Sound Practices Mailing List Files - Volume 2
=========================================================================
From: David Crittle <retrovox@bigpond.com>
Subject: [JN] Y2K
Date: Sat, 1 Jan 2000 00:08:06 +1100
Source: Sound Digest Archive v02.n380
Well Joes, dunno if anyone in New Zealand survived Y2K, but here in eastern
Australia the clock has ticked over to 1/1/2000. Wonder just how long I can
maintain an audio system using components of the 20th century?
=========================================================================
From: David Crittle <retrovox@bigpond.com>
Subject: Re: [JN] Y2K
Date: Sat, 1 Jan 2000 12:02:45 +1100
Source: Sound Digest Archive v02.n380
>From: AnnaLogg@aol.com
>In a message dated 99-12-31 08:25:18 EST, you write:
>
>> Wonder just how long I can
>> maintain an audio system using components of the 20th century?
>
>Well, David, for at least another year.
>
I'll rephrase:
"using components with a date code of 19XX"
=========================================================================
From: Zyxtan@aol.com
Subject: Re: [JN] Y2K
Date: Fri, 31 Dec 1999 15:16:14 EST
Source: Sound Digest Archive v02.n380
In a message dated 12/31/99 8:25:18 AM US Eastern Standard Time,
retrovox@bigpond.com writes:
> Well Joes, dunno if anyone in New Zealand survived Y2K, but here in eastern
> Australia the clock has ticked over to 1/1/2000. Wonder just how long I can
> maintain an audio system using components of the 20th century?
>
I guess Australia survived, but I fear the US will blow itself up? Will
anyone miss us?;-)
paul(zyxtan@aol.com)
=========================================================================
From: Joe Roberts <jroberts@io.com>
Subject: [JN] Y2K Msg from the Heart of Texas
Date: Fri, 31 Dec 1999 13:26:07 +0000
Source: Sound Digest Archive v02.n380
Hurry up with those orders, boys....I need more cash for batteries, beer, and
ammo. Y2K is only 12 hours away in the Republic of Texas.
If the electricity stays on, I hope to finish up the last few things I need to
do with the book and send it off to the printah over the next week.
Yeah…I know I announced Christmas availability on the website, but if I were
not an unaccountable optimist at heart, I wouldn't be in this business!
One of the things I tell myself for motivational purposes is that this book
will be one of the most substantial English-language tube audio texts of the
modern experimenter era, even if largely by default! Seriously, a lot of
dedicated work by a lot of people, many of whom we know here on the Sound
List, went into this project and I am proud to put it all between covers.
That being said, I've come to recognize that THE most substantial text of the
modern audio era is probably the archive for this mailing list. I don't read
the list all the time, but I have been reading some interesting looking
messages for the last month or so. Man, you "Joenetters" are doing it up out
there. Makes me proud to be named after the list! ;->
When I started SP Magazine in 1992 or whenever it was, I didn't really have a
vision of where experimenter audio would be in 2000, but I knew things could
be a lot more exciting than they were.
I think what I wanted to see was what I see right here, experimenters
neck-deep in the discovery processs, enhancing their lives as well as their
systems, and sharing their experience and findings with others so inclined, a
hobby Utopia of the mind.
I was still on 1200 baud and fidonet back then, so who could have envisioned
the eventual role of the net in focusing the Audio 2000 community? I still get
dizzy trying to think about the social realities of the Internet. I may have
learned more about what people are like inside and what people will do from
reading the creation of the net than from anything else in my experience. I
don't think anybody has any idea what this internet is yet.
Maybe the appropriate program for Y2K audio demonstrations would be Disney's
"It's a Small World After All" played on a Diatone and a one-tube 437A SE,
with live background jazz poetry readings of Andre Jute's book on dogsled
racing and Eric Barbour's responses to reader mail in Glass Audio. Hope I can
find my Bongo drums on such short notice!
Let's all be thankful and rightfully awe-stricken about our anno 2000 audio
lifestyles as we flip the calendar. It didn't have to be this way, but
fortunately it is.
Happy New Year, Y'all
Joe
SP Editor
Sound List Owner
=========================================================================
From: "Patricia Parker" <ppdiva@hotmail.com>
Subject: [JN] Y2K, Russky Style
Date: Sat, 01 Jan 2000 01:07:48 MSK
Source: Sound Digest Archive v02.n380
Howdy, Y'all, From Mother Russia-
Wow Wow Wow Wow- it ain't really the millennium but here I am at midnight in
St. Petersburg and the lights are still on and if Chernobyl blew up it
hasn't reached here yet...
Russian caviar tastes a lot like fish eggs and Russian Champagne is really
sweet (after the 6th glass you don't notice so much, and if it bothers you
you can cover it up with Armenian brandy, which is REALLY good) but when I
was in elementary school (so many years ago) thinking about the future and
how old I would be in 2K I certainly didn't imagine that I would be here-
how it all has changed...
I have done nothing with audio since I have been here- after all, conducting
a real orchestra (in the hall that Rimsky-Korsakov conducted in) produces
noticeably less odd order distortion than even the best triode amp- but I
still plan to track down the Svetlana factory and introduce myself, and try
to get them to produce a mesh plate 50...
I can only hope that at least some of my childish dreams about a peaceful
and rational future world of 2K will eventually be realised
Jonathan
P.S. My ISP here charges, for a limited service, V.34, of evenings and
weekends, as much as I pay in NYC for a 24\7 cable modem service. This is
high to me, and unreachable for most Russians. The Marketplace isn't the
be-all and end-all...
JDM
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
=========================================================================
From: Kurt Steffensen <kurt-steffensen@teliamail.dk>
Subject: Re: [JN] Y2K, Russky Style
Date: Sat, 01 Jan 2000 02:49:58 +0300
Source: Sound Digest Archive v02.n380
Boy , this is THRILLING.
I am two hours into the new millennium.
No problems at all.
The light is on , all the clocks is good , I have water I have electricity , and
even my vacuum tube amplifiers
ON.. :-)
I am however a little....hm.influenced of alcohol. But feeling good. ;-)
This IS a wonderful world.
It really is.
I have been watching new years from all over the world via TV.
So small the world has become. So alike it is.
I have seen beautiful pictures from Hughs place , London - Wauh , Berlin ,
Greece - EXTREMELY beautiful with the
Acropolis in the background. - I almost busted into tears.
The 2000 Years , suddenly seemed so clear and easy for me to understand.
I wonder what all the wars has been about.
We are one. What can we ever fight about ?
Patricia Parker wrote:
> Howdy, Y'all, From Mother Russia-
From Russia. Mega cool !!
Hi Patricia. Happy new year :-)
>
> Wow Wow Wow Wow- it ain't really the millennium but here I am at midnight in
> St. Petersburg and the lights are still on and if Chernobyl blew up it
> hasn't reached here yet...
:-)
I haven't seen any nuclear weapons doing impact here neither.
I think we still have that last chance to change this world in to the wonderful
thing it can be :-)
> Russian caviar tastes a lot like fish eggs and Russian Champagne is really
> sweet (after the 6th glass you don't notice so much, and if it bothers you
> you can cover it up with Armenian brandy, which is REALLY good)
;-) Cheers , Patricia.
> but when I
> was in elementary school (so many years ago) thinking about the future and
> how old I would be in 2K I certainly didn't imagine that I would be here-
> how it all has changed...
Same here. I remember when I was 14 years old , trying to imagine what and where
I was in the year 2000.
I was listening to Uriah Heep , Grand Funk , Jimi Hendrix , Pink Floyd etc.
Smoking a little green stuff , and preparing myself to the stardom as a
longhaired rock musician :-)
Boy , it was sweet. I believed in the future and the world. Peace and Love were
REAL to me in those days.
I wonder what I have lost , growing in to adult ?
Nowadays , I still love rock music , but I spend 80 % of my time with classical
music. Operas seems to be more appealing ,
everyday. - I would never had thought that then.
Even , in spite of this , I just took the guitar a few minutes to midnight , and
played along with Uriah Heep LOUD and
clear :-)
> I have done nothing with audio since I have been here- after all, conducting
> a real orchestra (in the hall that Rimsky-Korsakov conducted in) produces
> noticeably less odd order distortion than even the best triode amp-
Gee..... Are you conducting a real live classical orchestra ?
!!!!
That is not even real HiFi , that is the real ultimate thing !!!
> but I
> still plan to track down the Svetlana factory and introduce myself, and try
> to get them to produce a mesh plate 50...
Please....Do so. I would be second to buy a pair.
But even this is nothing compared to a conducting performance.
Are you coming to the Arhus triode audition ?
Are you bringing the full orchestra ?
I would not mind collecting you guys , at the airport.
I have a CX :-)
> I can only hope that at least some of my childish dreams about a peaceful
> and rational future world of 2K will eventually be realised
> Jonathan
Jonathan ?
I thought you were Patricia ?
Still I second that.
LOVE to hear from you. I had no idea that ANY Russian at all were at this list.
It makes me believe in the future again :-)
Snipped from another post :
I guess Australia survived, but I fear the US will blow itself up? Will
anyone miss us?;-)
paul(zyxtan@aol.com)
You most be joking ?
Sure we will would miss you. We can't live without you :-)
There is one thing you Americans should know about our Europeans.
We do consider USA to be the place of all the good extremes , and unfortunately
also about all the bads ;-)
We believe you came from us. The modern European , does not like the way we
started that new land.
We threaded the Indians terrible bad :-(
We did not knew better. We were children's.
But then we grew to what you are today. In good and bad.
We admire USA. We are totally influenced by USA. In good and bad.
USA is the hope of the new world.
We do not like to much of the Hollywood movies , Coca Cola's , McDonald , CIA
etc.
But USA has the seed of the good to the new world. - Together with the rest of
us , it is all it takes to create the new
and better world.
Do you understand ?
This internet , cyberspace , might turn out to be the link that finally makes
the entire population of the world , realize
that we need to get together.
The best thing that has happened to me in 1998-99 was Joe net.
I have learned to know so many new persons , from all over the world.
And this summer many of us will actually meet.
Remember how close the earth quakes suddenly seemed this time , knowing that
some of our Joes was in the middle of that ?
Now , we Danish , Norwegian , Swedes , Germans , Dutch , Belgian , Turks ,
Italians , Koreans , Russian , Americans ,
etc. etc. , are actually discussing so common things as we love to deal with in
our everyday life.
Am I making sense , or am I to happy with the new year.
I hope I will not wake up tomorrow and regret this post. Just right now it feels
so RIGHT....
Happy new year all.
- - Kurt
=========================================================================
From: "Fred Volz" <fcv@emotiveaudio.com>
Subject: Re: [JN] Y2K, Russky Style
Date: Sat, 1 Jan 2000 17:15:57 -0500
Source: Sound Digest Archive v02.n381
Kurt wrote:
>
>Am I making sense , or am I to happy with the new year.
Complete, clear sense.
>
>I hope I will not wake up tomorrow and regret this post. Just right now it
feels
>so RIGHT....
You have nothing to regret. Sometimes, the greater regret comes from things
NOT said.
>
>
>Happy new year all.
>
>- Kurt
>
=========================================================================
From: "PEARL Cust Serv" <custserv@pearl-hifi.com>
Subject: Re: [JN] Y2K, Russky Style
Date: Fri, 31 Dec 1999 21:41:47 -0700
Source: Sound Digest Archive v02.n381
You wrote:
SNIP of a bunch of rational rant :>)
> This internet , cyberspace , might turn out to be the link that finally makes
> the entire population of the world , realize that we need to get together.
I think of the 'Net as a brand new nervous system that the collective
"Being" that is humanity is consciously building within its own "body."
> The best thing that has happened to me in 1998-99 was Joe net.
Yes . . . I pretty much have to concur.
> I have learned to know so many new persons , from all over the world.
> And this summer many of us will actually meet.
Too cool . . . . I'd LOVE to be there.
> Remember how close the earth quakes suddenly seemed this time , knowing that
> some of our Joes was in the middle of that ?
> Now , we Danish , Norwegian , Swedes , Germans , Dutch , Belgian , Turks
> Italians , Koreans , Russian , Americans, etc. etc. , are actually discussing
> so common things as we love to deal with in our everyday life.
>
> Am I making sense, or am I to happy with the New Year.
Both old son . . . both.
> I hope I will not wake up tomorrow and regret this post.
> Just right now it feels so RIGHT....
THAT my dear friend is because it IS right ! ! ! !
>
> Happy new year all.
>
> - Kurt
Happy New Year to You, One and All,
from a Crazy Canuck
Bill - PEARL, Inc.
=========================================================================
From: houndman@onix.com
Subject: Re: [JN] Y2K, Russky Style
Date: Fri, 31 Dec 1999 22:52:42 -0500
Source: Sound Digest Archive v02.n381
I didn't know we had any Russians either but Glad we do as it is Great
to hear from people all over this earth.
I Hope and feel that the ability to communicate the way we can now and
in the future will will bring us All closer together wether it is in our
common interests like we have here or just to not feel threatened or
misunderstood like has happened in the past. Maybe the Yr 2K and the Y2K
fears will and have brought us All closer together in peace and harmony
and as Little Distortion as possible.
Here's to, Peace, Cooperation, and Happiness All Over the Globe...
- -----------
\/ince Fontana
phila, pa. usa
houndman@onix.com
Don't do Winders. Can't on ENIAC
=========================================================================
From: Jeremy Epstein <jepstein@shwd.com>
Subject: [JN] Y3K Calculation
Date: Tue, 04 Jan 2000 09:17:37 -0500
Source: Sound Digest Archive v02.n384
> > only 52,000 weeks to Y3K
>
> Make that 52,052 weeks, all.
No, the year 3000 will be in 1000 years - whether or not 3000 = 3rd
millennium is debatable. Plus add 35 weeks for the 248 leap days makes
52,035. You can't forget them : some years I get 27 paychecks instead of
26!
- -j
=========================================================================
From: Martin Seddon <mseddon@iinet.net.au>
Subject: [JN] Yamamura-Churchill horns
Date: Sat, 30 Jun 2001 19:38:08 +0800
Source: Sound Digest Archive v02.n917
Anyone with experience of the big Yamamura-Churchill fibreglass Lowther horn?
http://www.yamamurachurchill.com/ipixtour.shtml
I am interested in how fibreglass construction works for a bass
back-loading horn of large proportions. ie how is resonance with a thin
hard wall reletive to conventional thick plywood construction.
Martin
=========================================================================
From: Holger Stein <steinmusic@cityweb.de>
Subject: [JN] Y.C.Lee-Adress??
Date: Mon, 25 Jan 1999 13:08:36 +0100
Source: Sound Digest Archive v02.n011
Dies ist eine mehrteilige Nachricht im MIME-Format.
- --------------591AD09B87A4EE360695559B
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit
Hello there,
Does anybody know where I can reach Y.C.Lee from Hong Kong?
I do not have his adress any more.
Many thanks
Holger Stein
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Stein Hifi Systems
Scharpenberg 64a
45468 Mülheim
Germany
Tel.: ++49 208 32089
Fax ++49 208 381890
e-mail info@steinmusic.de
URL: http:// www.steinmusic.de
Worldwide distributor for Ennemoser's C37 Lack
..and much more
- --------------591AD09B87A4EE360695559B
Content-Type: text/x-vcard; charset=us-ascii; name="vcard.vcf"
Content-Transfer-Encoding: 7bit
Content-Description: Visitenkarte für Holger Stein
Content-Disposition: attachment; filename="vcard.vcf"
begin: vcard
fn: Holger Stein
n: Stein;Holger
org: Steinmusic
email;internet: steinmusic@cityweb.de
note: Worldwide distributor for Ennemoser's C37 Lack ...and much more
x-mozilla-cpt: ;0
x-mozilla-html: FALSE
version: 2.1
end: vcard
- --------------591AD09B87A4EE360695559B--
=========================================================================
From: "Ed Coleman" <ecoleman@whidbey.net>
Subject: [JN] Yellow sub cd3
Date: Sat, 23 Sep 2000 15:58:18 -0700
Source: Sound Digest Archive v02.n670
This is a multi-part message in MIME format.
- ------=_NextPart_000_0006_01C02577.16E7CD80
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hi, could you tell me if the YS cd3 is in mono or stereo ? thanks Ed
- ------=_NextPart_000_0006_01C02577.16E7CD80
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>
<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#b8b8b8>
<DIV><FONT color=3D#000000 size=3D2>Hi, could you tell me if the YS cd3 =
is in mono=20
or stereo ? thanks Ed</FONT></DIV></BODY></HTML>
- ------=_NextPart_000_0006_01C02577.16E7CD80--
=========================================================================
From: "Paul@13E1.com" <triode@bow-tie.org.uk>
Subject: [JN] Yes; 7150 again!
Date: Thu, 15 Jun 2000 22:14:14 +0100
Source: Sound Digest Archive v02.n581
This site is host to great erudition; I am constantly staggered by the
expertise found here and feel privileged to be able to read the messages.
OK, that's enough oil - surely some of you wizards can tell me more about
the 7150/A1600? better still perhaps you might have one or two?
I have 8 of these and am very curious about 7150's place in valve history.
Most of the dealers have never seen one although Tube-Lore states that it
was made both by Sylvania and LM Ericsson - mine all came from the Swedish
maker.
For those who don't know it, it is a tetrode (a pure tetrode) with B9D
magnoval base; it looks like a 437a and is supposed to be similar to a 436A.
Regards,
Paul
=========================================================================
From: longrie@mmace.nrl.navy.mil
Subject: Re: [JN] Yes; 7150 again!
Date: Fri, 16 Jun 2000 13:24:04 +0100
Source: Sound Digest Archive v02.n582
Hi Paul,
Finally got in that Ericsson data manual. Bad news, it
wasn't a full data manual, just a short version featuring
long-life tubes.
regards
gary
>
>Date: Thu, 15 Jun 2000 22:14:14 +0100
>From: "Paul@13E1.com" <triode@bow-tie.org.uk>
>Subject: [JN] Yes; 7150 again!
>
>This site is host to great erudition; I am constantly staggered by the
>expertise found here and feel privileged to be able to read the messages.
>
>OK, that's enough oil - surely some of you wizards can tell me more about
>the 7150/A1600? better still perhaps you might have one or two?
>
>I have 8 of these and am very curious about 7150's place in valve history.
>
>Most of the dealers have never seen one although Tube-Lore states that it
>was made both by Sylvania and LM Ericsson - mine all came from the Swedish
>maker.
>
>For those who don't know it, it is a tetrode (a pure tetrode) with B9D
>magnoval base; it looks like a 437a and is supposed to be similar to a 436A.
>
>Regards,
>
>Paul
>
"Men wanted for hazardous journey, small wages, bitter cold,
long months of complete darkness, constant danger, safe return
doubtful. Honour and recognition in case of success."
----- Sir Ernest Shackleton
=========================================================================
From: "Paul@13E1.com" <triode@bow-tie.org.uk>
Subject: Re: [JN] Yes; 7150 again!
Date: Fri, 16 Jun 2000 19:27:30 +0100
Source: Sound Digest Archive v02.n582
Thanks Gary
> Finally got in that Ericsson data manual. Bad news, it
> wasn't a full data manual, just a short version featuring
> long-life tubes.
Oh dear! - are you saying that the 7150 was not included in the list of
long-life tubes?
Ouch!
Paul
=========================================================================
From: "Miroslav Kubala" <mikubala@swissonline.ch>
Subject: [JN] yes-construire
Date: Tue, 27 Jun 2000 17:01:03 +0200
Source: Sound Digest Archive v02.n592
Hallo
Construire HIFI exists and I have the whole collection from the first number
Tel.abonoment - Italy-744 99 40 32
Mirko
- ----- Original Message -----
From: "Joerg Buschmann" <101.27598@germanynet.de>
To: <sound@lists.io.com>
Sent: Tuesday, June 27, 2000 3:36 PM
Subject: [JN] construire
> hi joes (especially the guys from italy),
> does the mag. \"construire hifi\" still exist?
> if so - where can i buy it?
> if not so - who has collected them?
>
> btw. remember thorsten`s post about the shindo-pre? great amp,great
music,great thorsten. any idea how to do it with the 76 triode???
>
> thanks and regards!
> Jörg
=========================================================================
From: "Remco Stoutjesdijk" <r.m.stoutjesdijk@student.utwente.nl>
Subject: [JN] Yet another Arhus picture page
Date: Wed, 16 Aug 2000 01:24:55 +0200
Source: Sound Digest Archive v02.n629
Hi all,
5 Minutes ago I've completed scanning and html-ing my images taken at the
Triode Festival last week (took me 4 freakin' hours ;( ). They're up now at
http://listen.to/rmsaudio. Just click on the 'Directly Heated Swine' on the
first page.
Enjoy!
Regards,
Remco
- --
http://listen.to/rmsaudio
=========================================================================
From: SBench@aol.com
Subject: [JN] Yet another no r no c (tube+transformer+inductor) circuit
Date: Sun, 3 Sep 2000 23:35:30 EDT
Source: Sound Digest Archive v02.n652
Hi All,
This ones a push pull, produces 4 watts with 0.5% distortion at 1 watt and
2 ohm output impedance for good damping. Sounds more like a SE than PP
due to the nature of the biasing and drive arrangement.
It's at http://members.aol.com/sbench/norcpp.html
or via front door at
http://members.aol.com/sbench101
I'm actually planning one additional pass at this class of amplifier:
a 10 watt DHT SE amp.
Enjoy,
Steve
=========================================================================
From: TubeGarden@aol.com
Subject: Re: [JN] Yet another no r no c (tube+transformer+inductor) circuit
Date: Tue, 5 Sep 2000 23:41:14 EDT
Source: Sound Digest Archive v02.n654
Greets!
Following Steve's more tube, less other stuff concept, and a direct
suggestion, which was qualified with a warning that the sound may be too
lush... I removed the AA battery under the input transformer secondary and
installed a 6W4GTA under the SV83 cathode.
More tubes, more gooder sound.
Happy Ears!
Al B^}
http://hometown.aol.com/tubegarden/myhomepage/profile.html
=========================================================================
From: Rick Francis <rfrancis@glasscity.net>
Subject: [JN] Yet more weird tube queries: VU 111 S, and GL-446, and 5762
Date: Thu, 21 Jan 1999 12:42:08 -0500
Source: Sound Digest Archive v02.n005
I'd be grateful for any info on these weirdo tubes. I don't wanna be a
lazy SOB who won't look up something, but I can't find these in GE
Essential Characteristics, ARRL Manual, or any RCA manual... I have a
number of these NIB, and the VU 111 S looks interesting. Actually, GL-446
looks REALLY cool, like a little lighthouse or fortress...
BTW, I have some 6463 tubes, which seem sort of like a 12BH7, though
capable of a bit more current. Anyone ever fool with it?
thanks in advance,
Rick
=========================================================================
From: Roscoe Primrose <roscoe@aiko.com>
Subject: Re: [JN] Yet more weird tube queries: VU 111 S, and GL-446, and 5762
Date: Thu, 21 Jan 1999 19:01:08 -0500
Source: Sound Digest Archive v02.n006
My tube substituion handbook lists the 7C24 as a sub for the 5762, but I
can't find any data on that either....
Rick Francis wrote:
>
> I'd be grateful for any info on these weirdo tubes. I don't wanna be a
> lazy SOB who won't look up something, but I can't find these in GE
> Essential Characteristics, ARRL Manual, or any RCA manual... I have a
> number of these NIB, and the VU 111 S looks interesting. Actually, GL-446
> looks REALLY cool, like a little lighthouse or fortress...
>
> BTW, I have some 6463 tubes, which seem sort of like a 12BH7, though
> capable of a bit more current. Anyone ever fool with it?
>
> thanks in advance,
>
> Rick
- --
Roscoe Primrose
- -- mailto:roscoe@aiko.com -- http://www.aiko.com/roscoe --
"Once in a while you get shown the light
In the strangest of places if you look at it right." Robert Hunter
=========================================================================
From: Ross J Lahlum <rlahlum@juno.com>
Subject: Re: [JN] Yet more weird tube queries: VU 111 S, and GL-446, and 5762
Date: Thu, 21 Jan 1999 20:00:26 -0600
Source: Sound Digest Archive v02.n007
A good reference book is "Tube Lore" by Ludwell Sibley.
I didn't find the VU111S in it, but I found GL-446: a "lighthouse" UHF
planar rcvg-xmtg triode, which provided a big improvement in early
radars.
5762 is an RF-heating triode, improved 7C24 w/ smaller high-efficiency
radiator, ca. 1948
Since I've already quoted some of Mr. Sibley's material, I guess it's
only fair to say his book is worth having in your collection. While it
does not give pinouts or curves, it does supply a lot of information on a
large variety of tubes & I refer to it pretty often.
Best regards,
Ross
On Thu, 21 Jan 1999 12:42:08 -0500 Rick Francis <rfrancis@glasscity.net>
writes:
>I'd be grateful for any info on these weirdo tubes. I don't wanna be
>a
>lazy SOB who won't look up something, but I can't find these in GE
>Essential Characteristics, ARRL Manual, or any RCA manual... I have a
>number of these NIB, and the VU 111 S looks interesting. Actually,
>GL-446
>looks REALLY cool, like a little lighthouse or fortress...
>
>BTW, I have some 6463 tubes, which seem sort of like a 12BH7, though
>capable of a bit more current. Anyone ever fool with it?
>
>thanks in advance,
>
>Rick
>
>
>
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=========================================================================
From: analogtubeaudio@t-online.de (Analog Tube Audio)
Subject: [JN] Yian Shin transformer electronic
Date: Fri, 10 Nov 2000 18:32:06 +0100
Source: Sound Digest Archive v02.n728
Joe´s,
I´m looking for information about this company and their output transformer
!
Best regards
Robert
Analog Tube Audio
http://www.analogtubeaudio.de
mail@analogtubeaudio.de
Tel. +49-471-9414777
Fax. +49-471-9414778
- -----Original Message-----
From: owner-sound@lists.io.com [mailto:owner-sound@lists.io.com]On
Behalf Of Robert C Chambers
Sent: Friday, November 10, 2000 3:00 PM
To: JOELIST
Subject: [JN] PayPal: Another Take
Hi-
Check ebay #488586837 (an RCA 2A3) for some comments from an ex-PayPal
user.
Robert
=========================================================================
From: David Home <DHome@creo.com>
Subject: [JN] Yikes!! Increasing hum on VV32
Date: Fri, 17 Mar 2000 21:07:35 -0800
Source: Sound Digest Archive v02.n487
Hello friends.
I have two VV32s that have ~300 hours on them in my amps. They are AC heated
from CT windings and run 400V/100ma. When brand new, hum was 5mV per side.
One tube is now up to 8ma which is quite acceptable but the other tube is
now up to 16mV! In fact, it is gaining 1mV of hum every 10 hours now. Is
this tube dying?
Or maybe this is normal and I just have to break down and add some hum pots?
I roughed in a hum pot and did get the hum down to 5mV again. I just wonder
how stable it will be.
I speculate that one 'V' of the CT 'W' filament is now carrying more current
then the other due to an increase in resistance on one 'V'. In other words
the onset of the dreaded VV filament failure!! Just my imagination? 8^)
Any thoughts or experiences appreciated. Regards, David
=========================================================================
From: Grover Gardner <groverg@postoffice.att.net>
Subject: Re: [JN] Yikes!! Increasing hum on VV32
Date: Sat, 18 Mar 2000 07:11:03 -0500
Source: Sound Digest Archive v02.n487
At 9:07 PM -0800 3/17/00, David Home wrote:
>Hello friends.
>I have two VV32s that have ~300 hours on them in my amps. They are AC heated
>from CT windings and run 400V/100ma. When brand new, hum was 5mV per side.
>One tube is now up to 8ma which is quite acceptable but the other tube is
>now up to 16mV! In fact, it is gaining 1mV of hum every 10 hours now. Is
>this tube dying?
>Or maybe this is normal and I just have to break down and add some hum pots?
>I roughed in a hum pot and did get the hum down to 5mV again. I just wonder
>how stable it will be.
>I speculate that one 'V' of the CT 'W' filament is now carrying more current
>then the other due to an increase in resistance on one 'V'. In other words
>the onset of the dreaded VV filament failure!! Just my imagination? 8^)
>Any thoughts or experiences appreciated. Regards, David
My friend hasn't hasd any trouble with the ones I "loaned" him to
use, and it's been two years now. I think your assessment is correct
that the filament balance is shifting, and you will need those hum
pots! :-)
- -------
Grover Gardner
groverg@postoffice.att.net
=========================================================================
From: Ed Faulkner <efaulkne@wsunix.wsu.edu>
Subject: [JN] Re: Yin & Yang,
Date: Wed, 02 Jun 1999 09:41:11 -0700
Source: Sound Digest Archive v02.n164
At 06:51 PM 6/1/99 -0400, Grover Gardner wrote:
>Also, on a side note, let's all stop being so hard on the poor "audiophiles",
>eh? :-) First off there are many in this group, I'll wager, so it's only
>polite.
As one of the poor audiophiles I would like to suggest a pole of annual
equipment expences. With three kids and a state job that is about $300 for
me. Fortunatly I have been successful as a scrounge and continue to finance
some of my purchases with excess parts. (Altec throat adapters to come in
about a week).
PS: Any of the well healed audiopiles are welcome to donate SE OTs to the
address below :-)
_____________________________
Ed Faulkner \ through a child's eyes
CMT Supervisor \ sky is blue
Washington State University \ grass is green
Pullman, WA,99164 \ I want to see again
(509) 335-7566 \
efaulkne@wsu.edu \______________________
=========================================================================
From: Allen Wright <AllenVSE@compuserve.com>
Subject: [JN] Re: Yin & Yang
Date: Fri, 4 Jun 1999 19:23:08 -0400
Source: Sound Digest Archive v02.n169
Grover wrote:
>>> I do not listen to a direct-feed from a recording
studio. I am dealing with a CD or LP which has information imbedded on it,
and my goal is to get as much of that information to my ears as possible,
regardless of the quality of that information<<<
Exactly!
The question of why major changes to lister enjoyment can be had by (say)
removing an op-amp from an otherwise all tube home replay path has been
keeping audiphillacs awake for longer than the existance of this Joelist.
And the only answer I have had to it is that 95% of a studio's signal paths
that use such _offensive_ devices (op-amps, tantalum caps, excessive
switches etc etc) is only handling a relatively simple signal.
Generally it is only in the final mixdown that the whole wash of channels
are brought together - before that each mic preamp, tape channel, tape
replay amp, mixer input channel with EQ, effects units etc etc are normally
only handling the output of one mic - which may be handling only one
instrument/voice etc.
So the chance of serious intermod etc from all of these devices is
minimised, or at least it's a possibility.
I know from experience if you pass a full range music signal (from say a CD
player) right through a regular "full of op-amps" mixing desk - what comes
out the other side is pretty degraded, yet when it is being used in a live
mixing situation where only the final summing op-amp has to carry the full
"complex" signal - it sounds almost acceptable...
Allen (VSE)
=========================================================================
From: Grover Gardner <groverg@postoffice.att.net>
Subject: Re: [JN] Re: Yin & Yang
Date: Fri, 04 Jun 1999 22:57:21 -0400
Source: Sound Digest Archive v02.n169
Yes, Allen. Why do the old Mercury "Living Presence" recordings sound so
good? Three mikes into one three-track tape deck...period.
Allen Wright wrote:
>
> Grover wrote:
>
> >>> I do not listen to a direct-feed from a recording
> studio. I am dealing with a CD or LP which has information imbedded on it,
> and my goal is to get as much of that information to my ears as possible,
> regardless of the quality of that information<<<
>
> Exactly!
>
> The question of why major changes to lister enjoyment can be had by (say)
> removing an op-amp from an otherwise all tube home replay path has been
> keeping audiphillacs awake for longer than the existance of this Joelist.
>
> And the only answer I have had to it is that 95% of a studio's signal paths
> that use such _offensive_ devices (op-amps, tantalum caps, excessive
> switches etc etc) is only handling a relatively simple signal.
>
> Generally it is only in the final mixdown that the whole wash of channels
> are brought together - before that each mic preamp, tape channel, tape
> replay amp, mixer input channel with EQ, effects units etc etc are normally
> only handling the output of one mic - which may be handling only one
> instrument/voice etc.
>
> So the chance of serious intermod etc from all of these devices is
> minimised, or at least it's a possibility.
>
> I know from experience if you pass a full range music signal (from say a CD
> player) right through a regular "full of op-amps" mixing desk - what comes
> out the other side is pretty degraded, yet when it is being used in a live
> mixing situation where only the final summing op-amp has to carry the full
> "complex" signal - it sounds almost acceptable...
>
> Allen (VSE)
>
>
- --
Grover Gardner
groverg@postoffice.att.net
=========================================================================
From: Roscoe Primrose <roscoe@aiko.com>
Subject: Re: [JN] Re: Yin & Yang
Date: Fri, 04 Jun 1999 23:13:52 -0400
Source: Sound Digest Archive v02.n169
Grover Gardner wrote:
>
> Yes, Allen. Why do the old Mercury "Living Presence" recordings sound so
> good? Three mikes into one three-track tape deck...period.
>
Gotta be a little more than that, unless you're listening to three-track
tapes at home...
Peace
- --
Roscoe Primrose
- -- mailto:roscoe@aiko.com -- http://www.aiko.com/roscoe --
"Once in a while you get shown the light
In the strangest of places if you look at it right." Robert Hunter
=========================================================================
From: Grover Gardner <groverg@postoffice.att.net>
Subject: Re: [JN] Re: Yin & Yang
Date: Sat, 05 Jun 1999 01:42:26 -0400
Source: Sound Digest Archive v02.n170
Roscoe Primrose wrote:
>
> Grover Gardner wrote:
> >
> > Yes, Allen. Why do the old Mercury "Living Presence" recordings sound so
> > good? Three mikes into one three-track tape deck...period.
> >
>
> Gotta be a little more than that, unless you're listening to three-track
> tapes at home...
As I replied to Roscoe, and neglected to forward to the list...
Not much, if you believe their literature. The master tapes were transferred
directly to lacquer master disc with minimal mixing. The CD transfers are
apparently done in a similarly uncomplicated fashion.
Allen's point was that complex studio systems usually delegate one track/mic
to a single instrument or group of similar instruments, whereas a home system
has to handle the whole tamale at one swoop, possibly calling for a different
set of parameters. The argument is often made that a lot of fine recordings
were made using complex equipment, so why should we be so fussy about the
little details of our reproducing chain? But some of the best recordings I
own were made with minimal equipment--BEN WEBSTER LIVE AT THE RENAISSANCE,
possibly the best capture of a jazz combo I've ever heard; Wally Heider's
incredible aural photographs of the Duke Ellington orchestra in concert during
the late '50's (on Saja and Flying Dutchman CDs); Keith Johnson's early
Reference Recordings, etc. There were a lot of engineers even then who didn't
think that complicated studio stuff was such a good idea...
To my ears the Living Presence recordings sound vastly more undistorted and
realistic than even the best of the "Living Stereo" stuff. Check out
Columbia's recent reissue of the Basie/Ellington "Battle Royal" from c.
1960--this is "classic" sound? Distortion, overload, phase problems, shitty
frequency response, weird panning and placement. The spirit of the music is
fairly intact, but it is impossible to correlate what one hears on the disc
with photos of the actual session included in the booklet. OTOH one might
infer that the horrific tangle of wires and microphones as pictured didn't
help any.
- --
Grover Gardner
groverg@postoffice.att.net
=========================================================================
From: "Carter Hendricks" <carter@i1.net>
Subject: Re: [JN] Re: Yin & Yang
Date: Sat, 5 Jun 1999 12:50:46 -0500
Source: Sound Digest Archive v02.n170
- -----Original Message-----
From: Grover Gardner <groverg@postoffice.att.net>
To: sound@lists.io.com <sound@lists.io.com>
Date: 05 June, 1999 1:08 AM
Subject: Re: [JN] Re: Yin & Yang
>...some of the best recordings I own were made
>with minimal equipment--BEN WEBSTER LIVE
>AT THE RENAISSANCE, possibly the best capture
>of a jazz combo I've ever heard...
Yeah.
Though I don't think Ben Webster is at his best or most
comfortable on that recording. Tom Ronan says he can
tell what I am listening to by what is stacked on the floor.
The Ben Webster stuff on the floor is Benny Carter's
"Jazz Giant," Lionel Hampton's "You Better Know It,"
Billie Holiday's "Body & Soul," and a CD of "Ben Webster
meets Oscar Peterson." All are simple recordings, for
sure, but I think Ben Webster is in more relaxed company
and plays better. I think it especially interesting how
Oscar Peterson can [and wanted to] adapt his playing
style to the power of Webster's sax.
--Carter
=========================================================================
From: Grover Gardner <groverg@postoffice.att.net>
Subject: Re: [JN] Re: Yin & Yang
Date: Sat, 05 Jun 1999 16:17:32 -0400
Source: Sound Digest Archive v02.n170
Carter Hendricks wrote:
>
> -----Original Message-----
> From: Grover Gardner <groverg@postoffice.att.net>
> To: sound@lists.io.com <sound@lists.io.com>
> Date: 05 June, 1999 1:08 AM
> Subject: Re: [JN] Re: Yin & Yang
>
> >...some of the best recordings I own were made
> >with minimal equipment--BEN WEBSTER LIVE
> >AT THE RENAISSANCE, possibly the best capture
> >of a jazz combo I've ever heard...
>
> Yeah.
>
> Though I don't think Ben Webster is at his best or most
> comfortable on that recording. Tom Ronan says he can
> tell what I am listening to by what is stacked on the floor.
> The Ben Webster stuff on the floor is Benny Carter's
> "Jazz Giant," Lionel Hampton's "You Better Know It,"
> Billie Holiday's "Body & Soul," and a CD of "Ben Webster
> meets Oscar Peterson." All are simple recordings, for
> sure, but I think Ben Webster is in more relaxed company
> and plays better. I think it especially interesting how
> Oscar Peterson can [and wanted to] adapt his playing
> style to the power of Webster's sax.
Oh, my, I disagree! I think he's in splendid form, and Jimmy Rowles is
marvelously inventive and compatible. If you believe the liner notes, Webster
actually requested that the date be recorded--he felt he had rarely played
with a group more sympathetic to his style. But perhaps he'd been suffering a
dry spell of good company during his previous club dates, which given the time
period is entirely possible.
- --
Grover Gardner
groverg@postoffice.att.net
=========================================================================
From: "Carter Hendricks" <carter@i1.net>
Subject: Re: [JN] Re: Yin & Yang
Date: Sat, 5 Jun 1999 19:26:12 -0500
Source: Sound Digest Archive v02.n170
- -----Original Message-----
From: Grover Gardner <groverg@postoffice.att.net>
To: Carter Hendricks <carter@i1.net>
>Carter wrote:
>> Though I don't think Ben Webster is at his best or most
>> comfortable on that recording.
>Oh, my, I disagree!
OK. I'll dig out my copy of "Renaissance,"
you look for some of the others...
Ben Webster did so many great recordings,
from Stardust on Fargo to this light-hearted
"The Horn-1944" to a few melancholy
recordings in Europe in his last year of
life...
=========================================================================
From: Grover Gardner <groverg@postoffice.att.net>
Subject: Re: [JN] Re: Yin & Yang
Date: Sat, 05 Jun 1999 23:58:17 -0400
Source: Sound Digest Archive v02.n170
Carter Hendricks wrote:
> >Carter wrote:
>
> >> Though I don't think Ben Webster is at his best or most
> >> comfortable on that recording.
>
> >Oh, my, I disagree!
>
> OK. I'll dig out my copy of "Renaissance,"
> you look for some of the others...
>
> Ben Webster did so many great recordings,
> from Stardust on Fargo to this light-hearted
> "The Horn-1944" to a few melancholy
> recordings in Europe in his last year of
> life...
I'll second everything you mentioned as being great Webster, no question
there. Do you have the Mulligan/Webster duets on Verve? This is certainly
some of his best work. Also neat are the "with strings" recordings recently
reissued by Verve (and check out the Harry Carney string date tacked onto the
second disc, with no reference to it on the cover! These are really cool...).
I also like the "Warm Moods" album with string quartet, though Johnny
Richardson is not my favorite arranger.
I guess I have a sentimental spot in my heart for the "Renaissance" session--I
love Rowles' work and the atmosphere is captured so wonderfully.
- --
Grover Gardner
groverg@postoffice.att.net
=========================================================================
From: Steve Berger <aprilsound@earthlink.net>
Subject: Re: [JN] Re: Yin & Yang
Date: Sun, 06 Jun 1999 00:48:27 -0400
Source: Sound Digest Archive v02.n170
Grover Gardner wrote:
>
> Carter Hendricks wrote:
> >
> > -----Original Message-----
> > From: Grover Gardner <groverg@postoffice.att.net>
> > To: sound@lists.io.com <sound@lists.io.com>
> > Date: 05 June, 1999 1:08 AM
> > Subject: Re: [JN] Re: Yin & Yang
> >
> > >...some of the best recordings I own were made
> > >with minimal equipment--BEN WEBSTER LIVE
> > >AT THE RENAISSANCE, possibly the best capture
> > >of a jazz combo I've ever heard...
> >
> > Yeah.
> >
> > Though I don't think Ben Webster is at his best or most
> > comfortable on that recording. Tom Ronan says he can
> > tell what I am listening to by what is stacked on the floor.
> > The Ben Webster stuff on the floor is Benny Carter's
> > "Jazz Giant," Lionel Hampton's "You Better Know It,"
> > Billie Holiday's "Body & Soul," and a CD of "Ben Webster
> > meets Oscar Peterson." All are simple recordings, for
> > sure, but I think Ben Webster is in more relaxed company
> > and plays better. I think it especially interesting how
> > Oscar Peterson can [and wanted to] adapt his playing
> > style to the power of Webster's sax.
>
> Oh, my, I disagree! I think he's in splendid form, and Jimmy Rowles is
> marvelously inventive and compatible. If you believe the liner notes, Webster
> actually requested that the date be recorded--he felt he had rarely played
> with a group more sympathetic to his style. But perhaps he'd been suffering a
> dry spell of good company during his previous club dates, which given the time
> period is entirely possible.
> --
> Grover Gardner
> groverg@postoffice.att.net
Hi All:
I must agree with Grover!!
I think that BW is at his most fun hapnin, most relaxed, most
spontaineous on "Live at the Ren..." And, it happens to be one of the
great examples of live recording.
Give Rowles another listen. Theres a reason he was everybodys favorite
accomanist.
I might say that there are a few Bombs dropped by the drummer.
All that aside, Pull out BW at the Ren...........
Steve
- --
Steve Berger <http://home.earthlink.net/~aprilsound/>
=========================================================================
From: Christian Rintelen <rintelen@datacomm.ch>
Subject: Re: [JN] Re: Yin & Yang
Date: Mon, 07 Jun 1999 08:55:33 +0200
Source: Sound Digest Archive v02.n171
I have several pressings of "Live at the Renaissance". The best one is a
test pressing of the recent reissue -- more dynamic than the following
"original reissue. But my favourite BW recording is the wonderfully
relaxed "Rosita" on "Coleman Hawkins encouters Ben Webster". With
Peterson on piano...
Christian
Carter Hendricks wrote:
> >...some of the best recordings I own were made
> >with minimal equipment--BEN WEBSTER LIVE
> >AT THE RENAISSANCE, possibly the best capture
> >of a jazz combo I've ever heard...
>
> Yeah.
>
> Though I don't think Ben Webster is at his best or most
> comfortable on that recording. [snip]I think it especially interesting
> how
> Oscar Peterson can [and wanted to] adapt his playing
> style to the power of Webster's sax.
=========================================================================
From: Thomas Dunker <dunker@invalid.ed.ntnu.no>
Subject: Yin & Yang, was Re: Sv: [JN] Flames:
Date: Tue, 1 Jun 1999 23:08:26 +0200 (CEST)
Source: Sound Digest Archive v02.n161
On 1 Jun 1999 Torsten.Loesch@enhar-ha.nthames.nhs.uk wrote:
> There is ONE position only where a Cathode Follower can work, when it drives
> the (under small signal conditions at least) near infinite AC Impedace of the
> Grid Terminal of a Power-Triode. Even in this case it is a compromise and no
> plain old CF can be used with significant success (been there done that).
I guess Kondo-San's Ongaku and most of the other SE amps from AN Japan
using the same topology shouldn't have had "significant success" either?
All components and topologies have their particular problems. For
example, any output transformer will have problems/limitations that are
just as obvious as those of a CF. Tubes have different characteristics and
both sound and measure differently. This displayed generalization really
upsets me. One two foot stretch of wire or one single stage in an
extremely long and partly unknown signal chain can't make or break the
final result by itself. If you can't live with a CF, a piece of cheap
wire or garden variety solder, how can you live with the hundreds of
op-amps, tantalum or alu 'lytic coupling caps, signal processors,
equalizers, filters, limiters and compressors, digital reverb units
or whatever else the poor signal may have made its way thru in the studio?
What kind of recordings can you listen to and enjoy at this level of
obsession with tiny details in the engineering?
It's as if some listeners will judge sound quality without bias based
on knowledge about the technology involved. They don't care because they
don't understand the inner workings of the equipment anyway. Then there's
those who seem to make up their mind about an amp just by studying the
diagram. Any design, and especially an amplifier, has a number of stages
and components which TOGETHER produce the end result. If you drive say an
SE triode amp to its limits because of poor speaker efficiency, there will
be more grid current and more of a challenge to the driver stage. Or the
opposite if the amp operates with a few tens of milliwatts output
power. These things can easily be more important to the "performance" of
the amp than its design. HOW you use an entire amp, or a single stage in
the amp, or a single component in one stage etc. is just as important.
Everywhere in an audio system, if a part is "abused", challenged far
enough beyond its capabilities, or just improperly applied for the
purpose, there will be audible and probably measurable deterioration of
the reproduction quality. This is equally true for amplifying stages,
power supplies, transducers, (mikes, cutting heads, pick-ups,
speakers...) transformers etc. And few, if any, components are independent
of their surroundings or working conditions. An amp performs according to
its load, a speaker performs according to the amp driving it and the room
it's placed in, etc. etc.
If I were asked to name the single thing that upsets me most about the
way most people evaluate audio gear, it would have to be this:
"We" believe that we can examine one tiny piece of a long, complex chain
in which all the stages are imperfect and interdependent and then make a
general, objective assessment of that single small part of the whole.
This is how most equipment reviews are done, the public demands it,
because we all have different systems. Still it keeps us from
understanding what makes a good SYSTEM. A good system, whether in
politics, an industrial facility, a computer, etc. is about how each
part works in conjunction with its "partners", what is demanded from it
by surrounding functions, how well it is suited for the application etc.
I believe an audio reproducing system works the same way and should be
handled accordingly.
For this reason I have given up all the commercial audio magazines. I
don't need to know what a given component "sounds like" in somebody else's
system. That's all these reviews and tests can tell me. Countless factors
will be different if I put the same component into my own system. As much
as I'd be "listening to the same component", it would now be a different
component because it was placed in a completely different system, which
would certainly *sound* completely different anyway.
It does seem to me that this logic escapes very many audio buffs.
Instead, they read or hear somewhere that this or that speaker, amp,
whatever is fabulous and conclude that it will improve their system,
since it's a new "reference" or test winner or whatever. So they buy
the thing, put it in their system, and before you know it, somebody
established a new "reference", out goes the old reference which doesn't
cut it anymore, and in goes the new one. This applies to all parts of
the poor owner's system, and there is a cyclic replacement of all parts,
so that the entire system is most likely replaced altogether before
the owner got the chance to optimize it as a *system*. Instead there is
an empirical and more or less random mix'n'match process going on all the
time. The classified used equipment ads in the magazines are there to
prove it.
Anyway, I'm trying to build a good system, not a bunch of good components
wired together, if you know what I mean. That may mean that I design or
build amps specifically for driving one driver or sub-part of the
speaker, which is of course a system in its own right, and if the
combination works as intended, it stays that way and I shift the focus to
a different part of the system. Obviously, some empirism is necessary
in order to do this, but for the umpteenth time, what's important is how
each part does what it's meant to be doing, and how well the surrounding
parts allow it to do that job. Basically, the right tools for the job.
The right tool for me may not be the right for you and vice versa.
As far as CFs go, I no longer care what the other guy thinks. It's just
one out of many examples. Discusions about SE vs. PP, triode vs. pentode
vs. transistor, feedback vs. no feedback, digital vs. analog are all
fundamentally alike, because people get passionate trying to convince
each other how crucially important one small part of the whole is,
disregarding everything else that interacts to produce a working system.
I, for one, find "system building philosophy" a great deal more
interesting than this bug-eyed blaming/blessing of each and every small
detail.
The way in which components interact and compromise or improve each
other's performance is to me central to the whole process and the rough
work on this can be much helped by objective knowledge/understanding,
experiments, "science", measurements etc. The dry, objective part is not
that valuable unless one understands the implications and learns how
to apply theory. Blind subjectivism and sole dependence on perception
alone seems equally fruitless. I just wish the debate wouldn't always be
so polarized and boil down to comforting generalizations about each
wheel in the big machine. It's just not that simple, I'm afraid.
Tom D.
- ------------------------------------------------------------------------
_/\_ Thomas Dunker \ The Horn Speaker Home Page:
/ \ P.O.Box 2811 \ http://invalid.ed.ntnu.no/~dunker/horns.html
| | 7002 Trondheim \
| | NORWAY \--\ "Those with head above water
\____/ dunker@omegav.ntnu.no \ see only the tip of the iceberg"
|||| phone: (+47)73911068 \ (Gene Dalby)
- ------------------------------------------------------------------------
=========================================================================
From: Grover Gardner <groverg@postoffice.att.net>
Subject: Re: Yin & Yang, was Re: Sv: [JN] Flames:
Date: Tue, 01 Jun 1999 18:44:32 -0400
Source: Sound Digest Archive v02.n162
Thomas Dunker wrote:
> If you can't live with a CF, a piece of cheap
> wire or garden variety solder, how can you live with the hundreds of
> op-amps, tantalum or alu 'lytic coupling caps, signal processors,
> equalizers, filters, limiters and compressors, digital reverb units
> or whatever else the poor signal may have made its way thru in the studio?
> What kind of recordings can you listen to and enjoy at this level of
> obsession with tiny details in the engineering?
I agree with much of what you posted, Tom, but I'd would take issue with the
above. I hear it a lot used as an argument against being overly concerned
with the details of one's system.
In fact, I am not dealing with miles of microphone cable and op-amps and so
forth in my living room. I do not listen to a direct-feed from a recording
studio. I am dealing with a CD or LP which has information imbedded on it,
and my goal is to get as much of that information to my ears as possible,
regardless of the quality of that information. So my system consists (in this
case) of a CD player, an amplifier, a pair of speakers and two sets of cables.
That's not very much equipment, and small changes in the system can make a
lot of difference as to how much or how little of the source I get to hear,
and how successfully it translates into music. I am not responsible for the
quality of the source, but I am responsible for the way my personal audio
chain reproduces that source.
- --
Grover Gardner
groverg@postoffice.att.net
=========================================================================
From: Grover Gardner <groverg@postoffice.att.net>
Subject: Re: Yin & Yang, was Re: Sv: [JN] Flames:
Date: Tue, 01 Jun 1999 18:51:28 -0400
Source: Sound Digest Archive v02.n162
Also, on a side note, let's all stop being so hard on the poor "audiophiles",
eh? :-) First off there are many in this group, I'll wager, so it's only
polite. Secondly, some of my best friends are audiophiles! Audio as a
widespread hobby is relatively new and already we're seeing changes in the
trends. Many of the younger guys I hang with wouldn't think of spending what
some of us older guys spent, or considered spending, on audio equipment in the
80's. Just ask the dealers! :-) And as for the audio mags, well, if you
don't know anything about it, where else do you start? If I wanted to buy a
new motorcycle, I'd be picking up the motorcycle mags to learn more about
them, and surely they are just as full of advertising and industry hype as any
other field. How would I know what was hype and what wasn't?
- --
Grover Gardner
groverg@postoffice.att.net
=========================================================================
From: Jeff Mai <jeffmai@kscable.com>
Subject: [JN] YL Acoustic, anyone heard of it?
Date: Tue, 20 Jul 1999 13:13:09 -0500
Source: Sound Digest Archive v02.n208
Have any of you heard of YL Acoustic? I saw some compression drivers and
tweeters made by this company on a Japanese used audio site. They were
rather expensive. The tweeters look like Onken OS-5000 copies and the
compression drivers look like WE555 copies.
Jeff
jeffmai@kscable.com
=========================================================================
From: Jeff Mai <jeffmai@kscable.com>
Subject: RE: [JN] YL Acoustic, anyone heard of it?
Date: Tue, 20 Jul 1999 14:44:45 -0500
Source: Sound Digest Archive v02.n208
I just noticed a Yoshimura Laboratory compression driver mentioned as being
used in one of the Japanese systems pictured on Tom Dunker's site.
Apparently this is the same company as YL Acoustic. I'd still like to
know if these drivers are well regarded, if anyone knows.
Thanks,
Jeff
jeffmai@kscable.com
On Tuesday, July 20, 1999 1:13 PM, Jeff Mai [SMTP:jeffmai@kscable.com]
wrote:
> Have any of you heard of YL Acoustic? I saw some compression drivers and
> tweeters made by this company on a Japanese used audio site. They were
> rather expensive. The tweeters look like Onken OS-5000 copies and the
> compression drivers look like WE555 copies.
>
> Jeff
> jeffmai@kscable.com
=========================================================================
From: dslagle@earthlink.net (dave slagle)
Subject: Re: [JN] You chaps are amasing
Date: Fri, 5 Oct 2001 13:06:42 -0400
Source: Sound Digest Archive v02.n988
lets se how amused you are when the person who offers to accept the tubes
starts asking about plans for a 10 amp :-)
just be glad kurt isn't stateside.... and don't trust jeremy, he is just
now catching onto the the scams of the underbelly of the joe.
dave
=========================================================================
From: S.C.Busbridge@bton.ac.uk
Subject: [JN] You chaps are amasing
Date: Fri, 5 Oct 2001 17:08:16 +0100
Source: Sound Digest Archive v02.n988
I mean it - within just a few hours my inbox had several dozen offers of
help. Truely amasing.
Thanks to all.
Simon
Simon Busbridge, BSc(Hons) PhD CPhys MInstP
School of Engineering
University of Brighton
Lewes Road
Moulsecoomb
Brighton BN2 4GJ
UNITED KINGDOM
Tel: 0044 (0)1273 642542
Fax: 0044 (0)1273 642327/642301
e-mail: s.c.busbridge@bton.ac.uk, scbusbridge@hotmail.com
Audio www site: http://audio.eng.bton.ac.uk
=========================================================================
From: SBench@aol.com
Subject: Re: [JN] you gave me hope (was "need circuit" and "sorry..." or something)
Date: Sun, 1 Oct 2000 21:32:42 EDT
Source: Sound Digest Archive v02.n682
In a message dated 00-10-01 18:30:00 EDT, fishfish@yifan.net writes:
> In a given circuit (basically http://www.infomaniak.ch/~bonavolt/el34_1.htm
> in my case). Could I just remove the "negative feedback" (or in my
case.....
> what I think is "negative feedback) and triode wire my EL34's? Without
> changing anything in the rest of the circuit? My experience tells me
> otherwise.
>
> Thanx for all the input!
>
> Tom André "full of belligerency" Hansen
>
As a first try, the feedback is the R/C coming from the speaker
(6.2k etc). Remove it. Also triode the EL34 by connecting the end
of the 1k resistor going to the screen taps on the output transformer
to the plate instead. Bias ought to be more or less correct, since
the screen voltage remains the same as it was.
You may need to reduce circuit gain, but try that first.
Best Regards,
Steve
=========================================================================
From: =?iso-8859-1?Q?Tom_Andr=E9_Hansen?= <fishfish@yifan.net>
Subject: [JN] you gave me hope (was "need circuit" and "sorry..." or something)
Date: Mon, 2 Oct 2000 00:24:35 +0200
Source: Sound Digest Archive v02.n682
On Friday I gave my pp EL34 amp an other chance. Tried removing, what I believe is, the "negative fe
edback". Listening through my cheap fullrange loudspeakers (I have some cheap fr drivers that I use
when I tinker.... If things don't blow up, I try with my not so cheap fr drivers) something clearly
happened. It did seem to be an improvement. Then something was even more clear. I surely don't know
what the h*** I'm doing because my contraption do seem to think it's a "smokemachine". Ok something
was wrong, but (even more) sadly I had to go up to the cottage for the weekend. Be all social and st
uff. Blah! :)
In a given circuit (basically http://www.infomaniak.ch/~bonavolt/el34_1.htm in my case). Could I jus
t remove the "negative feedback" (or in my case..... what I think is "negative feedback) and triode
wire my EL34's? Without changing anything in the rest of the circuit? My experience tells me otherwi
se.
Thanx for all the input!
Tom André "full of belligerency" Hansen
=========================================================================
From: Scott Grammer <tubedude@cdc.net>
Subject: [JN] You gotta look at this:
Date: Wed, 30 Jun 1999 20:28:42 -0400
Source: Sound Digest Archive v02.n193
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=122478769
This is an --ancient-- tube amp for sale on ebay. Usual disclaimer, no
connection with seller, yadda yadda.
S.G.
- --
TubeDude's Webpage of Vacuum Tube Lore! http://www.cdc.net/~tubedude/
Smoke Free Youth! http://www.cdc.net/~tubedude/smokefreeyouth.html
The Price of Privacy. http://www.cdc.net/~tubedude/privacy.html
"The nice thing about standards is that you have so many to choose
from."
-- Andrew S. Tanenbaum, _Computer Networks_, 2nd ed, p.254
=========================================================================
From: Joseph Lowe <jlowe@cdc.net>
Subject: Re: [JN] You gotta look at this:
Date: Thu, 1 Jul 1999 00:29:55 -0400 (EDT)
Source: Sound Digest Archive v02.n193
On Wed, 30 Jun 1999, Scott Grammer wrote:
> http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=122478769
>
> This is an --ancient-- tube amp for sale on ebay.
I really like how they used an ST '50 in place of an 81 rectifier. It will
work, but what a waste! I have a pair of Tungsol '81s which are just '50s
with the grids left out... The saddest thing I ever saw.
=========================================================================
From: "PEARL Cust Serv" <custserv@pearl-hifi.com>
Subject: [JN] Your Attenuator Calc
Date: Tue, 16 Feb 1999 18:43:38 -0700
Source: Sound Digest Archive v02.n046
Hi:
Cool calculator, but what's really needed is an 'L' type so that the
signal passes through only one series resistor. And rather than having 'n'
different series resistors of odd values (where ''n' = the no. of atten.
positions), let one std-value resistor ''serve'' several switch positions,
while varying the the shunt value. The total, input 'R' will vary somewhat
but if this was kept within, say 10-15% that would be more than adequate for
the great majority of needs and the parts count would be reduced and
simplified...
Thanks
http://www.clarkson.edu/~stokessd/attenuator_frame.html
Bill Perkins, PEARL Inc.
2528 19 St. S.W., Calgary, Ab.,
Canada T2T 4X3
Ph. 1 403 244 4434 Fx. 1 403 244 9026
=========================================================================
From: Torsten.Loesch@enhar-ha.nthames.nhs.uk
Subject: Re: [JN] Your Attenuator Calc
Date: 17 Feb 1999 10:11:40 +0000
Source: Sound Digest Archive v02.n046
Hi,
> Cool calculator, but what's really needed is an 'L' type so that the
> signal passes through only one series resistor.
Well, for any halfbaked user of Excel 4,5,7,8 and 2000 (what an inflation of
version numbers) this is an easy task. Just use lookup tables with the
available Values, specify the attenuation steps and the nominal Resistance as
well as the maximum tolerance. Let the optimiser do it's worst....
That's how I did it.
For anyone lazy, Goldpoint has the detailed construction plans for their
24-position Attenuators on-line, for values form 600 Ohm to 250KOhm.... I
don't have the website handy, but I'm sure someone else can fill in....
Ciao Thorsten
=========================================================================
From: "PEARL Cust Serv" <custserv@pearl-hifi.com>
Subject: [JN] Your Inquiries re: PEARL Magnetics
Date: Thu, 08 Apr 1999 13:12:41 -0600
Source: Sound Digest Archive v02.n114
Hi All:
To all of you who have inquired about the various magnetic components we
(will) make I offer the following:
- we will produce non-swinging cokes in a variety of voltage and
current ranges suitable for use in power supplies for pre-amps and power
amps. These will be exclusively, "four coil" types for use with four
terminal capacitors in 'H'-section filter networks. I'll post a .gif of this
topology to the list unless I receive a significant number of 'nays'
- we will produce a range of power transformers over a similar VA
spread. These will be four coil types; two coils for the pri and two coils
for the secondary(s). The primaries will be wound in perfect symmetry with
balanced 'C' from each 'low' end of each half-primary to the core, the
secondary(s) will be wound the same way. By these means, these transformers
will make most effective use of balanced power should anyone want to
purchase one of our LARGE balanced, isolation transformers and arrange for
it's installation.
- we will produce two, balanced, isolation transformers that have twice
the weight of core per VA than is normally the case. The reason for this is
to raise the primary inductance to the point where the no-load (essentially
quadrature) excitation current is reduced to an absolute minimum. This is an
important requirement as the device will be connected across the 110-0-110
mains 24/7 and would otherwise cost $100.00-300.00/yr with it's consumption
of "wattless" excitation VA. Note that this product is some way away from
completion.
- we will produce at least two PRECISELY balanced, push-pull output
transformers, one in the 280W range @15Hz and another in the 25-30W range
@15Hz. We have produced a detailed PDF document on the larger device and
will mail that to anyone who requests it.
We have been working with our c-core supplier to develop a hybrid
80%Ni/3%SiFe core. I have just rec'd the first price quotes and am floored.
More work is needed to get the very high cost down to a reasonable level.
- with only one exception, all of our magnetics are wound on c-cores, NO
toroids, NO EI or UI stacks. . .
Contray to ALL the balony, malarckey, geekspeak, techno-babble and
virtual white papers SO commonly seen in this industry, a c-core is the only
core configuration that is optimally suitable for almost any transformer
intended for use at power below 50kHz. Period. . . .
. . . and, for the moment . . . .
THAT'S ALL FOLKS
Bill Perkins, PEARL Inc.
2528 19 St. S.W., Calgary, Ab.,
Canada T2T 4X3
Ph. 1 403 244 4434 Fx. 1 403 244 9026
=========================================================================
From: "PEARL Cust Serv" <custserv@pearl-hifi.com>
Subject: Re: [JN] Your Inquiries re: PEARL Magnetics
Date: Thu, 08 Apr 1999 20:23:14 -0600
Source: Sound Digest Archive v02.n115
Torbjørn Lien mdrivekl@online.no wrote:
> Bill PEARL wrote: (snip)
>
>> - we will produce two, balanced, isolation transformers that
>> have twice the weight of core per VA than is normally the
>> case. The reason for this is to raise the primary inductance
>> to the point where the no-load (essentially quadrature)
>> excitation current is reduced to an absolute minimum. This is
>> an important requirement as the device will be connected
>> across the 110-0-110 mains 24/7 and would otherwise cost
>> $100.00-300.00/yr with it's consumption of "wattless"
>> excitation VA.
>
> Ehm,-sounds nice, but alittle expensive...It is BTW customary to
> "null out" exitation VA with a suitable "motor-cap" in parallell
> with the primary,- forming a paralell resonnant circuit.......Is
> anything wrong with doing so? I'd guess there would only be
> advantages.....
>
> Regards, Torbjoern Lien
- -----------------------------
Hi:
Hmmmm......... interesting idea, I should know this already and just
dash you off an authoritive answer. . . .
Instead, I'm going to mull it over at morning coffee tomorrow. . .
I'll get back to you. . .
Bill Perkins - PEARL
=========================================================================
From: "=?ISO-8859-1?Q?Torbj=F8rn_Lien?=" <mdrivekl@online.no>
Subject: Re: [JN] Your Inquiries re: PEARL Magnetics
Date: Fri, 9 Apr 1999 01:48:08 +0200
Source: Sound Digest Archive v02.n115
Bill PEARL wrote: (snip)
> - we will produce two, balanced, isolation transformers that
> have twice the weight of core per VA than is normally the
> case. The reason for this is to raise the primary inductance
> to the point where the no-load (essentially quadrature)
> excitation current is reduced to an absolute minimum. This is
> an important requirement as the device will be connected
> across the 110-0-110 mains 24/7 and would otherwise cost
> $100.00-300.00/yr with it's consumption of "wattless"
> excitation VA.
Ehm,-sounds nice, but alittle expensive...It is BTW customary to
"null out" exitation VA with a suitable "motor-cap" in parallell
with the primary,- forming a paralell resonnant circuit.......Is
anything wrong with doing so? I'd guess there would only be
advantages.....
Regards, Torbjoern Lien
>
>
>
=========================================================================
From: "Frank Deutschmann" <Frank_Deutschmann@trepp.com>
Subject: Re: [JN] Your Inquiries re: PEARL Magnetics
Date: Fri, 9 Apr 1999 11:04:02 -0400
Source: Sound Digest Archive v02.n117
"Torbj?rn Lien" <mdrivekl@online.no> on 04/08/99 07:48:08 PM
To: sound@lists.io.com
cc: (bcc: Frank Deutschmann/Trepp)
Subject: Re: [JN] Your Inquiries re: PEARL Magnetics
Ehm,-sounds nice, but alittle expensive...It is BTW customary to
"null out" exitation VA with a suitable "motor-cap" in parallell
with the primary,- forming a paralell resonnant circuit.......Is
anything wrong with doing so? I'd guess there would only be
advantages.....
I think that adding such a power factor correcting cap would be desireable;
it is done so that the load presented to the utility is non-inductive (and
ideally non-capacitive, too; i.e.: pure resistive). Reactive loads do not
consume real power in and of themselves; rather, the reactive load wastes
power in the form of resistive heating of the supply wiring. Industrial
customers pay an increased tarriff for reactive loads, which is why you
often see large capacitor farms at the supply entrance to an industrial
facility. While residential customers do not pay compensation to the
utility for reactive loads, a power factor corecting cap should ever so
slightly decrease the cost of operating inductive loads (such as a tube
amp) as it will reduce the power wasted in resistive losses caused by the
"current shuffling" associated with the inductive load. For a transformer
with a large excitation current, the savings may well be significant.
As for downsides, I too don't see any -- other than possibly making the cap
too big, which would not be good. (You want to hit resonance, neither over
nor under.)
In recent years, with the mass deployment of switching power supplies,
utilities have become quite concerned about power pollution partly arising
from non-resistive loads, and they (and the power supply designers that
have to live in the regulatory framework) have pushed the development of
more advanced power factor correction systems. These devices make use of
almost magical circuits to always present a purely resistive load to the
utility, no matter what the penultimate load is like. It would be
interesting to try one of these active power factor correcting devices and
see its effects on sound.
- -frank
=========================================================================
From: Jeremy Epstein <jepstein@shwd.com>
Subject: [JN] Your JoeNet post
Date: Mon, 27 Dec 1999 11:54:51 -0500
Source: Sound Digest Archive v02.n372
Jusrt a reminder to please consider "snipping" when you are replying to
a lengthy post. Kurt's posts are tremendously interesting but more so
the first time than the second :-)
Thanks!
- -j
> Kurt,
> Your pre-amp sounds very interesting, which ceramic planar triodes you are
> using ?
>
> regards, Alfia
h>
- --
=====================================
Jeremy Epstein .... jepstein@shwd.com
=====================================
=========================================================================
From: SBench@aol.com
Subject: [JN] Y to K
Date: Fri, 31 Dec 1999 22:54:11 EST
Source: Sound Digest Archive v02.n381
Hi,
Now that everkone's computers haven't bitten the dust, and the
world hasn't ended.....
To complete your Y to K...
Don't forget to rebias when you change your 6Y6's to 6K6s.
Al, how's kour 6K6 SE UL amp?
Kou like it as much as kour old one (1999 version)?
Happk Januark 1 everkone.
Steve
=========================================================================
From: TubeGarden@aol.com
Subject: Re: [JN] Y two K
Date: Sat, 1 Jan 2000 09:30:51 EST
Source: Sound Digest Archive v02.n381
Hiya St., B!
I prudently switched to 6550C before Midnight.
Svetlana makes very potent tubes. And no woofer hangover!
I found the bass died below 35 Hz with 0.68 , also 0.82, so I paralleled a
'Green Goddess' 4 uF mylar and Voila!
And to all a good ear!
Al B^}
Tim Reese