What is Monaural, Dual mono, stereo in fact?

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oszkar

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Joined 2013
Ok! This one started reading very very hard a PC CD Burn but with a wrong TOC, good thing being that it skipped back and forth on all 9 disk tracks. What I did was open up from accessible points the laser cartridge and cleaned the prism under the head and the head underneath and above. I do not know how to reach the other prisms. I guess giving it a little more voltage if the cartridge is not dismantable to clean the other prisms would be a good idea. But where and how?
 
djmeverett

djmeverett

Member
Joined 2011
djmeverett

djmeverett

Member
Joined 2011
I would see if you can read any part numbers on the parts themselves and see if you can match those to the parts list in those service manuals. Or look at the schematics and see if there are similar circuits.
I'm sure you know you need to be careful in cleaning the optics. Use good camera lens cleaning solutions & techniques as well as blowing off any dust or contaminants and check with a magnifying glass.
 
djmeverett

djmeverett

Member
Joined 2011
Doesn't seem to be any free service manuals out there for the DP-1100B, but like I said you might be able to try using that "D" version.
If that doesn't work out, then I'm afraid the Ebay one or the $4.99 download will be your only option. Maybe you can find one available near you too....
 
djmeverett

djmeverett

Member
Joined 2011
Not real sure you're going to find the right one or fix this without the proper tools, test equipment and manual.....how will you know if you are making the right adjustment?
Is it only computer burned CD's it can't read?....or any type of CD?
Does it read and play standard audio CD's?
 
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Johan Potgieter

Member
Joined 2005
Coming to this very late, having read all in one go, and noting that discussion took a different course slightly more than half-way through - I hope I may still come back to the stereo business. This on that subject, to avoid the possibility that we were getting slightly lost in ourselves ....

Firstly, as I 'grew up' with stereo, that description started to denote that two (separate) channels have been devised to generate a spatial effect. In the beginning the achievement was denoted by the popular demonstration of the 'ping-pong' effect - and everybody was thrilled - which had little to do with realism.

The main realism stereo tries to impart is a spatial effect, not a directional effect. That can be demonstrated by listening to a recording of a single instrument or solo voice in mono and stereo - a proper stereo recording will sound notably more realistic than the mono, even though no 'left-right' sensation is present, because of a more realistic spatial/room/hall effect.

An interesting experiment in the early days consisted of using a mono recording as one channel, and playing the same in a room with loudspeaker at one end and microphone at the other, and recoding that as channel two. The result was a remarkable resemblance to stereo realism simply because of the different 'echo patterns' - no change in phase and amplitude of the programme itself.

A more or less realistic effect therefore occurred at the hearing mechanism; one cannot talk of recording several 'mono instruments' (which of course they all are). The success of this sensation will of course also depend on the way the recording was made. I still have a few most realistic recordings made with only two microphones in a symphony hall by Mercury - no subsequent 'tayloring' or balancing by an obscure techie somewhere in a studio. (The conductor, Antal Durati, would not have that - as neither did the great Von Karajan in his classical recordings.)

As a footnote from an EE: We occasionally appear to be a little fixated with power supply caused cross-talk and channel separation. Have these ever been quantified somewhere? Any amplifier common power supply which will cause susceptable cross-talk, will also cause susceptable distortion when used with any one channel and should be redesigned - or the circuits should have their PSRRs examined (meaning of course that a power supply need be twice as 'stiff' for two amplifiers). How much cross-talk can realy cause audible degeneration of the total? Memory is vague, but I recall figures of only -30 dB real hard to detect. I do not mean listening to influence on one channel while the other only is playing, I mean comparison of the whole to say -30 dB vs. -70 dB of cross-talk. I am sure google will oblige ...

If the thread has been changed to the OP's equipment, I apologise.
 
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oszkar

Member
Joined 2013
It reads all I have + a burned CD except one original and 3 burned CD's. The one burned CD is another breand from the other ones and the others are the same brand. I will not go any further in it. It is a player that sounds good but it is time to say goodbye to it. I am putting instead of it a Philips.
 
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oszkar

Member
Joined 2013
As for stereo I thought at one time that I missed as I was not so implied into amplifiers, that after amplification stage in an amplifier, there is a chip, DAC maybe that would separate by it's purpose the sound to left and right, that causing sound miss-reproduction due to channel overlay L to R that happen in the chip. Amplifiers actually are consisting of Power Transformer, Pre-amp with the input connections and output connections and Power-amp with it's transistors up and including the speaker output terminals for signal that feed the speakers. Dual mono amplifiers are two power amplifier blocks that are fed with signal by a pre-amplifier or a single case amplifier that has housed in, the transformers, transformer, pre amplifier and power amplifier, the two transformers feeding the two separate sides of the dual mono amplifier or there are cases when there is present only one transformer that feeds all electrical needing components inside the amplifier but that as a job put by it is not the greatest for the amplifier. And after that there is Stereo amplifier that consists of L/R sound capturing and output up to the speaker terminals that feed the speakers. Best being is dual mono block and last as in terms of electronic outlay is stereo. Thank you!
 
djmeverett

djmeverett

Member
Joined 2011
Johan Potgieter said:
Coming to this very late, having read all in one go, and noting that discussion took a different course slightly more than half-way through - I hope I may still come back to the stereo business. This on that subject, to avoid the possibility that we were getting slightly lost in ourselves ....

Firstly, as I 'grew up' with stereo, that description started to denote that two (separate) channels have been devised to generate a spatial effect. In the beginning the achievement was denoted by the popular demonstration of the 'ping-pong' effect - and everybody was thrilled - which had little to do with realism.

The main realism stereo tries to impart is a spatial effect, not a directional effect. That can be demonstrated by listening to a recording of a single instrument or solo voice in mono and stereo - a proper stereo recording will sound notably more realistic than the mono, even though no 'left-right' sensation is present, because of a more realistic spatial/room/hall effect.

An interesting experiment in the early days consisted of using a mono recording as one channel, and playing the same in a room with loudspeaker at one end and microphone at the other, and recoding that as channel two. The result was a remarkable resemblance to stereo realism simply because of the different 'echo patterns' - no change in phase and amplitude of the programme itself.

A more or less realistic effect therefore occurred at the hearing mechanism; one cannot talk of recording several 'mono instruments' (which of course they all are). The success of this sensation will of course also depend on the way the recording was made. I still have a few most realistic recordings made with only two microphones in a symphony hall by Mercury - no subsequent 'tayloring' or balancing by an obscure techie somewhere in a studio. (The conductor, Antal Durati, would not have that - as neither did the great Von Karajan in his classical recordings.)

As a footnote from an EE: We occasionally appear to be a little fixated with power supply caused cross-talk and channel separation. Have these ever been quantified somewhere? Any amplifier common power supply which will cause susceptable cross-talk, will also cause susceptable distortion when used with any one channel and should be redesigned - or the circuits should have their PSRRs examined (meaning of course that a power supply need be twice as 'stiff' for two amplifiers). How much cross-talk can realy cause audible degeneration of the total? Memory is vague, but I recall figures of only -30 dB real hard to detect. I do not mean listening to influence on one channel while the other only is playing, I mean comparison of the whole to say -30 dB vs. -70 dB of cross-talk. I am sure google will oblige ...

If the thread has been changed to the OP's equipment, I apologise.
Click to expand...

Considering oszkar was the thread starter and OP I guess he did go off on several topics tangents from the original question, which I think was thoroughly ranted over and discussed. Not sure how it drifted off to oszkars equipment repair....hehe. I suppose that's OK though. I sort of thought it was going to take on a "bi-wiring" twist there....but that's already a fine thread of nonsense going on elsewhere here...LOL
Anyway I hope you (oszkar) have good fortune in your quest for good sound! Carry on!
:)
 
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