DAT-heads Digest #746
Contents:
What's Normal? (David Sadowski)
STRAWBS IN NEW JERSEY! ("T.J. Hoffman")
ISO: The Thorns ("Brian \(Pink Floyd\)")
Re: Fade-outs (was Re: if you must normalize,...) ("Wayne D. Hoxsie Jr.") (h Grape Minkoff)
FA: AT822 ("Sullivan, Nick")
RE: FS: Blank DDS 60m & 90m (DAT-heads Digest #744) (Robert Gray)
DMX Tickets House of Blues Chicago - Saturday 5/24 + Pre-Show Entrance ("James Brogdon")
Do the following bands allow taping ? ("Adams, Mark A.")
pearl jam info ("taperroy")
WTB HHB PDR 1000 for parts (Ray Collins)
ISO Lush Tokyo 9/18/96 (ijwthstd)
blur taping? ("Andy Liu")
Newbie soundboard > d8 Questions ("Karl Schneider")
Question for Schoeps STC(ortf) bar users ("K. C. Cadwallader")
re: velcro! (randy@monkeybiz.Stanford.EDU)
cdr mastering (randy@monkeybiz.Stanford.EDU)
From: David Sadowski <dsadowski@ameritech.net>
Subject: What's Normal?
Reply-To: dsadowski@ameritech.net
Date: Thu, 22 May 2003 02:50:23 -0500
IMHO the relationship between an original recording and a finished,
mastered disc is akin to that of a photographic negative and a print.
The recording is raw material... it's not the same as a finished
product. As a two-step process, there is an opportunity to enhance and
improve the listener's experience.
It's commonly known that no two photographers work quite the same way,
and each master printer will get something different from his or her
negatives. For instance, it isn't really possible for someone to make
prints the way Ansel Adams would have done, even if working from the
same negatives.
His sort of photography involved a lot of previsualization of what the
finished product could look like. In order to achieve that, he would
select his materials carefully... lenses, camera, film, exposure
technique, filters, etc. The same sort of selection process influenced
his selection of certain types of chemicals and photographic paper and
darkroom techniques like dodging and burning.
All this is based on the fact that a photograph is not reality but an
idealization of reality and is in part a philosophical process as well
as artistic. There is, to start, an idea of what constitutes an
interesting photograph, and the art comes in with the choices made in
terms of what to include, or not include, in a photograph.
Take for example Adams' famous photograph of Half Dome at Yosemite.
People look at this photograph and think that this is what it must've
looked like. In actuality, Adams used a red filter to accentuate the
contrast level between rock and sky.
The same sorts of considerations are at work with recorded sound. It is
as much art as science. Previsualization is necessary. Techniques are
applied (compression, levels, choice of equipment, microphones,
proximity to sound, etc.) with the aim of creating a pleasing finished
product... recorded sound that makes the listener imagine they were
there, that draws them into the scene and makes them think this must be
the way it was.
But give two people the same recording equipment and they are likely to
make recordings that are different in fundamental ways, even from the
same source. The source recording is not the finished product and it
isn't meant to be the finished product. The finished product is what
matters. Recorded sound, like a photograph is based on an idea and is a
sort of idealized reality... a reality that is meant to appeal as much
to your mind's ear as it is to your ear.
I think there are too many people who forget that this is all a process
that is as much art as science. The people who think it is all science
appear to believe that the source recording is the finished product and
that everyone should apply the exact same techniques. Live sound, a
source recording, and a mastered disc are three different entities.
Some of this talk about how normalization is bad is akin to saying that
a hammer is bad. These are tools, and tools are neither good nor bad.
It's all in how you use them. A hammer can be used to bash in
someone's head, but it can also pound a nail and build a house.
From: "T.J. Hoffman" <mhoffmanhsd@earthlink.net>
Subject: STRAWBS IN NEW JERSEY!
Date: Thu, 22 May 2003 08:59:32 -0400
I had my ticket purchased for last night's STRAWBS
at Krogh's in Sparta, NJ, but could not attend.
Tonight's show is sold out...
If anyone has a recording from any of the recent STRAWB
acoustic shows in the USA, I'd love to trade.
I have a list of STRAWBS and many others.
Thanks,
Tim.
From: "Brian \(Pink Floyd\)" <pnkfloydlunatic@hotmail.com>
Subject: ISO: The Thorns
Date: Thu, 22 May 2003 08:47:10 -0500
All,
Been out of the taping thing for a little while, haven't got the time
anymore, but I am desperatley looking to see, if by ANY chance,
someone taped The Thorns show at the Driskol in Austin during SxSW.
I'd LOVE to get it if someone has it. If not, ANY of their live
shows would be amazing. Really hope people are out there taping them.
Please contact me. I have plenty to trade.
BWT (SHN or CD only):
first to email me after the digest comes out with 'Alexi' as the subject.
Alexi Murdoch - 2003-03-16 @ Flipnotics in Austin, TX
Sony ECM-907 -> SP-SPSB-2 -> TCD-D7
Thanks,
Brian
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From: h Grape Minkoff <the_grapeman@yahoo.com>
Subject: Re: Fade-outs (was Re: if you must normalize,...) ("Wayne D. Hoxsie Jr.")
Reply-To: the_GrapeMan@yahoo.com
Date: Thu, 22 May 2003 06:50:08 -0700 (PDT)
What about at a tape switch/flip?
From: "Wayne D. Hoxsie Jr." <wayne@hoxnet.com>
...and for God's sake, don't fade out your CD's in the middle of a set.
That is one of my all-time pet peeves. I routinely reasswmble DAT's
from CD's and there is nothing more annoying than a fade-out > fade-in
in the middle of a song/set.
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From: "Sullivan, Nick" <Nick_Sullivan@lord.com>
Subject: FA: AT822
Date: Thu, 22 May 2003 10:10:04 -0400
On everyone's favorite auction site: http://tinyurl.com/cd18=20
Thanks for the space as always, sorry for the cross post.
Nick=20
From: Robert Gray <rob@tsivisuals.com>
Subject: RE: FS: Blank DDS 60m & 90m (DAT-heads Digest #744)
Date: Thu, 22 May 2003 10:24:23 -0400
Lot's of responses for both the DATS and the BWT. Consider both gone
unless I have to re-post. I'll contact every one who replied, so
please be patient. Thanks to all for your interest.
Rob
From: "James Brogdon" <jbrogdon@sbcglobal.net>
Subject: DMX Tickets House of Blues Chicago - Saturday 5/24 + Pre-Show Entrance
Date: Thu, 22 May 2003 09:36:44 -0500
I just had a couple of friends ditch out on me; I’ve got 4 tickets GA to see
DMX at the HOB in Chicago this Saturday. Show time is 7pm.
I need to get rid of two of these tickets. I have 2 early-entrance passes
(admittance before the rest of the crowd) so that we’ll have the best view;
face + ticketmaster is $100, I’m looking for $50 for both tickets.
I can be reached at jbrogdon@sbcglobal.net <mailto:jbrogdon@sbcglobal.net>
or 574-286-2785.
James
From: "Adams, Mark A." <AdamsM@pbworld.com>
Subject: Do the following bands allow taping ?
Date: Thu, 22 May 2003 11:44:06 -0400
IZZ or Miriodor ?
They will be playing a show prior to the NEARFest 2003 at the Conduit in =
Trenton, NJ along with Woodenhead (who does allow taping, but no SDB =
access & a copy goes to the band).=20
Any info would be greatly appreciated, thanks ...
Mark A.
From: "taperroy" <taperroy@powerlynk.com>
Subject: pearl jam info
Date: Thu, 22 May 2003 12:37:45 -0500
how has taping been going for these guys?? i know their stance regarding
"external mics, pre-amps,and dat decks" just wondering if they have loosened
their stance at all.....
also-- it was reported in a local entertainment magazine , that they were
going to allow sbd access for fans. i have a chance to buy a seat right
next to the mix position at alpine valley,,,,, and was kinda thinkin about
trying it.... and standing there with a sheepish grin, and an xlr patch cord
....
any info gratefully appreciated
taperroy
From: Ray Collins <rcol@intergate.bc.ca>
Subject: WTB HHB PDR 1000 for parts
Date: Thu, 22 May 2003 10:57:25 -0700
Anybody have a dead / intermittent one?
From: ijwthstd <ijwthstd@yahoo.com>
Subject: ISO Lush Tokyo 9/18/96
Date: Thu, 22 May 2003 11:05:28 -0700 (PDT)
Looking for Lush at the Shinjuku Liquid Room on
9/18/96 or any other shows from the Japanese tour.
Looking for a DAT clone or DAT sourced CDR. Already
have a 3rd gen cassette and looking to upgrade. Not
sure if they did any other shows in Japan at that time
but would like those shows too if they exist.
Thousands to trade by hundreds of bands on many
formats.
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From: "Andy Liu" <dwonk@hotmail.com>
Subject: blur taping?
Date: Thu, 22 May 2003 12:54:50 -0700
Hey now,
Anyone taping blur on their recent tour of the US? Let me know so we can
get a trade circle going and tip each other off on the scene to be sure to
get most of the shows in June.
BWT: 1cdr B&P
Radiohead 4-1-95 Moe's Seattle, WA ECM909>WM-D3/Nak
DR-3>AP2496>SF>CDwave>mkwACT
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From: "Karl Schneider" <karl.p.schneider@rose-hulman.edu>
Subject: Newbie soundboard > d8 Questions
Date: Thu, 22 May 2003 16:24:54 -0500
I just received my first dat (tcd-d8) and am planning on taping a show
early next month. This band is very taper friendly, enough to grant
soundboard patches. Last time I taped them, I used my minidisc, which
experienced a large brickwalling problem. My questions is what should I
do to ensure my D8 doesn't have this problem with the line being too
hot. I have read some D8 pre-amp discussion, most referring to
microphones. Any suggestions concerning pre-amps or input modifications
or settings, to ensure this isn't a problem, would be appreciated.
Karl
From: "K. C. Cadwallader" <kcc140@yahoo.com>
Subject: Question for Schoeps STC(ortf) bar users
Date: Thu, 22 May 2003 17:30:17 -0700 (PDT)
My Neumann ortf bar is in bad shape. I was wondering
if it would be possible to "modify" this bar to fit
the Neumann actives. I thought I had a lead on a
custom built bar modeled after the STC, but it's
looking like it will never happen. Let me know your
thoughts or suggestions.
Thanks,
kc
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From: randy@monkeybiz.Stanford.EDU
Subject: re: velcro!
Date: Thu, 22 May 2003 23:27:34 -0700 (PDT)
> Some people will probably cringe at this, but I covered the entire bottom
> of my M1 and the top of my MP2 with Velcro, and I stick them together
> and carry them on a neck strap.
that's a pretty creative solution!
i've always used a fanny pack, myself, though i've been tempted to buy
an eVest...anyone care to offer comments on those?
-rand0m
From: randy@monkeybiz.Stanford.EDU
Subject: cdr mastering
Date: Thu, 22 May 2003 23:32:49 -0700 (PDT)
no argument from me about normalizing (go for it! but don't overdo it with
the compression, of course).
but i respectfully disagree with wayne about fading cds.
i find it a real buzz-kill to have them cut at the end.
it's not like it takes *that* much more time to add overlapping
fade-in and fade-out tracks to a cd, so that
(1) you can patch things together seamlessly by omitting the overlap tracks
(2) you can listen and not be jarred by the sudden stop/start of music
that doesn't fade out/in ....
...and i'm really surprised to hear that anyone would go to the trouble
of moving cdr material onto dat, given the fragility of that medium.
-rand0m
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