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

      Please Read Information Boilerplate at the End of This Digest
                          Last Updated 10-28-96

[removed] Digest				Volume 96 : Issue 417

Table Of Contents: 

	 Re: [removed] 
	 Re: Sources for Superman (Digest V96 #416)
	 Amos n Andy - MY Last Word
	 HIFI on video tape
	 Travelling West
	 back to the future
	 OTR Web List
	 Morey Amsterdam

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

Date: Mon, 28 Oct 1996 20:51:55 -0600
From: sonya graham <gruenetx@[removed]>
To: [removed]@[removed]
Subject: Re: [removed] 
Message-Id: <[removed]@[removed]>
Content-Type: text/plain; charset="us-ascii"

sorry to interrupt but I am trying to get off this mailing list and
have not had any luck through listserve-Can somebody help direct me?

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

Date: Tue, 29 Oct 1996 01:34:26 -0500 (EST)
From: MAX SCHMID <mschmid@[removed]>
To: [removed]@[removed]
Subject: Re: Sources for Superman (Digest V96 #416)
Message-ID: <[removed]@[removed]>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Mon, 28 Oct 1996  Neubacher@[removed] wrote:

> For $[removed] Radio Yesteryear will  send you a plot listing of all 1263 Superman
> show listings.
	This seems to be the only good deal they have!

>     Cost of the above episodes are $[removed] per episode.
This translates to $12 per 60" tape!  Caveat Emptor, which translated means -
find these shows from your friendly hobbyist-dealer at a reasonable rate.
They are commonly available at much lower rates. Check [removed] for
better sources.

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

Date: Tue, 29 Oct 1996 01:29:52 -0500 (EST)
From: "Robert M. Connelly" <rush@[removed]>
To: [removed]@[removed]
Subject: Amos n Andy - MY Last Word
Message-Id: <[removed]@[removed]>

Mention of the all-black TV Amos n Andy show - which I did not see much of,
reminds me of a line in one of the shows related to me by a much younger
friend. Seems Andy was hailed into court and when asked by the judge to plead,
stated: "Not only does I resents the allegations, but Ah resents the
allegator!" Now THAT is a funny - actually hilarious - line!

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

Date: Tue, 29 Oct 1996 00:17:08 -0800 (PST)
From: ronhare@[removed] (Ron Hare)
To: otr@[removed]
Subject: HIFI on video tape
Message-Id: <v02130500ae9af744d076@[[removed]]>
Content-Type: text/plain; charset="us-ascii"

There's an interesting story about the introduction of HIFI sound to videotape.

Sony thought they had JVC whipped when they introduced HIFI sound as a part
of the Beta format. Sony was able to shoehorn the sound into a little
window of unused bandwidth on their Beta machines. There was absolutely no
place to put audio on VHS. But, JVC placed separate audio heads on the
video drum and skewed them at a different angle than the video heads. By
adjusting the recording current, they also were able to record the signal
"deeper" into the oxide than the video. This smoke and mirror approach
yielded just enough isolation from the video track to make VHS HIFI work
well enough for JVC to claim victory in the final battle in the VHS/Beta
format war.

Both the video and audio are degraded by misalignment (tracking) errors
because there's a separate linear control track that must be physically
(and accurately) aligned with the helical scan. In the VHS HIFI format, a
slight misalignment results in audio carrier dropouts or bleedthrough to
the video tracks (or both!). Beta is a little less sensitive. Both Beta
HIFI and VHS HIFI are afterthoughts and use so little of the tape, that
there's negligible room for error.

The advantage of the 8mm format is that there is no separate control track.
The transport locks into the helical scan electronically. Also, because it
is a newer format, the audio is not an afterthought. Inexpensive 8mm
recorders (and most cameras) place stereo audio onto the tape along with
the video much like the old Beta system. However, a full 1/6 of the tape
surface is reserved for a separate digital stereo audio track that is the
domain of the more expensive cameras and decks. These machines use pulse
code modulation (PCM), which is a way to get digital audio signals onto
tape. The combination of lots of tape surface and the digital format is why
8mm is superior for audio archiving. Hi-8 and SVHS have statistically lower
dropout rates for HIFI audio, but there's no audible difference. The same
logic applies to the tape speed. The slowest speed in VHS HIFI yields
identical audio quality to the fastest speed, but there is a statistical
advantage to the faster speed. If the physical alignment drifts, both fast
and slow speed tapes will be unreadable. So, there is actually not much
advantage to using the higher speeds or high-band tape for HIFI video
because of this.

Interestingly, the 8mm format also supports an option to use the remaining
5/6 of the tape for audio. This gives you 5 more PCM (digital) stereo
tracks for a total of 6 digital stereo audio tracks. The result at the
lower recording speed is a 4-hour pass with 6 stereo tracks. The stereo
separation is infinite, so you can squeeze 12 mono tracks into a 4-hour
tape. That's 48 hours of OTR on one $4 tape with no compression. Pretty
impressive! I use this format with a great deal of trepidation. The problem
is that Sony only incorporated this option on a few early 8mm decks. So,
this format is already obsolete. The 8mm digital audio format is 12-bit
which is equivalent to the sound quality of very good reception from an FM
broadcast station.

The conclusion seems to be always the same. There's no free lunch. Analog
is still the best way to archive OTR at this time. We shouldn't even be
using analog noise reduction schemes like Dolby B and C because they might
not be around forever either.

Enough techno-babble. Back to the discussion of OTR content!

Ron Hare
ronhare@[removed]

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

Date: Tue, 29 Oct 1996 00:17:19 -0800 (PST)
From: ronhare@[removed] (Ron Hare)
To: otr@[removed]
Subject: Travelling West
Message-Id: <v02130501ae9b0a8156bc@[[removed]]>
Content-Type: text/plain; charset="us-ascii"

The Theater Five story where the guy continually travels West to stay young
is called "World Enough, and Time".

Ron Hare
ronhare@[removed]

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

Date: Tue, 29 Oct 1996 05:02:07 -0800
From: Dean Allchin <dallchin@[removed]>
To: [removed]@[removed]
Subject: back to the future
Message-Id: <[removed]@[removed]>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

'Tis funny, sometimes,

To listen to how some of the science fiction writers foresaw the future--our future.  
And to have such thoughts voiced allowed by radio actors and actresses of the 30's, 
40's, and 50's is doubly different.

When we were children in the 70's, we predicted personal rocketships for everyone, 
robots galore and food services the likes of which you might find on the Star Strek 
ship, the Enterprise.  We could not have foreseen remote control televisions, let alone 
personal computers and the Internet (no matter what you think of its importance).  But 
some people did.  Let me suggest that you bring to this list memories of OTR which had 
an eye to the future, seen through glasses from the zany first half of the century.  
X-1 and its friend Dimension X will no doubt bring the most to mind, but fear not to 
dabble in the lesser-known Sci-Fi shows or in shows to be matched to a more macabre 
genre.

Let me start with "A Logic Named Joe."  And listen to this snippet from Murray 
Langster's uncanny vision of the future, a view which sees something like the Internet, 
and the basis for a great accessability to information.  Note, too, its mention of 
censorship.

Cor=Mr. Corlonovich
Cald=Frank Caldwell
Log=Logic
Boy=Mr. Corlonovich's bratty son.

Narrator:  "The Electronic Logic:  in the year we speak, 1974, no modern home was 
complete without one and the logic sets were working so well [don't we wish!] that life 
was soft indeed for repairman Frank [removed]"

Cor:   "Uh, we'd like to buy a logic, Mr. [removed]"

Cald:  "Well I understand that you're not acquainted with logics, Mr. Corlonovich."

Cor:   "That's right. We just moved to the city."

Cald:  "Uh huh."

Cor:   "My wife, well, she saw everybody else had a logic [removed] know how women 
are." [yikes, it'd be hard to
        get away with that today!]

Cald:  "Oh, you bet!  Well, you can't get along without a logic in this day and age, 
Mr. [removed] now about the logic; here, I'll just plug in this one right here. 
Now you see the logic looks kind of like an old-fashioned television set, only it's got 
keys instead of dials.  Now, a lot of the keys are standard like, uh, the television 
stations, the news, the stock market quotes and so on.  Of course if you want to talk 
to somebody, you just punch the number of his logic--it's like making an old-fashioned
phone call."

Cor:   "But there can't be keys for everything."

Cald:  "Oh no no. Now let's say that you want to ask a question, like, uh, what to take 
for a sore throat or, uh, who won the American Pennant in 1911; you turn on the logic, 
then you just punch the question key and ask, like this:  <click> Who was the first 
president of the United States?"

Log:   "George Washington."

Cald:  "There, you see?"

Cor:   "But I already knew that."

Cald:  "Well, of course, that was just a sample."

Cor:   "I got a little store, will it keep books for me?"

Cald:  "It will keep your books, record your contracts, serve as a filing system, and 
check up on what happened to your lawyer's last client--anything."

Cor:   "Hey, they're really something these things."

Cald:  "Ten thousand services and information sources in one, read our advertisement."

Cor:   "What I want to know, Mr. Caldwell, uh, how do these logics work?"

Cald:  "Of course, now you saw that big building across the street?"

Cor:   "Sure."

Cald:  "Well that's one of the relay tanks.  You see, there are a dozen of them all 
around the country and they're all hooked up together and there's a data plate in one 
of those tanks for every fact in creation.  Anything that you want to see or hear you 
just punch for it and the logic gives you the answer."

Boy:   "Hey listen could I ask this thing how to make dart poison?"

Cald:  "How to make what?"

Boy:   "Dart poison, like in Africa.  I could shoot the darts from my bean shooter."

Cor:   "Maybe, I think maybe we'd better not get one of these things."

Cald:  "Oh no no no, it's perfectly all right, Mr. Corlonovich, the logic won't tell 
you that."

Boy:   "I bet it will, I'm gonna try it--<click>--hey, how do you make dart poison?"

Log:   "Public policy forbids this service."

Boy:   "Aw, why'd it do that for?"

Cald:  "Uh, because some little brat, er, because some people might ask things that 
aren't good for them."

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

Date: Tue, 29 Oct 1996 05:03:36 -0800
From: "JACK MANN" <jmann@[removed]>
To: <otr@[removed]>
Subject: OTR Web List
Message-Id: <[removed]@[removed]>
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit

Hi Digesters: 
A wonderful person named Dr. Monte Bateman has made my
OTR URL List available in "clickable" form at the following site:

                         [removed]

Please take a look when you get a chance, and THANKS, Monte!

Jack

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

Date: Tue, 29 Oct 1996 15:10:05 GMT
From: veedee@[removed] (Vincent R. Damiano)
To: otr@[removed]
Cc: jayhick@[removed]
Subject: Morey Amsterdam
Message-Id: <[removed]@[removed]>

Los Angeles - Morey Amsterdam, the comic actor best known as the
wisecracking TV writer on "The Dick Van Dyke Show" died of a heart attack
yesterday.  He was in his 80s. 
 
Born in Chicago, Amsterdam started in vaudville and performed in nightclubs
before doing radio in the 1930s.  In the late 1940s, he moved to
television. 
 
In the 1960s hit sitcom "The Dick Van Dyke Show", Amsterdam played Buddy
Sorrell, part of a television writing team that included Dick Van Dyke and
Rose Marie.  "There was something agheless with him. Probably 100,000 jokes
in his head went with him," said Dick Van Dyke. 
 
"He was just a very dear sweet man," said Rose Marie, who played Sally
Rogers.  "He knew every joke, he knew every switch on every joke.  His mind
was the greatest mind that ever happened." 
 
Amsterdam suffered a heart attack at home and died at Cedars Sinai Hospital
early yesterday, said hospital spokesman Ron Wise. 
 
Various Hollywood reference books listed his birthday as Dec. 14 in 1912 or
1914, making him 83 or 81.  Rose Marie said he was 87. 
 
Rose Marie met Amsterdam when she was 11 during the musical variety show
the "Alice Pearce Show."  They remained friends.  They recently did a spot
for the TV show "Caroline in the City, she said. 
 
Amsterdam's father, a member of the San Francisco Symphony, wanted him to
be a concert musician.  Instead, he used his cello in his comedy routines. 
 
His first TV appearance was "Stop Me If You've Heard This One" in 1948. 
That same year he hosted his own variety show, "The Morey Amsterdam Show,"
which ran until 1950.  Then he was the host for the talk show, "Broadway
Open House," the precursor to NBC's "The Tonight Show." 
 
Amsterdam appeared on a few quiz shows until 1961, when he was cast in "The
Dick Van Dyke Show," which lasted until 1966 on CBS. 
 
He later appeared on a variety of television shows.  Amsterdam is survived
by his wife of more than 50 years, Kay, and two children, Gregory and
Cathy. 
 



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--------------------------------
End of [removed] Digest V96 Issue #417
*******************************************

