NetNews Usenet Archive 1992 #31/NN_1992_31.iso/spool/rec/audio/17190

Internet Message Format | 1992-12-22 | 40.6 KB

Path: sparky!uunet!cs.utexas.edu!zaphod.mps.ohio-state.edu!magnus.acs.ohio-state.edu!bgsuvax!att!att!allegra!alice!andrew
From: [e-mail] (Andrew Hume)
Newsgroups: rec.audio
Subject: rec.audio FAQ (part 3/3)
Keywords: faq
Message-ID: <[e-mail]>
Date: 22 Dec 92 20:33:38 GMT
Article-I.D.: alice.24471
Organization: AT&T Bell Laboratories, Murray Hill NJ
Lines: 807


hi netters,

    bob neidorff is having news problems and so i am posting this for him.
there will be three parts.

    just a reminder, DON'T HIT 'R'!! reply to bob or rec.audio as
per the instructions below.

            andrew hume

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

This is Part 3 of 3 parts of the faq for newsgroup rec.audio, dated 15 Dec 92.

15.0 Mail Order
    Mail order is appealing.  The general hope is that by using mail order,
    you avoid pushy sales people, you pay fixed, discounted prices, and you
    have written catalog descriptions to help you select your purchase.  In
    practice, most mail order today is "phone order", in that the company
    completes the deal with a phone call.  Many of the "mail order"
    companies don't even have price lists or catalogs.  They are just
    retailers that are willing to sell over the phone and ship the
    merchandise to you.  In some cases, retail store sales are better deals
    than mail order.  Don't expect the lowest price from the first place you
    call.  Also, don't expect excellent service from everyone, and
    especially not from the company with the lowest price.

15.1 Who sells brand XXX equipment mail-order?
    Consult the frequent rec.audio mail-order survey published by
    [e-mail] (William R. Nau) or contact William Nau directly.

15.2 Is the stuff sold by DAK really awesome?  Damark?
    DAK buys in large quantities.  They buy what they think they can sell.
    They buy close-outs as well as new first-line merchandise.  They
    honestly represent their merchandise with specifications.  They offer
    more information on their product, if possible, on the phone through
    their toll free number.  I know of many people who have bought from
    DAK and been happy. I personally have bought from DAK and been happy.

    I haven't found anyone with experience dealing with Damark, positive
    or negative.

    On the other side, the catalog writers at DAK use some very flowery
    language which is intended to lead you to believe that they are selling
    gold for copper prices. In this sense, the words in their catalog may be
    deceptive.

    The DAK people have a good sense of "what the market will bear".  They
    price their products to sell, but not to give away money.  Mail order
    prices tend to be 10% to 20% less than discount, which is 10% to 20%
    less than retail. DAK has to compete with other mail order dealers,
    such as Damark, but they send out SO MANY CATALOGS that they really
    don't have to cut prices too far to sell.

    DAK has recently gone through hard financial times.  This may put buyers
    in some slight risk, because if they go out of business, you may not be
    able to get easy warranty service on their products.  I say easy because
    most DAK products are covered by a manufacturer's warranty, and you can
    often get good service from the manufacturer as well as from DAK.  I
    believe that DAK is over their slump, but I am not sure.  For more on
    warranties, see 19.1, below.

15.3 Is the stuff sold by Cambridge Sound Works really awesome?

15.4 What should I watch out for when buying mail order?
    Many of the cautions mentioned in warranties (19.1) apply. Look for a
    store which has been around a long time. Look for friends which have
    dealt with the store and been satisfied.  Look for a store which
    does not seem to lie or stretch the truth.

15.5 What is gray market?
    See warranties (19.1), below.

16.0 Wire
    More than any other topic, speaker cables and equipment interconnects
    seem to use up rec.audio bandwidth echoing the same theoretical
    arguments, testimonials, and opinions.  Controversy can be stimulating,
    educational, and also amusing.  Please try to keep postings aimed at one
    of those three goals, and avoid the insults and emotion.  Also, try to
    avoid echoing a common position or principal, as described below.

16.1 Do speaker cables matter?
    Cables are connectors attached to wires. Wires generally have multiple
    conductors optionally surrounded by a shield and outer insulative
    covering. Cables can introduce noise into the signal, act as a filter
    (and thus change the frequency response of the system), and provide
    non-linearities from improper (intermittent/loose) connections to or
    between the connectors.

    It is quite scientifically conceivable that some cables do cause a
    difference in sound, because of the differences in DC resistance,
    interconductor capacitance, and connector attachment alone.  The effects
    of exotic conductor weaving and materials are not so well established.
    In general, these effects (once we eliminate DC resistance), seem to be
    small. However, if your system is at least fairly good, then some folks
    have observed (although not in an experimental, double-blind sense)
    significant differences in system performance with different cables.
    The effects are said to be quite system specific; the only real
    guideline is to try them and see which ones seem to sound better in
    your system.

    Roughly speaking, the price ranges for speaker cables is low
    (under $1/ft), medium (under $6-8/ft), and high (up to $100/ft and
    more). Try to arrange it so you can trial such cables; at several
    hundred dollars per set, experiments can be expensive.

    In any system or experiment, it is essential that the differences
    between cables be separated from the differences between connectors.

    You should have an EXTREMELY solid connection between cable and
    speaker.  Speakers operate at very low impedances, so that bad
    connections will create significant artifacts or signal losses at any
    power level.  For example, if the connection has a linear resistance
    of just 1 ohm, the speaker damping factor will be dramatically
    reduced, making bass muddy.  If the connection contains imperfect
    metal oxides, then a slightly rectifying junction will block the signal,
    producing compression, distortion, and other non-linear effects.

16.2 What speaker cables are commercially available and how good are they?
    There is a wide range of speaker wire available, ranging from
    30ga zip cord (~$.10/ft) to exotic wires costing over $300/ft.
    The material used ranges from copper to oxygen-free copper (OFC)
    to silver. (There are a bunch of others as well.)

16.3 What can I use for budget speaker cables?
    First, a few words on terminology.  Wire is sized by AWG or BS gage
    number.  Larger numbers represent smaller wire.  AWG 40 (also called
    40 gage) is as fine as human hair.  AWG 12 is 2mm or .081" diameter.
    Some wire is classified as solid, because it contains one strand per
    conductor.  Other wire is called stranded, because it consists of
    many strands per conductor.  Stranded wire is far more flexible than
    solid wire.  Most wire is made from drawn copper.  Some wire is sold
    that is claimed to be made with a process that produces oxygen-free
    copper.  Oxygen-free copper has a different metallurgical structure
    than common copper and may or may not conduct current better.

    Some critical listeners have reported excellent sound from large
    diameter solid copper wire, such as home wiring "Romex 12-2".  At least
    one expert has said that common 18-gage solid copper hook-up wire sold
    by Radio Shack also works very well.  Also recommended on a budget is
    Sound King wire, a 12 gage oxygen free copper stranded cable.  This is
    available from MCM Electronics for $.39/ft.

    The scientific literature indicates that small gauge wire generally
    sounds worse than large gauge and that resistance-related effects of
    the cable can be eliminated by using at least 12 gage wire, particularly
    for long runs.  Of course, shorter runs are always preferred, because
    they come much closer to the ideal zero-length wire, with no resistance,
    no capacitance, no inductance, and no change in signal.

16.4 What can I use for budget speaker connectors?
    The worst connectors are push-down, or spring terminals.  Screw
    terminals with solid copper wire are much better.  Gold-plated binding
    posts and gold spade lugs are inexpensive by audiophile standards and
    are extremely stable.  Binding posts with spade lugs can be tightened
    to get a very good mechanical joint, and may offer the lowest
    electrical resistance of any connector.

    Gold plated banana plugs and jacks are also very good speaker terminals.
    Good ones are more expensive than gold spade lugs, however, they also
    provide a bigger area of contact, and are more convenient when you must
    frequently reconfigure the system.  Banana plugs should be periodically
    monitored for corrosion and loss of spring tension.  Monster offers a
    banana-plug connector with an expanding center pin that forms an even
    better connection than common gold banana plugs.  At approximately $25
    per pair, the Monster banana plugs aren't a budget connector.

    All else equal, connectors with gold surfaces are better than
    connectors with any other surface.  This is for two reasons.  First,
    gold is extremely inert, meaning that unless gold is exposed to very
    harsh chemicals or harsh vapors, it will not corrode or oxidize.  It
    will remain a pure, low-resistance conductor.  Second, gold is quite
    soft, so that if a gold-plated connector is squeezed between two
    metal surfaces, it will deform slightly to fill scratches and voids,
    giving a very broad, low-resistance contact area.

    Corrosion of connectors is often a problem. Gold-plated terminals
    and connectors somewhat avoid this problem; problems with other
    connectors can be mitigated by unplugging and replugging the connector
    on a regular basis, cleaning the contact areas with a pencil eraser,
    or by using a contact enhancer such as Cramolin or Tweek.  When you
    use a contact enhancer, be very sure to follow the directions, and
    avoid spreading enhancer about your equipment.

16.5 What about interconnects, such as the cable between a tuner and an amp?
    Line-level interconnects conduct smaller signals than speaker cables;
    the typical signal ranges from -2V to +2V (the CD output standard)
    with currents in the microamps (the corresponding values for speaker
    cables attached to a largish power amp might be -70V to +70V and
    currents of many amps).  Line-level interconnects can be divided into
    single-ended (or unbalanced), and balanced interconnects.  Home audio
    is almost always single-ended interconnects.

    Single-ended interconnects almost always use a form of the RCA connector
    (or phono plug). RCA plugs form fair to poor connections that degrade
    with time as corrosion works into the metal-metal contact and as the
    spring tension of the connectors relax.  Gold-plating reduces the effect
    of corrosion and locking RCA connectors solve most of the mechanical
    problems.  However, these premium phono connectors are rare and
    expensive.  For example, a gold-plated Vampire locking RCA plug costs
    approximate $23/pair.  If RCA connectors weren't a de facto standard,
    we'd recommend against them.

    Unbalanced interconnect wires vary in geometry, material and price.
    Cheaper wires have a single conductor (normally stranded) and a shield
    and cost $.20-$2/ft. Medium (complexity and price) wires have two
    conductors (often arranged as a twisted pair) surrounded by a shield
    and cost from about $3-$20/ft.  Exotic wires have all sorts of
    geometries and materials (such as stranded silver conductors, or ribbon
    cable braided around a core, or in one extreme case, a tube filled with
    mercury!). Prices may be as high as $200-$300/ft.

    Balanced interconnects have three conductors: two for the signal
    one for ground, and additionally a shield. The standard connector for
    balanced cable is the ITT/Cannon XLR connector, which is quite good
    mechanically (they lock). Equivalent connectors are also available from
    Switchcraft, Neutrik, and other vendors.  If you have to run cables
    longer than 12 feet or 4 meters, the greater noise immunity of balanced
    interconnects is often a good idea. For this reason, balanced connectors
    are standard equipment in professional installations such as studios,
    public address systems, and broadcast stations.  There is not much
    variation in balanced cables.  The three brands mentioned above are
    known to be rugged, high quality and moderately priced. Slightly weaker
    imported connectors are available, but they aren't dramatically cheaper.

    For most systems, the most important aspect of a cable are
    the mechanical reliability of the connectors; in particular, the
    joint between connector and wire, and the joint between
    connector and socket. Typically, interconnect cables are short.
    It is worth getting just the right length; cables often come in
    .5 meter increments.  With quite good systems, some people observe
    differences in sound between various interconnects. This is quite
    system-specific and the same advice as given above applies:
    try several brands.  Most good dealers will loan interconnects
    for home evaluation.

    In cables where the shield does not carry the signal or ground,
    the shield is normally only connected to ground at one end. In systems
    where there are significant differences between ground levels on various
    components, it may make a difference which way such cables are
    connected.  Typically, the end where the shield is grounded should
    be at the source of the signal.  Often, such cable has arrows on it
    pointing in the direction of the signal flow.  In any case, try both
    orientations.

    There are many objective reasons why cables might cause differences in
    sound by interacting with the drivers in the signal sources as well as
    by providing non-linear effects in the RCA connector.  Most of these
    effects are again related to interconductor capacitance and resistance,
    and the quality of the shielding provided by the "shield" conductor.
    In balanced cables the quality of the "twisted pair" inside the shield
    is also important.  One might note that a shield protects from only
    capacitively coupled interference, and not from any magnetic field
    interference.  The twisted pair in a balanced line provide some
    magnetic rejection, as does steel conduit.  However, steel conduit has
    other characteristics which make it undesirable for audio in general.

16.6 What about Phono Interconnects:
    Phono interconnects are part of the link between a cartridge on a
    turntable and a preamp (or head amp or receiver). They are a special
    case of line-level interconnects because the signal is much lower,
    typically 1 to 50 millivolts.  They are also intended to operate into
    a higher impedance, typically 47K ohms, and form part of the capacitive
    load for the cartridge.

    The low signal levels mean that the shielding of the cable, and the
    presence of a separate drain/shield are more important, as is a good
    ground.  A separate solid ground should come along with the cable as
    a separate lead co-routed with the cable.

    In addition, the low signal levels make a good solid connection
    to and through the connectors MUCH more important, because of the
    greater sensitivity to low-level non-linearities.

    Wire capacitance is often ignored in line-level interconnects;
    however, in a phono interconnect, it may constitute half of the total
    capacitative load of the cartridge. Obviously, then, two cables with
    significantly different capacitances should sound differently.
    In this sense, the "right" cable for one cartridge may be too low
    in capacitance or too high in capacitance for another cartridge.

    For low-impedance cartridges (most moving coil cartridges),
    the wire must have low resistance to prevent cartridge unloading
    and frequency-dependent signal loss. In addition, as the
    signal levels are quite low, shielding is important.

    Unfortunately, copper shields do not block stray magnetic fields, so
    in the case of phono cables, careful routing may be even more effective
    at reducing hum than special wire.

16.7 Is there really a difference in digital interconnects?
    There are now three kinds of digital interconnects that connect
    transports to D/A converters: coax, plastic fiber (Toslink) and glass
    fiber (AT&T ST).  In theory, these should sound EXACTLY the same (bits
    are bits).  However, this assumes good circuit design (in particular,
    the clock recovery circuits of the DAC, and careful consideration of
    electronic noise) which may be compromised because of cost
    considerations or ignorance.  Note that different signaling schemes
    are used on plastic and glass fiber.

    In any case, some people claim to hear a difference; of those who do,
    most seem to prefer the glass fiber.  However, the technology of fast
    digital data transmission in consumer electronics is evolving very
    quickly now.  Any specific recommendation should be treated with
    suspicion until the industry matures.

17.0 The Press

17.1 Which magazine should I read?
    Which ever one you like.  None are absolutely objective.
    Here's a list of some common ones:
        Audio Magazine
            PO Box 2886
            Boulder CO  80322 USA
            800-274-8808
        Audio Critic
            PO Box 978
            Quakertown PA  18951 USA
        CD Review
        Hi-Fi Choice
            Dennis Publishing Ltd.
            14 Rathbone Place
            London, W1P 1DE England
            [phone]
        Hi-Fi News and Record Review
            Subscriptions Department
            Link House Magazines Ltd
            1st Floor
            Stephenson House, Brunel Centre
            Bletchley, Milton Keynes MK2 2EW England
        HiFi Heretic
            PO Box 2019
            Yorba Linda CA  92686
        International Audio Review
            2449 Dwight Way
            Berkeley CA  94704 USA
        Stereophile
            208 Delgado
            Santa Fe NM  87501 USA
            800-435-0715 or 505-982-2366
        Stereo Review
        The Absolute Sound
        The $ensible Sound
            403 Darwin Avenue
            Snyder NY  14226 USA
            716-681-3513
        What Hi-Fi
            Haymarket Trade & Leisure Publications Ltd
            38-42 Hampton Road
            Teddington, Middlesex, TW11 0JE England
            [phone]
17.2 Which reviews are better?
    Some reviews are so colorful and exciting, that they make great
    journalism and fun reading.  Lets ignore these for now,
    even though they have their place.

    Beware of reviews from magazines that advertise the same
    product.  The likelihood of bias is too high. Unfortunately,
    that rules out 99% of the reviews in magazines.

    Stereo Review has a bad reputation for loving everything
    made by every advertiser.  Even high-end journals such
    as Stereophile and The Absolute Sound can be influenced.

    A classic example of misleading reviews occurs with equipment submitted
    to a magazine for review.  The manufacturer may send the editors a
    carefully built, adjusted piece for review.  The magazine will honestly
    rave about it. The manufacturer will then send the design off-shore for
    more economical manufacture and assembly, and the quality will suffer.
    Lower quality components will be substituted for prime parts.
    Adjustments will be made to wider tolerances or will not be made at all.
    The design may be completely changed to make it more manufacturable.
    You will unknowingly get a completely different piece than reviewed.

    Home auditions with one or two candidates from each of a few dealers
    are your best guide to be sure that you get what you want and pay for.

17.3 Is Consumer Reports right?
    Consumer Reports is the most objective testing lab we have ever found.
    Unfortunately, they are also the world's least specialized testing lab.
    They market their testing to the average consumer.  The average consumer
    will not hear some of the subtle differences which audiophiles hear.
    For that reason, Consumer Reports ignores issues that others feel vital.

    Consumer Reports also insists on basing their audio testing
    predominantly on lab measurements.  Although lab measurements do tell
    many differences between devices, interpreting lab measurements for best
    sound is difficult or impossible.  For example, it is very hard to
    compare two speaker frequency response curves and tell which will sound
    better.  Some $3000 speaker frequency response curves look worse than
    some $600 speaker curves, even when tested in the same setup.  On the
    other side of the issue, Consumer Reports has improved its test methods,
    and will continue to improve.  Expect the accuracy of their reviews to
    improve with time.

    The Consumer Reports frequency-of-repair data base is larger than any
    similar data base published and can be trusted as well as any statistic.

18.0 Retail

18.1 Should I use an up-scale retail store?
    This is probably the best place to listen to gear in a controlled
    environment, next to your home.  This is the best place to find
    expensive, high quality gear.  This is the place which is most likely
    to have a good policy on home trials and a liberal return/upgrade
    policy.  This is also likely to be the most expensive place to shop.
    One exception to this is that these stores have the ability to sell
    demos, returns, and discontinued gear at very advantageous prices.

    Some up-scale dealers will negotiate price on large systems or expensive
    purchases.  It never hurts to ask.

    There are definitely better and worse local hi-fi stores.  If you find
    a really good one, it is probably worth the extra money to buy from
    them, rather than from discounters.  A really good store will not push
    you to buy what they want to sell.  A really good store will allow you
    to take your time with your decision.  A really good store will not
    distort the truth in describing equipment.  A really good store will
    help you get the most out of your purchase by showing you how to set
    it up.  They will tell you what placement works best for the speakers.
    (Don't believe them if they tell you to put them anywhere.)  A really
    good store also selects their lines carefully.  They don't want
    dissatisfied customers or warranty returns any more than you do.

    Due to the nature of the customer, a hi-fi store in a shopping mall
    is likely to use high-pressure sales techniques.  They know that the
    majority of their customers are distracted easily by 299 other stores.
    Most of their sales go to customers that come in for 3 minutes, select
    something, and leave.  There are exceptions to this, of course, but
    if there was a good generalization, it would be to look elsewhere.
    There are stores in large buildings, small buildings, private homes,
    shopping plazas, and every other conceivable venue.  Search from among
    these to find one that meets your needs and fits your style.

18.2 Should I use a discount store?
    If you need to listen carefully before making up your mind, discount
    stores can be very frustrating.  If you know exactly what you want, then
    this can be a great place to save money.  Don't expect knowledgeable
    sales help or after-sale support.  Be sure to ask about the warranty
    (see 19.1 below on warranties).

18.3 Is it right to negotiate price?
    Most people feel that it is fair to negotiate.  Some feel that it is
    fair to lie in negotiating, as the sales people frequently lie to you
    also.  Others think that lying to get a lower price is an immoral
    practice.  It may even be illegal, an act of fraud.

    Some people feel that if you negotiate over price, you encourage
    stores to mark prices artificially high, so that the stores have
    room to negotiate.  Others feel that in negotiating, you are asking
    the store to accept a lower profit, or asking the sales person to
    take a lower commission, and are therefore hurting them.

18.4 How can I negotiate price effectively?
    A great source of information on this topic is available from books on
    buying a new or used car.  However, some very helpful general tips
    include:
        Know the competition and the dealer.
        Know the gear.
        Know the prices available elsewhere.
        Believe in your research, not their words.
        Stand your ground.
        Be nice to the people but hard on the deal.
        Be prepared to walk away if they won't agree.
        Expect their lines and prepare responses in advance.  For
            example, expect the dealer to claim that the Nakamichi
            deck is the best cassette deck on the market.  Be ready
            with a reply such as at that price, you can buy a DAT
            machine which has better frequency response, lower
            signal to noise ratio, etc.

18.5 It sounded great in the store.  Is it great?
    Never let anyone else pick stereo for you.  Especially not speakers.
    They all sound different, and you don't need a golden ear to hear the
    differences.  Listen for yourself and ignore what the sales people say.

    If you are still unsure, ask the sales people to let you take the gear
    home for a home trial in exchange for a large deposit.  Home auditioning
    takes 99% of the uncertainty out of store auditions.

18.6 Do sales people try to trick the customer?
    Some do and some don't.  Some will treat unpleasant customers badly and
    treat friendly people well.  Most sales people aren't wealthy.  They
    sell stereo to make a living.  If they can sell you a more expensive
    piece of equipment or a piece of equipment with a higher profit, they
    will make more money.  Usually, this figures into everything they
    say.  Some sales people claim to be altruistic.

    Some sales people really are open and honest.  They may starve with this
    approach, or they may have a nice enough personality, a good enough
    product line, a good enough store behind them, or a high enough
    technical background to overcome this "limitation".

18.7 How can sales people trick the customer?
    Often, a customer will trick him or herself without help.  We are often
    swayed by appearance, sales literature, position of the equipment in the
    showroom, and our own desire to buy what others will like.

    Some times, the sales person will actively try to push a particular
    piece of equipment by demonstrating it against another piece of
    equipment which is inferior or defective.

    Some sales people will demonstrate a set of speakers while
    simultaneously driving a subwoofer, even though they are not telling you
    this.  With the subwoofer, it probably will sound better.

    Some sales people will demonstrate one set of speakers louder than
    others.  Louder almost always sounds better.

    Most stereo buyers go into the store, spend a few minutes selecting what
    they want, lay down big bucks, and leave.  They don't need to be
    tricked.  They don't listen carefully.  They trust the sales person's
    choice as best in their price range.  For non-technical reasons, these
    people are the most likely to be satisfied with their purchase.

18.8 What should I ask the sales person?
    What do you want to know?  Seriously, the best questions are those which
    the sales person can answer without distorting the truth.  Don't ask a
    sales person to compare their brand to a brand they don't sell.  Don't
    ask "how good is the ...".  Ask questions of fact.

    Here are some questions you may want to ask:
        If I don't like it, can I bring it back for a full refund?
        Can I try this out at my home, in exchange for a deposit?
        What does the warranty cover?  For how long?
        What do I need to know to set this up for the best sound?
        Do I get a manufacturer's warranty with this?
        Where do I take this to get it repaired under warranty?
        Where do I take this to get it repaired out of warranty?

18.9 How do I impress the sales person?
    Why would you want to?  You have money and he doesn't.

18.10 How do I get the best service from a sales person?
    Be honest with the sales person.  Set some reasonable request and ask
    them to meet it.  For example, say that you will buy this if you can try
    it at home first and listen to it side-by-side with a piece from another
    store.  Alternately, say that you saw the same thing at store Z for $xx
    less, but you will buy it from the guy if he will match the price.

19.0 Miscellaneous

19.1 What do I need to know about warranties?
    Warranties have a few basic components.  The first is the term of the
    warranty.  The second is what is covered.  The third is who supports
    the warranty. The fourth is what restrictions.

    Term is fairly self evident.  What is covered is more detailed.  In
    audio electronics, typically everything is covered with a "parts and
    labor" warranty.  Often mechanical components such as tape heads are
    covered by different terms, such as shorter terms on labor and longer
    terms on parts.  Likewise, speaker warranties vary widely, from
    unconditional with no term limit to a basic 30 days parts and labor.

    Some warranties come from the manufacturer.  Others come from the
    dealer.  Still other warranty support is available with certain
    premium charge cards.

    A common restriction on some warranties is that the equipment is not
    covered unless it is sold by an authorized dealer.  A few dealers have
    lied about being authorized dealers.  Equipment sold by an unauthorized
    dealer is almost always sold completely legally.  This unauthorized
    dealer may, in fact, be fully authorized to sell, but not authorized to
    sell manufacturer's warranties.  In buying gear this way, dealers can
    get it cheaper, and provide the service themselves.  This kind of gear,
    with a full warranty from the dealer is referred to as gray market
    equipment.  Manufacturers discourage buying from these gray market
    dealers, but the risks are fairly low.  If the dealer is local and well
    established, the risks are minimal.

    If you buy equipment mail-order, a dealer warranty may be a pain in the
    neck, especially if you have to ship the gear to the dealer more than
    once to get it fixed correctly.  Then again, some factory service
    requires shipping gear far away at your expense, too.

    Frequently, home audio equipment is sold with a warranty restriction
    that if the gear is used commercially or in any profit-making
    enterprise, then the warranty is void. This is to protect the
    manufacturer from having to frequently repair equipment meant for light
    service. Professional audio equipment often comes with very liberal
    warranty terms, such as lifetime parts and labor.  Professional gear
    takes heavy use and severe wear from constant transportation.  It is
    expected to be able to take this abuse.

    All gear, electronic and mechanical, is known to have three principal
    failure modes: abuse, infant failure, and end-of-life failure.  In
    addition, a small fraction of the failures occur at random.

    Infant failure occurs in the first fifty hours of use, and is the
    principal responsibility of warranties. Infant failure is frequently
    caused by defective parts or a design defect.

    Abuse failure is that caused by a person who pulls a cable too hard,
    bangs the equipment on the table, pushes the controls too firmly
    or too fast, or does anything else which the manufacturer did
    not expect. These are the gray areas of warranties.  They
    do not represent a manufacturing defect in the manufacturer's
    eyes, but they do leave you with a broken device.  To get
    the best chance of coverage against this kind of failure, select
    a brand or a dealer with a very liberal warranty policy.

    End-of-life failures are rarely covered by warranty. Tape heads have
    a finite, calculable life, as do rubber rollers, speakers, cables,
    batteries, bearings, and motors.  The life of some of these
    components can be extended by intelligent care.  For example, the
    life of common rechargeable batteries can be extended by good
    recharging practice. Likewise, some cleaners can dry out rubber,
    and will lead to premature failure. Don't expect warranty support
    for any of these problems, and if you get it, feel lucky.

19.2 What is blind testing?  Non-blind?  Double-blind?  ABX?

19.3 Where can I get a service manual for brand XXX?
    The most reliable source of supply is the manufacturer's sales office
    in your country.

19.4 Where can I get good repairs on brand XXX?

19.5 How can I take 115V gear over to a 230V country or vice versa?
    Some equipment is available with an international power supply, which
    can be rewired by any serviceman to either power line voltage.  If you
    expect to be moving abroad, look for this kind of equipment.  Often,
    the same model is available both as US only and as International. Some
    equipment will be rewirable and won't say it.

    If you know that your gear is limited to one power line voltage, you
    can order a new power transformer for that receiver, CD player,
    amplifier, or tuner which will be wound differently.  Contact the
    manufacturer's local service center.  This can be very expensive.  A
    new  transformer for a 40 watt receiver would wholesale for under $25
    but cost $75 from a service center.

    Another alternative is to buy a power transformer that will convert 115V
    to 230V and vice versa.  Here are some common models and their list
    prices.  Note that the power ratings are total line current multiplied
    by line voltage (2A at 115V is 230 watts).  Larger transformers are
    available for more money.  Some of the costlier transformers are
    constructed with plugs and jacks for immediate use.  Those marked * have
    wire leads and need safe connections to be used.

    Before spending money, check into other things about audio in the new
    country.  Broadcast frequencies are slightly different in some countries
    than in others, so a receiver or tuner bought in one country may not be
    able to receive some or all of the stations in another country.  The US
    separates the AM broadcast band frequencies by 10kHz.  The UK uses 9kHz
    between AM stations.  Similarly, the US separates FM stations by 200kHz,
    where the UK has stations on a 50kHz spacing pattern.  It MAY be very
    simple to modify a receiver from US to UK spacings, but may not.

    Step Down (230V in, 115V Out)
        MagneTek/Triad    N1X*    50 Watts    $11.83
        Stancor        P-8620*    50 Watts    $14.16
        MagneTek/Triad    N3M    85 Watts    $29.95
        Stancor        P-8630    85 Watts    $43.65
        MagneTek/Triad    N6U*    200 Watts    $25.72
        Stancor        P-8632    200 Watts    $51.80
        MagneTek/Triad    N5M    250 Watts    $42.60

    Step Up (115V In, 230V Out)
        Stancor        P-8637    85 Watts    $43.10
        MagneTek/Triad    N150MG    150 Watts    $49.46
        MagneTek/Triad    N250MG    250 Watts    $54.69
        Stancor        P-8639    300 Watts    $55.51

    The Stancor and MagneTek Triad lines are carried by
    large electronic distributors.

19.6 Are there really good deals in country XXX?

19.7 How do I find out how much an XXX is worth?
    There is a "Blue Book" for used audio equipment called
    "Orion Blue Book-Audio".  This guide lists both a
    wholesale and a retail value for most audio gear.
        Orion Research Corporation
        1315 Main Avenue Suite 230
        Durango CO  81301 USA
        303-247-8855
    Last I knew, a guide costs $150.  Each Nov, a new book is printed.
    After August, the old book is discounted. Some rec.audio readers
    who have the Orion Blue Book have offered to look up gear for others.

19.8 Do people really hear those differences?
    Who knows?  They sure think that they do.

19.9 Why do people disagree on what is the best sound?
    There are at least three different measures of what is "Perfect Sound".
    All three have advocates, and all three are right, in their own way.
    In general, whether they admit it or not, most listeners fit into one of
    these three preference groups:

    1.    It must sound like live music.  These people know what voices
        sound like in person, they know what instruments sound like
        without any amplification, and they have heard orchestras
        perform unaided by sound systems.  They want to accurately
        reproduce that sound.

    2.    It must sound like the recording engineer wanted it to sound.
        The recording engineer listened with extremely good equipment
        to the sound coming out of the microphones, and mixed them
        together for what he, at that time, felt was artistically
        correct.  It may not have been the same as live, but it was
        exactly what he wanted.  In the extreme, people like John
        Fogerty used to audition his final recording mix in his
        truck to see how it would sound thru a common, lousy stereo.

    3.    It must give me the most pleasure.  No matter how good or bad
        live sounds, no matter what the recording engineer intended,
        if I can buy some equipment that will give me more pleasure
        listening, then it must be the best.

    With these three perspectives, it is clear that no one system will
    satisfy everyone.  Add to that confusion the variable that everyone
    likes a different kind of sound, has heard live music under different
    conditions, and has a different idea of what the engineer intended,
    then there is an enormous range of possibilities.

    Another set of reasons is that people look for different things to be
    right. Some want strong bass; others want male voices to sound like
    male voices; others want violins to sound like violins. Systems rarely
    do everything equally well. Speakers (in particular) are compromises.
    Look for the speaker where the designer had your priority first.  You
    are perfectly right to select speakers based on YOUR personal taste.

    Confounding the situation further, we all say the greatest things about
    the stuff we already bought.  To do otherwise would be to admit that we
    are either stupid or deaf.

    Still another reason is that most people haven't heard enough
    variations.  Until you hear a system that can truly reconstruct the
    three-dimensional accuracy of a stereo image accurately, you may never
    realize that it is possible.  Some excellent recordings contain enough
    information that with a good enough system, you can hear up-down,
    in-out, and left-right distinctions very clearly.  However, we will
    never experience this until we are fortunate enough to hear such a
    fine recording on a very good system.

    Finally, some of us really can't hear much difference.  We aren't deaf,
    but we don't have a well trained ear, don't know exactly what to listen
    for, and may even have slight hearing deficiencies, such as bad
    sensitivity to high frequencies which comes with older age, or hearing
    damage from listening to loud sounds (machinery, rock concerts, etc).

20.0 Network Protocol

20.1 What are the other newsgroups on audio and music?
    rec.audio.pro: This newsgroup is dedicated to professional audio.  It
        includes discussion on record production, studios, studio
        equipment, DJ equipment, recording concerts, sound
        reinforcement, mastering, mixing, special effects, and other
        topics which might apply to audio professionals.  If you are
        a home audio buff but like tape recording, you can find a good
        bit of advice here.
    rec.audio.high-end: This newsgroup caters to audiophiles and serious
        music lovers who are interested in discussing the subtle
        differences between expensive equipment, the nuances of
        selecting the best cables, the love and lore of LPs, and other
        details of audio that are inaudible to the untrained ear.
    rec.audio.car: This newsgroup supports discussion on different brands
        and models of car stereo, and also is an open forum for talk
        about car stereo installation, speaker selection, custom
        crossovers, and the special noise problems which occur in cars.

20.2 What network mailing lists are out there which aren't on usenet?
    There is an informal group of people interested in using DAT recorders
    to record "Grateful Dead" concerts. These people call themselves
    "Dat-Heads" and have a daily E-Mailing List.  To subscribe to this list,
    send a message to [e-mail] asking to
    join the mailing list.

20.3 Should I post a question about "XXXXXXXXXXXXX"?
    If it is related to professional audio, take it to "rec.audio.pro".  If
    it relates to very expensive audio equipment or a request for opinions
    on subtle sound differences, you might want to take it to the newsgroup
    "rec.audio.high-end".  Otherwise, if it isn't addressed in the FAQ and
    it isn't a question for one individual, do it!

20.4 How can I suggest a change to the FAQ?
    Send an E-Mail message to [e-mail] and explain your suggestion
    or correction in detail.

20.5 Where is the FAQ for rec.audio archived?

20.6 What does FAQ stand for?
    FAQ stands for "Frequently Asked Questions".  It is assumed that a FAQ
    also contains FGA or "Frequently Given Answers".  The newsgroup
    rec.audio has very few FGAs due to the personalities involved and the
    nature of audio.  For that reason, this document is called a FAQ.

20.7 Why did I get a bitter reply when I posted a simple opinion?
    Some feel that rec.audio is populated by people with very strong
    opinions.  The whole audio industry is filled with opinionated people.

    However, for the most part, these people like voicing their opinions and
    reading others.  What may have sounded like a severe rebuttal may have
    instead been an outlet for the other person's frustrations or a
    challenge to you to "play the `rec.audio' game" and back up your words
    with some spirit.

    Be sure to stay light when reading rec.audio.  Otherwise, you are likely
    to take yourself and everyone else too seriously.


==============================================================================
Bob Neidorff; Unitrode I. C. Corp.  |  Internet: [e-mail]
7 Continental Blvd.                 |  Voice   : (US) 603-424-2410
Merrimack, NH  03054-0399 USA       |  FAX     : (US) 603-424-3460