DAT-heads Digest #753
Contents:
re: HQ cables (Nick Georges)
Re: ISO New Monsoon tapers
cable recommendation needed ("James B. Wilkinson")
1/8" angle plug for plugging in stealth rig ISO! (Jonathan)
Gig bags? ("Stephen Pzynski")
Procol Harum (Tom Cavanaugh)
Led Zep uses bootleg source material ("Charles Quinn")
McCartney ALD's ("Dan Speter")
listening to FM (randy@monkeybiz.Stanford.EDU)
Looking for used Tascam DAP1 (sound seducer)
Re: Soundboard/mic matrix help ("Stanley W. Smith")
FS: Sound Devices MP-2 + 6v Eco-Charge ("Bendes, Richard")
ISO recent beck, have recent beck to trade! (pwking)
re: HQ cables (Liam Sean Kennedy)
From: Nick Georges <nick@nickspicks.com>
Subject: re: HQ cables
Date: Wed, 28 May 2003 18:35:29 -0400
"snake oil" ... I love it.
i've always been skeptical of cable quality and how it affects
recording. I keep coming back to some certain points though.....
- in hi-end audio (as in audiophile stereo compnants), the quality of
interconnects (often xlr) is very apparrent and easily heard through
whatever high end gear you have. the difference between $100 speaker
cable and $500 cable is easy to hear.
Now, what would be so different in a recording chain? Its all still
analog signals, not much different than carrying a signal in a playback
system. Using this approach, I can easily understand how the quality of
cable can affect the recording. There are other very HQ cables out
there besides Audio Magic. I reccomend checking out Zaolla. You want
to talk about beefy cable...wow!
Any way, I think analog cables do make a difference. Especialy when you
are talking about longer lengths.
Another thing to ponder is that you really need a playback system
capable of resolving these differences in order to really give a rats
ass...I suppose.
now, cables in the digital domain....I dont buy the theory that one is
better than another. bits are bits, they are either "there" or "not
there". There is no better 1001100 stream due to a more expensive
cable. If that were the case, then there would be all different classes
of CAT-5 cable...and there really isn't. After all, binary is binary be
it a PCM stream or TCP/IP (for example).
There may be basic quality concerns about how the cable is made, how
rugged, etc, but the signal is the same no matter what.
If anyone would like to offer a compelling arguement against any of
this, I'm all ears.
I'm not saying I know better one way or another, I just have my own
points of view and I'd love to hear someone elses.
So, why would the top of the line audio magic cable be snake oil...exactly?
From: <mcmiller@cox.net>
Subject: Re: ISO New Monsoon tapers
Date: Wed, 28 May 2003 18:40:14 -0400
This is a good band - well worth seeing. They made quite a buzz on the dcheads list.
I have KM143(ORTF)->V2->SBM1->DAT(48)->CDRW700->CD of the Alexandria VA show on my HD right now. I'll take a few B&Ps. 1 disc. (it was just one set that night)
From: "James B. Wilkinson" <jimmy@cs.cofc.edu>
Subject: cable recommendation needed
Date: Wed, 28 May 2003 18:48:10 -0400
A small group of us here are interested in getting bits from some
DAT's into an Alesis MasterLink ML-9600. The only DAT machine we have
available is the same Sony D-100 that the tapes were recorded with.
Can some of you recommend a cable that will work in this situation?
There are some 7-pin cables available pretty cheap, but I'm not sure
they would work here. The real Sony 7-pin cables seem to cost nearly
enough to buy a DAT machine on eBay that wouldn't need the 7-pin
cable at all.
Any help much appreciated. Thanks
--
=============================================================
Jimmy Wilkinson | Professor of Computer Science
jimmy@cs.CofC.edu | The College of Charleston
(843) 953-8160 | Charleston SC 29424
http://www.cs.cofc.edu/~jimmy
If there is one word to describe me,
that word would have to be "profectionist".
Any form of incompitence is an athema to me.
Metathesis??? Don't ax me.
Just between you and I, the grammar used by Americans have gone to hell.
From: Jonathan <kc7fys@yahoo.com>
Subject: 1/8" angle plug for plugging in stealth rig ISO!
Date: Wed, 28 May 2003 16:34:53 -0700 (PDT)
Howdy,
My Sanken mics (thanks to Kato Masato's guidance) are wired up with a little box I
made. The only complaint I have of my job is that I employed a right-angle 1/8" stereo
plug that strains the jack too much--especially in a stealth situation. The Sonic
studios modified $2 capsules have an excellent sort of epoxy molded plug on the end.
Where can I get a very low profile right angle plug to keep the strain on this fragile
jack to a minimum?
Thanks,
Jonathan
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From: "Stephen Pzynski" <stejampzy@hotmail.com>
Subject: Gig bags?
Date: Wed, 28 May 2003 18:26:57 -0500
Anyone have experience with Rok Sak Gizmo Bags? They seem pretty durable in
pictures but I can't tell if they'll give me enough wiggle room for all of
my gear. I'll be carrying 2 mics, DA-P1, preamp, cables, 2 batteries and a
bunch of other small accessories. Any other suggestions for soft cases? I
don't want to go hard if I don't have to. :)
Thanks...
Steve
"It's not getting any smarter out there. You have to come to terms with
stupidity and make it work for you." -FZ
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From: Tom Cavanaugh <Meurglys3@att.net>
Subject: Procol Harum
Date: Wed, 28 May 2003 20:14:48 -0400
Hello Heads,
Has anyone recorded or obtained shows from Procol's current tour?
Especially their gigs from the Bottom Line in NY. and the TLA in Phila.
If so, please check out my web site and contact me for a possible trade.
http://home.att.net/~meurglys3/index.html
Tom
From: "Charles Quinn" <cmquinn@mindspring.com>
Subject: Led Zep uses bootleg source material
Date: Wed, 28 May 2003 20:52:50 -0700
From the Los Angeles Times. Like how they approached the tapers for source
material, if everyone were so enlightened. I would sure find it an honor to
get credit in a Zep liner note.
Chuck Quinn
May 27, 2003
Metal gold for Led fans
New CD and DVD packages -- including vintage concert footage -- revive the
sounds of one of the most vital rock forces of the '70s.
By Jon Matsumoto, Special to The Times
Two weeks ago, former Led Zeppelin member John Paul Jones attended the
London premier of the late rock band's two-disc concert DVD, "Led Zeppelin
DVD." To his surprise and amusement, the bass and keyboard player felt a bit
like a teenager experiencing his first Zeppelin concert.
"I actually let out a cheer with everyone else in the theater at the end of
'Moby Dick,' " Jones says with a laugh. "It was nice to actually see a Led
Zeppelin gig [as a fan], because at the time I was always working! I had
forgotten how tight we were as a band. The live music works so well on DVD
because of [the format's 5.1] surround sound. It puts you right in the first
row."
To a host of Led Zeppelin fans, today's release of the 5 1/2-hour DVD set —
along with a separately packaged, three-CD offering of live music from the
quartet titled "How the West Was Won" — represents the arrival of Christmas
seven months early.
The crux of the two-DVD set revolves around footage from three performances
in England: a Royal Albert Hall show in 1970, an Earls Court concert in 1975
and a Knebworth Festival show in 1979.
Led Zeppelin was without question one of the most dominant rock acts of the
'70s. The British outfit has sold approximately 200 million albums
worldwide, an astounding number for a band that released nine albums during
its life span, between 1968 and 1980. (The band dissolved shortly after the
death of drummer John Bonham.) While the group was adept at delivering
acoustic folk music, it played an indispensable role in establishing a
heavy-metal template that would influence countless bands and musicians.
But until now, the only officially available visual documentation of the
media-shy band had been the 1976 concert film "The Song Remains the Same."
The movie captures the band on stage at New York City's Madison Square
Garden in 1973.
For 21 years, the soundtrack to "The Song Remains the Same" was also the
only official audio representation of Led Zeppelin on stage. In 1997, the
group released a two-CD package of live material from 1969 titled "BBC
Sessions."
The latest Led Zeppelin offerings are especially welcome by disc jockey Gary
Moore, who devotes a half-hour to the band every weekday at 4 p.m. on
KLOS-FM (95.5).
"The band is much more 'on' in 'How the West Was Won' compared to 'The Song
Remains the Same' soundtrack. And they turn it up a notch compared to what
you hear on the 'BBC Sessions,' " says Moore, who as a teenager traveled
four hours with friends from his home in Kentucky to see the band play in
St. Louis in 1975. Moore is not only playing material from "How the West Was
Won" on his "Whole Lotta Led" radio segment, but also tracks from the new
DVD set.
He also continues to present occasional songs from bootleg recordings of Led
Zeppelin concerts. (A very active bootleg industry has existed around the
band for years, due in part to the dearth of officially available concert
recordings.)
For ex-Led Zeppelin vocalist Robert Plant and Jones, the 1972 Los Angeles
and Long Beach shows that are captured in part on "How the West Was Won"
represent the band at its live peak. Los Angeles was also a favorite
destination spot for the band.
"1972 was a particularly great year for us," Plant says. "We were right on
top of what we were up to."
"The recording quality is pretty good [on 'How the West Was Won'], but the
performance quality is really, really excellent," Jones enthuses. "It may
have had to do with the fact that the tours used to end up on the West
Coast. So we would have been playing three or four weeks solid by the time
we got there. Plus, there's something about the weather in Los Angeles
[that's invigorating], especially for a Brit."
"Led Zeppelin DVD" and "How the West Was Won" were set into motion after
former band guitarist Jimmy Page discovered that the Royal Albert Hall film
footage from 1970 was about to be auctioned off. Until then, the band had
mistakenly thought it had legal ownership over the professionally shot
silent footage. With the urgent knowledge of how little visual documentation
there was of Led Zeppelin, Page negotiated to purchase the rights to the
film several years ago before it could be sold to the highest bidder.
Restoring the Royal Albert Hall film proved to be a painstaking process for
numerous reasons. Part of it involved the three remaining group members
converging to help sync an existing audio recording of the performance with
the silent film footage.
"The band got together and we looked at these nine cans of silent footage of
the Royal Albert Hall concert," explains Page. "The best way [to sync the
audio and visual aspects of the show] was for each of us to identify what we
were playing. [When you're looking at silent film footage of a concert] it
might look like the first verse, but if you're playing the bass, for
example, it could actually have been the fourth verse."
Page, Plant and Jones subsequently decided to broaden the scope of the DVD
project. The trio not only added performances from Earls Court and
Knebworth, but also some previously unreleased footage from the "Song
Remains the Same" film, TV performances, interviews and promotional clips. A
small amount of bootleg material was even used to help bring a different
point of view to the DVD.
"I've got all these things that are available on bootleg," Page says. "But I
really needed to get to the source, the people who had the first-generation
versions. We had to contact these people without getting them nervous
because they could have run a mile and hidden all their stuff, thinking they
were going to get busted. So we really had to do some sensitive
negotiations. So, for example, we got a hold of some original Super 8
footage from Madison Square Garden and some [fan] footage from Knebworth."
When Atlantic Records, the band's label, asked for a soundtrack to the DVD,
Page suggested putting out live material from the '72 Los Angeles and Long
Beach shows instead.
The DVD and CD projects have sparked rumors that Page, Plant and Jones might
reunite for some live performances. Page and Plant toured and released
several albums together in the '90s. But the convergence onstage of all
three members would represent a more authentic Zeppelin reunion.
"I don't know if it would work in this century," Plant says. "You're talking
about a lot of years later. I'm sure it would be evocative for people in the
crowd, but I don't know if we could do it [properly]."
Page is a bit more optimistic.
"None of us has actually discussed re-forming," he says. "If we got back in
a room and played a Led Zeppelin number and there were smiles behind our
eyes, then maybe it could be possible. Until that happens, it's
hypothetical. I wouldn't discount it. I just don't know."
From: "Dan Speter" <dspeter@nyc.rr.com>
Subject: McCartney ALD's
Date: Thu, 29 May 2003 00:02:17 -0400
Anyone out there have any McCartney ALD's other than the commonly
circulating Atlanta, Tampa, DC and Chicago?
I'm looking for more!
-all the best!
Dan
From: randy@monkeybiz.Stanford.EDU
Subject: listening to FM
Date: Wed, 28 May 2003 22:07:12 -0700 (PDT)
interesting article Klay! must be part of the reason that I'm less and less
comfortable listening to the radio in my car...it's just not as satisfactory
as playing my own cdrs.
anyways, anyone have suggestions for expanding the dynamic range of
material recorded off FM? is it worth the trouble?
-rand0m
From: sound seducer <sound_seducer@muchomail.com>
Subject: Looking for used Tascam DAP1
Reply-To: sound_seducer@muchomail.com
Date: Wed, 28 May 2003 22:40:29 -0700 (PDT)
$1700 *new* is a little taxing on the wallet. I've seen used units go for about half (or less). Anyone have any leads or know of anyone willing to sell?
Ryan
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From: "Stanley W. Smith" <swsmith@ix.netcom.com>
Subject: Re: Soundboard/mic matrix help
Date: Thu, 29 May 2003 01:25:37 -0500
Hey,
"You want good, fast, or cheap? Pick two..." ;)
A reasonable compromise is the TCE D*2, listing around $500, probably street
priced in the $3- 400 range...
You're not going to find much that's workable and will just do time
correction without adding colouration,
reverb, or other unwanted artifacts to your signal... You're not gonna'
fine that sweet KT delay for much
less than a grand...
Might I suggest either an onstage mic pair with no delay on the SBD, or
stripe two tapes (one of the SBD
source and another of the AUD source) for later reassembly in Pro Tools?
There's also the trick with double inputting a P1, which will work fine for
an onstage pair/SBD combo
provided you have some way to gain both signal pairs before you hit the
deck. (Take the mic pre out to
the XLR line ins, & the SBD to the RCAs provided you have level & impedance
matched for each...)
Another alternative might be one of the newer digital mini-studios... some
of the specs look impressive.
Anyone with any experience on these?
Stan Smith
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: "Zach Sheeran" <zach_s@bellsouth.net>
Subject: Soundboard/mic matrix help
Date: Tue, 27 May 2003 08:46:29 -0400
Hi all. I have the opportunity to run a matrix at a festival this week end
but have no experience with it. Can anyone recommend an inexpensive delay
for mics. Any advice is greatly appreciated!
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From: "Bendes, Richard" <BendesR@aetna.com>
Subject: FS: Sound Devices MP-2 + 6v Eco-Charge
Date: Thu, 29 May 2003 08:16:54 -0700
Sound Devices MP-2
-Very minor paint ware
-Modified by SD to accept rechargeables
-Recently given a clean bill of health by SD
-Gain knobs tightened by SD
-Power Cable (see below)
Eco-Charge SIGMA PLUS Battery System (Used Once)
-6 volt, 7.2 Ah Battery
-66-A 6 volt charger
-Padded carrying case
-MP-2 Power Cable
-M1/D100 4.5v power Cable
$600 for both
=20
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From: pwking <sleepypedro@yahoo.com>
Subject: ISO recent beck, have recent beck to trade!
Date: Thu, 29 May 2003 11:03:03 -0700 (PDT)
i'd like to hook up and swap with anyone who's rolled
or rolling recent beck shows with high end rigs.
here's what i pulled last night:
Beck
5-28-03
Wolftrap
Vienna VA
mbho 603a/ka200n > sonosax sxm2 > d8 @ 48k. FOB,
sounds righteous.
(oh, dashboard confessional opened. got that as
well.)
don't write me if you're only going to grovel for a
clone, ok? i just want to hook up with other beck /
dashboard tapers. thanks....
=====
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
web: http://home.nyc.rr.com/pedroworld
AIM: sleepypedro
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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From: Liam Sean Kennedy <liam@fedney.org>
Subject: re: HQ cables
Date: Thu, 29 May 2003 14:12:55 -0400
--On Wednesday, May 28, 2003 6:35 PM -0400 Nick Georges=20
<nick@nickspicks.com> wrote:
> - in hi-end audio (as in audiophile stereo compnants), the quality of
> interconnects (often xlr) is very apparrent and easily heard through
> whatever high end gear you have. the difference between $100 speaker
> cable and $500 cable is easy to hear.
This is not something where consensus is possible... but its definitely=20
important to use quality, well-built, and well-maintained interconnects.=20
Beyond that people need to experiment for themselves to choose what is=20
important.
I do have some experience with the whole audiophile gig and I use fairly=20
basic wire at this stage. My personal conclusions were
- the various wires did make an audible difference, although it was=20
difficult to get the exact conditions to determine that (for example making =
sure SPL levels
- a friend loaned me multi-thousand $$ MIT interconnects which made my=20
system sound lifeless
- when I came down to the actual comparisons, I felt any difference was=20
small enough that I wasn't going to sit down and listen to a nice recording =
and say 'oh my system sounds like $$XX today, I must have the star-quad in' =
... the differences, real, subjective, or psycho-acoustical, were apparent=20
in comparison not quantitative differences
- as a taper, I do like the experiment a bit... so sometimes its fun to=20
borrow someone's cables that cost more than my car, or swap something new=20
into the chain... maybe it will make a difference, maybe not... but it=20
makes it interesting and I make sure to document it for someone who likes=20
the sound and wants to duplicate the setup
So this said. Paying decent money for good cable with a guarantee and=20
spending a bit more if you think it will stand up on the road is clearly=20
valuable. Searching out "used" designer cable to save a few bucks might be =
counter-productive... if its been used on the road there has probably been=20
some stress (mechanical or chemical) on the various components which could=20
degrade the sound.
Lastly, a tape made with cheap mics and radio-shack cables in the sweet=20
spot is gonna sound better than fancy rigs in the wrong location... worry=20
most about placement, skill is something we can control.
Se=E1n
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