DAT-heads Digest #441
Contents:
Howie Day 2002-07-16 Cactus show offer ("Jason Green")
Re: ISO: Ticket swap - Stone -> WHO (Scott C. Brown 02)
Springsteen trades Wanted ("Drew Caruso")
ISO: Yes from Wembley 1978 (kindtaper@aol.com)
Re: DAT Drives for PC (Marty Gulaian)
V2 (Jason & Monique Riggs)
DAT data accuracy (Mark McHarg)
Mt.Fuji Jazz Festival; Ratdog etc. (Masato Kato)
RE: Little Feat Access ("Steve")
Tall (13ft+) Mic stand recommendations (Mac)
FT: Tool 8/21/2 Syracuse, NY ("James D. Kerr")
Re: DAT Drives for PC ("Wayne D. Hoxsie Jr.")
Re: DAT data accuracy ("Wayne D. Hoxsie Jr.")
PLQ Colorado ("DRider")
Re: Battery Life - M1 (Brendan Hoar)
Re: DAT Drives for PC (Brendan Hoar)
Re: DAT Drives for PC (Brendan Hoar)
calling Tom McLean (Neil Sturtevant)
From: "Jason Green" <admin@groove-salad.com>
Subject: Howie Day 2002-07-16 Cactus show offer
Date: Thu, 22 Aug 2002 22:12:13 -0500
download the show here:
http://www.groove-salad.com/forum/showthread.php?s=&threadid=43
Jason
AIM: Chum Kui
----
NEW GS.COM MESSAGE BOARD!
http://www.groove-salad.com/forum
----
http://www.groove-salad.com
http://db.etree.org/groove_salad
From: Scott.C.Brown.02@Alum.Dartmouth.ORG (Scott C. Brown 02)
Subject: Re: ISO: Ticket swap - Stone -> WHO
Reply-To: scb02@Alum.Dartmouth.ORG
Date: 22 Aug 2002 23:15:19 EDT
--- jzamudio@att.net wrote:
looking to swap either 1 Rolling Stones Aragon Ballroom
ticket (Chicago 9/16) OR 1 Rolling Stones Roseland ticket (NYC 9/30) for 1
WHO ticket to the HOB show in Chicago (9/23) - straight swap.
--- end of quote ---
so you're looking to trade a 50 dollar face value Stones ticket for a 400 dollar
face value WHO ticket? there's a little bit of an imbalance in that "straight
swap"
scott
From: "Drew Caruso" <drewc.atc@verizon.net>
Subject: Springsteen trades Wanted
Date: Thu, 22 Aug 2002 23:40:01 -0400
I am looking for some Springsteen shows from the current tour. I have DATs
of NJ (AT 933 master), DC, MSG. Please email me to work something out.
Drew
bw tax B&P: Springsteen 8/2/02 Convention Hall CSB->M1 (2cds) to first
three to hit my inbox after I recieve the next digest.
From: kindtaper@aol.com
Subject: ISO: Yes from Wembley 1978
Date: Fri, 23 Aug 2002 00:29:03 -0400
I am looking for an FM or SBD of the Yes show played at Wembley in 1978 that was mislabeled on a bootleg LP as LA Forum. The Boot LP was called "In The Round". It has a great version of "On the Silent Wings of Freedom". If you can help, that would be great. I have a master of Yes in Atlanta on 8/13/02 to trade.
Thanks,
Wes
Kindtaper@aol.com
From: Marty Gulaian <martygulaian@yahoo.com>
Subject: Re: DAT Drives for PC
Reply-To: mag6@po.cwru.edu
Date: Thu, 22 Aug 2002 22:04:10 -0700 (PDT)
"Wayne D. Hoxsie Jr." <wayne@hoxnet.com> wrote:
>Your typical DAT deck has real-time error-correction and/or interpolation
>algorithms within its firmware whereas these DDS drives have audio as an
>afterthought and pretty much send the stream as it is on the tape. If
>they can't read a block correctly, they just spit out whatever happens
>to be in the buffer. Unlike their DDS mode they don't stop, rewind a
>little, and retry on errors. They just send the data realtime. These
>glitches are usually easy to spot in a wave editor as there is usually a
>spike well above the amplitude at that point in the file.
I adapted some tape-playing Visual Basic software I got from Joseph Gray and
turned it into an audio extraction program for DAT drives and I see the same
problems. I would like to retry reads on error frames but the drive doesn't
seem to support any reread or read backwards commands. I think most of the
errors would be repeated anyway - at least that's my experience with reading
the same tape twice.
So I just log the errors and look at them in a wav file editor. Most of the
time I can't see or hear anything; sometimes it's just a sample or two that's
obviously off. Sometimes it's pretty bad. I haven't gotten classic diginoise,
though.
So I would agree with Wayne's conclusion: probably this is an approach for
computer nerds who don't mind dealing with the bits and bytes.
- marty G
__________________________________________________
Do You Yahoo!?
Yahoo! Finance - Get real-time stock quotes
http://finance.yahoo.com
From: Jason & Monique Riggs <mkwilson@iquest.net>
Subject: V2
Reply-To: mkwilson@iquest.net
Date: Fri, 23 Aug 2002 00:12:07 -0500
Jim,
I run 140's > V2 > AD2K+
You should start @ 35 on the V2 and trim from there if you need.
Any more than half way on the trim you should go to 30 and start the
trim @ 0 (flat) again.
The Idea is to have the V2 blinking red. But you do not want full on
long red lights.
You may want to look into getting the 24 bit up grade for the SBM-1.
I have heard that the SBM-1 in line after the V2 can take away some
punch. But then again a DAT with no 20 or 24 bit conversion sounds kinda
thin to me. So Do a test w/ and w/out the SBM-1.
I hope you get more advice, as I would like to hear more also.
Jason
From: Mark McHarg <frankophile@ntlworld.com>
Subject: DAT data accuracy
Date: Fri, 23 Aug 2002 09:43:58 +0100
Slight change of topic from PC DAT drives, but
"Wayne D. Hoxsie Jr." <wayne@hoxnet.com> wrote:
> typical DAT deck has real-time error-correction and/or interpolation
> algorithms within its firmware whereas these DDS drives have audio as an
> afterthought and pretty much send the stream as it is on the tape.
I first became worried about this when my D100 was dying and I did some
data checks. I would read the same stretch of tape twice D100 > ZA2 > PC.
I compared the wav files using EAC and it said there were massive errors.
When I looked at the files in cooledit, there was no obvious digi-noise
and it sounded OK, but the waveforms looked seriously different.
The D100 was clearly doing its best to fake the data, but it wasn't
anything like accurate.
So for those people who thumb their noses at how unreliable CDR cloning
is compared to DAT - think again. Just because there's no obvious
diginoise doesn't mean your clone is 100%.
Really you should take the EAC approach; read your DAT twice and compare
the data before writing the new tape. Ideally you should then read the
new tape and compare that against the source before sending it out in
trade - ha, like anybody is actually going to do that...
- mark
From: Masato Kato <mindgame@m21.alpha-net.ne.jp>
Subject: Mt.Fuji Jazz Festival; Ratdog etc.
Date: Fri, 23 Aug 2002 22:01:27 +0900
I made a lot of CDR copies of the following bands. After mailing
them out to my taping friends all over the world, I still have a
couple of copies left. Is there anybody out there who wants them?
August 11, 2002 Mt. Fuji Jazz Festival, Fuji Speedway, Shizuoka
Ratdog (sbd:aud=65:35 mix) 75min.
Peter Frampton (aud) 55min.
Tower Of Power (aud) 70min. (too bassy)
My seat was in the 6th row center (slightly right).
Masato Kato
<mindgame@m21.alpha-net.ne.jp>
<Loveminus0@gakushikai.jp>
From: "Steve" <stevect@attglobal.net>
Subject: RE: Little Feat Access
Date: Fri, 23 Aug 2002 09:27:06 -0400
Usually the band does allow access, but I haven't tried on this
Year's tour yet. Normally, multiple access points and types in
The past. And of course they won't mind AUD taping.
I've not
Heard the details, but the "Waiting for Columbus" live recording
From about 1977 will be recreated with a lot of special guests
In Washington D.C. at Lisner Auditorium on October 14. This may or may
not
Be a special circumstance, with the possibility of an official
Album recording, but knowing a little about how this
Band views their fans, it will probably be OK to tape.
Peace,
Steve
From: Mac <mhathaway@netway.com>
Subject: Tall (13ft+) Mic stand recommendations
Date: Fri, 23 Aug 2002 11:07:12 -0400
Hey Folks,
I'm finding myself in need of a tall mic stand (12-13ft or more), which I
am thinking to use with a 6-8 foot cross-bar for a pair of omni mics, in
"spaced omni" mode (for classical and organ music). Any recommendations
for tall stands like this (with model numbers, if possible). Black is the
preferred color. There seem to be a whole host of Bogen/Manfrotto tripod
stands, but they usually don't say "mic" stand, so I'm not sure which ones
are really appropriate for this. If you have one for sale, even
better. I've several music stores and even Boston Sound and Light, and
everyone seems mystified about really tall stands.
Also, any comments on whether this sort of setup is viable? (likely to get
knocked over, etc)? The crowds will not be unruly, (for the most part!),
and wind won't be a problem. You reckon it's asking too much to put both
mics on a cross-bar like this?
Thanks for the input.
Mac
From: "James D. Kerr" <jkerr@nimbusgroup.org>
Subject: FT: Tool 8/21/2 Syracuse, NY
Date: Fri, 23 Aug 2002 12:04:02 -0400
The mix in the War Memorial was poor. The show rates only a B+ for that
reason. It is, however, complete, and the performace was exceptional. I
have other Tool as well...drop a line if interested.
Jim
http://www.nimbusgroup.org/jktradelist.htm
From: "Wayne D. Hoxsie Jr." <wayne@hoxnet.com>
Subject: Re: DAT Drives for PC
Reply-To: wayne@hoxnet.com
Date: Fri, 23 Aug 2002 11:20:46 -0500 (CDT)
On Thu, 22 Aug 2002, Marty Gulaian wrote:
> "Wayne D. Hoxsie Jr." <wayne@hoxnet.com> wrote:
>
> >Your typical DAT deck has real-time error-correction and/or interpolation
> >algorithms within its firmware whereas these DDS drives have audio as an
> >afterthought and pretty much send the stream as it is on the tape. If
> >they can't read a block correctly, they just spit out whatever happens
> >to be in the buffer. Unlike their DDS mode they don't stop, rewind a
> >little, and retry on errors. They just send the data realtime. These
> >glitches are usually easy to spot in a wave editor as there is usually a
> >spike well above the amplitude at that point in the file.
>
> I adapted some tape-playing Visual Basic software I got from Joseph Gray and
> turned it into an audio extraction program for DAT drives and I see the same
> problems. I would like to retry reads on error frames but the drive doesn't
> seem to support any reread or read backwards commands. I think most of the
> errors would be repeated anyway - at least that's my experience with reading
> the same tape twice.
Unfortunately, I don't know of any way to detect errors on these drives
(there is no error counter like on pro decks). The stream is just fed
from the tape as it is read.
On the plus side, it is easy to find these errors when looking at the
waveform in an editor. You can pretty much be assured that the rest of
the data is bit-perfect unlike the output of a DAT deck's S/PDIF.
>
> So I just log the errors and look at them in a wav file editor. Most of the
> time I can't see or hear anything; sometimes it's just a sample or two that's
> obviously off. Sometimes it's pretty bad. I haven't gotten classic diginoise,
> though.
"Classic" diginoise AFAIK is heard when there are several bad samples
in a row between good samples. The algorithm can only interpolate
between the last good data points. At some level of bad:good you get
the "classic" diginoise. Since there is no correction software in the
DDS drives, you just get a random smattering of bits in your frame. I
can't think of a good way to describe the sound, but it is kind-of like
"dzits" (how's that for onomatopoeia?) almost like a small static sound.
>
> So I would agree with Wayne's conclusion: probably this is an approach for
> computer nerds who don't mind dealing with the bits and bytes.
>
> - marty G
If I knew more about the science behind DSP or PCM (like if I'd ever
taken any courses a sound engineer might take in college), I might be
able to incorporate some sort of post processing to the tape reading
software and end up with the same effect as what happens in DAT decks.
Without an error notification method I'm not sure how you would detect
one. Perhaps a certain cutoff of change in amplitude v. change in time.
If a sample say falls outside the bell curve, discard it and interpolate
a new one between the last two "good" samples. Anyone know of any good
books on this sort of processing?
--
Wayne D. Hoxsie Jr.
wayne@hoxnet.com
http://www.hoxnet.com
PGP Key ID 138BCEE1
From: "Wayne D. Hoxsie Jr." <wayne@hoxnet.com>
Subject: Re: DAT data accuracy
Reply-To: wayne@hoxnet.com
Date: Fri, 23 Aug 2002 11:25:01 -0500 (CDT)
On Fri, 23 Aug 2002, Mark McHarg wrote:
> Slight change of topic from PC DAT drives, but
>
> "Wayne D. Hoxsie Jr." <wayne@hoxnet.com> wrote:
>
> > typical DAT deck has real-time error-correction and/or interpolation
> > algorithms within its firmware whereas these DDS drives have audio as an
> > afterthought and pretty much send the stream as it is on the tape.
>
> I first became worried about this when my D100 was dying and I did some
> data checks. I would read the same stretch of tape twice D100 > ZA2 > PC.
> I compared the wav files using EAC and it said there were massive errors.
>
> When I looked at the files in cooledit, there was no obvious digi-noise
> and it sounded OK, but the waveforms looked seriously different.
> The D100 was clearly doing its best to fake the data, but it wasn't
> anything like accurate.
>
> So for those people who thumb their noses at how unreliable CDR cloning
> is compared to DAT - think again. Just because there's no obvious
> diginoise doesn't mean your clone is 100%.
I think DAT is orders of magnitude better at this than most "garden"
variety CD-R's though. Get a Plextor and EAC!
>
> Really you should take the EAC approach; read your DAT twice and compare
> the data before writing the new tape. Ideally you should then read the
> new tape and compare that against the source before sending it out in
> trade - ha, like anybody is actually going to do that...
Hmmm. Maybe I'm a perfectionist, but *I* do that (sometimes, when I
feel there may be a problem). My experience has taught me that DAT has
pretty good fidelity.
--
Wayne D. Hoxsie Jr.
wayne@hoxnet.com
http://www.hoxnet.com
PGP Key ID 138BCEE1
From: "DRider" <Hawkwind@attbi.com>
Subject: PLQ Colorado
Date: Fri, 23 Aug 2002 06:56:19 -0400
Hey Now!
Who's doin the Phil & Friends shows in Aspen and/or Red Rocks?
Hope to see you there!
D-Rider
Jacksonville, FL
From: Brendan Hoar <brendan@brendan.org>
Subject: Re: Battery Life - M1
Date: Fri, 23 Aug 2002 12:51:29 -0400 (EDT)
"Steve" <stevect@attglobal.net> wrote:
> I've always used a homemade battery sled, using some Radio Shack parts
> and 3 'D' cells. Great battery life, more life than the 1.2v 1300 mA
> batteries that came with the unit, but not exactly the most
> planet-friendly approach.
A good source of further NiMH batteries and chargers is:
http://www.nimhbattery.com/batteries.htm
As a very long aside, I really like the homemade battery sled approach for
certain situations (discussion of AAs way at the end). Here's what I did:
For festival use of my M1 and D100, I put together two 4 x 9000mAH NiMH
D-cell battery sleds using batteries ordered from
http://www.ccrane.com/nickel_metal_batts.asp which were the highest rated
capacity NiMH D-cells I could find at the time (nimhbattery.com only
has/had 7500mAH rated D-cells).
For cabling, I made a couple of trips to radioshack and finally purchased
a female to female Adaptaplug extender cable, cut it in half, spliced what
were the middle bits of the cable to the sleds and added the correct
Adaptaplug to the end ("B", I think). I secured the plugs with
mess-making duct tape. Still need to find a source of gaffers tape...
I use the general-purpose but pricy mh-c777plus-II charger for recharging
the packs: http://www.nimhbattery.com/mh-c777plus.htm
I also got the cheap battery sleds from the same site (they are equivalent
to the radio shack versions, however).
To interface it with the packs, I use the alligator clip connectors from
the charger and...a paperclip inside the barrel of the B plug (ick).
I probably should add a second charging "head" to the cabling for this to
avoid the paperclip trick, but during construction I was wary of any
approach that leaves open pins available that could be shorted - NiMH
D-cells have a *lot* of current giving capacity, and fires in my equipment
would be bad.
At 9000mAH capacity, it may take more than one run through the Maha
charging cycle to fully charge a pack.
I keep the active pack in a $9 zipper-enclosed golf-accessories bag I
picked up at the mall. It has a window too: presumably so that hard core
golfers can can see their score while risking their lives to play during a
thunderstorm, but I use it so that I can see if, well, the batteries are
on fire. :)
The end result: on my first attempt, I got about two days of festival
DATs recorded on one charge from one sled - around 24 hours - before I got
a battery warning. And the batteries weren't even broken in.
Maybe 2/3-ish the capacity of using 4 high quality Alkaline D-cells, and a
lot more expensive to start with, but...potentially cheaper in the long
run for a mad festival taper, plus many less batteries filling up
landfills.
I also got a solar panel, but haven't quite figured how to work that into
the picture... :)
I'd also been thinking about putting together an inline voltage/amperage
monitoring mini-panel for the pack (for fun), but by far the cheapest way
seems to necessitate buying cheap multi-meters and butchering them. So,
I've put that idea aside for now. Besides, the two packs give me plenty
of worry free power, and I keep charged AAs for backups.
Last year I was lugging around one of those "portable car battery jumper
cable systems") to provide 12 volts to keep my C204F AA charger going
during the 3 days of falcon ridge, and it was a) way too heavy and b) way
too geeky to do again. :) It did provide a good sturdy base for my
macguyver-ish (wood, silk bandanna, rubber bands, coat hanger...) mic
stand, though.
Hence the d-cell packs above and a real mic stand this year.
> Recently, my boss bought me a digi camera, which came with a set of
> 1800 mA Sony 'AA' 1.2v Nickel Metal Hydride batteries.
For stealthing or club shows:
I've been using 1600 to 1800 mAH AAs from various sources, including the
PowerMax batteries and the C204F charger from
http://www.nimhbattery.com/batteries.htm
A great deal is their charger kit w/ 1800mAH batteries:
http://www.nimhbattery.com/charger_kits.htm
I'm generally much much happier with their performance than the Sony
supplied 1300mAH AAs and charger.
> Question: Has anyone used these, and what kind of recording time can I
> expect? No time to test before a long recording gig.
That depends on the following factors:
1) The charger you use (the C204F above is one of the best, most do not
take advantage of all the potential capacity).
2) How long you let them trickle charge - it's important to leave them
many additional hours past the fast charge cycle if your charger has a
trickle charge feature.
3) Whether or not the batteries have been broken in: it takes 3-5
charge/discharge cycles to reach full capacity.
I've occassionally gotten more than 2.5 hours out of the 1800mAH
batteries, using 3 hour tapes, but don't trust that I will, hence the
battery sled mentioned above for festivals - too much fretting otherwise.
I tend to make sure I can swap out batteries around the 2 to 2.5 hour
mark, or earlier, depending on the line up and timing of acts. I usually
try to put in the freshest, most recently charged pair of AAs before the
set of the artist(s) I mostly came to see. Sometimes I skip taping the
opening act altogether (occassionally I've regretted this) when I'm not
100% sure of my battery situation.
For the record: if the camera itself takes 4 of the AAs, and your M1 just
takes 2, I wouldn't recommend using that set of 4 in both capacities.
Usage in the M1 will start making the AAs pairs be somewhat out of sync
chargewise, which could potentially ruin the one pair when used in the
camera, or if the camera charger charges 4 at a time.
-brendan
From: Brendan Hoar <brendan@brendan.org>
Subject: Re: DAT Drives for PC
Date: Fri, 23 Aug 2002 12:56:32 -0400 (EDT)
Ryan Engel <rengel@tds.net> wrote:
> I have recently seen a number of for sale posts about PC compatible
> DAT drives with audio functionality on this list. Does anyone have one
> of these drives and use it?
Yes.
> If I purchased such a drive, would it enable me to make digital copies
> of a DAT directly onto my hard drive? Could I use it to make clones?
Yes. Also, using the current release, v1.2, of dat2wav ($50) at
<http://www.ncf.carleton.ca/~aa571/> you can perform all of the following
tasks using the dat2wav executable with the appropriate command line
option. Jim <aa571@ncf.ca> hasn't updated his site with all of the new
features, including:
/dat2wav - Copies an entire DAT to a WAV file (alternately, each track as
a separate wav file).
/wav2dat - Reverse of the above.
/dat2img - Presumably used for archiving or cloning (the latter using the
below option at a later date) keeping the meta/track
information.
/img2dat - Presumably used for cloning (using the above option at an
earlier date)
And, if you have two drives:
/dat2dat - Presumably clones a DAT immediately.
Most importantly, the new feature of:
/errorcorrect
Which addresses issues Wayne brought up in his post (see my response to
Wayne later today).
> Thanks in advance
No prob!
One more thing: for the most part, the used drives themselves can be
located on ebay for $22 to $35 each + S/H, but they don't have the correct
firmware to support audio. The firmware updaters that have been modified
(read: hacked) to push the SGI firmware over the compaq firmware can be
found on the web using google...
...and I've updated 4 drives myself (spent $100 total incl S/H) this way.
Each one seems to work fine. Some drives have more glitches than others,
but that's true of *any* used DAT drives you're going to purchase.
I was offered a lot of 80 - 100 of archive/conner/seagate drives (the
great majority of them the correct model) at $17.50 each by a business in
NY that tears down old compaq servers or trades in torn down parts, but
didn't feel like getting into this particular business myself. :) I did,
however, buy four as I mentioned above.
That said, I don't see the $75-$80 delivered that posters to the list are
charging as particularly high, assuming they are willing to take back a
few bad units here and there and provide a little bit of customer
service/support. Plus, each one sold is presumably going to require that
the user buy a dat2wav ($50) or vdat ($100) license to use it, which is
great: these are good software products and reasonably priced.
-brendan
From: Brendan Hoar <brendan@brendan.org>
Subject: Re: DAT Drives for PC
Date: Fri, 23 Aug 2002 12:58:08 -0400 (EDT)
"Wayne D. Hoxsie Jr." <wayne@hoxnet.com> wrote:
>On Thu, 22 Aug 2002, Ryan Engel wrote:
>> I have recently seen a number of for sale posts about PC compatible
>> DAT drives with audio functionality on this list...
>I have 4 of these drives. I first got an original DDS-1 drive with an
>old SGI IRIS workstation I picked up at a ham fest. This drive had
>hundreds of hours on it but seemed to work well as a backup drive in the
>Sun Sparc workstation to which I transplanted it. I discovered Marcus
>Meissner's DATlib program and tried it out on my Sparc with success, >but
it was quirky. It would lockup sometimes and pretty much every rip >I did
from a tape of more than an hour or so had glitches in it. I >though it
was due to the age of the drive, and purchased a new DDS-2 >SGI drive
(like the one's that pop up alot here on DAT-heads) but was >surprised to
see that I got the same glitches from it as well. I've >since learned
that this is probably from weak spots on the tape.
If I recall the email thread / web site text Jim (dat2wav
<http://www.ncf.carleton.ca/~aa571/> guy) indicated that the glitches he's
seen have usually occurred at the locations where the tape had previously
been stopped during playback or winding. Not too surprising.
In my own experience, the errors reported/detected by dat2wav were located
in crowd noise/applause areas, which seems to bolster that theory, as I
sometimes listen to my masters in the excitement after the show, and tend
to obsessively relisten to certain tracks I like, rewinding and playing.
Bad habit for masters, I know.
> Your typical DAT deck has real-time error-correction and/or
> interpolation algorithms within its firmware whereas these DDS drives
> have audio as an afterthought and pretty much send the stream as it is
> on the tape. If they can't read a block correctly, they just spit out
> whatever happens to be in the buffer. Unlike their DDS mode they
> don't stop, rewind a little, and retry on errors. They just send the
> data realtime.
The dat2wav executable always indicates when it has seen a bad frame,
which is also useful for checking out the relative quality of the heads in
the deck too.
And!!! Jim's new /errorcorrect option in v1.2 implements a few differnt
error-correction/interpolation algorithms that are applied depending on
the type of error that is detected, just as a home or pro DAT deck would
do.
> These glitches are usually easy to spot in a wave editor as there is
> usually a spike well above the amplitude at that point in the file.
> You can use software to correct it (I think cooledit or soundforge
> have algorithms for this) or do what I do and use your normal DAT deck
> to run the tape up to just before the glitch, then record a few
> minutes via S/PDIF, then patch it over the bad spot. This can be a
> chore, but alot of times it still ends up being faster than realtime
> if you're in a hurry. You may get lucky too and have a tape that is
> pristine (as with most of my masters recorded on a new tape the night
> before), but I still prefer to just plug my deck into my S/PDIF and
> run it while I sleep.
That's always an option. I'm backlogged about 50 tapes (100-150 hours),
though, and the 3-4 additional decks, in parallel, at 2.2x speed... :)
> The audio drives do seem to allow a lot more slop in the tape though.
> I've had tapes that had regular digi-noise throughout (probably
> recorded on a misaligned deck) that came out perfect when ripped via
> the audio drives.
That's pretty cool. I should try that on my masters from my old TCD-D100
which has a seriously misaligned head, but plays its own tapes just fine.
> Personally, I'd stay away from them unless you are a habitual techie
> kinda nerd like me.
Good point. The DAT drives are all SCSI drives and require a properly
operating card, cable and driver set to interface with dat2wav. Plus,
you'll need to experiment to find the correct interface/id/dun number
combination to tell dat2wav where to find the drive.
> I now have a Sony DDS-3 SDT-9000 that is audio capable and it seems to
> do alot better than the Seagate/Archive/Python line, but to my dismay,
> it is not any faster than those. It is great in that it does data
> backups of up to 24 gigs on a single DDS-3 (identical dimensions as
> our audio tapes) tapes and is great for archiving music.
People had theorized it would be faster. Oh well.
> Note also that I've never used any of the Windows tools on any of
> these, but have heard that both VDat and Dat2Wav are kind of quirky
> (or it might just be windows ASPI support, I don't really know since I
> don't use windows at all). I trudged along with DATlib for awhile,
> but have since started trying to write my own tools for these.
> Meissner's goals were quite different than ours. He wanted a
> replacement for the standard unix `mt' command that would handle audio
> tapes too, and wanted neat little play/record tools like the original
> SGI workstations (and current workstations as far as I know). Most of
> us are just looking to get the data onto our computers to burn CD's
> with, and possibly clone DATs.
In addition to dat2wav and vdat, there's DATlib as you mentioned. Have
you tried the "hacked and updated for linux" version at all, or just the
sun (sgi?) one?
-brendan
From: Neil Sturtevant <Neil@directed.com>
Subject: calling Tom McLean
Date: Fri, 23 Aug 2002 09:53:42 -0700
if you are out there, drop me a line. your email <tmclean1@nycap.rr.com>
is bouncing.
Neil Sturtevant
Audio/Video Engineering Technician
Directed Electronics, Inc.
1 Viper Way
Vista, CA 92083
800-876-0800 x1242 toll free
760-599-1342 direct
760-599-3142 fax
760-599-1830 alternate fax
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