DAT-Heads Digest #165
Contents:
Re: New Orleans Jazz Fest ("Kent Eschenberg")
sony d/m portables attinuation ("Heather M. Jackson or Smiley")
Phoenix/Tempe Dat-Heads ("Adam Carle")
Non-DAT: Audio CDR mailing list? ("Steve Krulewitz")
The Fall on tour (Stefan Cooke)
TAPER needs 2-3 DMB tix for Alpine May 30th! (Scott/Deb McPherrin)
Trade Mic for dats? (The_Best)
Ross, get a hold of me! (CLARKDA@NKU.EDU)
Radiohead - North America 98 ("Tony Guagliardo")
Trade for Radiohead! (Craig Hogan)
Neumann STH-100 shock mount solution (Andrew Loewenstern)
Maximum SPDIF cable run? (Doug Hagewood)
(no subject) (Duc Tran)
NO JazzFest (David A. Weiner)
subscribe (cfeldott@ix.netcom.com)
Re: SCMS questions (Seth Breidbart)
NYT on MP3 recording fears (Stephen Whitaker)
Sony 59ES ("Mark Gryn")
in need of a d6 (Paul K Colomb)
ISO WSP 3.24 thru 3.28 (Paris) ("Clark D. Ritchie")
From: "Kent Eschenberg" <kee@reliant.wes.army.mil>
Subject: Re: New Orleans Jazz Fest
Date: Mon, 6 Apr 1998 09:26:30 -0500
>From the fest web site at http://www.nojazzfest.com/totem.html:
"Video and/ or audio recording equipment is strictly prohibited."
I haven't been there before so I don't know about enforcement.
Kent
Vicksburg, MS
From: "Heather M. Jackson or Smiley" <hmjacks@odin.cmp.ilstu.edu>
Subject: sony d/m portables attinuation
Date: Mon, 06 Apr 1998 09:51:36 -0500
just to add to Pete's message you can purchase a cheap little device at
radio snack that you can use for atinuation its a head phone volume
control it has a male mini plug on one end and a female on the other
with a volume knob in between not the greatest quality but its only 2
bucks or so and you dont have to wait for some body to make it or send
it to you yada yada!
Smiley:-)
From: "Adam Carle" <atcarle@one.net>
Subject: Phoenix/Tempe Dat-Heads
Reply-To: "Adam Carle" <atcarle@one.net>
Date: Mon, 6 Apr 1998 12:27:51 -0400
Hey all,
My wife and I are considering a move to the Phoenix/Tempe/Mesa area.
Wondering if there's any Dat-Heads lurking on this list in that area? I'd
appreciate some input on the area. Thanks in advance.
Peace,
Adam
atcarle@one.net
============================================================
'It is better to be approximately right, than exactly wrong'
John Tukey
============================================================
From: "Steve Krulewitz" <skrul@worldnet.att.net>
Subject: Non-DAT: Audio CDR mailing list?
Date: Mon, 6 Apr 1998 13:20:04 -0400
Hey all,
Sorry about the non-DAT content, but I have seen a lot of CDR talk here
lately.
My question is -- is there a mailing list like this dealing with audio CDR?
Or a list with CDR traders? Would anyone be willing to start one?
For people who are interested in getting into CDR trading, this is my setup:
I have a Yamaha 4260 and use CDRWin from Goldenhawk Technology to do all my
audio CD to audio CD copying (using a Plextor UltraPlex as the source). The
cost of this setup is approximately $450 for the Yamaha 4260, $200 for the
Ultraplex, $200 for the SCSI card (Adaptec 2940), and $60 for the software.
Blank CDRs are about $1.50, and a full CD can be copied in about 15 minutes
(the Yamaha writes at 4x).
You can probably get away with a much cheaper system -- what I have is
considered just about top of the line. The best CDRs right now are the
Yamaha 4260 and the Plextor Plexwriter -- the differences being the Yamaha
can do CDRW and reads at 6x, where the Plextor doesn't do CDRW and reads at
12x.
The only CDR trading I have done so far is making copies of store bought
bootlegs -- I haven't had any experience with CDRs that originated on DAT.
Anyway, thanks for any help on my CDR questions -- and if you have any
questions regarding CDR, please feel free to email me!
Thanks,
Steve
From: Stefan Cooke <scooke@fas.harvard.edu>
Subject: The Fall on tour
Date: Mon, 6 Apr 1998 13:28:28 -0400 (EDT)
Have great masters of both Coney Island High, NYC gigs, a very good
master of the Middle East, Cambridge gig and a clone of the Black Cat,
Washington on the way.
Looking for Passaic Park, NJ 4/2, Philadelphia 4/4 and Brownies, NYC 4/7
and 4/8.
Thanks much,
Stefan
http://thefall.home.ml.org
From: Scott/Deb McPherrin <hippies@frontiernet.net>
Subject: TAPER needs 2-3 DMB tix for Alpine May 30th!
Date: Mon, 06 Apr 1998 12:45:55 +0000
hey now!
was in milwaukee taping Merl&RFB fri night...(great show!...tape turned
out well...thanks to all who helped!)...however i didnt make it home in
time to get tix for DMB...sold out in a couple hours!...i would REALLY
like to tape this show!...would pay face plus offer a tape, patch,
etc...any help greatly appreciated...e-mail me privately if you can help
me out!
peace,
scott
From: The_Best <md2001@mclink.it>
Subject: Trade Mic for dats?
Date: Mon, 06 Apr 1998 20:22:22 +0300
I've a good occasion to buy two akg's, so I'm thinking to give away my
Sennheiser MKE-66.
It's 2 years old and I was (and I am) fully satisfied of it.
Certainly is not a Neumann or Schoepps, but I like it.
It sounds a lot better than any Sony or also other much more famous mics
It's stereo, 40-20,000 Hz freq., with self powered battery.
It comes with an excellent cable, with gold plated pin jack.
I paid it about 280 dollars (In Italy).
I don't know how costed there in USA.
Still now, I'm no so sure to give away, but eventually I can considered
to take in TRADE dats for it (with concerts recorded, NOT blanks)as I
don't want money
I'm not sure if this can be ethical and I don't want that this kind of
trade would be considered a business.
So, if anybody want give me an offer in dats (could be very nice for
somebody that have extra dats, like 180min. that want convert in 120min
and give them away), reply to my address
Alfred
From: CLARKDA@NKU.EDU
Subject: Ross, get a hold of me!
Date: Mon, 06 Apr 1998 16:33:25 -0400 (EDT)
Ross (Johnson?),
I owe you a 90m tape but I deleted your e-mail with your address. Could you
contact me ASAP? Thanks and sorry to the rest of you guys.
--Dan
From: "Tony Guagliardo <guagliardo@un.org>
Subject: Radiohead - North America 98
Date: Mon, 06 Apr 98 17:27:04 -0500
Looking for tapes of Radiohead on their current North American tour. Have
Radiohead to trade.
Also looking for 98 Pearl Jam.
-Tony <guagliardo@un.org>
From: Craig Hogan <chogan@primenet.com>
Subject: Trade for Radiohead!
Date: Mon, 6 Apr 1998 14:30:10 -0700 (MST)
I'm looking to trade for some Radiohead DATs if anyone has them. I
don't have any Radiohead to trade, but I have one of the biggest Cure
collections in the world:
http://www.primenet.com/~chogan/cureboot.html
and some other bands like Oasis and Ride at:
http://www.primenet.com/~chogan/otherboot.html
thanks!
Craig
From: Andrew Loewenstern <andrew_loewenstern@swissbank.com>
Subject: Neumann STH-100 shock mount solution
Reply-To: andrew_loewenstern@swissbank.com
Date: Mon, 6 Apr 98 17:36:37 -0500
Howdy! I have found a good solution to the problem of how to adequately
isolate a pair of Neumann active capsules mounted on the STH-100 stereo
brackets (rubber-block mounts like the Z26mt don't cut it). All that is needed
is a small rod of approximately microphone diameter with a thread on the end.
The rod screws into the STH-100 swivel and then the rod is inserted into a
normal elastic suspension of your choosing.
Jerry Bruck of Posthorn Recordings has found a supply of ready-made "studs"
that can be used for this purpose. It is a 20mm diameter, 3-4" long hard
plastic (or maybe carbon fiber) rod with a metal thread epoxied into the end.
The thread is of a standard size and screws into the little thread adaptors
that come with the STH-100 (and every other microphone accessory on the
market). 20mm is the same diameter as a Schoeps microphone so the stud will
fit perfectly in a Schoeps A20-S suspension (which I believe is the smallest,
lowest profile shockmount available) and is about one inch longer than the
actual clip in the shock mount. The stud should work fine in any other
"universal" shockmount like the popular Audio Technica model. However, you may
have to wrap tape around it to work with the Neumann EA2124 which is designed
to work with mics that are 21-24mm in diameter (go figure...).
When you call Jerry you need to ask for the "VARK Stud" ... tell him what you
are doing and he should know right away what you want. It cost $15 which is
probably less than what you could have one made yourself if you count the time
it would take for you to actually make it yourself or find someone to do it for
you. The website is www.posthorn.com or 212/242-3737
You can use almost any suspension but I recommend the Schoeps A20-S since it
is very small and sturdy compared to the big clunky Audio Technica universal
one (...and almost everyone else's shockmount). It also seems like you could
easily replace the elastic in a few minutes without tools whereas I can attest
that it is a serious pain in the ass to replace the elastic on the AT one (mine
fell completely apart 3 days after replacing the elastic, BTW). The A20-S
also has nifty cable-locks... BTW, the "S" stands for "Stiff" elastics and
that is what you want, the soft ones are probably going to be too springy to
hold the STH-100 with two capsules.
"Happy Taping"
andrew
From: Doug Hagewood <dough@psn.net>
Subject: Maximum SPDIF cable run?
Date: Mon, 6 Apr 1998 15:54:36 -0700
Hi all,
I recently moved and am now in a two level place. My DAT decks are =
downstairs and my PC is upstairs. I want to be able to run a cable from =
the DATs to my PC so I won't have to move the Dat decks upstairs =
whenever I want to make a CD. It's really starting to get old. Is a =
200 foot span of shielded cable out of the question? Any other =
suggestions? =20
On a side note, would an inline headphone volume cable work as an =
attenuator for sbd patches? They sell them at Rat SHack for $4.99. =
Sorry for the late response. I'm just starting to get caught up on my =
digests :-)=20
Thanks,
Doug
From: Duc Tran <dtran@xsvr2.cup.hp.com>
Subject: (no subject)
Date: Mon, 06 Apr 1998 17:50:58 -0700
digest
From: dweiner@juno.com (David A. Weiner)
Subject: NO JazzFest
Date: Mon, 6 Apr 1998 18:24:49 -0700
There is *NO* taping allowed at the N.O. JazzFest. However - it is VERY
easy to smuggle in equipment and stealth. Two years ago I brought in a
backpack filled with all my stuff and a blanket and I wasn't even
checked. Many people bring in chairs, blankets, etc. so it is hard to
check each of the over 100,000 people that walk through the gate each
day. Good luck.
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From: cfeldott@ix.netcom.com
Subject: subscribe
Date: Mon, 6 Apr 1998 20:47:59 -0500 (CDT)
Mime-version: 1.0
Content-type: text/plain; charset="us-ascii"
From: Seth Breidbart <sethb@panix.com>
Subject: Re: SCMS questions
Date: Mon, 6 Apr 1998 21:59:00 -0400 (EDT)
Please don't use multipart/alternative in MIME (or, indeed, anything
other than plain ascii).
>A DAT recorded on a Fostex D5 will have SCMS of 00 ... correct? =20
Yes.
>If I then use this tape as the master/playback from the Fostex, and =20
>record onto a Sony D7 or D100, what SCMS code will be written =20
>on the clones?
If you copy digitally, the clones will have scms=00.
Seth
From: Stephen Whitaker <whitaker@sover.net>
Subject: NYT on MP3 recording fears
Date: Mon, 06 Apr 1998 22:36:49 -0400
April 6, 1998
Music Industry Fears Digital Music Pirates
By JASON CHERVOKAS
It is hard to imagine that a Goliath like the $12 billion American music
industry could see a 19-year-old college sophomore as a threat to its
long-term financial health.
But when Brian Matiash, a computer engineering major, boots up the computer
in his dorm room at Syracuse University on a typical evening, several
hundred e-mail messages will await him, each a request for digital copies
of recorded music.
He will fire up his computer, which is equipped with a hard drive that
holds copies of literally hundreds of songs and a CD burner, a device that
allows him to copy those songs onto blank compact disks.
Matiash is part of a thriving underground network of digital music
scavengers, mostly college students, who tap the high bandwidth available
through university networks to copy and trade music files globally over the
Internet in violation of copyright laws. Most of the scene's members are
like Matiash -- hobbyists who say they subscribe to an unwritten ethical
code. They will trade files, often complete albums, with one another. They
will create compilation CDs for acquaintances, much in the way friends make
cassette tapes of favorite tunes for one another. But they insist that they
are seeking no profit from their hobby.
Even so, to the recording industry Matiash's hobby is deeply disturbing.
There are suddenly hundreds if not thousands of people around the globe
creating vast electronic libraries of copy-protected music and posting it
to the Internet in a format that allows for sound of near-CD quality. That
means traditional bootleggers, who sell knock-off editions of major label
releases, now have access to a free sound library.
It also means that potential consumers have a free alternative to buying
music.
And while hobbyists like Matiash say their hobby is akin to legal home
taping, recording industry executives argue that posting audio files to the
Net is more akin to broadcasting -- but without the licensing fees and
royalties that broadcasters are obliged to pay music publishers and
recording artists.
This underground music movement has grown up around a data compression
technology called MPEG-1 Layer 3, popularly known as MP3, which can squeeze
audio or video files to less than one-tenth their original size. A song of
near-CD quality that is 50 megabytes in size when saved in the traditional
digital format can be squeezed to about 4.5 megabytes.
Jam Sessions Compressing digital music files with an increasingly popular
technology called MPEG-1 Layer 3, or MP3, makes it faster and easier to
send recorded songs and even entire albums over the Internet than with the
older, more established “.wav” format.
Sizes, in megabytes, of the 5-minute, 24-second song “Shadowboxer” from the
Fiona Apple album “Tidal,” as compressed with .wav and with MP3.
Source: Brian Matiash (image chart removed)
With that kind of compression, a student with the typical high-speed
connection offered by universities can download an entire CDs worth of
music to a computer hard drive in less than 12 minutes.
"Right now I have nine soundtracks sitting on my hard drive," Matiash said
-- among them "The Wedding Singer" and "Great Expectations," both Warner
Music properties that he downloaded from other hobbyists on the Net.
"I feel bad sometimes because I know I'm making a mess for the music
companies," Matiash said. "I know it's technically a crime, but anyone can
say copies are being made for back-up purposes."
Under U.S. copyright law, the owner of a legally purchased audio or video
recording or piece of software is allowed to make a single copy for back-up
purposes.
To students like Matiash, the MP3 movement is an innocuous, exciting fad
that promotes musicians and their music to audiences that might otherwise
never be exposed to them.
But it frightens the recording industry, which sees the trading of MP3
audio files as grass-roots piracy that could easily grow from a mere fad
into a serious international threat.
Fighting MP3 recordings "is going to make traditional piracy seem like a
dream," said Jim McDermott, vice president of new-media technology for
Polygram Group Distribution.
At the same time, McDermott acknowledged that proliferation of MP3 sites
also suggests that the time may be right to begin large-scale commercial
distribution of music over the Internet.
"The thing about the Internet is that it is going to force the traditional
business to change," he said. "There is interest from consumers for this,
or the MPEG sites wouldn't be proliferating."
Last year, Polygram and 11 other record companies joined the Recording
Industry Association of America in lawsuits accusing three commercial MP3
Web sites of copyright infringement. That suit was settled last summer, but
most MP3 music distribution is generated not by commercial sites but by
hobbyists, with whom the industry has taken an avuncular stance so far,
sometimes awarding promotional items like baseball caps and T-shirts to the
operators of such sites in return for taking down the offending material.
The Recording Industry Association of America employs people to surf the
Web looking for sites where copy-protected material is posted and is
experimenting with software that automatically searches the Internet for
such sites. When sites are found, officials usually notify the Internet
service provider, often a university, which then typically asks the site's
owner to remove the offending material.
So far, that effort does not appear to have slowed the pirates. "I pretty
much can guarantee everyone that I can find any song I want on the Internet
if you give me a day or two," Matiash said.
Record industry executives acknowledge that they are not losing vast
amounts of money today to bootleg MP3 distribution, but they express
concern about the future. "With a new technology, the time to get scared is
when it first starts," McDermott said.
It is relatively easy to make MP3 recordings, and several sophisticated MP3
players -- software for listening to MP3 files -- are available for Windows
and Macintosh computers in low-cost shareware packages distributed on the
Internet. Two companies, Fraunhofer of Germany and Xing Technologies of the
United States, offer M3P encoders -- hardware for converting a CDs contents
to MPEG -- for prices ranging from $300 to $400. The Internet is also rife
with free bootleg versions of those programs.
Even so, MP3 files are nowhere near as convenient or usable as commercial
CDs. In addition, MP3 recording requires hefty hard drives that can store
huge audio files after they are copied from CDs and before they are
compressed for network use.
What is more, only computers can play back MP3 files. If it is to evolve
into a viable commercial format, MP3 technology would require portable
devices for playing the files -- not to mention digital copyright
protections for the artists and music companies.
In fact, portability could be on its way. Just last month a South Korean
company, Saehan Information Systems, began promoting the MP Man, a small
portable MP3 playback device that connects to a computer's parallel port
through a docking station, much like today's personal digital assistants,
and allows for the storage and playback of up to 64 megabytes of MP3s --
the equivalent of a 75-minute CD. Matiash said he and some friends had been
working on designs for a similar device.
A portable player could bring legitimate Internet distribution of music
closer to market reality. Several companies, including N2K in New York,
already sell music to customers who download it from a Web site.
N2K uses technology from Liquid Audio, based on a standard for compressing
and distributing digital sound developed by Dolby Digital. With that
system, sound quality suffers with greater compression. But last fall
Liquid Audio made a deal with Fraunhofer to incorporate MP3 and even newer
technology into its delivery systems in the future.
And last November AT&T began offering a service called A2B Music, which
formats downloadable music using a proprietary compression scheme based on
MPEG-2, an evolution of the MPEG-1 Layer 3 compression technique that is
said to allow less noise and better stereo performance.
For now, the industry's unified MP3 policy is focused on the threat of
piracy, which in all its forms adds up to a loss of $300 million a year,
according to the recording industry association.
"We are seeing these MPEGs being downloaded onto CD-Rs," said Frank
Creighton, vice president and associate director of anti-piracy for the
industry association. "We're talking about compilation disks with 200 songs
on one disk. You could have your whole CD library at home on five disks and
never need to go out and buy anything."
From: "Mark Gryn" <gryn@MNSi.Net>
Subject: Sony 59ES
Date: Mon, 6 Apr 1998 22:45:35 -0400
I just purchased a used Sony 59ES, it came with no remote control or
manual.
I am just using it as a playback deck, so the lack of remote control does
not bother me. I know some decks have a function that gives the number of
hours on the heads, does the 59ES have this and if so, how?
Also: Looking to trade U2, Cranberries, Amanda Marshall, Chantal Kreviazuk
etc. Your list gets mine.
.mark.
From: bluewaterbaboonfarm@juno.com (Paul K Colomb)
Subject: in need of a d6
Date: Mon, 6 Apr 1998 21:40:42 -0500
if you or someone you know is selling a d6 or any other good, three head
cassette deck please contact me!
thanks alot
sorry for the content
Paul
_____________________________________________________________________
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From: "Clark D. Ritchie" <ihomebrew@bigfoot.com>
Subject: ISO WSP 3.24 thru 3.28 (Paris)
Date: Mon, 06 Apr 1998 19:49:11 -0700
Looking for tapes from the recent WSP Paris shows. I'd like to run a
tree of the second leg (3.24 thru 3.28) so if you can provide seeds
please get in touch. Thanks... CDR
Clark D. Ritchie
mailto:ihomebrew@bigfoot.com
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