DAT-heads Digest #859
Contents:
Re: Source Help? (Eugene Hu)
broken 3700 for free (Christopher Lull)
extra ABB 3/24/01 for B+P ("Dan Greenberg")
Re:Subject: AUDIO CAPABLE COMPUTER DAT FOR SALE $245 ("mike *")
ISO Ben Harper 1996 Bimbo's San Francisco ("Blaisdell, Gary")
Re: DPA 4051 vs 4060 (Len Moskowitz)
FT: Dylan/Simon "SBD" Jones Beach Ampitheatre 7-30-99 ("Oomph!")
Extra SCI Floor ticket for KC Show?? ("Brian Price")
Sigur Ros taper available (TRANEHEAD@aol.com)
boston tapers--can i borrow a power source? (james tierney)
Re: Source Help? (L Sean Kennedy)
Re: inbox power supply ("mark wilkins")
Ratdog sbds? ("Gary Johnson")
Re: optical s/pdif or tos-link? (Seth Breidbart)
ALERT: MMW-Santa Cruz venue change.....TODAY! (jay@3rdperson.com)
Re: Help with inexpensive soundcard (midiman???) (Len Moskowitz) (Neal Copperman)
ISO Dead Can Dance DATs ("john kupchik")
Re: : DPA 4051 vs 4060 (Digest #855) (Peter.Snowdon@cec.eu.int)
OT: audio for video cameras questions (Peter.Snowdon@cec.eu.int)
From: Eugene Hu <eugene@goto.com>
Subject: Re: Source Help?
Date: Wed, 18 Apr 2001 14:18:43 -0700
> My buddy is spinning me up these tapes and doesnt have complete source info.
> I was wondering if anyone else has this same source/show, or might know who
> taped it? Any help would be great. I've kinda thought it was prolly like
> cmc3/4/5 & mk2 > AD1000? > Panasonic SV255. I'm not sure when the AD1000 came
> out and obviously the 500e is only a D>A and you gotta power the mics somehow,
> maybe an oade or sonosax back then, and I think the 2700 is a homedeck. This
> is what he gave me below, so if anyone can help that'd be great.
>
> Phish & Allman Bros - Laguna Seca Daze, Montery, CA 5-29-93
> Audience (FOB) Schoeps Omni Capsules (spaced 8') > ? > Apogee A/D
> coverter (probably 500e) > Panasonic DAT(2700?) > My D10 Pro
The Panasonic SV255 doesn't have a digital input, so it couldn't have
been involved. Perhaps a SV3700 run off an inverter?
-Eugene
From: Christopher Lull <ceo@gankmore.com>
Subject: broken 3700 for free
Date: Wed, 18 Apr 2001 14:36:52 -0700
My kid managed to open and stand on the drawer of my panasonic 3700
snaping it off the unit. Might be worth fixing. Probably has about 1000
hours on it, and its been regularly serviced at Leo's Pro audio. First
one who emails me and agrees to pay for shipping or can pick it up in
Berkeley can have it.
Chris
From: "Dan Greenberg" <letitgro@warwick.net>
Subject: extra ABB 3/24/01 for B+P
Date: Wed, 18 Apr 2001 17:40:36 -0400
It's on one Maxell HS-4/90m tape. I would like one sealed
Maxell or Sony 90m tape + return postage for it.
It's an excellent audience recording from the Beacon Theatre
in NYC. It was recorded 10th row center, w/ B&Ks. Warren
Haynes plays guitar throughout, along with Derek Trucks. There
were 6 special guests, including Chuck Leavell & John Popper.
(FWIW, this was the ABB's 101st appearance at the Beacon.)
Preference goes to the one who volunteers to make the
most B+P copies available to others (on CDR or DAT).
If you get any trades from it, that's OK...but you must be
willing to serve up those B+Ps. OK?
The high number gets it, and I will forward the other emails to you.
-Dan-
From: "mike *" <mitabrev10@hotmail.com>
Subject: Re:Subject: AUDIO CAPABLE COMPUTER DAT FOR SALE $245
Date: Wed, 18 Apr 2001 22:32:00 -0000
From: <gboss>
Subject: Re:Subject: AUDIO CAPABLE COMPUTER DAT FOR SALE $245
Reply-To: gboss@voicenet.com
Date: Wed, 18 Apr 2001 14:16:43 -0400
>SEAGATE DAT DRIVE WITH AUDIO SUPPORT
>
>Model # CTD8000R-S 3.5" form factor drive with rails and 5.25" bezel
>
>No international shipments. Fixed insured shipping costs of $10 for
UPS
>ground or equivalent. BidPay accepted for credit card transactions.
USPS
>Money Order/Cashier's checks also accepted. E-mail
datman@midsouth.rr.com
>with any questions. Thanks for your interest.
>
>>Not to steal your sale or anything, but your asking price is a bit >>high,
>>considering one can purchase such a drive, brand new, from
>>www.mashek.com for $200+ $5 shipping. You, and anyone thinking about
>>buying this drive, might want to think about reconsidering. . .
Also, just for the record, buyer beware dealing with this person. Two
accounts of his were kicked off Ebay for shill bidding on his own auctions.
See
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1224991534&r=0&t=0&showTutorial=0&ed=986151641&indexURL=0&rd=1
if interested.
Shill bidding sucks.
M.
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From: "Blaisdell, Gary" <gary.blaisdell@compaq.com>
Subject: ISO Ben Harper 1996 Bimbo's San Francisco
Date: Wed, 18 Apr 2001 15:49:11 -0700
Hey everybody,
Does anyone have a tape of this Ben Harper show? I'm a unidecker but I can
b&p same day I get your address.
Thanks for the help,
Gary
From: Len Moskowitz <moskowit@panix.com>
Subject: Re: DPA 4051 vs 4060
Date: Wed, 18 Apr 2001 19:05:15 -0400 (EDT)
Andrew Nemeth <azn@nemeng.com> wrote:
> I have been using the miniature DPA 4060 mics for ambient
> location sound recording for 4 months now. Although they
> sound very good 90% of the time, they still have a bit too
> much self-noise for the really quiet stuff.
>
> So I am thinking of getting the larger diaphram, quieter
> spec DPA 4051. As I don't do rock'n'roll, high SPL issues
> aren't a consideration here.
>
> Anyone else use these? Opinions / gotchas? Too sensitive
> for general use? Too delicate for the rough-and-tumble of
> location work?
The 4051s use the same type of capsule as the 4003 and 4006. It's
self-noise figure is the same as those wonderful mics: 15 dB(A), very
quiet.
The electronics are the same as those used in the 4021/22/23's that are
so popular here.
IMO, they're wonderful mics, among the best sounding anywhere.
Len Moskowitz Binaural and StealthMics (tm), Cables, Interfaces
Core Sound http://www.stealthmicrophones.com
Teaneck, New Jersey http://www.core-sound.com
moskowit@core-sound.com Tel: 201-801-0812, FAX: 201-801-0912
From: "Oomph!" <mookiestink@worldnet.att.net>
Subject: FT: Dylan/Simon "SBD" Jones Beach Ampitheatre 7-30-99
Date: Wed, 18 Apr 2001 18:29:14 -0500
Subject says it all
I'm offering Bob Dylan/Paul Simon at Jones Beach Ampitheatre in Wantagh NY
on 7-30-99 up in trade. This is not a True Soundboard and thats all im
gonna say about that. Some auto level fluctuations on Vocals and kickdrums.
Otherwise this is a beautiful, clean cdr gen from the digi dat master.
Approx run time 3hrs, 3 74min cdrs. Prefer CDR for this trade but will do
3cdr for DAT
Send me a note with Dylan/Simon as the subject along with a list, text only
cut and pasted into the email please, if you send it as an attachment you
will more than likely just have to send it again.
offers of U2 sets from the current tour will take priority.
thanx for the space
Michael in Mad City
mookiestink@worldnet.att.net
Setlist
Bridge over troubled waters/cant run but/the boy in the bubble/the
coast/trailway bus/mrs robinson/me and julio down by the schoolyard/further
to fly/graceland/cool cool river/slip sliding away/diamonds on the soles of
her shoes/you can call me al
late in the evening/still crazy/sound of silence/i walk the
line-wanderer/knockin on heavens door/tambourine man/desolation row/girl of
the north country
tangled up in blue/all along the watchtower/shelter from the storm/maggies
farm/not dark yet/highway 61 revisited/like a rolling stone/it aint me
babe/not fade away
From: "Brian Price" <bprice@sunflower.com>
Subject: Extra SCI Floor ticket for KC Show??
Date: Wed, 18 Apr 2001 18:58:20 -0500
I'm looking for an extra ticket for tomorrow night's String Cheese show that
would be in a good location to tape. I can offer up a copy of the show in
addition to face or a patch if needed.
Please email me directly if you have anything.
Thanks
Brian
From: TRANEHEAD@aol.com
Subject: Sigur Ros taper available
Date: Wed, 18 Apr 2001 21:16:09 EDT
got some gear if you have a ticket for Jon anson ford theatre in l.a.
let me know.
GG
From: james tierney <grizzly@ne.mediaone.net>
Subject: boston tapers--can i borrow a power source?
Date: Wed, 18 Apr 2001 22:19:37 -0400
Hey, everyone--
My MP-2 is in the repair shop right now, and I need some kind of power
source for moe. on 4-21-01 in worcester. I would have run earthworks
sr-71>mp2>d8, but if anyone on datheads would be willing to help out a
fellow dathead, i'd be forever grateful... please email me or aim me
grizzlytierney, ASAP if you're in the boston/massachusetts region and would
be willing to let another dathead borrow a power source for a pair of
earthworks.
WoB -- moe. 03-03-01 earthworks sr-71>mp2>d8 on CD, when it's finished
being converted...
peace
james
From: L Sean Kennedy <liam@xo.com>
Subject: Re: Source Help?
Reply-To: Sean Kennedy <liam@fedney.tech.xo.com>
Date: Wed, 18 Apr 2001 22:26:04 -0400
--On Wednesday, April 18, 2001 2:18 PM -0700 Eugene Hu <eugene@goto.com>
wrote:
>> it was prolly like cmc3/4/5 & mk2 > AD1000? > Panasonic SV255. I'm not
>> sure when the AD1000 came out and obviously the 500e is only a D>A and
>> you gotta power the mics somehow, maybe an oade or sonosax back then,
Any "ADxxx" is not "DA..." I think you are thinking of
the DA1000-E which is the 20bit DA converter (whereas the
DA1000 was 18bit like the AD500e). In either case, the
AD500e exits, but does not have a mic-pre and as someone
mentioned the Panasonic only accepts analog in.
>> if anyone can help that'd be great.
>>
>> Phish & Allman Bros - Laguna Seca Daze, Montery, CA 5-29-93
>> Audience (FOB) Schoeps Omni Capsules (spaced 8') > ? > Apogee A/D
>> coverter (probably 500e) > Panasonic DAT(2700?) > My D10 Pro
I don't have this tape, but have seen others from Laguna
Seca Daze (Shawn Colvin) and they are Mics -> pre ->
SV-250/255 (not certain which). You mentioned a Jeff from
Santa Cruz and I recall such a person sans-AD around that
time. If I had to guess, I think he may have run a Sonosax.
That might get you closer to the truth, but its a guess.
(There are a number of people who used to be around here
who would have known him from Phish shows around that time.)
Sean
From: "mark wilkins" <wilkinsmd@hotmail.com>
Subject: Re: inbox power supply
Date: Thu, 19 Apr 2001 02:54:24
>From: gruvenon@netzero.net
>Subject: Re: inbox power supply
>Date: Wed, 18 Apr 2001 16:43:01 -0400
>
>From: "winnie" <who@sover.net>
>Subject: Re: inbox power supply
>Date: Sun, 10 Feb 1980 18:31:18 -0500
>
>Hey Adam
>Thanks for the feedback. To clarify... I used to use alkaline 9v. Even
>though there is life left in the battery after a show, I start the next
>show with a fresh one having learned the hard way not to push a battery
>to the limit and risk crapping out before a break. I hated the waste
>though. So I went to rechargable NiMh from Radio Shack. I knew that
>rechargables don’t last as long as alkalines, but I didnt think they
>would last only 2hr 45 min!! I dont know if all Ni-Mh are all that bad
>or if Radio Shack just sucks. So this is why I was looking for a
>different rechargable option with more capacity.
>
The "9V" NiMH battery sold by Radio Shack is nominally 8.4V and 150mAH.
There's a better one made by Plainview Batteries, basically has one extra
NiMH cell inside so it's rated at 9.6V, and 170mAH. You can get it, as well
as a charger for it, here:
http://thomas-distributing.com/9v-nimh-batteries-chargers.htm
I don't have personal experience with this battery or with an Inbox, but the
specs look very promising. If you don't want to mess with an external
battery you may want to give it a try.
BTW, the statement "rechargables don’t last as long as alkalines" should be
qualified as it depends on the situation. Using a set of four AA NiMH
rechargeables (1550mAH made by MAHA, also available at
thomas-distributing.com ...no affiliation just a satisfied customer) in my
SBM-1, I regularly get over 4 hours on one set, but only 3-3.5 hours on a
set of alkalines. This despite the fact that the set of four rechargeables
start with only ~4.8V compared to 6V for the set of alkalines.
Mark
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From: "Gary Johnson" <crystalflame10@hotmail.com>
Subject: Ratdog sbds?
Date: Wed, 18 Apr 2001 20:45:08 -0700
How has the taping scene been at the Ratdog shows this tour? Any SBD
patches?
GaryJ
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From: Seth Breidbart <sethb@panix.com>
Subject: Re: optical s/pdif or tos-link?
Date: Thu, 19 Apr 2001 00:37:38 -0400 (EDT)
> The dat-heads faq doesn't talk about tos-link, which I thought was
> how the optical connection was called, but I've seen the term s/pdif
> used for optical connection at Terratec site and in the Midiman
> manuals.
toslink is the optical cable. S/PDIF is the format of the signals;
they can be sent over optical cable or electrical cable.
Seth
From: jay@3rdperson.com
Subject: ALERT: MMW-Santa Cruz venue change.....TODAY!
Date: Wed, 18 Apr 2001 22:26:55 -0700
I just got this email, I'm assuming that it's correct. See all of you
at the show(hopefully)
We are writing you to let you know that the MMW/KDTU event on
April 19, 2001 will have a new location. The event is now
scheduled to take place at Palookaville - 1133 Pacific Avenue in
Santa Cruz instead of at the Santa Cruz Civic Auditorium as
originally scheduled. This venue change is due to unavoidable
complications resulting from local labor disputes.
Your tickets will still be honored at Palookaville and the show times
will remain the same. We apologize for any inconvenience this
may cause. Please pass on this information to anyone else that
might be attending the show and be sure get to the venue early to
enjoy both bands!
Jay
From: Neal Copperman <neal@swcp.com>
Subject: Re: Help with inexpensive soundcard (midiman???) (Len Moskowitz)
Date: Wed, 18 Apr 2001 23:27:17 -0600
At 4:50 PM -0400 4/18/01, Digestifier wrote:
>From: Len Moskowitz <moskowit@panix.com>
>Subject: Re: Help with inexpensive soundcard (midiman???)
>Date: Wed, 18 Apr 2001 13:56:50 -0400 (EDT)
>
>
>Chris <ChopCG@aol.com> wrote:
>
>> Can anyone send me a recommendation on a soundcard for around 200 dollars or
>> under that will get the job done (if there are any)?
>>
>> Also, does anyone have any info on the Midiman soundcards offered by core
>> sound at http://www.core-sound.com/#PRODUCTS
>
>The Audiophile 2496 card is excellent and very reasonably priced. The
>only thing it's missing is optical digital I/O (it has coaxial digital
>I/O). We've had nothing but good reports about it.
I don't like to get into these kinds of debates, but "nothing but
good reports" is clearly an exageration. Particularly since I bought
one from them a few months ago and returned it as I was never able to
get it to work as advertised. Perhaps I am the only customer to
return one in disatisfaction? (Though I know of someone else who did
it too, but he got a second midiman card and got it to work mostly
ok.)
I ended up buying an RME Digi96 and love it. It's worked perfectly
almost out of the box. The Midiman had a horribly complicated
control panel that had to be tweaked all the time. I haven't looked
that the RME panel since I installed it.
I spent a lot of time doing research on what to get, and my research
led me to the Midiman. My experience with it was terrible though. So
people's experiences definitely vary, and the value of research and
opinions only goes so far.
Good luck,
neal
From: "john kupchik" <trellisaze@gmx.co.uk>
Subject: ISO Dead Can Dance DATs
Date: Wed, 18 Apr 2001 20:25:06 -1000
I'm hunting round for any Dead Can Dance DATs or DAT>CDR transfers, =
mainly from their 1996 tour, but anything earlier as well. I can't seem =
to find these anywhere, and I know a lot of the gigs were taped on DAT =
because people have cassette copies of them on tapelists. Anyway, if =
anyone has any please drop me a line. Also always on the lookout for =
DATs by Mojave 3, Slowdive, Lush, Moose, Rollerskate Skinny, Pale =
Saints, Chapterhouse, Spectrum, Trembling Blue Stars, and other such =
bands.
=20
cheers,
john
=========================================
http://www.mp3.com/thewaterfalleffect
From: Peter.Snowdon@cec.eu.int
Subject: Re: : DPA 4051 vs 4060 (Digest #855)
Date: Thu, 19 Apr 2001 10:14:34 +0200
leonard wrote:
<<Sonic Studios has specialized DSM-1S series of surround-sound stereo
microphone that cannot be used for recording anything much over 105 dB SPL
(read not for recording PA'd anything), but has much better signal to noise
performance or lower noise (like 6-8 dB lower self-noise) than DPA's best
4060 and is also much lower noise than all other types of small size
condenser that can offer the high-frequency resolution needed to capture the
entire 10-25,000 cycle bandwidth typical of wildlife sounds in natural
ambient.>>
i've been using the DSM-6S/H, which has a higher noise floor, for just this
kind of recording over the last few months, and find the results already
very satisfactory, so i'd imagine the 1S series would more than solve your
problem.
peter
From: Peter.Snowdon@cec.eu.int
Subject: OT: audio for video cameras questions
Date: Thu, 19 Apr 2001 10:35:29 +0200
>>this is off topic but can anyone help me out with the audio side of video
cameras for recording gigs?[either Hi8 or miniDV] can someone point me
towards any websites?
will recording loud gigs overload either the internal mic or the pre-amp for
the external mic?
for miniDV cameras, are there adjustable sound recording levels[unlikely] or
is there just some form of built in automatic gain control? or neither?<<
luke:
1. all high-end DV cameras will have some sort of adjustable sound levels,
though they may not give you much choice of setting, and they may not be
adjustable while recording is in progress. the best audio section of any DV
camera, in terms of facilities, is the Canon XL1, but this is also the most
expensive pro-sumer camera out there.
2. as you doubtless know, AGC is useless for recording music, and gig
conditions only make that worse: all it takes is one guy beside you clapping
his hands, and your levels will be up and down like a yoyo.
i filmed a concert of algerian popular music sunday, and because i wasnt
sure of having permission, took only the camcorder, no mikes. i use a
panasonic DX100B, which used to be the top of their consumer range. i set
the sound to -10dB, the lowest possible setting. the music was amplified,
but not loud by rock/jazz standards - you could still talk to your neighbour
most of the time. and i still got clipping on peaks at quite regular
intervals. if you can find a camcorder with lower sensitivity, this might
work - but it would take a lot of experimentation (and prayer!).
not all AGCs are created equal - the new panasonic MX300 has a dual
manual-AGC mode, which could be useful in some circumstances - but the
effect when it comes is always disastrous for music, since variation - or
constancy - of dynamic level is a large part of what the listener focuses
on.
manual audio settings on some cameras also produce hiss/noise, as the
circuitry has been 'optimised' for AGC, so it would be best to try out any
camcorder/mike combination in advance of purchase, to avoid disappointment.
that said, the internal mikes on many camcorders are very good, and most
amplified music more than overrides any residual machine noise (which is
often very small). beware of leaving 'zoom' mikes activated, tho, or you may
get a recording that switches in and out of stereo (when the camera is in
telephoto mode, the mike goes into mono)!
3. there are two solutions to this situation:
a. record separate sound, and use the camera sound track as a guide track
only. then synch up the sound in an NLE afterwards. this is time consuming,
expensive, needs two people (preferably) and may not be fool proof,
depending in particular on how well the recorder you use holds synch. but it
will allow you to have a constant stereo picture while moving round with the
camera,-- so long as you can get your friend with the mikes to stand still!
b. use external mikes, either patched to produce appropriate levels, or with
some sort of device between them and the camcorder to allow you to control
levels. if the mikes have XLR connections, you will probably want an XLR
converter box anyway: this will give you level control, but no level metres.
alternatively, look at leonard's web page (www.sonicstudios.com): you can
use a DAT or MD recorder both to control levels you feed to the camcorder,
check/alter them while you record, and get a separate audio-only copy of the
show, all at the same time! this strikes me as the best route if audio
quality really matters, because it frees you from the interface limitations
of your camcorder, as well as providing a back-up recording (mini DV can
have drop-out problems, reducible by moving up to DVCam).
best,
peter
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