DAT-Heads Digest #784
Contents:
Hard drives: recomendations? (treizes1@mail-atm.nycap.rr.com)
Re: COP1 problem (Len Moskowitz)
Re: 24/96 ("David D. Rogers")
Re: labeled vs. unlabeled ("David D. Rogers")
Volume amplification ("David D. Rogers")
Re: Volume amplification ("David D. Rogers")
Sony SBM-1 for sale (Jason Naumoff)
Re: Volume amplification (Seth Breidbart)
re: SAMPLE RATE (Gordon Gidluck)
Re: datport (Len Moskowitz)
dat store ("king chazz")
dat and pc ("Core")
=?ISO-8859-1?Q?Pirate King Music's No. 1 Bootlegger Gets Busted=97 Again (NDC)?= (Baba666@aol.com)
wetlands power jam - Vernon Reid set (fus)
Ricoh Platinum 10-packs $13.95 ("David D. Rogers")
From: treizes1@mail-atm.nycap.rr.com
Subject: Hard drives: recomendations?
Date: Wed, 17 Feb 1999 12:52:55 +0000
I know there was some discussion a few weeks ago about this, but my
search was fruitless in finding a specific post that discussed the
performance of certain specific U DMA or ATA HDs.
In the post it was recomended to stay away from western digital U
DMAs (they created it I believe).
So, who is a good manufacturer of HDs (consistency, reliability,
stability, choice performance adjective of your choosing here) to buy
from?
This HD will be used as the audio file only drive as you might have
guessed.
thanks, peace, tr
From: Len Moskowitz <moskowit@panix.com>
Subject: Re: COP1 problem
Date: Wed, 17 Feb 1999 13:21:44 -0500 (EST)
benjamin cho <bcho1@students.uiuc.edu> wrote:
> I had a problem tonight with my Fostex COP1 converter box. It has
> optical and coax I/O, Iusually tape SonyD8>Oade 7pinI/O>Coax
> cable>COP1 coax in> Optical out>Optical in on a FOstex D5 with no
> problems. Tonight I tried to run the opposite (optical out from
> fostx>COP1>Coax>oade in) , using the Fostex to play a 90M tape I was
> going to spin to 2 60's on the D8, but the Sony kept saying "no
> input". I know the Oade and coax cables are ok, the optical cable
> seems ok, so I'm thinking the coax in on the COP1 might be bad. Is
> there a way I can check this? The opposite way works fine. Any ideas
> or suggestions?
You might do a wraparound test. Feed the COP-1 with a Toslink signal,
hook the coax output to the coax input and try to record via the Toslink
output.
Hope that this helps!
Len Moskowitz Stealth Microphones (tm), Cables, Interfaces
Core Sound http://www.core-sound.com
moskowit@panix.com Tel: 201-801-0812, FAX: 201-801-0912
From: "David D. Rogers" <drogers@pobox.com>
Subject: Re: 24/96
Date: Wed, 17 Feb 1999 10:26:08 -0800
>From: fish@daacdev1.gsfc.nasa.gov ("John R. Vanderpool")
>Subject: Re: 24/96
>Date: Tue, 16 Feb 1999 17:01:37 -0500 (EST)
>do DVD players have digital out (i guess sorta like CD players, some
>they do, some they don't)?
They practically (if not literally) all do--for Dolby Digital. AFAIK, the
same output can be used to hook up a DVD player to a DAT to copy a regular
CD digitally.
>but the real question is if DVD does have digital out then how would
>you record the 96k onto a DDS1-based DAT? is there some way to throttle
>it down to 44 or 48?
Good question. I don't know if any equipment comapnies have announced
whether they'll do this. Yet another problem is that the data may be
encrypted. The way I've read it is that the recievers and digital audio
processors designed to be used to play DVD Audio discs will be able to
decrypt it, but recorders (hopefully only "consumer" recorders?) won't.
This is to replace SCMS, which as we all know is very easy to bypass. But I
think it's only a matter of time before any copy-protection scheme becomes
moot...
Another problem is 5.1-channel audio. Presumably, all discs with a
5.1-channel mix will also come with a 2-channel mix, but what if some
don't? There might be on-board circutry that will mix the 5 channels to 2
channels (digitally?); then the task will go to downsampling to 48 or 44.1.
The great thing about Sony/Philips Super Audio CD is that it requires a
"red book" layer that can be played on a regular CD player, which could be
copied to DAT. (The bad thing about it, IMO, is that it _requires_ it, and
a 5.1 and a 2-channel mix, and DSD--it's not very flexible for the
producer. OTOH, DVD Audio may be _too_ flexible and confusing for the
consumer.)
>(aside: quite amazing that the audio industry never picked up on DDS2
>specs - looks like they never will - even with DDS3 on the streets now
>and DDS4 even looming close - DAT audio seems locked into DDS1 forever)
DAT audio won't be around forever. :) I don't think we necessairly want DAT
tape formats to stay around forever--for one thing, they're not very sturdy
compared to rewritable optical discs, which are going to get cheaper. You
could use DDS3 or DDS4 for higher-bit/sample rate/more channels audio, but
I don't think most people like the tape format that much. But it's true
that optical still has a little way to go before it will hold as much as
DDS 4.
Peace,
<> David
From: "David D. Rogers" <drogers@pobox.com>
Subject: Re: labeled vs. unlabeled
Date: Wed, 17 Feb 1999 10:34:16 -0800
>From: "Brian Fulton" <seniorpaul@hotmail.com>
>Subject: labeled vs. unlabeled
>Date: Tue, 16 Feb 1999 15:03:10 PST
>
>I was under the impression that labeled and unlabeled Maxell HS/4 DAT's
>were exactly the same(except for the packaging). Why then do some
>traders dislike the unlabeled? I have both and was just wondering.
I think it has to do with a bad batch of Maxell unlabeled tapes that were
made about a year or two ago. The Tascam DA-P1 had problems with them; I'm
not aware of any other decks that did. Perhaps someone else can shed more
light on it. But the tapes apparently didn't have problems with most decks.
At any rate, the problem seems to be cleared up by now (though I'm sure
I'll hear from someone if that's not the case :).
Also, some people just don't like unlabeled tapes. I'm not aware of a
company that makes their labeled and unlabeled tapes differently, though.
Bad batches of tape do occasionally happen, and it could just as well have
happened to labeled Maxell tapes--for all I know, some of them might have
been affected, too.
Peace,
<> David
From: "David D. Rogers" <drogers@pobox.com>
Subject: Volume amplification
Date: Wed, 17 Feb 1999 10:44:33 -0800
>From: "Daniel Kantor" <dkantor@umich.edu>
>Subject: sample rate
>Date: Tue, 16 Feb 1999 18:56:27 -0500
[snip]
>Also do most people amplify the sound a little before burning it to CD? I
>tried amplifying it 3db higher and it sounded good. Is this bad to do?
For something as low as 3 dB, I wouldn't do it. It does add a little bit of
noise and distortion--a different kind of noise, though it does amplify
everything, including parts that had absolute silence. 3 dB is sufficiently
low that it's not a big deal to turn up the volume. If it's something like
6 dB or less, I normalize the CD. (When you "normalize" something, Cool
Edit looks for the loudest peak on the program, calculates how far that is
from the maximum volume possible, and then amplifies everything by that
much. ) Sometimes I record something on my M1 with the line-in input with
my mics, and it's about 8 dB or so below the maximum volume. I normalize it
for CD, and it still sounds better than if I used the mic in.
Some people won't like it if it's a CD you got in a trade, because the bits
won't be the same. But if the volume is very low to begin with, it might
make the CD more desireable. You should mention it when you trade. If it's
a master copy of something you made, I think you should put the best copy
you know how to make out for the trading circuit (though you should
probably tell anyway). Plus, raising the volume digitally adds less
distortion than doing it by analog. I've recieved many CD-Rs that were
"cleaned up", and I think they sound great--and I think most people like this.
Peace,
<> David
From: "David D. Rogers" <drogers@pobox.com>
Subject: Re: Volume amplification
Date: Wed, 17 Feb 1999 10:46:46 -0800
At 10:44 AM 2/17/1999 -0800, David D. Rogers wrote:
If it's something like
>6 dB or less, I normalize the CD.
Oops--that should read "6 dB or more". :)
<> David
http://www.lightlink.com/drogers/
=============
"People, who eat people, are the loneliest people in the world!"
–Barbara Streisand, slightly skewed
From: Jason Naumoff <jnaumoff@gunnison.com>
Subject: Sony SBM-1 for sale
Date: Wed, 17 Feb 1999 11:46:47 -0700
1 year old Sony SBM-1 20 bit A>D convertor for sale
includes:
SBM-1
carrying case for d8 & SBM1
original box, instructions, etc.
$320 OBO
From: Seth Breidbart <sethb@panix.com>
Subject: Re: Volume amplification
Date: Wed, 17 Feb 1999 14:07:28 -0500 (EST)
If you're going to normalize a 48 kHz master, I think it makes sense
to normalize before resampling; however, I haven't done the math, so
I'm not certain.
Seth
From: Gordon Gidluck <ggidluck@artelco.com>
Subject: re: SAMPLE RATE
Date: Wed, 17 Feb 1999 13:31:04 -0800
>
> From: "Daniel Kantor" <dkantor@umich.edu>
> Subject: Sample Rate
> Date: Tue, 16 Feb 1999 18:56:27 -0500
>
> I have been converting my files from 48 to 44.1 using Cool Edit 96. I
> cannot hear any difference between the before and after. I just realized
> that there is an option on what quality you should convert it at. It has
> been set to 150. Should I change this?
> Also do most people amplify the sound a little before burning it to CD? I
> tried amplifying it 3db higher and it sounded good. Is this bad to do?
>
> thanks,
> Dan
When doing sample rate conversion, filters are applied to eliminate
alias frequencies in the output. Increased processing time on the
computer generally indicates that better filtering is being applied. If
you can't tell the difference, I would just use the default values.
When you increase the amplitude by 3db, you are not affecting the
dynamic range of the original recording, but you are increasing the
perceived loudness by the listener. Compression would affect the dynamic
range. You are not doing anything bad unless you cause digital "overs"
in the result.
Gordon Gidluck
From: Len Moskowitz <moskowit@panix.com>
Subject: Re: datport
Date: Wed, 17 Feb 1999 14:48:44 -0500 (EST)
"David D. Rogers" <drogers@pobox.com> wrote:
> FWIW, I'd love to hear how the D7/D8 and D100/M1 work with the DATport
> without something like the Oades Active Cable (like the Oade DIGI I/O-P,
> Core Sound cables or the Sony cables that don't adjust the output voltage).
> My guess is that if it accepts the D100/M1's "native" voltage, it will
> accept the D7/D8's, too.
It should. As of yet, we don't have any reports about how the DATport
operates with our cables.
By the way, did you know that the Oade cable is only active for the
digital input path (per the RK-DA10P that it is built from) but is passive
in the digital output path, using the Sony native voltages?
Len Moskowitz Stealth Microphones (tm), Cables, Interfaces
Core Sound http://www.core-sound.com
moskowit@panix.com Tel: 201-801-0812, FAX: 201-801-0912
From: "king chazz" <kingchazz18@hotmail.com>
Subject: dat store
Date: Wed, 17 Feb 1999 13:18:48 PST
how much is the sony d100 at the dat store?
-monty-jay
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
From: "Core" <mkline@corestudios.com>
Subject: dat and pc
Date: Wed, 17 Feb 1999 15:47:56 -0800
This is a multi-part message in MIME format.
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I am a newbie, looking to dive into the dat world, and I have some =
questions.
One.=20
Can someone suggest a quality portable. I need to stay under $1000. I =
have heard Sony D-8 mentioned quite often.=20
Two.
Does anyone know the possibilities of pulling music from a dat into a pc =
through a sound card, then push the data from the pc back onto dat? I =
hope this is a legit question. Please let me know the issues.
Thanks in advance,
Mitch
mkline@corestudios.com
=======_NextPart_000_0008_01BE5A8C.E33BA210
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<META content=3D'"MSHTML 4.72.2106.6"' name=3DGENERATOR>
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<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>I am a newbie, looking to dive into =
the dat=20
world, and I have some questions.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>One. </FONT></DIV>
<DIV><FONT size=3D2>Can someone suggest a quality portable. I need to =
stay under=20
$1000. I have heard Sony D-8 mentioned quite often. </FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Two.</FONT></DIV>
<DIV><FONT size=3D2>Does anyone know the possibilities of pulling music =
from a dat=20
into a pc through a sound card, then push the data from the pc back onto =
dat? I=20
hope this is a legit question. Please let me know the =
issues.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Thanks in advance,</FONT></DIV>
<DIV><FONT size=3D2>Mitch</FONT></DIV>
<DIV><FONT size=3D2><A=20
href=3D"mailto:mkline@corestudios.com">mkline@corestudios.com</A></FONT><=
/DIV>
<DIV><FONT size=3D2></FONT> </DIV></BODY></HTML>
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From: Baba666@aol.com
Subject: =?ISO-8859-1?Q?Pirate King Music's No. 1 Bootlegger Gets Busted=97 Again (NDC)?=
Date: Wed, 17 Feb 1999 16:46:32 EST
from this week's village voice -- reprinted with no permission whatsoever!
thought it might be of interest.....
Pirate King Music's No. 1 Bootlegger Gets Busted— Again
by
william bastone
Charlie LaRocco (above) on his latest arrest: ''I was glad it happened.
Because to me it's like an exciting adventure.'' (photo: Rick Miller)
Three weeks ago, Charles Larocco, the embattled King of Bootleggers, found
himself in a Brooklyn holding cell waiting— for the third time in 30 months—
to be arraigned on federal criminal charges. Just like in June 1996 and May
1997, the 42-year-old had been arrested that late-January afternoon by an all-
too-familiar posse of agents from the U.S. Customs Service. Among these
veteran New York investigators, Charlie was somewhat of a legend, only the
second guy they had ever arrested three times for the same crime— in this
case, the illegal sale of bootleg CDs featuring groups like Nirvana and
Garbage.
Until January 27, when Charlie hit the trifecta, the three-arrest record was
held solely by some Queens recidivist who could not fight the overwhelming
urge to manufacture crack pipes.
But it seems that LaRocco— the legendary "Mr. Big" of bootlegging circles—
will not, or cannot, stop selling illegal CDs. His multimillion dollar
operation, which manufactured and sold bootleg albums to many New York City
record shops and hundreds of retailers nationwide, has been crippled by
federal investigators, so LaRocco— who has been free on bail— recently had to
test a new distribution tool. But he was quickly collared again, this time in
cyberspace on one of the Web's most popular sites.
Facing several years in prison, LaRocco appeared defiant— and also a bit
delusional— during three Voice interviews last week. Asked about his January
bust, the slender and soft-spoken LaRocco said, "I was happy it happened.
Because to me it's like an exciting adventure. Because when you feel you did
nothing wrong and they're coming and accosting you under those circumstances,
I feel I got nothing to lose."
LaRocco actually spoke fondly of his latest legal scrape. "I mean, when I go
in the cell with all these drug dealers, it's an experience for me." While
waiting to be arraigned, he showed off his Latin music chops to two impressed
DEA detainees. When his cellmates then asked about his case, Charlie lied,
claiming that his charges were rather serious. "Of course, I'm embarrassed to
tell them all I'm in there for is CDs."
An ascetic character who hews to a weird, quotidian schedule, LaRocco has
already pleaded guilty to charges filed in connection with the first two
arrests. But he scoffs at the notion that he will actually be punished for
those crimes, though federal guidelines call for a prison term of 30 to 37
months when he is sentenced on March 19. He expects investigators to soon
admit they were wrong about him and return the nearly 1 million bootleg CDs.
The albums, seized from two Queens warehouses in 1996, are now being stored in
a Customs Service depot. For Charlie, it is as if a member of the family has
been held hostage for more than two years.
As they had done twice before, Customs agents traveled to Valley Stream, where
they arrived in the early afternoon at the modest ranch home LaRocco shares
with his 82-year-old mother. They were again carrying an arrest warrant for
Charlie and a search warrant for the premises. But since both Luna LaRocco and
her son suffer from sleep disorders and live the lobster shift, they had to be
rousted awake by the raiding party. As agents took Charlie from the house, he
had a parting message for his mother, who was enduring the third court-
ordered raid of her home. "Mom," he whispered, "watch 'em so they don't steal
anything."
As it turned out, the 1999 canvass netted little, unlike a 1996 search that
turned up $490,000 in cash. Charlie had hidden wads everywhere: $4900 in the
microwave, $46,620 in a credenza, $193,600 in the laundry hamper, even $220 in
the cookie jar. The rubber bands on some stashes were dry and brittle, leading
investigators to theorize that Charlie— who suffers from short-term memory
loss as a result of a serious car accident— may have forgotten where he once
hid the loot. He does not trust banks, LaRocco explained, because "If
something's not in my possession, I'm not comfortable. I need to be in control
of everything."
On his first two trips through the system, LaRocco had been charged with
distributing large caches of CDs featuring live performances by artists like
Jimi Hendrix and Pearl Jam. When it came to bootleggers, Charlie was the
recording industry's chief nemesis, No. 1 with a bullet. After analyzing
LaRocco's meticulous business records— which were kept in small spiral
notebooks and on pieces of cardboard— federal investigators were able to
quantify the remarkable scope of Charlie's business. Customs officials figured
LaRocco earned more than $15 million selling swag from 1990 up until his first
arrest in mid 1996. And that figure would have been higher, a former LaRocco
associate said, if a "placid" and "very generous" Charlie had aggressively
pursued unpaid bills. This assertion is supported by LaRocco's own financial
records, which listed many accounts payable.
And Charlie was making this mountain of cash even though he did not like rock
and roll.
LaRocco prefers gospel quartets and old r&b to Smashing Pumpkins and Bruce
Springsteen. In fact, when he was younger and his peers were plugging in,
Charlie sang tenor in an a cappella group on the Lower East Side, where
Charles Cyril LaRocco grew up the youngest of three children on Monroe Street.
This harmonizing was an "anachronistic sound for the time," he recently
recalled. But while his customers' tastes may have run counter to his own,
LaRocco never let that affect his bootleg operation. Charlie understood that
Marilyn Manson, not the Marvelletes, moved product.
When he starts evangelizing about his unfair treatment at the government's
hands, LaRocco reveals the focused, obsessive side that allowed him to build
the nation's largest bootlegging business. A former criminal associate said it
was that drive— and a paucity of career alternatives— that kept LaRocco
peddling illegal CDs. "This is what he knows how to do," said the source, who
himself was convicted in a related smuggling case.
Amazingly, LaRocco has operated essentially as a one-man enterprise. Using a
network of U.S. contacts, investigators said, LaRocco would secure tapes of
live concerts or recording studio sessions by headline acts. He would then
have a variety of production facilities in Europe— including well-known firms
like Swinging Pig and Why Not— produce CDs of these performances. The records
were then shipped to New York, where Charlie packed them into jewel boxes
carrying four-color insert cards, many of which he designed. The finished
product was then distributed to LaRocco's domestic customers, who paid around
$10 for CDs that would later retail for around $25 to $30."For what he was
doing, he could have been written up in Entrepreneur Magazine," said Edward
Dempsey, a Customs Service group supervisor.
And like any accomplished smuggler, Charlie dealt only in cash and postal
money orders. Along with several personal aliases (apparently including
"Pookie"), he operated under an array of business names, none of which were
incorporated or registered in New York State. LaRocco used a series of drop
boxes to receive mail and filed fraudulent Customs declarations to sneak
bootlegs into the country. He never paid taxes and used a series of phony
social security numbers. When investigators recorded some of his telephone
conversations, he spoke in code, referring to CDs as "magazines." While he has
claimed to have been unaware that selling bootlegs was illegal, LaRocco sure
operated as if he had something to hide.
For LaRocco, the ongoing law enforcement scrutiny has been a major annoyance
and a disruption to his regular routine. That regimen basically revolves
around his hunt for records at tag and garage sales and his daily postmidnight
trips into Manhattan for bicycle rides and three-mile runs. "It's like an
oxymoron, but I strive for contentment. I'm content with the way things are.
So I just look for no changes. I got great equilibrium." That balance,
however, was thrown off again last month.
Though on bail and awaiting sentencing for his previous bootlegging activity,
LaRocco was nabbed in a first-of-its-kind Internet sting launched by World
Trade Centerbased Customs agents. LaRocco was caught selling bootlegs on
eBay, the popular online auction site. Aided by the anti-piracy unit of the
Recording Industry Association of America (RIAA) and a confidential witness,
Customs agents successfully bid for Byrds and Beach Boys albums offered for
sale by LaRocco, who is known by several eBay handles, including "groupsound"
and "harmonysound." Investigators presented Roger McGuinn with the Byrds CD— a
recording of a 1978 reunion show in San Francisco— and the group's founder
announced that those ringing Rickenbackers were recorded without permission.
Together, the two winning eBay bids cost Uncle Sam $96. In an additional $100
transaction conducted via e-mail, LaRocco also sold the federal source four
other bootlegs, including Alice in Chains and Tool performances. Normally, a
measly $196 illegal sale would not be worth the effort of Customs agents and
federal prosecutors. But when it comes to LaRocco, the government has a zero-
tolerance policy in light of Charlie's lengthy pirate pedigree.
Strangely, the great majority of items LaRocco has sold on eBay appear
legitimate, like Al Green and Sly Stone singles and a variety of old Stax 45s.
Feedback posted from nearly 100 LaRocco customers is almost uniformly
positive. "Five *****'s Charlie!" and "Charlie's a fab dealer" are typical
examples of such praise. It is unclear why, among all these old r&b and soul
offerings, LaRocco decided to chance slipping in some stray bootlegs, a
decision that could lead to more jail time and revocation of his current bail
package. But for Charlie, jail is just not an option (as if he has a choice):
"There's no possibility of that because there was no wrongdoing on my part."
This, of course, is coming from a guy who stood before a magistrate last year
and copped to three felony counts. When his sentencing day arrives, LaRocco is
sure the judge will realize the case against him is "a joke."
LaRocco believes that the federal bootlegging statute enacted in late 1994 as
part of the General Agreement on Tariffs and Trade (GATT) is unconstitutional
and will eventually be overturned. Along with two criminal defense attorneys,
LaRocco has also hired a copyright lawyer and an intellectual property expert
to research possible legal challenges to the bootlegging law. Of course, along
with already pleading guilty to that statute, LaRocco also admitted that he
violated separate smuggling and currency reporting laws. And nobody's arguing
that those sections of the federal criminal code are particularly flimsy.
As LaRocco finances a multiple-member legal team, Customs agents are left to
wonder whether the bootlegger successfully hid large sums of money earned by
his illegal operation (in places other than the hamper or cookie jar).
Investigators believe that Charlie made far too much money to have spent most
or all of it. "I live like an impoverished guy," said LaRocco, who added that
he has taken one vacation in his life. And that was only a brief record-buying
expedition down South in 1976. "I don't need an escape from anything," he
said, "because I'm content with the environment that I'm in."
As he awaits exoneration, LaRocco busies himself with a strange nocturnal
schedule. Because he cannot sleep at night, Charlie naps during the day and
heads into Manhattan near midnight. He drives a 1996 Isuzu Trooper because his
1992 Isuzu Trooper was seized by Customs agents. In the back of the truck is
Charlie's trusty bicycle. Nowadays he is riding a Raleigh R-40, but that could
change momentarily, since LaRocco said he has had 13 bikes stolen in the past
two years. There is something about a bicycle chained to a No Parking sign at
4 a.m. that attracts those with a larcenous heart.
He rarely has a route planned for his two-wheeler, he just goes "where my
bicycle takes me." Often he'll bike someplace, lock up his wheels, and go for
his nightly three-mile run. Charlie can be found crossing the Triborough
Bridge, running on the Coney Island boardwalk, or even jogging up and down
Eighth Avenue. With the terrain changing nightly, how does he know when he's
run three miles? Well, he counts the number of strides he takes. For every 700
times Charlie's New Balance 875s hit the ground, he has traveled a mile.
Twenty-one hundred paces, and three miles have gone by.
Certain days of the week have their own rigid schedules. On Monday nights,
Charlie heads for an Avenue C club to watch a favorite honky-tonk band. On
Tuesdays, he drives his mother into Little Italy for dinner on Mulberry Street
(usually Pellegrino's). He then drives back to Valley Stream, drops her off at
home, and then returns to Manhattan for some biking and jogging.
But for Charlie, his schedule will not be whole again until he can start
selling a mountain of bootlegs. "I don't regret doing anything at all. I would
do it again. I'm just gonna wait for the government to say, 'Okay, we made a
mistake. Continue operating the way you were operating.' It's only a matter of
time before they realize that I didn't do anything wrong."
From: fus <fus@erols.com>
Subject: wetlands power jam - Vernon Reid set
Date: Wed, 17 Feb 1999 16:52:30 -0500
anybody have a tape of the Vernon Reid set from the wetlands the other
night? plenty to trade.
Ethan
From: "David D. Rogers" <drogers@pobox.com>
Subject: Ricoh Platinum 10-packs $13.95
Date: Wed, 17 Feb 1999 14:12:48 -0800
The second-lowest price I've seen on Ricoh Platinums is $13.95 for a
10-pack at http://www.buycomp.com , available right now. (The lowest price
was about $1 per disc, available for a very short time from the same source
some months ago--and I don't expect them to offer it for that low for some
time, if ever.)
Advantages of the Ricoh Platinums--they use an "advanced" phthalocyanine
dye that Ricoh claims will last up to 217 years. (I know nothing about the
test Ricoh bases their claims on, and suspect it _may_ be of dubious
value.) It uses a silverish reflective layer that makes these discs very
compatable with a wide variety of CD players, and they have a low error
rate (TDK blues apparently are still lower, however). They can also be
recorded up to 8X speed. Ricoh "Gold" uses a similar silverish reflective
layer, but uses a gold coloring on the label side to identify them (which
also seems to fool the very foolish)--they can only be recorded up to 6X
speed, and Ricoh claims their life at "only" about 100 years. (Naturally, a
gold reflective layer would be better for long-term storage--it won't
rust--but it would probably mean a lower max. recording speed.)
Peace,
<> David
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