DAT-heads Digest #966
Contents:
X-Mas Jam 2003 "Set List Info" ("KUZEN J")
ISO Shania Twain for my daddy (GaoBest@aol.com)
stealing is stealing ("jff@ix.netcom.com")
re: stealing is stealing (david cohen)
re: speakers for AUD playback (Nick Georges)
Re: DAT-heads Digest #965 (Michael Miller)
Re: Line In or bass roll-off? (Philip Smoker)
FS: Taping Accesories (Dave Hughes)
For trade: Marilyn Manson Stockholm 031219 ("Jofa Jofa")
Re: VX pocket or similar product prices and dealers? ("Len Moskowitz")
FS: Blank Dats ("Charlie Miller")
Current archive.org Proposal re mp3 (Diana Hamilton)
From: "KUZEN J" <kuzen_j@hotmail.com>
Subject: X-Mas Jam 2003 "Set List Info"
Date: Mon, 22 Dec 2003 11:17:35 -0500
I recorded the Warren Haynes X-Mas Jam in Ahseville,NC on 12/20/03. My
copy turn out GREAT. But I was wonding if any body has the set list info for
the show with all the info who played who?
I will offer it up to Dats Heads after the 1st of the year as an B&P or
trade. I'm indexing the dats and trying to figure out how many disc it will
be.
Thanks,
Kuzen
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From: GaoBest@aol.com
Subject: ISO Shania Twain for my daddy
Date: Mon, 22 Dec 2003 11:25:27 EST
Hey kids,
My father went to see Shania Twain in concert and he quite enjoyed the shows.
I'm hoping that someone can help me with cdrs - I have nothing from her but
have other stuff I could do in trade.
1. San Jose 12/14/03 (HP Pavilion)
2. Las Vegas 12/21/03 (somewhere - Mandalay Bay?)
Any recording would be fine.
Thanks,
Mike
bwt: fabulous 1997 concert/peel by Velocette (thanks to Andrew for this one)
From: "jff@ix.netcom.com" <jff@ix.netcom.com>
Subject: stealing is stealing
Reply-To: jff@ix.netcom.com
Date: Mon, 22 Dec 2003 11:31:45 -0500
>Instead of crying piracy, and charging higher prices to compensate from i=
t,
>why don't they simply sell CDs at a more reasonable price, like the price=
>LPs were being sold for when CDs came into the picture=2E Producing a CD =
is
>trillions cheaper than an LP was and they are charging us three or four
>times what we should pay=2E Technology has already being paid for several=
>times, but they still charges as at the beginning=2E=20
I'm not too sure you REALLY want this, when you consider the REAL price
of things=2E After all, back in the '60s or '70s, when LPs ran $7=2E98 or=
so, you got paid a lot less, too=2E There is a neat book called "How Much=
is That in Real Money" which gives adjustment factors for price indices=2E=
Something costing $7=2E98 in 1967 would run $86=2E21 in 2000, using a
commdity index, and $86=2E10 using the US Office of National Statistics
index=2E If you limit your time to the introduction of CDs in around
1983, the $7=2E98 would be $15=2E99, which is about what they go for,
no?
Jeff
=20
====================================================================
mail2web - Check your email from the web at
http://mail2web=2Ecom/ =2E
From: david cohen <decohen@ameritech.net>
Subject: re: stealing is stealing
Date: Mon, 22 Dec 2003 10:37:45 -0600
of course it's stealing when we record an artist without their
permission....over the past 10 yrs we tapers who populate internet-based
groups such as this have simply rationalized this stealing and
re-interpreted it as "archiving"...the history of mankind is full of such
rationalizations....some more damaging than what tapers do....this is a
funny group of people here. if i go to a concert and sneak off with your
D8, I'm a thief, but if you go to the same concert and sneak off with my
music, you enjoy it...hypocrisy comes in many forms:) dave
From: Nick Georges <nick@nickspicks.com>
Subject: re: speakers for AUD playback
Date: Mon, 22 Dec 2003 11:49:18 -0500
Im an AUD recording nut, so let me share w/you what I have learned on
my quest for audio nervana...
First off, i'm a flat speaker junkie. Started with Maggies, now running
Martin Logan SL3's and likely soon to upgrade again to a larger model.
>>
>>hey guys.
>>i'm ready to take the plunge into high end (i quess really low-mid high end)
>>audio. right now i have an old akai aa-a25 receiver and a magnavox cd
>>player. i've decided that i want to buy speakers first and spend about
>>$600. i listen mostly to audience recordings and would like to optimize my
>>system for them (FOB, OTS, on-stage)... but i do listen to sbds quite often,
>>too.
>>
>
>
bang for the buck...
MAGNEPAN!
go used. You can get a used pair of MG10 or MG12 maggies in your price
range. Their smallest speaker, the MMG is had for $400 used and is an
amazing piece of gear.
Why maggie?
HUGE soundstage....and I mean huge. 3 dimensional as well, very
holographic presentation with imaging that will blow your mind.
Go and find the nearest maggie dealer and give them a listen. They will
likely have the MG12 and 1.6qr models in stock. The 1.6 is *the* one,
but expect to pay around $1100 used...which sort of smokes your price point.
Planar speakers do not sound like ordinary box speakers, so you''ll have
to hear for yourself first...but IMO, nothing touches the maggies in
this price point.
you will need a subwhoofer though......, but that is going to be the
case any way as you will not find a high end 3 way speaker in your budget.
>>i've been becoming very frustrated trying to find people who can offer up
>>speaker advice who listen to audience recordings themselves. i really want
>>to start auditioning speakers soon, but I'd like to narrow down my choices
>>as there are so many. if you need to know specifically what i listen to,
>>click my list below my name.
>>after i have speakers i will buy a 2 channel stereo preamp and power amp. i
>>dont know exactly what i'm going to get, but Parasound is looking pretty
>>good to me right now. they supposedly have a great bang for the buck ratio.
>>so, i'de really like to hear some opinions on this matter. its very
>>frustrating when you have nobody to talk to. i used to know one guy who
>>could have provided me with a wealth of information but he fell of the face
>>of the earth. figures.
>>thanks a lot,
>>
>
>
I found complete synergy using an old B&K ST-140 amp to drive my maggie
MMGs. this amp is considered a classic model...very warm and tube
like. 70wpc into 8ohms. I saw one on audiogon for $135!! Oh yea...get
to know this site. www.audiogon.com. Buy everything used, save a ton.
Maggies like high current and lots of watts, so the more the merrier.
You also have to realize that there is a lot to research here. It takes
VERY acoustics to let your room "melt away" and leave you in the
soundscape created by the recording. I'm learning this the hard way.
Recommending speakers based on what you listen to is one thing, but you
also need to describe the room you'll be listening in.
What is your total budget?
While speakers are important, you must not underestimate the value of a
quality signal...ie: source. crap in, crap out...no matter how nice
your speakers are. That said, start thinking about a DAC.
All things considered, I believe you can build a hell of a system around
the maggie MMGs and spend less than $1500 doing it.
From: Michael Miller <mcmiller@cox.net>
Subject: Re: DAT-heads Digest #965
Date: 22 Dec 2003 12:58:06 -0500
> If I could find anyone that can sell me a pirate copy of that program for
> the old price I would run to buy it.
If you purposely seek to buy a pirated work, then you are in effect a
thief.
From: Philip Smoker <psmoker43@yahoo.com>
Subject: Re: Line In or bass roll-off?
Date: Mon, 22 Dec 2003 10:20:20 -0800 (PST)
"While it's true that the line input may negate the
effect (not bypass) the bass roll-off filter, there's
really no reason to use the filter *except* to avoid
overloading the mic pre-amp, which you don't do in any
case if you're using the line input."
I would contend that there are two different ways to
overload the mic pre-amp; one would be taping a band
very close to the stack and taking in more low-end
than the mic pre-amp can handle regardless of where
the volume knob is set, the other occurring when the
volume is turned down below "3" when using either the
mic-in or line-input regardless of the band's volume.
"If, after making a tape, you decide there's too much
bass, you can have MUCH more control over the bass in
post-production (ie by copying or computering the
tape) than a simple filter during recording. An
analog EQ or computer editing software will let you
control the bass however you like, instead of simply
getting a fixed, uncontrollable roll-off from the
built-in filter."
I completely disagree. If I get too much bass during
the actual recording process, it is impossible to
properly remove the distorted points of maximum volume
using any software within my possession. Instead, I
find it easier to tape using the filter, and then I
can add the bass back in after the fact, maybe at half
the level that the roll-off filter removed. If you
think you can remove oversaturated bass signals from
masters, I'd love to send you a Sonic Youth tape that
I'd desperately like to salvage. Once you have a
distorted maxed-out signal, no software program I'm
aware of can reverse the overpowering thump and thud.
"The other advantage of using the Line input is that
you are bypassing the mic pre-amp, which in the case
of a D7/D8, can add significant hiss to the
recording."
Again, since I tape using the filter, I do not notice
any significant hiss to this degree, although I do
hear some hiss if trying to use the background light
once the battery level is showing below half-power.
"In cases where the record levels are a bit low at the
line input (-10, -16, etc), the amount of hiss you add
by increasing the volume "in post" is still less than
the D8's mic preamp. And, you won't have to worry
about going "over." You don't know how many times
I've heard recordings where people turned the level up
at the beginning, only to turn it down once the music
gets louder. This can be completely avoided by
recording the whole show through the line input,
perhaps a bit soft, and then turning up the level
later."
Again, I have to disagree here based on my experiences
with my own equipment. I've noticed that with my CSBs
running into a D8, the recording volume can impact the
dynamic range of the tape itself. In other words, if
I'm taping around -4 or -2, I will have a greater
breadth of dynamic range (both highs and lows) than
when I record around -10 or -12. Granted, this may
require more mid-show knob-twiddling on my part that I
will seamlessly edit in 'post-prod,' so to speak, but
I find that my tapes come out sounding better if I'm
trying to push the signal as close to 0 as possible
without going into the red. Your experiences may
vary.
Thanks,
*phiL*
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From: Dave Hughes <greenhills78@earthlink.net>
Subject: FS: Taping Accesories
Date: Mon, 22 Dec 2003 13:16:31 -0800
Tapers survival kit for sale. 1. 7pin>XLR coresound digital cable 2.
Whirlwind -10db XLR pads (pair) 3. Two leather Sony D7/D8 covers. 4.
12ft XLR > 1/4" cable. 5. Monster Cable RCA splitter. 6. Monster
Cable 1/8" mini > RCA cable 7. 1/8" mini > mini cable 8. Bag of misc
adapters, barrels etc...
$50 + shipping or best offer. Silly lowball offers will be politely
ignored. PayPal preferred.
From: "Jofa Jofa" <rtj_22@hotmail.com>
Subject: For trade: Marilyn Manson Stockholm 031219
Date: Mon, 22 Dec 2003 18:45:43 +0000
Subject says it all.
Source: SP-CMC-8 (AT 853's) - Croakie Mount > SP-SPSB-3 With Bass Roll Off @
95Hz >
Sony TCD-D7 (Line In)
Only interested in other Manson -03 master trades.
Please reply off list.
/ R.
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From: "Len Moskowitz" <moskowit@core-sound.com>
Subject: Re: VX pocket or similar product prices and dealers?
Reply-To: "Len Moskowitz" <moskowit@core-sound.com>
Date: Mon, 22 Dec 2003 16:03:20 -0500 (EST)
"Paul" <prennix@fortnet.org> wrote:
> I am looking for the best prices for the vx pocket and any other devices that
> will go from spdif>laptop. I have usb2, pcmcia, and firewire connects.
Our PDAudio-CF will do the job up to 24/192 as soon as the drivers are
ready. We're expecting a Beta this week or next.
Please see our Web site for details.
Len Moskowitz PDAudio, Binaural Mics, Cables, DPA, M-Audio
Core Sound http://www.stealthmicrophones.com
Teaneck, New Jersey USA http://www.core-sound.com
moskowit@core-sound.com Tel: 201-801-0812, FAX: 201-801-0912
From: "Charlie Miller" <charliemiller87@earthlink.net>
Subject: FS: Blank Dats
Date: Mon, 22 Dec 2003 17:27:56 -0800
I have 100 unopened blank dats for sale.
There are Fifty 60m maxells and Fifty 90m maxells.
I'll take $225 for all 100 (plus shipping)
cm
From: Diana Hamilton <hamilton@umbc.edu>
Subject: Current archive.org Proposal re mp3
Date: Tue, 23 Dec 2003 10:30:28 -0500
(If you already read a big thread on this at tapserssection.com, you can
probably skip over this, it's a rehash of my earlier post there. ;) )
Hi folks, I'm not a regular subscriber, just dropping by as a volunteer
for the Live Music Archive over at archive.org. Back in October in digest
900, someone dropped a pointer here to what was then a flamewar over
LMA's considering hosting supplementary mp3 files.
For those who may care, I'd like to call attention to owner Brewster's
current thinking on LMA and supplementary access formats:
http://www.archive.org/iathreads/post-view.php?id=10746
Why I'm following up here: In the past flamewar on the subject at
archive.org, I saw that some visiting tapers participated and had strong
reactions. That old mess was extra-screwed up by a couple of extreme
people, including one ill-mannered guy who people mistakenly took for an
archive admin (he definitely wasn't). However, in the more sedate round
of discussion leading to Brewster's present compromise suggestion, I did
not see many of the same tapers participating. Y'all may not even know
that there *is* a revised idea which can accomodate more tapers' wishes.
I'd just like folks to know there's been some effort to reach common
ground, after some earlier unpleasantness. So I hope everyone sees the
whole story instead of just some older, now outdated part of it.
There are 2 important elements going forward:
-Bands can declare "NO MP3" for their whole LMA section (overrides tapers
being pro or con)
**-Individual tapers' wishes re No MP3 would be respected for their
labelled items.**
Also important, all lossless files of course still remain in place-
they're not being replaced with other formats. Any mp3s on site are to be
supplemental only to the parent lossless copies that would be there.
Also important to me as a pro-lossless person- original uploads are of
course to continue in lossless as usual. In fact, we admins have a new
tool to freeze contirubtions, and I intend to use that fully myself, to
make sure that the parent "archival" copy goes up in lossless.
BTW, everything has been pretty much said over in the latest archive
discussion, so it's not worth generally venting there now. If you *do*
have specific, substantive comments relating directly to Brewster's
proposal that are not already covered by discussion, please follow up
directly to his post. Thanks!
Last week I also had a little colloquy at the taperssection.com board,
if you would like to see how extra discussion progressed there:
http://www.taperssection.com/yabbse/index.php?board=1;action=display;threadid=10875
And just today I posted a similar thing to Oade.com
http://www.oade.com/Tapers_Section/Forum/dcboard.php?az=show_topic&forum=103&topic_id=398&mesg_id=398&page=
Perhaps I've covered the bases enough now. ;) Happy Holidays!
Diana Hamilton -- hamilton@umbc.edu -- Baltimore, MD USA
Small SHN & MD5 FAQ: http://userpages.umbc.edu/~hamilton/shnfaq.html
SHN Info Database: http://db.etree.org/shncirc/
Live Music Archive: http://www.archive.org/audio/
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