DAT-heads Digest #469
Contents:
ISO: shannon wright audio or video ("grafixx@jps.net")
Re: Re: [laptop-tapers] Limiting Wind ("Stanley W. Smith")
RE: Cell phone beeps ("Jonas Karlsson")
Keb Mo Taping Policy/ & Digital Distortion repair? (Gusbud1@aol.com)
Mitch Asch & Bob Seigl (stuart)
D7 <-> D100 (Tintal@aol.com)
Large DAT Liquidation (David Minches)
phono preamps, power amps, and specmanship (Keith Bode)
windscreens (Neil Sturtevant)
extra Ratdog/TriChromes 7/23/02 on DAT for B+P ("Dan")
recent dylan? (david)
Wilco San Diego (David McGee)
Re: Limiting Wind ("Jeff Franzreb")
Fw: Warren Zevon terminally ill ("matt Sohn")
Re: DAT-heads Digest #468- Limiting Wind (acffh)
ISO: UK Justin Sullivan & Friends taper! ("Bas Ruesink")
* ISO NYC Stealth tapers ("Eric G. Postel \(home\)")
Re: Limiting Wind (Todd Romero)
RE: James Mercer (Christopher D Gacek)
From: "grafixx@jps.net" <grafixx@jps.net>
Subject: ISO: shannon wright audio or video
Reply-To: grafixx@jps.net
Date: Fri, 13 Sep 2002 13:09:05 -0400
anyone have anything, i have some 1st n 2nd gen vids, but no cds of her=2E=
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From: "Stanley W. Smith" <swsmith@ix.netcom.com>
Subject: Re: Re: [laptop-tapers] Limiting Wind
Date: Fri, 13 Sep 2002 12:38:54 -0500
I was going to suggest fewer beans, but that'd just get me flamed... <G>
Double foam screens (coarser outer layer w/ finer bubble interior) with
rounded edges (tapered or curver, rather than squared off...) will help
immensely. (Cuts your hig end & high-mid response some, but it can't
be helped...)
A bit of high-pass filtering can help as well... (though if the wind is
coming in straight from the front you're just screwed, unless you have
a full Rycote 'zepplin' cover set... got a spare $1,200? ;) )
Stan Smith
From: Alex Prestin <wakko@bitey.net>
Subject: Re: [laptop-tapers] Limiting Wind
Date: Fri, 13 Sep 2002 01:01:32 -0400 (EDT)
On Thu, 12 Sep 2002, Jason Green wrote:
> Any ideas on how to limit wind noise in outdoor venues? Right now I'm
just
> using windscreens.
Bigger windscreens.
- A.P. (no, this is not a smart-ass reply.)
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From: "Jonas Karlsson" <jonas.m.karlsson@telia.com>
Subject: RE: Cell phone beeps
Date: Fri, 13 Sep 2002 19:46:12 +0200
So what you guys tell me is: If you live in Sweden (Europe) one will =
have to live with the beepings, buy you americans won't have to worry... =
Well, I still thinks it suxxx!!! Right in the middle of a slow song...
BBBEEEPPP-BEEP-BEEP-BEEEEEP!!!
Anyone else in Europe, Nordic countries that have had any simular =
problems as I???
From: Gusbud1@aol.com
Subject: Keb Mo Taping Policy/ & Digital Distortion repair?
Date: Fri, 13 Sep 2002 13:58:17 -0400
I've seen it posted on various occasions, but have never seen an answer, so I will ask it again. Does Keb Mo allow taping, and if so what is his policy? (or will I have to stealth the show?) My 2nd Peice of business would be, I have a Master DAT of David Grisman @ Targhee Bluegrass festival, the day after Jerry Garcias Funeral. It was an amazing set he did, but turns out the DAT has lots of digi- distortion throughout it. Is it a hopeless cause, or is there ways of toneing this down or taking it out of the recording? I would be willing to pay if someone has the equipment or technology to remove it. Please reply to both entries...
thanks,
Brady
From: stuart <stuart@startnet.com>
Subject: Mitch Asch & Bob Seigl
Date: Fri, 13 Sep 2002 14:38:44 -0400
I heard that Mitch Asch & Bob Seigl are touring the east coast, does anyone
know their taping policy?
Peace,
stuart
From: Tintal@aol.com
Subject: D7 <-> D100
Date: Fri, 13 Sep 2002 14:54:52 EDT
Haven't done this in a while,forgot which deck should be the play
or record at the end of those seven pin connections for a dub. Is it the D7 ->
D100,or D100-> D7 for making a copy.
Walter
From: David Minches <dminches@comcast.net>
Subject: Large DAT Liquidation
Date: Fri, 13 Sep 2002 15:02:43 -0400
I am in the process of transferring my DATs to CD. I have about 170
DATs, mostly Dead, some Garcia-related and some other bands available
in exchange for blank CDs.
I would like to find as few people, hopefully one or two, who are
interested. Breaking them down into small groups is something I'd
rather avoid. Thus, anyone interested in the whole batch will benefit
from a lower CD to DAT ratio (working out to about $1 per DAT).
If you are truly interested send me an e-mail and I'll forward you the
list of shows and answer any questions.
David
From: Keith Bode <t.tunakebo@verizon.net>
Subject: phono preamps, power amps, and specmanship
Date: Fri, 13 Sep 2002 12:12:12 -0700
(snip)<To make the best transfer from a good old analog record, your
signal path should look like this: High quality phono cartridge > well
isolated (mechanically) belt drive turntable > low noise (greater than
80 db s/n ratio) preamp > line input of DAT deck or CD burner or
soundcard. Remember to clean your record and
cartridge as well, this will help to preserve your records and also
reduce surface
noise.>(Snip) Frm John E. Bogus's post.
I agree with most f what John wrote on his suggestion for doing trnsfers
of a record to a CD with as an ideal, except I would use a A/D cnverter
seperate from the DAT, CD burner or Sound Card. To use the A/D
converter inside any of these devices will be more likely to add RMI or
EMI. I use an ART DI/O A/D converter, which gives you all kinds of
outputs from 16/44.1 to 24/96. I do think the large rubber feet on most
decent turntables gives the mechanical isolation that is adequate for
this kind of turntable, and I would also be sure to keep the turntable
grounded to the pe-amp/reciever/integrated amp you end up using. The
ART DI/O is a fairly inexpensive A/D converter, I paid around $135 for
mine, and Sam Ash is blowing them out of stores now for $99.
I have recorded FM>Tape Out>ART DI/O>SPIDF Coax input on a M/Audio
Delta Dio 2496>16/44.1 wav, although I did not burn the wav to CD, I do
have the analog outs of the Delta Dio hooked to an older Sony GX69ES
reciever and going to JBL 6.5" 2 way monitors, and the tape outs from
that going back to the original reciever, a Sony STR d-715 driving
Klipsch Cornwalls, and it sounds fine.
I think a person doing the transfer of records-LP's, 45's etc neeeds to
weigh the condition of the records, and the desired use of the CD's
produced against the ccost/benefit of getting the ideal equipment, such
as external separate Pre-amps and A/D converters.
A couple of other points:
I'm not sure why John specified using a Belt Drive turntable vs a direct
drive. I know the Technics SL 1200, and it's varius versions have been
the standard in both live music and I believe broadcast studio
applications. I can't think of any reason why a belt drive would be
desired over a direct drive, unless there is a chance of some rumbling
from the direct drive. I have used a Technics SLD-202 to make many
cassettes in the past, and all of them had no hint of turntable noise,
and that is a direct drive turntable.
As John brought up the s/n ratio of the older equipment, his post didn't
address the s/n ratio of 90's era recievers, or integrated amps on their
Phono inputs. I realize that in the 90's these inputs were put in, and
in most consumer units the manufacturers probably doubted they would be
used, but none the less were they improved, as IC boards became the
mainstay of these products?
If I was new to doing this kind of transfer, and I still am, I guess, I
woould probably give some of the external USB devices a look, as it
seems you will be buying a digital Sound card, or the person who posted
the question of LP>CD transfers. I used an Ego Sys U2A for doing some
Cassette and DAT>HD>CD transfers at first. It is USB connected,
includes a 20 bit A/D/A converter and records up to 24/48. The unit has
been replaced with the U24, the U24 is XP compatable. Both have Analog,
Coax and Optical in's and out's, and function the same as a internal
sound card, except I think, as do many others, the inside of a DAT
Recorder or a Computer is the worst place to do A/D conversion due to
likelyhood of interference. If you are looking to do a limited project,
and are not going to do a large volume of transfers on an ongoing basis,
they may be right for you. Maybe not.
Keith
--
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From: Neil Sturtevant <Neil@directed.com>
Subject: windscreens
Date: Fri, 13 Sep 2002 12:38:50 -0700
Some sites:
http://www.remoteaudio.com/micro-cat.htm
=A0
http://www.lightwavesystems.com/
=A0
http://www.rycote.com/
=A0
some interesting comments:
http://www.posthorn.com/S_pop_1.html
=A0
and my favorite
http://www.acoustics.org/press/136th/mshust.htm
=A0
Neil Sturtevant
Audio/Video Engineering Technician
=A0
Directed Electronics, Inc.
1 Viper Way
Vista, CA=A0 92083
=A0
800-876-0800 x1242 toll free
760-599-1342 direct
760-599-3142 fax
760-599-1830 alternate fax
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From: "Dan" <dgreenberg1@hvc.rr.com>
Subject: extra Ratdog/TriChromes 7/23/02 on DAT for B+P
Date: Fri, 13 Sep 2002 19:21:44 -0400
This is for the in Portsmouth, VA opening for Phil & Friends.
The TriChromes played about 66 minutes and Ratdog played
about 90 min. Both sets are on the one DAT. It was recorded
FOB with B&K's and does have a few gusts of wind noise on it
(more evident between songs during the TriChromes set).
It's on one SONY 90m DAT. In return, I'd like one sealed
Sony or Maxell 90m DAT plus postage.
First to respond after the Digest hits my mailbox gets it...unless
you're willing to do B+P's for others, which I would give
preference to (and then you wouldn't have to be 'first'), in
which case please tell me how many B+P's for others you're
willing to make...the highest # of B+P's offered will then get it.
'The contest' ends 48 hours after I get the Digest, and I
will email back all who respond.
Peace,
-Dan-
From: david <slowtrain@comcast.net>
Subject: recent dylan?
Date: Fri, 13 Sep 2002 21:38:58 -0400
wondering where are the sweet recordings of dylan's recent north north
american tour?
From: David McGee <keytohwy@staffnet.com>
Subject: Wilco San Diego
Date: Fri, 13 Sep 2002 15:47:17 -0400
If anyone has Wilco from San Diego the other night, please get in
touch. I was vacationing in SD and thus, did not have my rig. Any
help is appreciated. DAT, CD-R, DVD trades available. Large, fairly
diverse list. No Dead, no Phish, no Panic.
Thanks,
David
From: "Jeff Franzreb" <jfranzreb@joffo.com>
Subject: Re: Limiting Wind
Date: Fri, 13 Sep 2002 23:24:38 -0400
Well, one thing I did to try and limit wind was to still put my windscreens
on, but I also taped my mics under the bill of my hat. My hat bill was
already bent like most people like wearing them. So, I saw myself as
avoiding top wind for sure and a decent cut on side winds. However, any
dead on wind would kill me. Now, this didn't totally elimiate it, but I am
guessing it helped, but I dunno how much.
======================================
From: "Jason Green" <admin@groove-salad.com>
Subject: Limiting Wind
Date: Thu, 12 Sep 2002 16:47:10 -0500
Any ideas on how to limit wind noise in outdoor venues? Right now I'm just
using windscreens.
Jason
AIM: Chum Kui
"Music...
This is the Favorite Passion of My Soul"
(Thomas Jefferson)
From: "matt Sohn" <mahatma@megsinet.net>
Subject: Fw: Warren Zevon terminally ill
Date: Sat, 14 Sep 2002 01:26:51 -0500
LOS ANGELES, CA - Celebrated recording artist composer Warren Zevon, one of
rock music's wittiest and most original songwriters, has been diagnosed with
lung cancer which has advanced to an untreatable stage. Zevon received the
news last month and is spending time with his children and has begun writing
and recording as many songs as possible in the weeks that lie ahead. He's in
the recording studio next week. Zevon is handling the news with his
characteristic dark aplomb. "I'm okay with it, but it'll be a drag if I
don't make it till the next James Bond movie comes out," said Zevon.
"Technology is like bread. Baked fresh, delivered a little stale,and meant
to be used right now, as it will be hard and brittle tomorrow"
-Stephen St. Croix
From: acffh <morst@tds.net>
Subject: Re: DAT-heads Digest #468- Limiting Wind
Date: Sat, 14 Sep 2002 00:28:02 -0500
Other things that come to mind (besides the windscreens you mention) are these:
1 You can use omnidirectional mics in windy situations. Cardioid
mics add a lot of low frequencies when they have a nearby signal
source, in this case, wind against the diaphragm. This is known as
the "proximity effect". It is what causes a performer's voice to
sound much more bass-heavy when the performer's mouth is directly on
the mic. Omni mics do not exhibit this. Omni mics do not reject
sound from any direction, of course, so they would not be generally
be used as vocal microphones for live sound reinforcement. I am aware
that the topic of this list is usually recording and not live sound,
but I thought I'd point that out, since the other two techniques I
will mention could potentially be used in a live sound setting.
2 Lower the mic stand, or blockade the mics with something to stop
the wind. Peoples' heads are a surprisingly good baffle against wind
speed. Try running the mics NO HIGHER than head height. In fact, if
you are up the hill from the sound source (as you might be in a
"shed" or amphitheatre setting) you can run the mics waist-high or
clamped to the back of a chair. In order to preserve high-frequency
clarity, the mic diaphragms should probably have a clear "view" of
the main PA speakers, and a somewhat clear path to the stage.
Farther back from the stage, such as behind the house mixing console,
the quality of your recording will depend on more on the PA speakers
and less on sound pressure coming directly off the stage.
3 Try using a low cut filter, also known as a high-pass filter. Many
preamps and some tape decks have this feature built-in. I'm sure
more than a few of the vendors who watch this list will be glad to
sell you in-line low-cut filters for audiophile recording. If you
remove frequencies below 50 Hz, you may find that the wind is a lot
less obtrusive on your recordings. Bass response will be noticeably
less, but in a loud rock and roll show it will not always kill the
quality. Nice thing about this is you don't have to use it during
the concert, you could apply it later using a workstation (protools
or soundforge would work fine). This way you only have to apply it
to the windy parts, and the low frequency information from the part
of the show without wind can be preserved.
Hope this helps,
-tom
"lowest stand in the section"
==============================
From: "Jason Green" <admin@groove-salad.com>
Subject: Limiting Wind
Date: Thu, 12 Sep 2002 16:47:10 -0500
Any ideas on how to limit wind noise in outdoor venues? Right now I'm just
using windscreens.
Jason
--
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
From: "Bas Ruesink" <basruesink@hotmail.com>
Subject: ISO: UK Justin Sullivan & Friends taper!
Date: Sat, 14 Sep 2002 10:11:30 +0200
New Model Armys frontman is doing a semi/accoustic tour again and i need
tapers in the uk to go out and record. The do allow it (turn an eye to it),
but dont inform the venue so you really have to go stealth.
Currently looking for people to go to:
Nov 4th Leeds New Roscoe £10.00 adv 0113 245 5570
Nov 5th Sheffield Boardwalk £10.00 adv 0114 251 7000
Nov 6th Crewe Limelight Club £10.00 adv 01270 251929
Nov 8th Manchester/Bury Metropolitain Theatre £10.00 adv 0161 761 2216
Nov 9th Nottingham Rock City £10.00 adv 0115 941 2544
Nov 10th Birmingham Glee Club £10.00 adv 0870 241 5093
Nov 11th Northampton Roadmender £10.00 adv 01604 604222
Nov 12th Reading 21 South Street Arts Centre £10.00 adv 0118 960 6060
Nov 14th London Borderline £11.00 adv 020 7395 0777
Novv 15th Hitchin Club 85 £10.00 adv via website
I am willing to PAY the tickets and some extra.
Please contact,
bas
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From: "Eric G. Postel \(home\)" <ericpostel@compuserve.com>
Subject: * ISO NYC Stealth tapers
Date: Sat, 14 Sep 2002 10:41:50 -0500
Am looking for taper(s) willing to stealth any of three shows in NYC. Will
cover all costs:
- James Blood Ulmer with Vernon Reid (Oct. 1-5 Iridium Jazz Club - two shows
a night)
- Tom Tom Club (Thursday Sept 26 SOBs)
- Dave Wakeling ex-English Beat (BB Kings Oct 2)
If interested and able to make it, please contact me.
Thanks, Eric
From: Todd Romero <todd@routeflap.net>
Subject: Re: Limiting Wind
Date: Sat, 14 Sep 2002 12:23:08 -0400 (EDT)
this is a very bad idea. by taping them under the bill of the hat or any
'structure' thats going to deflect the sound, you are reducing or altering
the pickup pattern of the mic, which introduces other negative issues.
getting bigger windscreens is the best bet. many tapers carry 3 sets for
variable wind conditions
On Fri, 13 Sep 2002, Jeff Franzreb wrote:
> Well, one thing I did to try and limit wind was to still put my windscreens
> on, but I also taped my mics under the bill of my hat. My hat bill was
> already bent like most people like wearing them. So, I saw myself as
> avoiding top wind for sure and a decent cut on side winds. However, any
> dead on wind would kill me. Now, this didn't totally elimiate it, but I am
> guessing it helped, but I dunno how much.
>
>
> --------------------------------------
>
> From: "Jason Green" <admin@groove-salad.com>
> Subject: Limiting Wind
> Date: Thu, 12 Sep 2002 16:47:10 -0500
>
> Any ideas on how to limit wind noise in outdoor venues? Right now I'm just
> using windscreens.
>
>
> Jason
> AIM: Chum Kui
>
>
> "Music...
> This is the Favorite Passion of My Soul"
> (Thomas Jefferson)
>
From: Christopher D Gacek <gace0003@umn.edu>
Subject: RE: James Mercer
Date: Sat, 14 Sep 2002 11:48:34 CDT
Did anyone happen to tape James Mercer (The Shins) opening for Doug Martsh
at the Showbox in Seattle on Sept. 6th?
Chris
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