)
2-direct heated tube hum can be influenced by shifting (i.e. turning the
humbucking pot) the cathode wrt to the reference. The hum should change, if
not it's caused by something else
It is in general easy to check which stage causes hum, just pull out a tube
1-output tube: hum ? then induced in the leakag inductance of your SE OPTX.
Change orientation wrt chokes etc.
2-driver tube
etc, take above in mind
It is very rare that hum is induced by capacitve coupling to a high
impedance grid because in or around a tube amp no high E-fields are present,
except at the anode voltage of the B+ rectifier
Have humfree fun
Guido
At 12:35 1-12-97 -0800, Grego Sanguinetti wrote:
>
>
>> noticeable before. Does anyone have a clue as to how I might solve this?
>> Bear in mind these are breadboard amps with the power cord ground attached
>> to the far end of the circuit bus.
>
>Yes, it does sound like you have a ground loop. I would not worry about it
>too much if these are just temporary prototypes.
>
>In general I am against floating grounds. I would rather seek out and
>fix ground loops, internally.
>
>> Grego, you work with breadboards a lot--without a chassis for a ground
>> plane, is it better to connect the power cord ground or leave it
>> unconnected? Does it have any safety effect either way? I have a feeling
>> this might be part of the problem. TIA!
>
>I have a ground strap on my test bench that is connected to the ground
>bar of the electrical subpannel in my shop. This is a hard earth ground.
>I always clip it to the ground bus on my protoboard so that the ground
>is not floating. Nothing on my test bench floats. If I need something
>to float, I have an outlet that has an isolation transformer. Otherwise
>every AC powered instrument and power supply is grounded.
>
>I mainly do this so that voltage measurements are referenced to the
>same ground. Since there is no chassis, then it doesn't really add much
>in the way of safety. Every so often it makes debug a little easier.
>I have one circuit on the testbench wired with a ground fault interrupting
>breaker. I always use that circuit to power a device under test, that has
>it's own DC power supply. That way if there is a short somewhere, the breaker
>trips instantly and I know to recheck the wiring before I go further.
>
>-grego
>
>
>
=========================================================================
From: davidbarnett@aristotle.net (David Barnett)
Subject: yet another test
Date: Thu, 24 Sep 1998 05:19:43 GMT
Source: Sound Digest Archive v01.n429
header says it all -- yet another test
- --dnb
=========================================================================
From: Ron Bales <rbales@mail.gte.net>
Subject: Yet more off-topic, some funny
Date: Sun, 26 Oct 1997 07:58:31 -0500
Source: Sound Digest Archive v01.n087
Before I put the dogs away.
I want to thank many people for the offline encouragement and support -
I also want to ask you to put your name to your postings. I don't much
mind being the lightening rod here, but then again the point I am trying
to make is that Jute needs to actually LEAVE instead of lying about it.
Numbers may help persuade him. Many thanks to the others who have tried
to make the point directly.
Andre, if you want to have JuteNet, GREAT! This isn't it. I'd think a
famous artiste can afford it. I know it'll cost more than just picking
this list and trying to drive everybody else out, but what the hell. Be
big, you can afford it. Come on, all you need to do is sell just two
more review samples a year.
You who think that having an environment that is completely free from
harsh language is more important than my friends or my dignity, peace
and integrity, go crawl under the porch and stay there. That is how
bullies thrive. "Oh, don't say anything to him, it'll only make it
worse." No, it never makes it worse. Worse is when sick, manipulative
thugs like brother Dre here are allowed to do things their way.
Anyway, wanted to pass along some recent comments.
An exerpt:
I regard Andre as mentally ill, in fact I regard him as a sociopath. He
views people entirely instrumentally and such is his chronic, almost
pathetic insecurity that he must blow hard constantly to bolster a
depleted
self worth. I have visions of him hunched malevolently in a wheel
chair,
with a pretty serious case of spina bifida. I would not be surprised if
he
has some serious physical problem which has shaped him tragically.
As it happens I agree with you in almost everything you say about Andre.
He would be tolerable if only he were not so gratuitously vindictive.
He
has discovered the power of words, and perhaps you are right, in person
he
would not dare utter them as he does in this forum.
You have hit upon the best way to react; ridicule. Nothing seems to
distress him more than people reacting to him as a comic fool. The
Munchausen and Voltaire metaphors were wonderful, and let there be more
like them whenever he gets uppity.
Another:
go man go!
There once was a boy from Cork....
Who was innocently dropped there by the stork....
He slandered and blamed....
patheticly defended his good name....
Thank God that bird passed New York
or how about
there once was an arse named jute
whose horn he was the first to toot
through his keyboard
its clear he is out of his gourd
why cant we give him the boot
and finally
there once was a chap known as 'dre
who always had to have his fair say
then he publicly wept
the list declared him inept
and now ROn is making him pay!
feel free to post to the list using andre's trick of the anomyous
joelister... maybe we can have a jute limerick competition.... everybody
puts up $5 and winner takes all... nah that fucker would probably win.
***** Yeah, he would. He really is a better writer than the rest of
us. Shame eloquence and truth are so little related.
Here's more:
Once again, sir, I salute you. This entire thing would be no problem if
the nervous Nellies would just read or not read the "Andre is a piece of
shit" posts that are occasionally needed, and then just forget about
them.
We seem to have a certain critical mass of people who have some
compelling
need for peace and serenity and a correspondingly high threshhold for
bullshit.
Yet another:
Thanks Ron. I love it. Very apt.
Pity you mis-spelt caricature. I wonder if Andre will have the gall
to
pull you up for it?
Yet more positive feedback:
Thank you for that absolutely wonderful destruction of Andre Jute that
you posted to the list. He thoroughly deserved it and if I possessed
the writing skills to express myself the way you did, I would probably
have done the same.
More Joes weigh in:
do you know anything about eudora.... and may i have permission to use
your
post... in its intireretty (hope its spelt right.. i knows big words
too..just can't spell the fukkerz.... and not to boast I have written in
at
least 100 books.... and on even more bathroom walls, and fuck it my
goddam
assistant is too busy blowing the local fire chief to get the
dictionary)
uh what... oh sorry where was i oh yeah can i quote the whole post when
ever i get drunk and pissed off at corkboys BS??? it would save me tons
of
typing and with a simple word change (with the change command... you
know
find this change it to that) I be as well published as he.
Later,
Ron
=========================================================================
From: Patrick Currie <tubesguy@execpc.com>
Subject: Re: Yet more off-topic, some funny
Date: Sun, 26 Oct 1997 10:41:55 -0500
Source: Sound Digest Archive v01.n087
Ron asked:
>
>I want to thank many people for the offline encouragement and support -
>I also want to ask you to put your name to your postings.
So:
>Once again, sir, I salute you. This entire thing would be no problem if
>the nervous Nellies would just read or not read the "Andre is a piece of
>shit" posts that are occasionally needed, and then just forget about
>them.
>We seem to have a certain critical mass of people who have some
>compelling
>need for peace and serenity and a correspondingly high threshhold for
>bullshit.
(signed) - Pat
One suggestion that may make everyone but Andre happy: Some time ago, we
more or less agreed that really off-topic posts, such as risotto recipes
and the occasional tweaks that Andre requires, would be marked at the
subject level with an asterisk, e.g., "* Andre is screwing up, again."
And on the more general topic of off-topic stuff, hey, lighten up if you
don't like it. This is, with some notable exceptions, a collection of
friends who rightly feel free to discuss any goddam thing they want to.
For example, I would no more tell Grego that I don't want to discuss the
most appropriate tool for destroying computer monitors in this forum than I
would tell him such a thing if we were sitting down having a beer or eating
dinner. It's just fucking rude to do so.
If there are people here that just can't abide the notion that we might
discuss non-audio matters, then perhaps the artful use of the asterisk
might help. In the meantime, stop whining, and, for god's sake, don't
start some huge breast-beating thread every time someone quite
appropriately calls our dear friend Andre to task.
My two cents - Pat
Pat Currie (tubesguy@execpc.com)
(608)233-8956, 266-9290 (Madison, WI)
=========================================================================
From: "Bottlehead" <Bottlehead@Prodigy.Net>
Subject: Re: ***Re: Yet more off-topic, some funny
Date: Sun, 26 Oct 1997 10:47:30 -0800
Source: Sound Digest Archive v01.n087
....hell this should be a VSAC sanctioned event....I might even buy
> a fucking gun (right after my next race car :=).....
Let's work on getting ESPN to cover it.
Full auto CRT skeet.
>
...the Valve girl (shithead Schmalle hid her
> during VSAC)....
Your reputation preceeded you, and she split town.
>
> or should we start a thread on ducks and gooses???? Just kiddin' folks...
Dude, who you gonna goose first?
>
> love ya all (or most of ya)
Hey man, save that stuff for those long VSAC nights...
Doc B.
=========================================================================
From: Ron Bales <rbales@mail.gte.net>
Subject: Re: ***Re: Yet more off-topic, some funny
Date: Sun, 26 Oct 1997 20:50:33 -0500
Source: Sound Digest Archive v01.n089
Bottlehead wrote:
>
> ....hell this should be a VSAC sanctioned event....I might even buy
> > a fucking gun (right after my next race car :=).....
>
> Let's work on getting ESPN to cover it.
> Full auto CRT skeet.
OOOHHHHH! I can picture it now, the long graceful arc of the 19"
trinitrons as they leave the ground just parallel to the shooter's
station. The launcher an underslunng trebuchet. The approved weapon a
mossberg pump gun in "rehabilitator" trim, 19" barrel, cylinder choke
extended magazine. "Is the shooter ready? PULL!!"
BLAMMMM BLAMMMM
(announcer in a near whisper) "Ron will have to get three clean hits on
this next TV if he's to contend for the lead."
"What is that he's doing to the target."
"It appears he is taping something over the screen."
"Yes, it looks like a large photgraph. Some bald fellow with glasses."
BLAMMM BLAMMMM BLAMMMMM BLAMMMM
ROn
=========================================================================
From: davidbarnett@aristotle.net (David N. Barnett)
Subject: Re: ***Re: Yet more off-topic, some funny
Date: Mon, 27 Oct 1997 03:33:09 GMT
Source: Sound Digest Archive v01.n089
On Sun, 26 Oct 1997 10:47:30 -0800, "Bottlehead"
<Bottlehead@Prodigy.Net> wrote:
>....hell this should be a VSAC sanctioned event....I might even buy
>> a fucking gun (right after my next race car :=).....
>
>Let's work on getting ESPN to cover it.
>Full auto CRT skeet.
I think this is more ESPN2 material, they could show it right between
X-Games and re-runs of the 1984 Worlds Strongest Man comptetition.
- --dnb
=========================================================================
From: Andre Jute <andre@indigo.ie>
Subject: Yo, Sanguinetti
Date: Fri, 2 Jan 1998 17:15:18 +0000
Source: Sound Digest Archive v01.n149
Grego
My son, home for the year from college while he recuperates from
meningitis, is sorting my CDs in my new long-long listening room, doing it
only on condition that he can play his own music and hear the *bass*. He's
brought down a disc by some disgraceful hippies, called Bump. They're the
only ones whose music I can actually distinguish from the normal pop trash
he also brought, and they have good lyrics with decent diction (anyone
remember the Beattles?). Imagine my surprise when I pick up the disc and
find on it, smiling bashfully...one Grego Sanguinetti!
Wishing that
Your memory of sex will be bright
unaffected by your sight
(adapted from "After I turn 86" by David Goodwin)
Drop me a note with your address.
Andre
Andre Jute
andre@indigo.ie
COMMUNICATION JUTE
- --we support pages for music lovers, writers and audiophiles at
http://www.foundmark.com/ComJute/ComJuteF1.html
=========================================================================
From: Thomas Dunker <dunker@invalid.ed.unit.no>
Subject: Re: your mail
Date: Thu, 16 Oct 1997 21:08:54 +0200 (MET DST)
Source: Sound Digest Archive v01.n071
On Thu, 16 Oct 1997, Le Cleac'h J.-M. wrote:
> At 16:25 15/10/1997 -0400, you wrote:
>
> >>Does anyone know how many acoustic watts/ft3 (m3)are required to reproduce
> >>various live venues i.e.: rock, chamber, nightclub, symphony?
>
> I am not very sure the thing has to be expressed in W/m3 for what I know the
> level of acoustical intensity is expressed in W/m2.
>
> Anyway here is how we can calculate the thing:
>
>
> The level (in dB) of acoustical intensity is expressed as:
>
> L = 10 * log (I / Io)
>
> with Io = 10 ^ -12 W/m2
>
> The expression can be turned as:
>
> I = Io * 10 ^(L /10)
>
> so according to different level:
>
> L (dB) I(W/m2)
> ----------------------------
> 80 0.0001
> 90 0.001
> 100 0.01
> 110 0.1
>
> 110 dB is the level of a symphonic orchestra on fff.
>
> I guess for chamber music the maximum level can be around 90dB.
>
> for rock music it can be on short duration above 110 dB (dangerous for the
> ears).
>
> For nightclub, it depends of the kind of nightclub...
Thanks, Jean-Michel.
Jim Long (aka. "The Baroda Bard") wrote some really good stuff on actual
peak/average SPLs encountered for different kinds of music in different
venues and implications for reproduction. This was based on a number of
measurements that he had made himself. He sent me a series of articles
that he had also submitted to SP for publication. Joe has only used part
of it in the SP articles, and this information has been left out. I
don't know what Joe's plans are with the remaining material, so I don't
know whether I could share it with you even if I wanted to.
Anyway - Jim can be contacted at his e-mail address,
jlong2@compuserve.com.
Tom D.
- -------------------------------------------------------------------------
_/\_ Thomas Dunker \ The Horn Speaker Home Page:
/ \ P.O.Box 2811 \ http://invalid.ed.unit.no/~dunker/horns.html
| | 7002 Trondheim \
| | NORWAY \------\ "Those with head above water
\____/ dunker@invalid.ed.unit.no \ see only the tip of the iceberg"
|||| phone (+47)73916898 \ (Gene Dalby)
- ------------------------------------------------------------------------
=========================================================================
From: Kalman Rubinson <rubinsnk@is2.nyu.edu>
Subject: Re: your mail
Date: Fri, 19 Dec 1997 17:34:29 -0500 (EST)
Source: Sound Digest Archive v01.n138
On 19 Dec 1997, An-shyang Chu wrote:
> While thinking about this speaker business... have anyone try to use CORIAN as
> the raw material for cabinet? I know it is an expensive product but let us
> assume an all-out project. It is very dense and stiff (better than MDF and
> ploywood) with great color and texture. Any thoughts?
There are/were commercial speakers made with Corian or the equivalent.
However, it require much additional damping in order to be suitable. In
my TT project, we found that Corain alone and in various thickness rang
easily and nastily with imposed vibrations. We ended up making a laminate
with lead and bitumen sheets.
Kal
=========================================================================
From: Guido Tent <gtent@ehv.sc.philips.com>
Subject: Re: Your Postal Address
Date: Thu, 22 Jan 1998 11:55:01 +0100
Source: Sound Digest Archive v01.n167
At 11:42 22-01-98 +0100, you wrote:
>Hello Guido,
Hallo Bodo,
>I'm very sorry, that I forgot to send you the money.
Apologies accepted
>I'll send you 20 $
>in cash.
15 $ will do, with respect to "your" cost (little lower due to Europe)
Is the following address correct?
>
>Guido Tent
>P.O.Box 218, 5600MD Eindhoven
I prefer to send to my home address:
Guido Tent
Bakkerstraat 30
5612 EN Eindhoven
The Netherlands
Thanks in advance
regards,
Guido
=========================================================================
From: Jonathan Morrison <ppdiva@pipeline.com>
Subject: You will need a 2 BA drop spanner
Date: Thu, 08 Jan 1998 17:18:35 -0500
Source: Sound Digest Archive v01.n156
Hi All-
I have been trying to make an adjustment to one of my PM4s since it is
rubbing a bit. This particular driver is from the mid 70s and has the
plastic basket with the mounting bolts recessed, so a regular wrench won't
work for me. I emailed the very helpful folks at Lowther to ask them if
they could supply me with a wrench, and they said I needed to buy new
membranes. I said that all I needed right now is to adjust the basket, and
they told me:"You will need a 2 BA drop spanner", but didn't offer to sell
me one. I don't think that I'll have much luck finding such a thing over
here, so is there anybody on the other side of the Atlantic that could
supply me with one? TIA JDM
=========================================================================
From: Finn Hammer <f-hammer@post5.tele.dk>
Subject: Yuletide on the joenet
Date: Thu, 25 Dec 1997 01:25:48 +0100
Source: Sound Digest Archive v01.n145
My lovely wife gave me a pair of meters for the 10 Amp. regulated supply
that I am going to put together this christmas.
It`s christmas!
I wish you a good one, without too much fear.
Finn.
- --
HOME OF
Tractrix Horns, Tube Amps,
Fieldcoil Loudspeakers and Computer Graphics
http://home5.inet.tele.dk/f-hammer/
Tim Reese