DAT-Heads Digest #922
Contents:
80 minute cdrs (JPas4308@aol.com)
The original stealth taper: Tony Schwartz (Check this out) (ONelson807@aol.com)
Sam Prekop/Aerial-M 4/23 SBD For Trade (Jim Kish)
Federale Shows (Marc Ford) 4/26 + Mule/Federale shows that follow ("Craig Helmreich")
extras up for trade (John Kellogg)
Re: stereo microphone - cabling problem (Tom McCreadie)
sennheiser types? (Udo van den Heuvel)
Re: Bad CDR's ("David D. Rogers")
FS: Digital Cables (NPorPJC) (Dave Pecoraro)
Re: Bad CDR's ("David D. Rogers")
Earthworks Mics ("Brian Fulton")
ISO Black Crowes 10.20.96 ("Patrick Reeves")
Tom Ze W/ Tortoise.- Need Tapers (Edward B McGrath)
From: JPas4308@aol.com
Subject: 80 minute cdrs
Reply-To: JPas4308@aol.com
Date: Sun, 25 Apr 1999 11:24:28 EDT
Howdi heads!
Has anyone had any experiences yet with the new 80 minute cdrs that are
coming out? Could use some feedback as someone is hooking me up with a bunch
for under 2$/pc. Pls reply to my e-mail address.
Thanks
Jon Pasternak
jpas4308@aol.com
From: ONelson807@aol.com
Subject: The original stealth taper: Tony Schwartz (Check this out)
Reply-To: ONelson807@aol.com
Date: Sun, 25 Apr 1999 12:01:38 EDT
Some may have heard this when it aired, but if you didn't, you should hear it
now. This guy makes the rest of us look fairly uninterested in recording.
He talks about walking around recording, about making a stealthy wristwatch
mic for recording music in restaurants, about trading with people around the
world. Fifty years ago. Sounds like a lot of us, but on a different scale.
Check it out.
http://www.npr.org/programs/lnfsound/onair/990226.schwartz.html
on Lost & Found Sound™, a profile of Tony Schwartz, an innovative and
inspired sound gatherer, recording the sounds of America since 1945.
TONY SCHWARTZ:
"New York 19" was the non-commercial musical life of my postal zone. And the
postal zone was New York 19 at that time. It's 10019 now. That was the area I
could travel in. I'm not able to travel far. I have agoraphobia and in
walking I could just go around my postal zone in the midst of Manhattan.
I made the first portable recorder. I brought the VU meter from inside the
case to the top so I could look down at it and see how loud things were and I
put a strap on it so I could hang it over my shoulder, that was in 1945. I
could go record children in the park doing jump rope rhymes. And I recorded
the street festivals. I made fourteen records for Folkways records you can
see them up there. The children's games of the streets -- I called it "1-2-3
and a Zing-Zing-Zing." "I won't go to Macys any more more more. There's a big
fat policeman at the door door door..." I was interested in the sound around
us.
Or visit his website at: www.tony.schwartz.net
(Has a good bio of him, but hearing him talk on the NPR thing is the best.)
Olaf
From: Jim Kish <jkish@mind.net>
Subject: Sam Prekop/Aerial-M 4/23 SBD For Trade
Date: Sun, 25 Apr 1999 09:04:49 -0700
Excellent sbd/aud matrix from their show in Eugene on Friday. It's a
complete show, with separate sets from Archer Prewitt, Aerial-M (David
Pajo), and the Sam Prekop band. I'm looking for shows from this tour as
well as other Tortoise/Sea and Cake related bands.
From: "Craig Helmreich" <gnat1@worldnet.att.net>
Subject: Federale Shows (Marc Ford) 4/26 + Mule/Federale shows that follow
Date: Sun, 25 Apr 1999 11:25:36 -0500
I am looking for tapers for the up coming Federale shows. Especially the
show 4/26/99 in Ashville North Carolina... (which is not with Mule...)
Also I need tapes of the following Federale shows with Mule...
(I know that some of you will be there to snag Mule, could you please get
Federale for me while you are there?)
04/27/99 Winston-Salem NC Ziggys
04/28/99 Richmond VA Alley Katz
04/29/99 Norfolk VA Friar Tucks
04/30/99 Atlantic Beach NC Ziggys
Marc will be playing with Mule on 05/01/99 (Spartenburg, SC) and after the
Mule show Federale is playing down the street @ The Magnolia Street Pub.
If anyone can get these shows I would be eternally grateful. I did the show
at Bogarts in Cincinnati and I would have done them all if it wasn't for my
damn law school finals. I have a bunch of stuff to trade or as a worst case
scenario I could compensate with blanks etc.
Please let me know if you can do any of the shows.
For those who don't know... Federale is Marc Ford's new band. (He was with
the Black Crowes on great albums like Southern Harmony... Amorica... Three
Snakes etc. and great Tours like Further & Horde...) He is joined by
singer/songwriter Luther Russell and Jimi Bott who was the drummer for the
Fabulous Thunderbirds. (Plus Fred the bass player)
Thanks for your Help.
Gnat
www.gnat-man.com
gnat@gnat-man.com
From: John Kellogg <phishjam@earthlink.net>
Subject: extras up for trade
Date: Sun, 25 Apr 1999 12:29:42 -0400
I have the following shows and would prefer trades, but blanks are
fine.
Dave Mathews Band: 7-24-98 NAK cm100>D7 90m
Phish 8-9-98 schoeps cmc641>sonosax>apogee 2 60m
Grateful Dead 10-14-77 Reel>?>PCM>DAT 90m
Grateful Dead 9-7-85 schoeps cmc441>PCM>dig remastered by Doug Oade 90m
Grateful Dead 4-5-71 BBD>REEL>PCM>DAT 2 60m
thanks,
John
From: Tom McCreadie <mccreadi@simplex.nl>
Subject: Re: stereo microphone - cabling problem
Date: Sun, 25 Apr 1999 19:19:40 +0200
In Digest #920 'Bebop' Pete Heilig wrote:
>>(snip)... handling the cable is creating an unwanted noise in the
signal. Any flexing of the cable causes a sound to be heard by the DAT
recorder. (snip)..There are 3 conductors into the DAT's stereo 1/8"
jack....Left, Right, and Ground.
I have connected these through a cable (using a 5-pin XLR to a 3-pin
1/8"-stereo-male). The cable is 6-feet in length, 3-conductor cable,
stranded copper, which was from a generic audio cable (perhaps a headphone
cable). So this is an unbalanced stereo cable run.
Microphone-out: DAT-mic-in:
Left-hot ------------ Left
Left-cold
Right-hot ------------ Right
Right-cold
Ground ------------ Ground
(snip)...Is this cable picking up this noise because of improper shielding?
(and if so, what type of bulk microphone cable is recommended?)
Or is the cable picking up this noise because it's an Unbalanced circuit?
(and if so, what is recommended schematic for a balanced stereo cable?)
...(snip)<<
Pete, I'm no expert here but at least my cabling only hums when it doesn't
know the tune <g>. For a 6' run you can usually get away with unbalanced,
but I think your unbalanced implementation is incorrect: you have to tie
the left-cold and the right-cold outputs to ground, otherwise you will lack
signal level and probably have little bass response . (This grounding
applies to mic bodies with transformer balanced outputs, but can be
inappropriate for electronically-balanced outputs).
Check also for mechanical vibration culprits: With your short cable, any
manipulations may transmit to the mic body (recall those folks who tap on
mics and intone "testing testing, one two three"). At the other end, a
heavy stiff cable may unduly stress puny 3.5 mm plug/chassis-socket,
causing intermittent connections or damage. Strain-relief arrangements can
help - e.g terminate the mic cable with a solid 1/4" stereo jack then
finish with a short flexible contra-jack to stereo 3.5 mm adaptor cable,
the contra-jack taped onto your DAT recorder chassis.
Even if the above cures your woes, still consider going over to balanced,
as you might want longer cables or phantom in the future. Admittedly it may
make your set-up less stealthable(TM) <g>. An easy way, for example, is
with two in-line transformers or ready-made balanced to unbalanced adaptor
plugs (female XLR -> male 1/4' jack out), teamed up with a Y-adaptor (two
female 1/4" jacks -> male 3.5 mm stereo plug out). The hot and cold
signals go to XLR pins #2 and 3 resp. and float on the transformer primary;
the ground to pin #1 is connected through to the jack sleeve on the
secondary. You also need a 5-conductor mic cable terminated at one end into
two male XLR's (sorry no cable info).
Several firms carry such transformer plugs with different step-up ratio's.
Generally you get what you pay for. Cheap and cheerful is a Radio Shack /
Archer Lo-Z -> Hi-Z (#274-316). Probably better is Shure with A97A and A97F
for lo-Z -> med-Z.
Even better is simply to build your own unbalancer: 1 small metal hobby
box; 1 female 5-pin XLR socket; 2 high-quality mic input transformers
(mu-metal case, electrostatic screen); 1 short captive output lead,
terminated in a 3.5 mm stereo plug. It is hard to be very specific without
knowing the brand/quality of your stereo mic or DAT, but I have had fine
results this way using transformer type 5755 from E.A. Sowter, Ipswich, UK.
As an indication, if Jensen Transformers = Herz, then Sowter = Avis - "we
are No. 2 so we try harder" <g>. ILP (Budget Rent a Car?) also had a fairly
decent model TM8.
Just my $0.02 help FWIW...always willing to be put straight by the better
informed.
--
Tom
History rewrite: "Sir Francis Drake circumcised the world with a clipper"
From: udo@dinges.xs4all.nl (Udo van den Heuvel)
Subject: sennheiser types?
Date: 25 Apr 99 19:10:23 +0100
Hello All!
In a (somewhat old) pricelist I noticed various versions of the sennheiser
capsules I use:
MKE 40 R
MKE 40-4
MKE 40-2 R
MKE 40-3
Does anyone here know what the differences are? My info only mentions the -60
version (for the K6 powering system). Also the www site doesn't offer much
detail. :-/
Greetz,
Udo
--
From: "David D. Rogers" <drogers@pobox.com>
Subject: Re: Bad CDR's
Date: Sun, 25 Apr 1999 12:28:30 -0700
>From: CosmicKC@aol.com
>Subject: Bad CDR's
>Reply-To: CosmicKC@aol.com
>Date: Sat, 24 Apr 1999 10:28:43 EDT
>
>I just wanted to thank everyone that responded to my posts about the bad
>Mitsui's and HHb disc's that I have encountered. So far 3 discs have
>developed little holes on the top side of the disc. Remember that this is
>the side you usually write on or put a label on. This is also the side
where
>your dye is at. After doing some tests on some of these disc's I have
>discovered that it is very easy to scratch this layer off. In fact
running a
>ball point pen over it will ruin the disc completely.
It is--which is why anyone who does it is asking for trouble. A good
exercise for anyone who has a coaster or a spare blank disc would be to cut
one in half, and see how easily the top layer flakes. If you do that with
both a regular CD (an AOL freebee will do :) and a CD-R, you can see how
much more fragile the CD-R is, just by seeing how the dye flakes with the
top layer. It wouldn't surprise me too much if the top layer on a CD-R is
actually thinner.
> I feel the bottom line
>is you need to label your disc's or find a different type of CDR.
Remember I
>am talking about Mitsui's and HHb's here. This is the only type of disc
that
>I have ever used.
It wouldn't hurt to try a different brand or brands. Just remember to try
out a few of each brand you're interested in before buying a large
quantity--you may find that they won't work on your burner, or won't play
well on your CD players.
I'm sure every CD-R maker has made defective discs. I once bought a TDK
CD-R where the dye was on the center spindle, and I vaguely remember one
with a fingerprint, even though they were shrink-wrapped in the jewel case.
I remember a shrink-wrapped Kodak gold/gold with a fingerprint as well.
(They were made in the U.S. and Mexico, respectively. I've never seen a bad
Japan-made TDK disc. These were among the first U.S.-made TDKs I saw, and
it's possible that they had quality-control problems in the beginning.) I
might have sent all of those back to the manufacturers for a warranty
replacememnt if they were more expensive, but they were all pretty
inexpensive to begin with. The TDK with the dye problem recorded and played
back great, BTW!
>So far I have done about 200 burns and had 3 disc's go bad
>on me.
Three bad discs out of 200 is a 1.5% failure rate--that's a great failure
rate for a lot of things, but maybe not so good for CD-Rs. OTOH, I really
don't know what the typical failure rate is for well-made CD-Rs, or
poorly-made CD-Rs, or Mitsuis in particular.
>Also, I have never used any solvents, non-cdr pens, placed disc's in
>extreme heat or handled them in anyway that would abuse them. They have
been
>placed in case-logic albums. I suspect that these disc's where defective
>from the beginning, but they did burn and play fine. In fact it has been 3
>months since they were created. As for label suggestions. The kind people
>at Neato labels claim that their labels are Cdr. safe. They also claim that
>they are perfectly balanced for Cdr.'s and will not affect jitter or
>tracking. So they say.
They all claim that, but what do you expect? I also know a guy who does
P.R. work for Stomp, Inc. (makers of the CD Stomper), and naturally he
swears by them. I suspect he may have a bunch of bad discs someday. And
then there's all of those bands that sell CD-Rs at their own shows--their
fans might be in for a surprise someday. (I copy every labeled CD-R I
recieve, but I have to do it at a lower speed that the maximum my Plextor
allows--it makes weird noises, and I often don't get a good copy at a high
speed with a label.) I think the best advice is to write on them only with
a CD pen. A thermal printer might be almost as good, and it sure prints a
lot prettier. <g>
>In a final thought, be sure to save your DAT's as backup and trade the hell
>out of you masters. It may be the only way to preserve your precious
>recordings.
Some of my recordings aren't tradeable, so here's what I do for every CD-R
I make: I make a backup copy on a Kodak gold CD-R. (I also keep those
backups in Case Logic cases, something I'm now having second thoughts about
after this thread.) I use Kodak Golds because they're very stable, and
they're different from the discs I use to play in my home or car--actually,
Kodak golds aren't reflective enough to play in my car. Kodak has claimed a
maximum life of a little over 200 years for their gold/gold CD-Rs--which
may just be the result of a not-stringent-enough test. For the discs I play
everyday, I use TDK and Mitsui discs, neither of which have caused
problems, and both of which have survived many hot days in the car.
Someday, I may actually keep my backup copies off-site for extra security.
Good luck finding the happy medium (literally and figuratively! :).
Peace,
<> David
From: Dave Pecoraro <dave_peck@snet.net>
Subject: FS: Digital Cables (NPorPJC)
Date: Sun, 25 Apr 1999 15:22:09 -0400
Hello all,
I have the following (used, mint) cables for sale:
Core Sound 7-pin/Coax I/O Combi Cable with right angle plug, no barrel.
Asking $50 obo.
Monster Cable 3 foot optical cable. Asking $30 obo.
Serious inquiries only, please. Thanks!
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::.
::Dave Pecoraro <---> dave_peck@snet.net ::.
::ICQ: 18974698 <---> AOL: mkdevo :::.
::Dave's Digital ---> http://members.aol.com/mkdevo/index.htm :::'
::CD-R Cover Art ---> http://members.aol.com/mkdevo/covers.html::'
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::'
From: "David D. Rogers" <drogers@pobox.com>
Subject: Re: Bad CDR's
Date: Sun, 25 Apr 1999 12:38:16 -0700
At 12:28 PM 4/25/1999 -0700, David D. Rogers wrote:
>Some of my recordings aren't tradeable, so here's what I do for every CD-R
>I make: I make a backup copy on a Kodak gold CD-R. (I also keep those
>backups in Case Logic cases, something I'm now having second thoughts about
>after this thread.) I use Kodak Golds because they're very stable, and
>they're different from the discs I use to play in my home or car
I forgot to add--the reason I use a different brand of CD-R for backup is
to protect my recordings against bad batches of discs, which sometimes
happen. If I buy a set of TDKs or Mitsuis, and it turns out that they're a
bad batch, then a backup I make from that same batch would also be likely
to develop problems. At least this way I can minimize problems.
Peace,
<> David
From: "Brian Fulton" <seniorpaul@hotmail.com>
Subject: Earthworks Mics
Date: Sun, 25 Apr 1999 12:59:11 PDT
Has anyone had any experience with the fairly new Earthworks
microphones? Or better yet does anyone have any tapes recorded with
them? Especially the SR71's? I'm kinda looking into upgrading my
current rig and have heard that the Earthworks mics are really nice
for the price. Any info would be greatly appreatiated. Thanks for the
B/W
Brian
_______________________________________________________________
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From: "Patrick Reeves" <preeves@arches.uga.edu>
Subject: ISO Black Crowes 10.20.96
Date: Sun, 25 Apr 1999 16:05:46 -0400
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Quick Tape Grovel, Having searched high and low amongst the black crowes =
tapers I know, I have been unable to find a copy of this tape. If anyone =
out there can help me end this two year search, I would greatly =
appreciate it. I know that there is a poor quality copy out there, but I =
am looking for a decent one. Lastly, I had heard that there was a show =
of Derek & The Dominoes w/ Duane Allman sitting in that had surfaced and =
that it had been remastered to DAT, if I could get some info on this I =
would appreciate it. Please respond privately, thanks for the bandwidth. =
Patrick
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<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Quick Tape Grovel, Having searched =
high and low=20
amongst the black crowes tapers I know, I have been unable to find a =
copy of=20
this tape. If anyone out there can help me end this two year search, I =
would=20
greatly appreciate it. I know that there is a poor quality copy out =
there, but I=20
am looking for a decent one. Lastly, I had heard that there was a show =
of Derek=20
& The Dominoes w/ Duane Allman sitting in that had surfaced and that =
it had=20
been remastered to DAT, if I could get some info on this I would =
appreciate it.=20
Please respond privately, thanks for the bandwidth.=20
Patrick</FONT></DIV></BODY></HTML>
=======_NextPart_000_000D_01BE8F35.7A9CFD20==
From: Edward B McGrath <sac19854@saclink.csus.edu>
Subject: Tom Ze W/ Tortoise.- Need Tapers
Date: Sun, 25 Apr 1999 13:12:15 -0700 (PDT)
HI all-
I just wanted to pass on some tour dates for Tom Ze and Tortoise. For
those of you unfamiliar with Tom Ze, he was a leading member of the
*Tropicalia* movement from Brazil in the Late 60's and 70's which also
included Caetano Veloso, Gilberto Gil, Arto Lindsay and Os Mutantes.
Their music has enjoyed a renewed interest in recent years and has
influenced a range of artists that include David Byrne, Tortoise, Neutral
Milk Hotel, Stereolab, and Beck. In fact, Beck's newest album references
the movement with its title (Mutations- Os Mutantes) and the song
Tropicalia. Anyway, I am no expert on the movement but what I have heard
I have really liked and I think many of you will like it too. Tom Ze has
a couple albums out on David Byrne's label LuakaBop and you can find more
info at www.Luakabop.com. This is Tom Ze's first U.S. tour and Tortoise
will be his backing band. It should prove to be some incredible shows
and I highly encourage you to check it out and tape it!PLEASE! PLEASE!
PLEASE! do so and let me know. Right now it looks like it will only be a
6 or 7 date tour so lets try to get them all. I don't know
taping policy, (Tortoise allows mics but no soundboard though that may
not still be valid if Ze isn't cool with it). The New York Times
Magazine from today has a great article on the subject (pgs 48-51). Here
are the dates and please contact me if you get any other info or if you
plan on taping the show. I would like to line up a taper for each show.
thanks for the BW- Barin
TUE MAY 18 Cambridge MA Middle East
WED MAY 19 New York NY Irving Plaza
FRI MAY 21 Chicago IL Park West
SAT MAY 22 Minneapolis MN Walker Arts Center
TUE MAY 25 San Francisco CA Bimbo's
WED MAY 26 Los Angeles CA El Rey Theatre
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