DAT-Heads Digest #743
Contents:
sony outlets in NYC? ("frederic moriarty")
M1 and voltage problems ("David D. Rogers")
Re: Opcode's Dat port ...& Ebay + RIAA emails (Seth Breidbart)
re:illegal bootlegs on e-bay ("Charles M. Quinn")
thnay you (Jazdout@aol.com)
Dat Trades (DMBDATS@aol.com)
RE: bootlegs and ebay (swsmith@ix.netcom.com)
RE: on-stage micing /some minor DAT content, but not much ;) (swsmith@ix.netcom.com)
ISO: KVHW@Wetlands 12/26/97 ("Paul and Jen Beichert")
Re: bootlegs and ebay (Eugene Hu)
Digital I/O Card: Advice Needed (Alex Douglass)
THE #1 SELLING PRODUCT ON THE INTERNET IS.... ("Stone c")
CD-R advice ("Ross Warren, Jr.")
From: "frederic moriarty" <fritzmor@hotmail.com>
Subject: sony outlets in NYC?
Date: Fri, 29 Jan 1999 14:24:41 PST
anyone know where i can find one in the NYC area? thanks...
-fritz
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From: "David D. Rogers" <drogers@pobox.com>
Subject: M1 and voltage problems
Date: Sat, 30 Jan 1999 02:34:09 -0800
>From: Lee Stanley <LStanley@askcts.com>
>Date: Fri, 29 Jan 1999 11:08:46 -0600
>Anyone know where I could find a copy of the user's manual for a Sony
>PCM-M1? Possibly in a .pdf format? I just got this thing used and I didn't
>get the manual. I tried to patch a soundboard last night and couldn't get a
>signal through my core sounds 7-pin/coax cable. Any suggestions as to what
>I might be doing wrong?
>
>Thanks in advance,
>Lee
This won't be covered in the M1 manual. The M1 uses different voltage for
coax digital I/O than most other decks, including the Sony D3/D7/D8 models.
AFAIK, Sony hasn't acknowledged this in their manuals. Can you tell us what
make/model deck you couldn't get a signal from? Again AFAIK, the M1 (and
D100, which is the same deck in most respects) won't drive a signal to a
D3/D7/D8, so if a D8 and M1 are going to be daisy-chained together, the M1
should go after the D8.
>This message is in MIME format. Since your mail reader does not understand
>this format, some or all of this message may not be legible.
>
>======_=_NextPart_001_01BE4BAA.09315D8A
>Content-Type: text/plain;
> charset="iso-8859-1"
Please turn off HTML when you post to DAT-Heads so this doesn't happen.
Thanks,
<> David
From: Seth Breidbart <sethb@panix.com>
Subject: Re: Opcode's Dat port ...& Ebay + RIAA emails
Date: Fri, 29 Jan 1999 17:42:06 -0500 (EST)
> So, my question is : How Mr. Gentile got these emails?
Maybe he looked at the RIAA's web site? It isn't hard to find.
(Hint: www.riaa.com)
Seth
From: "Charles M. Quinn" <cmquinn@primenet.com>
Subject: re:illegal bootlegs on e-bay
Date: Fri, 29 Jan 1999 14:33:15
>From: d & d <ddnull@ocsonline.com>
>i'm having a hard time figuring out why so many folks want to appoint
>themselves the bootleg police. do you think the labels and artists need
>your help?
I love to tape live music. When bands associate taping with selling of
there live material it infringes on my hobby. These people are not only
hurting the band they are hurting us hobbyists too. I assume you are on
this list because you might like to listen to these live tapes. Those
selling are hurting you too. Make it harder to tape and there will be a
smaller selection and probably lower quality. This hurts you too. So no
"they" don't need our help but "we" (the bands, the record companies, us
tapers, and you listeners) need our help.
Charles
From: Jazdout@aol.com
Subject: thnay you
Date: Fri, 29 Jan 1999 17:49:09 EST
I must take this time to praise the DAT head gods
and thank them for their wisdom...
Pete
From: DMBDATS@aol.com
Subject: Dat Trades
Date: Fri, 29 Jan 1999 17:58:14 EST
Anyone interested in setting up some Dat Trades, please e-mail me your list.
A copy of my Partial Dat List is at:
http://www.tapetrading.com/lists/s/e/seekupdmb@aol.com.html
If there is some specific DMB show that you are looking for that is not on my
list, ask me...I might have it. Thanks and Happy Trading !!!!!
P.S Also Trade Videos & CD's
From: swsmith@ix.netcom.com
Subject: RE: bootlegs and ebay
Date: Fri, 29 Jan 1999 17:17:25 -0600 (CST)
You wrote:
======================================
From: Harry <hblaisure@earthlink.net>
Subject: bootlegs and ebay
Date: Thu, 28 Jan 1999 13:09:07 -0800
<snip>
.......what is the difference between making and selling tapes or
cd's or artists who allow taping ie: dmb, phish, dead etc, and taping,
dubbing and trading (or selling) tapes of bands who DO NOT allow taping,
and I see a lot of that here on datheads.....kind of hypocritcal isn't
it?
"oh, xyz allows taping so we should only trade their shows"
but "abc doesn't allow taping but it's ok to sell or trade those shows"
explain please?
Harry
XXXX Xxxxxxxxxx we carry used CD's, Vinyl, Laserdiscs & DVD's
(xxx) xxx-xxxx <advertising removed>
======================================
Time for my $00.02 worth. ;)
There isn't any difference between _selling_ tapes of those artists who allow taping & those
who don't. "A = A", in other words. The defining line for illegality as well as group censure
seems to be the old "for profit" issue. Selling the physical medium itself, as when a DAT taper
moves up to CD, or an analog taper moves to DAT, for the cost of the media seems, by what I've
seen on this forum, to be generally acceptable. Same with the traditional "B&P" offers for
newbies or unideckers. Making a profit off the deal is not.
If it's for personal home use, and/or trading with others who feel the same way, then even
"stealthed" shows [recorded w/o the performers consent or knowledge, or from an unauthorized
location or source ( Front Of Board or SBD taps)] are seen as acceptable for trading by most.
There are artists whos' popularity (The Stones, Zappa, Page & Plant, etc.) or cult status
(Prince, Bruce Cockburn, Richard Thompson) attract the attention and interest of many people, and
this makes recordings of their live perfomances highly prized and sought after items.
This popularity is what attracts not only the hobbyist/fanatic and the taper, but the for-profit
bootlegger as well. Many of these fanatics can't or won't tape, but will buy "bootleg" material,
especially if/when they already own all of the official 'product' released by the record company.
It's usually not the guy who recorded the show that makes the money off the bootleg product, BTW.
Merely taping or trading a show doesn't make the taper or trader into a criminal, however. Both
by copyright law, and by common agreement within the taping community, that unless you
deliberately intend to create a product for sale, you aren't "bootlegging". As for seeing "a lot
of that here on datheads", more often it's used gear that's for sale, rather than tapes.
It may indeed be hypocritical to trade material from those who don't allow recording of their
live performances, but it seems to me that you are confusing hypocrisy with criminality. All in
all, this is a pretty ethical bunch of folks. ;)
<0 \\ swsmith@ix.netcom.com Stan Smith Dallas, TX 'boo-cat'
:) "Put it down heavy, strip it down lean. Got to lay it down
<0 // dirty and play it back clean . . ." FOTM v.#3 - R. Hunter
From: swsmith@ix.netcom.com
Subject: RE: on-stage micing /some minor DAT content, but not much ;)
Date: Fri, 29 Jan 1999 17:17:26 -0600 (CST)
You wrote:
===============================================
From: d & d <ddnull@ocsonline.com>
Subject: on-stage micing
Date: Fri, 29 Jan 1999 00:25:49 -0500
hello tapers,
i'm hoping to get some feedback from anyone with experience in micing a
band on-stage. my brother & i are wanting to try the km184's on-stage.
we'd like to experiment with a few different local bands but we aren't
too sure as to where to start.
mic location, angles of the mics, etc. we are also considering doing a
matrix with the stage mics and the sbd feed into a da-p1. any and all
help would be most appreciated.
thanks again
dale shepherd
n.p. zero-10-17-92
=================================================
A whole new 'horse of a different ball of worms', here! ;) I think that "Feedback" will be
the least of your worries!
I'm not as familiar w/ the onstage mic/SBD combo type of mix, so I'll leave that part to someone
else. If I have the access to do onstage micing, I'd rather run a multi-channel a/o multi-track
mix instead, & mix it down later. I do use onstage mics, but they're pointed back into the room
to pick up audience reactions.
Your biggest enemies in this type of recording are time domain related artifacts; arrival time
differences between amplified sounds from the PA and direct sound resulting in comb filtering
(missing or muddy frequencies), echos or multiple arrivals of the same sounds (sound bouncing off
the stage floor, walls & ceiling then back to your mics, out of phase & out of time), or "out of
place" appearances of intstruments in the mix ( combination of the two previous causes).
The easiest matrix mix, SBD feed with dedicated delay added to audience mics, requires some
extra gear not usually found in the average tapers arsenal. You'll need a co-operative house
sound engineer and band (this is not a valid stealth technique, BTW ;), a dedicated stereo delay
unit that will allow very small delay times (Klark-Technic, Symetrix, or DOD for a few examples ),
a good set of reference mics (flat response, 20hZ - 20KhZ would be good) & a small 4 channel
mixer. Feed the SBD output (stereo would be good, but mono signal can be split & panned to fake a
L & R mix) to the delay unit. The appropriate time delay can be figured out by simply measuring
the distance from the PA to wherever your mics are (don't forget the vertical component of the
distance [(A)2 + (B)2 = (C)2 ]), & use the 1'0" = 1mS rule. (Speed of sound measured in still
dry air is approximately equal to this - you want exact, do your own math.) You can also
compensate for slight differences in position between mics and distance from the center line of
the PA at this point, under 10' or so. Send the resulting delayed signal to two channels of your
mixer, panned hard L & R. Same for the output signal of your mics. Blend according to taste, but
about 60% SBD, 40% Mic is a good starting place. Send the composite or "matrix" signal to your
favorite DAT machine.
Obey all the appropriate rules of physics and basic gain structure setup & you should enjoy the
resulting recording. Add compression to taste as required, but if the sound man knows his
business there shouldn't be any extra needed.
And for historical interest, a number of the most famous Grateful Dead "SBD" tapes in heavy
trading are actually matrix mixes. Thanks, Healy!
<0 \\ swsmith@ix.netcom.com Stan Smith Dallas, TX 'boo-cat'
(-() "You ain't bringin' all 'a that stuff inta' my bar, buddy!"
<0 // - Dave, at the door of Trees, when confronted by two tapers
with all their gear cases.
From: "Paul and Jen Beichert" <paulnjen@connix.com>
Subject: ISO: KVHW@Wetlands 12/26/97
Date: Fri, 29 Jan 1999 18:28:39 -0500
I was at this show and patched out of a really nice guy by the name of Don
who was running Beyer M88's > Sony D8. I have the first set and since I had
to leave early, I'd love to get the second set. Don, If you're out there,
please contact me. Maybe we can set up a trade. Sorry for the bandwith.
Paul
From: Eugene Hu <eugene@superpan.west.enterworks.com>
Subject: Re: bootlegs and ebay
Date: Fri, 29 Jan 1999 15:56:10 -0800 (PST)
>Ok, I understand that some people here get upset when they see bootlegs
>being sold, be it ebay or anywhere for that matter, but my question is
>this.......what is the difference between making and selling tapes or
>cd's or artists who allow taping ie: dmb, phish, dead etc, and taping,
>dubbing and trading (or selling) tapes of bands who DO NOT allow taping,
>and I see a lot of that here on datheads.....kind of hypocritcal isn't
>it?
>"oh, xyz allows taping so we should only trade their shows"
>but "abc doesn't allow taping but it's ok to sell or trade those shows"
>
>explain please?
>Harry
I don't think the people complaining are necessarily the same ones
that tape and/or trade music of bands that don't allow taping.
There are a lot of different folks on this list. Some don't even
tape music, at least in the conventional sense.
-Eugene
From: Alex Douglass <douglass@cyberramp.net>
Subject: Digital I/O Card: Advice Needed
Date: Thu, 28 Jan 1999 22:56:22 -0600
I'm in the market for a digital I/O card (ISA or PCI) which can
do the following:
1. 44.1kHz & 48kHz input and output without sample rate
conversion (I'd rather let some PC s/w do this when needed)
2. Support for NT4.0.
I/O connectors can be RCA or Optical.
I'm on a tight budget and need something just to get by for now.
Please let me know your suggestions.
Thanks.
A.D.
From: "Stone c" <belk4@yahoo.com>
Subject: THE #1 SELLING PRODUCT ON THE INTERNET IS....
Date: Fri, 29 Jan 1999 19:15:29 -0500
[Spam deleted by the archivist]
From: "Ross Warren, Jr." <rwarren@i-america.net>
Subject: CD-R advice
Date: Fri, 29 Jan 1999 20:42:07 -0500
James,
I've been researching all this junk for over a year now...I
have a lot of DATs getting to the 5 year mark, and was not
looking forward to the expense of cloning them to newer
tapes. I was leaning heavily on buying an Adaptec SCSI card
and even a SCSI drive (hard drive as well as the CD-R
drive). But, we recently got two IDE burners at work...to
be honest I was dubious about them after reading all the
horror stories from DATheads and from Adaptec's CD-R
discussion group. However, I've been very surprised at
their reliability. Yes, I've made a few "coasters", but
most of the time it was my fault for trying to run AutoCAD
(a large disk intensive program) while doing a burn...
My advice is to get an IDE drive first and save the bucks
you'd spend on a SCSI setup....The IDE drives have improved
greatly.....but there is a big BUT in all this....
I'd definitely upgrade to a newer, "Ultra DMA" compatible
IDE drive. These drives can transfer data at a much faster
rate than the old non-Ultra DMA drives (33 vs. 16), hence
one reason the IDE burners are working better than say a
year ago.
Also, keep in mind that your motherboard MUST support Ultra
DMA too, otherwise the hard drive defaults to the old
speed.
Finally, I know others mileage may vary, but it does seem
that the HP IDE drives cause more problems (or at least
more reports of problems) than some of the other ones -
exception being the HP-8110i, which has gotten good
reviews.
Oh yeah, most drives come with EZ CD Creator...this is a
decent package for copying CD's and creating data CD's, but
its not a "robust" package, meaning that there are jobs
it's not up to doing, especially depending on how the
source CD was recorded (example I was "bootlegging" a Tori
Amos bootleg..it would not create a digital copy of
it).....As several Datheads recommended to me, go to these
websites and download these great programs...Even with EZ
CD Creator (Standard or Pro), these programs are a definite
PLUS:
One is CDRWIN from
http://www.goldenhawk.com and the other one is CDWAVE,
available at http://resource.simplenet.com . .
For Cool Edit or Cool Edit Pro go to:
http://www.syntrillium.com/
These are very reasonably priced...
Disclaimer: Yes, I know...all things considered SCSI *IS*
the way to go...but the IDE drives have come a long
way...especially for those of us on a budget.
And, since this is "DAT" heads and not "CD" heads (but it
seems there's becoming a mix of discussions as most of us
are playing with CD-R or toying with the idea), here is the
URL of the Adaptec CD-R discussion group...It's pretty
good, but be warned, it's very voluminous...makes DATheads
look very small...
http://www.adaptec.com/support/cdrec/digests/listinst.html
Finally, a big THANKS to Leonard Lombardo for his review of
the DATport....it sounds good (bad pun intended).
Peace,
Ross
rwarren@i-america.net
infinite diversity, infinite combinations
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