DAT-Heads Digest #730
Contents:
LA (Yalk@aol.com)
Houston DAT-Heads (David Weiner)
Review of Audio Alchemy DTI ("David D. Rogers")
Re: Sony PDP tapes (rj)
Re: Review of Audio Alchemy DTI (Seth Breidbart)
Audio Alchemy DITB review ("E.BEE")
Looking for Nak 300 Guns (William Nolan)
Re: WANTED: Sony D7 or D8 New or Used (r l reid)
Ekoostik Taping Policy? ("Michael J. Wagner")
4/3/96 Gov't Mule Tree Notes (Bemand@aol.com)
4/3/96 Gov't Mule Tree Structure (Bemand@aol.com)
From: Yalk@aol.com
Subject: LA
Date: Tue, 23 Apr 1996 18:27:25 -0400
Gary Davis <gdavis@loop.com>
wrote:
>Too bad you guys don't live in LA,
Yea, tooooooooooooooo bad........
Regards,
Klay Anderson
www.klay.com
1.800.FOR.KLAY
From: David Weiner <david.weiner@psl-online.com>
Subject: Houston DAT-Heads
Date: Tue, 23 Apr 96 16:48:00 -0600
Any Houston DAT-Heads out there?? If so, maybe we could talk trading -
I have only one deck myself :(
Dave
From: "David D. Rogers" <gigo@westworld.com>
Subject: Review of Audio Alchemy DTI
Date: Tue, 23 Apr 1996 15:42:00 -0700
Review: Audio Alchemy DTI. (Open to revision.)
Copyright 1996, by David D. Rogers
(david.rogers@csun.edu/gigo@westworld.com). All Rights Reserved. May be
reproduced freely as long as it's done in full and not for commercial gain.
For other purposes, please contact me first.
The Audio Alchemy DTI (for Digital Transmission Interface) is "the first
outboard device designed to reduce jitter in the digital data stream
between a Compact Disc player, Digital Audio Tape player or other digital
source and the input to a Digital-to-Analog converter," according to its
manual. The manual explains this function further by describing how it
works:
The DTI operates by demodulating the incoming serial data stream
and then employing a state-of-the-art phase locked loop (PLL)
circuit. The PLL is used as a filter to remove extraneous time-axis
variation of this data. The DTI then provides a master clock signal
to the D/A converter with less than 50 picoseconds (RMS) of jitter,
an order of magnitude improvement over most outboard transport/
converter combinations.
In plain English, the DTI re-clocks the digital output stream of a source
signal (CD, DAT, DCC, MD, etc.) where discrepancies might lie. This might
provide some order of improvement in some signals, especially from CD
players that induce a high amount of jitter. (Chuck Ross <ckross@ais.net>
told me that the DTI can actually introduce jitter in data streams that
already have very low jitter; it is clear that the DTI does not remove
jitter altogether.)
There is another, probably more practical (and certainly more tangible)
benefit that the DTI provides, which should be of particular interest to
DAT, DCC and MD tape traders: the unit actually bypasses SCMS copy
protection, offering the capability to produce unlimited generations of
copies of digitally-recorded music, with little or no added distortion
(depending on the method and amount of lossy compression used, if any).
The DTI's front panel measures 8 1/2" L by 1 3/4" H; the rest of the unit
measures 7 1/4" L by 5 1/4" W by 1 1/2" H. It is made entirely of metal;
the lower half of the unit seemed to move slightly when I moved it around,
but it did not seem to be in danger of falling apart. The unit has an
optical and a coaxial digital input, and a coaxial digital output. There
are three LED lights on the front panel; two are power indicators (one
labeled "Rx" and the other "Tx"; I haven't figured why the two are
necessary), and a red light for indicating that the digital signal is
"Locked" for low-jitter. There is a 12-volt DC power adapter included;
Audio Alchemy warns that the adapter's output should never be removed or
installed from the DTI while the adapter is plugged into a power source.
The DTI does not include a power switch, so cutting off power to the DC
adapter is the only way to effectively turn it off. The back of the unit
also features an on/off switch for the "I^2S Bus Output," which can be used
to "connect to XDP, DDP or other future products." The front panel also
features switches for the two digital inputs, and for the phase (between
"0" and "180"; I haven't found out the significance of this feature, and
the manual doesn't explain it.)
Audio Alchemy is in Westlake Village, California, U.S.A. Their phone number
is (818) 707-8504, and their fax number is (818) 707-2610. It is currently
(as of 4/23/1996) being sold for US$79 by HCM Audio in Chico, California.
Their toll-free number in the U.S. and Canada is (800) 222-3465; their toll
number is (916) 345-1341, and their fax number is (916) 345-7269. HCM says
they will ship outside the U.S.; California residents (such as myself) are
subject to paying a state sales tax.
_Useage_
I did not test the DTI's anti-jitter capabilities; instead, I tested it for
its ability to remove SCMS. For this, the DTI worked practically
flawlessly. I say "practically" because where my CD or DCC players would
normally insert a track-starting marker to my DCC recorder, the DTI would
effectively remove that. This does make recording less convenient (I have
to insert start markers manually on my tapes when using the DTI), but I
consider it to still be a worthy trade-off.
The DTI seemed to strip off all traces of SCMS from recordings. I copied
one DCC tape that had been previously copied directly from a CD, which had
been subject to SCMS. While it would not copy digitally from my Philips
DCC-130's digital output to the input of my Philips DCC-900, it would work
when I routed the signal through the DTI. When I tried copying the copy to
another DCC tape and hooked the signal directly from the DCC-130 to the
DCC-900 (bypassing the DTI), I was still able to make a direct-digital
copy, which indicates to me that the DTI effectively "strips" SCMS
copy-protection from copies.
At only $79, the DTI is a fantastic bargain for the taping hobbyist. It
looks especially useful for making tapes for others, who may not have a way
to remove or bypass SCMS when making copies of the tapes you give them. The
jitter reduction feature looks dubious, but it might provide useful for
reducing distortion across multiple generations of tapes (which aren't
possible on most decks without an SCMS-bypassing anyway), and on badly-cut
CD's and shoddy CD players.
There has been talk about the U.S. federal government outlawing the sale of
devices that bypass SCMS copy-protection, whether that feature is their
intended purpose or not. While the concept of SCMS is looking more dubious
every year, copyright holders have managed to implement a tax on blank
digital tapes and recorders in this country, and with their clout, they can
surely achieve more. For buyers in this country, this would make a DTI
purchase now all the more worthwhile. Audio Alchemy warranties the product
for five years, so one can be assured their investment will be safe for
years to come.
<> David
Reply to david.rogers@csun.edu
URL me at http://www.westworld.com/~gigo
-=-=-=-=-=-=-=-=-
"You can kill a thousand; you can bring an end to life; you cannot kill
an idea."
--Israeli Prime Minister Shimon Peres on the assassination of
Prime Minister Yitzhak Rabin (1922-1995)
=================
When all you have is a hammer, everything starts looking like a nail.
From: rj <rjacob@csbh.mhv.net>
Subject: Re: Sony PDP tapes
Date: Tue, 23 Apr 1996 18:51:31 -0400
At 03:12 AM 4/23/96 EDT, you wrote:
>From: johannes <orca@tripnet.se>
>Subject: Sony PDP tapes
>Date: Tue, 23 Apr 1996 00:19:53 +0200
>
>Hi, DAT-folks!
>
>Three weeks ago I loaded my quite new Tascam DA-30 MK II with a Sony
>PDP-124 tape, as I've done about a thousand times before with various
>DAT-machines. Guess if I was surprised when it got stuck and all that I
>heard was a sad humming from the machine. I pushed the Open/Load button a
>few times but it was all the same. I sent the machine to my dealer and he
it's happened to me with my tascam da-20...it never happened until i started
using 90m tapes...it happens rarely, and when it does, ff the tape a minute
or so, then rewinding it works (don't ask me why)...in the extreme cases
where that doesn't work, i turn it off and then back on again and the door
opens fine...so far this hasn't resulted in broken tapes, creases, or
anything other than annoyance...
i use tons of different brands, and so far (other than tdk and maynard) my
decks don't discriminate...for what it's worth, the problem seems more
commen with 120 minute tapes than shorter lengths...
rj
rjacob@mhv.net
home page - http://www1.mhv.net/~rjacob/welcome.htm
dat page - http://www1.mhv.net/~rjacob/dat.htm
From: Seth Breidbart <sethb@panix.com>
Subject: Re: Review of Audio Alchemy DTI
Date: Tue, 23 Apr 1996 19:03:53 -0400 (EDT)
>The DTI seemed to strip off all traces of SCMS from recordings. I copied
>one DCC tape that had been previously copied directly from a CD, which had
>been subject to SCMS. While it would not copy digitally from my Philips
>DCC-130's digital output to the input of my Philips DCC-900, it would work
>when I routed the signal through the DTI. When I tried copying the copy to
>another DCC tape and hooked the signal directly from the DCC-130 to the
>DCC-900 (bypassing the DTI), I was still able to make a direct-digital
>copy, which indicates to me that the DTI effectively "strips" SCMS
>copy-protection from copies.
No, it would take one more generation to determine that. (If the DTI
set the category code to "unknown", the receiving deck might write
scms=11, allowing one further generation.)
Seth
From: "E.BEE" <ebeecher@epix.net>
Subject: Audio Alchemy DITB review
Reply-To: ebeecher@epix.net
Date: Tue, 23 Apr 1996 19:42:22 -0400
Brandon - in your next review why dont you give us some useful details. "It
sucked" doesn't tell us too much. Especially , when you go on to say the reason it
sucked was that the sound was "clearer" with "heavier" bass. If your going to
review the sound of a piece of equipment , please take the time list what
equipment was used in the test setup, and what music was used for evaluating the
sound. For all we know , you could be some guy with a fancy A/V
receiver,mis-matched speakers,and the loudness button "on" - In which case I would
know to ignore your opinion. Or, you may have a nice, mid-fi or even high-end set
up - In which case I would tell all my freinds.
FWIFW - All I'm rather pleased with all my Audio Alchemy Products. The DDE 1.0
is a fine upgrade from built in D/As. Its not an EAD DSP-9000 but , Its one of the
only D/A s you can buy without a loan:)
From: William Nolan <nolan@ece.vill.edu>
Subject: Looking for Nak 300 Guns
Date: Tue, 23 Apr 1996 21:12:18 -0400 (EDT)
Hey everyone,
I have been using Nak 300 Cards for some time now. As some of
the bands I enjoy watching are getting bigger and bigger, it
is time to get some mics that are better suited to bigger
venues, so if anyone is looking to unload Nak 300 Guns (Caps and/or
300 bodies), I am a willing buyer.
Bill
======================================================================
William Nolan [PGP] 874 County Line Rd.
nolan@ece.vill.edu Bryn Mawr, PA 19010
http://www.ece.vill.edu/~nolan
======================================================================
From: r l reid <ro@panix.com>
Subject: Re: WANTED: Sony D7 or D8 New or Used
Date: Tue, 23 Apr 1996 22:02:28 -0400 (EDT)
> From: Chris Gillespie <robin1@holli.com>
> Subject: WANTED: Sony D7 or D8 New or Used
>
> I'm interested in buying a new or used D7 or D8. SO far my best offer
> is a D7 with some goodies for $350. If you can make a better offer
> (not hinging solely on price) then I'll consider you.
I can't help with another offer, but I'm curious where you're finding
these. I've been looking for a used D3 or D7 for several months now
without success. You obviously know better where to look that I.
So where?
From: "Michael J. Wagner" <wagner@mcs.com>
Subject: Ekoostik Taping Policy?
Date: Tue, 23 Apr 1996 21:40:46 -0500 (CDT)
I remember someone posting concerning the taping policies of Ekoostik
Hookah. Will someone email me with the details and an email contact if
possible? I would like to tape them this thursday.
Thanks in advance!
Mike
--
========================================================================
| Michael Wagner . wagner@mcs.com . root@wagner.pr.mcs.net |
| |
| "A bad Dead show is better than a good day at work." |
| http://shire.ncsa.uiuc.edu/Mike Obligatory Dead Content! |
========================================================================
We're spinning on some granite we like to call a planet.
From: Bemand@aol.com
Subject: 4/3/96 Gov't Mule Tree Notes
Date: Tue, 23 Apr 1996 23:57:01 -0400
Along with this message you will find the final structure for the 4/3/96
Gov't Mule Tree. The show will fit on one 60 meter (2 hour) DAT, and can fit
on either two 60 minute analog tapes (with no filler) or 2 90 minute tapes
(with lots of filler). It can also fit onto a 110 minute tape, but there
will be a fade out at the end of the first side, and some cheering before the
encore might need to be cut as well.
As promised, here are more details regarding the setlist information. A
special thanks to JBaad@aol.com for providing us with the information.
4/3/96 Gov't Mule @ Lost Horizon
FOB>Shoeps>Sony D8
Blind Man
Mother Earth
Temperary Saint
Sail On
Jam
Mr. Big
Trane>
St. Stephen Jam>
Third Stone>
I Shall Be Released tease
Painted Silver Light
Presence Of The Lord
Mule
--Encores--
John The Revelator
I Put A Spell On You
Yonder Wall
Also I have deleted the muletree@aol.com account. From now on any and all
tree questions should be addressed directly to me at:
bemand@aol.com
The tree structure (as well as this notice) will also be posted up at Jim
Denaro's Tapelist Web Page:
http://www.demonsys.com/jim/tapelists.html
Thanks to all who signed up for this tree, and lets all give another big
thank you to Duncan Oldham for providing the seeds. Let it grow!
From: Bemand@aol.com
Subject: 4/3/96 Gov't Mule Tree Structure
Date: Tue, 23 Apr 1996 23:57:36 -0400
4/3/96 Gov't Mule Tree Structure
Administrator: Deane Beman (bemand@aol.com)
D>D awp3@columbia.edu (5)
D>D pauld@interserv.com (5-7)
D>A djorda19@maui.net (4)
A>A harrypav@uic.edu (5)
Alf
bwis@chevron.com
A>A jed@cyberia.com (5)
Alf
michael@tychonic.antioch.edu
Alf wonwayout@aol.com
Alf
wojnarcb@alfred.bigvax.com
Dlf vantuin@scdt.intel.com
D>D danman6418@aol.com (5)
D>A SKRALY@CENTER.COLGATE.EDU (4)
A>A KirkA@aol.com (4)
Alfcarsten.scheide@student.uni-tuebingen.de
A>A
73424.1707@compuserve.com (8)
Alf
marty@Inow.com
Alf aleary1@ic3.ithaca.edu
Alf hball@mail2.quiknet.com
Dlf mory@bway.net
D>D jrx@netcom.com (3)
Dlf pjh5970@is3.NYU.EDU
Dlf jonl@ultranet.com
D>A RICKS@cc1.uca.edu (4)
A>A glb3905@sae.ssu.umd.edu
(4)
Alf
chinook1@expert.cc.purdue.edu
A>A andrush@biddeford.com
(4)
Alf
billh15@cris.com
Alf clyde@mindspring.com
Alf bwllams@iglou.com
D>A cweber@ksu.ksu.edu (5, NAK)
A>A aas9@aol.com (4, NAK)
A>A
jerry_malloy@om.cv.hp.com (3, NAK)
A>A
jnorris@cello.gina.calstate.edu (5, NAK)
A>A
VinylsFinl@aol.com (5, NAK)
A>A ANEWMAN@MAIL.MSEN.COM
(4, NAK)
A>A
rmaselek@shore.net (4, NAK)
A>A neurad@aol.com (4, NAK)
A>A Wonko@ix.netcom.com (3,
NAK)
D>D eugene@locus.com (4)
D>D rehill@mro.dec.com (5)
Dlf pdelima@future.dreamscape.com
Dlf astodols@ix.netcom.com
D>D cthulhu@netcom.com (3)
Dlf david.weiner@psl-online.com
Dlf 75262.574@compuserve.com
D>D rob@traveller.com (3)
Dlf jdevins@lynx.dac.neu.edu
Dlf mcatee@eng.utah.edu
D>A daleshew@nando.net (2)
A>A mfederma@lynx.neu.edu (4)
Alf castar@exis.net
A>A jkampf@umich.edu (3)
Alf hbrtv110@louie.csun.edu
Alf supton@erols.com
D>D Epaulson@msn.com (4)
D>D JBaad@aol.com (3)
Dlf wilfong@KMERL.Research.Panasonic.COM
Dlf mszwaya@iconn.net
D>D Peter_Albee@voyager.umeres.maine.edu (2)
Dlf sdobay@arthur.umd.edu
Dlf Slefevr602@aol.com
D>D jimbo@Loop.com (4)
Dlf toddlevy@umich.edu
D>A dennisp@spectra.net (2)
A>A jvc2@cornell.edu (4)
Alf uncajohn@ruf.rice.edu
A>A cjuzzi@libertech.com (3)
Alf rmccann@coss.fsu.edu
Alf mcgrawja@unm.edu
D>D sethb@panix.com (5)
D>D burdenr@mail.tiac.net (3)
Dlf HSL36573@BAYOU.UH.EDU
Dlf freaky@sysgrp.com
D>D lowery@uhavax.hartford.edu (3)
Dlf gerdesro@lanmail.shu.edu
D>D pthomson@kaoinfo.com (2)
Dlf Bonnie_Harris@cch.com
D>A jeff.wallace@PSCMAIL.ps.net (3)
A>A granger001@wcsu.ctstateu.edu (4)
Alf BGreidan@aol.com
A>A bfs1@columbia.edu (3)
Alf nbean@indiana.edu
Alf jjohanse@wolfenet.com
D>A tompkins@socomm.net (10)
A>A barberrw@crd.ge.com (4)
Alf mcgrawja@unm.edu
A>A johnsonb@jeflin.tju.edu
Alf fitzgibt@cleo.bc.edu
A>A jkm3@ntrs.com (10)
Alf supton@erols.com
Alf watrshed@coil.com
Alf jsable@ecst.csuchico.edu
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