Collection of Internet/Collection of Internet.iso/faq/rec/audiofaq/part4

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From: Bob Neidorff <[e-mail]>
Subject: FAQ: rec.audio (part 4 of 4)
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Summary: Answers to common questions about audio equipment, selecting,
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Archive-name: AudioFAQ/part4
Last-modified: 1994/2/15
Version: 1.13

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 principle, as described below.

16.1 Do speaker cables matter?
    To avoid confusion and repetition, here is some terminology.
    Cables are connectors attached to wires. Wires generally
    have multiple conductors optionally surrounded by a shield and
    outer insulating covering. Cables can introduce noise into the
    signal, act as a filter (and thus change the frequency response
    of the system), and provide nonlinearities 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.

    There are many magazine articles on cables with various
    perspectives which are worth reading, including:
        "Speaker Cables: Testing for Audibility"
            Fred E. Davis
            Audio, July 1993, pgs. 34-43

16.2 What speaker cables are 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.)

    Oxygen-free copper is probably NOT any different from common
    copper in sound.  If you hear a difference between two cables,
    it is not a difference between oxygen-free and common copper.

    Resistance may be significant for speaker cables.  The higher
    the resistance, the more the cable will affect the sound, all
    else equal.  The resistance characteristic of metals is called
    resistivity.  The resistivity of copper is 1.7 microohm-cm.
    Silver is very slightly lower, 1.6.  Gold is a bit higher, 2.4.

    Silver and gold are different from copper in other ways than
    resistivity.  Gold does not oxidize in normal environments,
    so gold contacts will not need periodic cleaning and will not
    create rectifying junctions.  Silver will oxidize, but the
    oxide of silver is conductive, so oxidized silver will still
    make good contact.  Copper oxide is a bad conductor.  Oxidized
    copper contacts may insulate, may conduct, or may rectify.
    Copper is a bad material for cable terminals, but this may or
    may not mean anything for the conductor itself.

16.3 What can I use for budget speaker cables?
    First, a few words on terminology.  Wire is sized by AWG or BS
    gauge number.  Larger numbers represent smaller wire.  AWG 40
    (also called 40 gauge) 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-gauge solid copper
    hook-up wire sold by Radio Shack also works very well.  Also
    recommended on a budget is Sound King wire, a 12 gauge 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.  Resistance-related
    effects of the cable can be eliminated by using at least 12
    gauge 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 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 tuner and 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
    approximately $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 nonlinearities.

    Wire capacitance is often ignored in line-level interconnects;
    however, in a phono interconnect, it may constitute half of the
    total capacitive 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 or 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:
    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.

16.8 Can I make very good interconnects myself?
    Yes.  You will need to be the judge of whether or not they
    are as good as $100 interconnects, but it is easy to make
    interconnects that are better than the $2.00 set which comes
    with new equipment.

    There are two necessary ingredients: two-conductor shielded
    cable and RCA connectors.  There is a lot of debate over what
    is the best cable, but in general, the lower the capacitance
    per foot, the better.  Choice of insulation is harder.  There
    may be an advantage to polypropylene or teflon over polyester
    or rubber, but even that is debatable.  If you are buying wire
    from an electronics distributor, some have successfully used
    Belden 1192A microphone cable.  It is rubber insulated, so very
    flexible.  Another recommended cable is Belden 8451.  This is
    a polypropylene cable with foil shield.  Finally, consider
    Belden 89182.  This is foamed teflon insulated, so very low
    capacitance, and foil shielded.  If you plan to make a long
    cable, this low capacitance cable may be the best choice.

    There is also a variety of RCA connectors available.  A
    good connector would be gold plated and machined to tight
    tolerances.  A poorer connector will not fit as well, will
    make poorer contact as the connecting surface oxides, and
    will lose its springiness with use.

    When wiring the cable to the connector, use one wire for
    signal, (the tip of the RCA connector) and one wire for
    ground (the shell or outer conductor of the RCA connector).

    Some cables use a foil shield which is difficult to solder.
    These cables typically have a drain wire parallel to the foil
    which can be used for soldering.  Others use a braided shield.

    Regardless of which type of wire you have, connect the shield
    or the shield drain wire to ground on only ONE SIDE.  This will
    stop noise picked up by the shield from causing ground noise.

    It can be a touchy job soldering RCA connectors.  Before
    you use your new cables, check with an ohmmeter or
    a continuity tester to make sure that you have not
    accidentally sorted the signal and ground leads together,
    either with a stray drop of solder or a loose wire strand.

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 Amateur ($20/yr 4 issues) (Do-it-yourself)
            Box 576
            Peterborough NH  03458 USA
            603-924-9464
        Audio Critic (US $24/yr 4 issues) (High-end)
            PO Box 978
            Quakertown PA  18951 USA
            215-538-9555 or 215-536-8884
        Audio Magazine (US $24/year 12 issues.  Mid-fi)
            Subscription Office: PO Box 53548
            Boulder CO  80321-2548 USA
            800-274-8808, 303-447-9330
            Editorial Office: 1633 Broadway
            New York, NY  10019
            212-767-6000
        Audio Observatory (US $15/year 12 issues)
            22029 Parthenia Street
            West Hills, California  91304
        Audiophile (High-end, High-$$$ Buying Guide,
                Blind reviews)
            Haymarket Trade & Leisure Publications Ltd
            38-42 Hampton Road
            Teddington, Middlesex, TW11 0JE,  UK
            [phone]
            US Inquiries should go to:
                Eric Walter Associates
                Box 188
                Berkeley Hts NJ  07922 USA
                201-665-7811
        Audiophile Voice
            2001 Palmer Ave Suite 201
            Larchmont, NY  10538-2420 USA
        Bound For Sound (US $18/yr 12 issues) (High-end)
            220 North Main St
            Kewanee IL  61443 USA
            309-852-3022
        Car Audio and Electronics ($19.95/year 12 issues)
            Avcom Publishing Ltd
            21700 Oxnard Street
            Suite 1600
            Woodland Hills CA  91367 USA
            818-593-3900
        CD Review (Music Reviews; all tastes, only CDs.)
            $19.97 per year 12 issues
            PO Box 588
            Mount Morris IL  61054 USA
        Glass Audio ($20/yr 4 issues) (Do-it-yourself, tubes)
            Box 576
            Peterborough NH  03458 USA
            603-924-9464
        Hi-Fi Choice (Mid-end. Comparative reviews with graphs,
                tables, and subjective commentary;
                'Buying Guide' section)
            Dennis Publishing Ltd.
            14 Rathbone Place
            London, W1P 1DE, UK
            [phone]
        Hi-Fi News and Record Review (Mid-end. Good new record
                reviews)
            Subscriptions Department
            Link House Magazines Ltd
            1st Floor
            Stephenson House, Brunel Centre
            Bletchley, Milton Keynes MK2 2EW, UK
        Hi-Fi World  (Friendly, lower-mid-end magazine)
            (reviews and "how things work" articles)
            Audio Publishing Ltd
            64 Castellain Rd
            Maida Vale
            London  W9 1EX, UK
            [phone]
        In Terms Of Music  (Emphasizes music reviews, new)
            PO Box 268590
            Chicago, IL 60626  USA
            312-262-5918
        International Audio Review (US $38/yr, 12 issues?)
            2449 Dwight Way; Box 4271
            Berkeley CA  94704 USA
        Positive Feedback (US $25/yr 6 issues) (high-end)
            Oregon Triode Society
            4106 N.E. Glisan
            Portland OR 97232 USA
            503-235-9068
        Sound Practices (US $20/yr 4 issues) (Do-it-yourself)
            Box 180562
            Austin, TX   78718
            [phone]    Voice/Fax
            [e-mail]
        Speaker Builder ($25/yr 6 issues) (Speaker projects)
            Box 576
            Peterborough NH  03458 USA
            603-924-9464
        Stereophile (US $35/yr 12 issues) (High-end)
            208 Delgado
            Santa Fe NM  87501 USA
            800-238-2626 or 505-982-2366
        Stereo Review (US $6.97/yr 12 issues.  Lower end/mass
                market)
            Subscription Office: PO Box 52033
            Boulder CO  80323-2033 USA
            Editorial Office: 1633 Broadway
            New York, NY  10019
            212-767-6000
        The Absolute Sound (US $46/yr 8 issues) (High-end)
            Subscription Center: Box 6547
            Syracuse NY  13217 USA
            800-825-0061
            Editorial Office: 2 Glen Avenue
            Sea Cliff, NY  11579
            516-676-2830
        The $ensible Sound (US $20/yr 4 issues) (Mid/High-end)
            403 Darwin Drive
            Snyder NY  14226 USA
            716-681-3513 or 716-839-2199
        What Hi-Fi  (Mid-end; comparative, subjective reviews)
                (contains it's own buyer's guide with
                recommendations)
            Haymarket Trade & Leisure Publications Ltd
            38-42 Hampton Road
            Teddington, Middlesex, TW11 0JE, UK
            [phone]
            US Enquiries should go to:
                Eric Walter Associates
                Box 188
                Berkeley Heights NJ  07922 USA
                201-665-7811

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.
    A really good store will also have technical equipment and/or
    skilled technical people that can perform tricky adjustments
    correctly, such as cartridge and tonearm alignment.

    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 directly 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 risk 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
    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 show room, 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 return it 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 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 few 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?
    If you want to compare pieces of equipment, recordings, or
    people, you could run an experiment.  You could select an
    experimenter to initiate various trials, select some subjects
    to listen to the sounds, and then ask the subjects questions
    about what they hear.  However, if you want meaningful
    results, it is necessary to set up the experiment correctly,
    and ask the right questions.

    One of the major problems with any experiment is that the
    subjects may become aware of the experimenter's hypothesis
    and allow this awareness to influence their behavior.  One
    technique for preventing such bias is to keep the person
    who conducts the experiment unaware of the hypothesis of the
    research.  Unfortunately, experimenters invariably form SOME
    hypothesis of what's going on, and these hypotheses affect
    how they deal with subjects.

    A more reasonable solution involves allowing the experimenters
    to know the true hypothesis but somehow keeping them ignorant
    of the specific experimental condition of each subject.  This
    is known as a Partial Blind Experimenter technique.  An example
    of this is that the person running an experiment knows that the
    main experimenter wants to determine which connecting cables
    are best at signal carrying, but would not know which cables
    are being used at any given time during the experiment.

    It is also important for subjects not to become aware of
    the experimenter's specific hypothesis.  Subjects often
    become highly responsive to any cues, intended or unintended,
    in the research situation that suggest what they are supposed
    to do to appear normal or "to make the study come out right."
    This problem can be present in judgment experiments,
    particularly those in which each subject is exposed to more
    than one variation of the stimulus. Such a procedure, by its
    very nature, increases the probability that the subject will
    begin to guess which aspects of the experiment are being
    systematically varied by the experimenter.

    Many studies avoid this problem with what is called a Blind
    Subject technique.  Using this approach, subjects are not told
    specifically what the hypotheses are.  Additionally, subjects
    are not told what specific experimental conditions they are in.
    For example, a subject might be told that he/she is supposed to
    determine which stereo system sounds better, when in fact the
    experimenter wishes to examine which color or appearance of the
    same components looks better to subjects.

    When both a Partial Blind Experimenter technique and a Blind
    Subject technique are used at the same time, this is called a
    Double Blind experiment.  Double Blind experiments have higher
    probability of producing statistically valid results than
    Partial Blind Experimenter alone, Blind Subject alone, or other
    techniques.  Double Blind experiments are highly recommended.

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.  Adcom amps are known to be rewirable.

    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.  This is only practical
    for smaller gear.  Larger power amps require prohibitively
    massive and expensive transformers.  Also, the addition of a
    transformer may hurt the sound quality.

    Here are some common transformer models and 1992 list prices.
    Power ratings are total line current multiplied by line voltage
    (2A at 115V is 230 watts).  Larger transformers cost more. 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 while the UK uses 9kHz.  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.  Last,
    but not least, some equipment will NOT work well on 50Hz power.

    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. If you need a single
    quote from the Orion Blue Book, send a polite request to:
        [e-mail]
    and you may get a quote back by e-mail.

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 through 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 buy some equipment will give me
        more listening pleasure 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.  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).

19.10 How do I contact the manufacturer of XXXXX?  How do I get repair
        service on XXXXX?  How do I get replacement parts?
    Some magazines publish lists of contact phone numbers for the
    manufacturers of equipment.  In the US, Consumer Reports has a
    small listing in each issue and a more comprehensive listing
    in their March issue.  Also, Audio Magazine has an exhaustive
    listing in their October "Equipment Directory".  In Europe, look
    in "What HiFi?".

    You can find many addresses by reading ads in hifi magazines.
    You can also find out by asking at your friendly local hifi
    shop, especially if you've built up a relationship with them.

    There is a book called the "Electronics Industry Telephone
    Directory".  It comes out yearly and is available in some
    libraries.  Many reps from parts distributors pass them out for
    free.  If you want a copy and are willing to pay for it, call
    Harris Publishing, 800-888-5900 or 216-425-9000.

    The directory of the Electronic Industries Association is
    similarly useful. You can reach the EIA at 202-457-4900.

    A good source for parts and service is often the manufacturer's
    repair center.  The best way to locate one near you is to look
    at the literature which came with your equipment when it was
    new.  Failing that, see the ideas mentioned above in 19.10.

    There is an old list of addresses and phone numbers called
    "Music Equipment Mail/Phone List". This is posted periodically
    to news.answers, and contains many addresses of equipment
    manufacturers.  This list is also periodically posted to some
    music newsgroups.  If you don't see it posted at your site,
    you can get a copy by sending a request to its maintainer,
    [e-mail] (Rich Kulawiec).

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 good 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.

    There is also a general turntable chat 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 "XXXXXXX"?
    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".  If it's related to car audio, there's
    rec.audio.car.  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?
    This FAQ is available by ftp from   rtfm.mit.edu   in
        /pub/usenet/news.answers/AudioFAQ
    To get the entire FAQ from this archive, you need to
    get all four of the following files:
        part1
        part2
        part3
        part4

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.

20.8 Can I post a "FOR SALE" notice on rec.audio?
    In general, yes.  Usenet is not for commercial purposes, so if
    you are a store or other retail operation, this is the wrong
    place for your advertisement.  If you have some used gear or
    something you bought and don't need, feel free to post it.

    If you see an advertisement for a store that has a great deal,
    AND people had been asking about where to buy that item cheap,
    you might want to tell the readers on rec.audio about it.
    However, try to avoid commercializing.  Something like:

        Pete's Audio has JVC PS992 for $435, which is 40%
        less than anywhere else; If interested 202-555-1212.

    should be fine.  Try to avoid posting their entire price list,
    or using too many superlatives. If commercialism leaks into
    Usenet, it could materially hurt us all.

    When posting something for sale, have a concise but complete
    subject line.  Come to think of it, this is good advice for
    any post.  Here are some good examples:

        Subject: 4Sale Power Amp PS 352 $500 San Francisco area
        Subject: 4Sale Carver 100W Receiver nearly new
        Subject: 4Sale Stereophile Back Issues 4/88 to 6/92

    Think about who you are willing to sell to before you post.
    If it is fragile or heavy, you may not want to ship it, so you
    may restrict to people who are close enough to pick it up.
    Use the Distribution: header to restrict your posting area.
    If you will only sell to people in Texas, don't    distribute it
    to Australia.  Check with your system administrator if you
    aren't familiar with the options you have for Distribution.
    Different sites have different restriction codes available.
    Distribution headers don't always restrict distribution, so
    it is still a good idea to include the target area in the
    Subject.

    Anyone buying or selling needs to understand that Usenet
    contains no mechanism to protect the buyer's money or the
    seller's property.

    There is a frequently posted message "A Guide to Buying and
    Selling on Usenet" which talks of other issues on the subject.
    This is posted to news.answers as well as other newsgroups.
    It is also available by ftp from "rtfm.mit.edu" in
    "/pub/usenet/news.answers/radio" as file "swap-guide".