DAT-heads Digest #973

Contents:
  FS: DPA 4061's/Mod Sony SBM-1/Creative Nomad Jukebox 3 (Royal Repis)
  ISO Allman Brothers Band 8-8-2003 Atlanta ("Tim Lowery")
  Re: Recommedations for Digital Soundcards that do NOT resample (Dave Avery)
  Re: DAT-heads Digest #972 (pkaytes@att.net)
  computer recording question ("jeffrey sebastianelli")
  RE:  ? What is the most musical DAT portable. (Joshua)
  Great American Music Hall SF (pressrun@pacbell.net)


From: Royal Repis <royalrepis@yahoo.com>
Subject: FS: DPA 4061's/Mod Sony SBM-1/Creative Nomad Jukebox 3
Date: Mon, 29 Dec 2003 08:09:46 -0800 (PST)

I have a matched set of DPA 4061's for sale with
phantom power supply for $800.00.  I have a Oade
Brother modified Sony SBM-1 that has had the line in
mod as well as the preamp mod, original box, pleather
case, line transducers, and receipts for all mod's.  I
have a Creative Nomad Jukebox 3 with two internal
lithium batteries/charger & AC adapter for $200.00. 
Please email me at robbybrewer@mac.com, thanks for the
bandwidth. 

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From: "Tim Lowery" <dattrek@comcast.net>
Subject: ISO Allman Brothers Band 8-8-2003 Atlanta
Date: Mon, 29 Dec 2003 10:20:57 -0600

Hello
I am searching for the Allman's show from Atlanta 2003. Have lots to trade
thanks
tim



From: Dave Avery <Dave@smithsurveyor.com>
Subject: Re: Recommedations for Digital Soundcards that do NOT resample
Date: Mon, 29 Dec 2003 11:32:33 -0500

Brian,
I don't know how much you are looking to spend but I suggest you check out
the Lynx ONE.
www.lynxstudio.com
It can be had for $475 from www.masterpieceav.com.  I don't work there.
Just a satisfied customer.

Dave



From: jlizard <jlizard@direcway.com>
Subject: Recommedations for Digital Soundcards that do NOT resample
Date: Sun, 28 Dec 2003 21:46:35 -0500

I am in pursuit of a digital soundcard to archive my DATs directly to my
computer's hard drive via spdif connection. All recommendations would be
appreciated.

I am aware the soundblaster audigy2 Zs must resample all incoming data
through spdif.

Other suggestions would be appreciated. I was considering the RME HDSP9632
but would like to find a cheaper one that provides direct digital transfers.

Brian



From: pkaytes@att.net
Subject: Re: DAT-heads Digest #972
Date: Mon, 29 Dec 2003 16:50:22 +0000

Here's the reason why (an explanation, not an excuse).  The union that 
stagehands belong to is IATSE, the International Alliance of Theatrical and 
Stage Employees.  It's in their contract with a venue that if live recording 
is taking place at an event, there is an additional fee to the union 
members.  The reason for this is that professionally done live recording 
requires more work from the stagehands, moving equipment, running cable, etc. 
etc.  So the stagehands are additionally compensated, and rightfully so.

The situation at hand is quite different, though.  Plugging into a soundboard 
is no more work on the stagehands part.  However, if the hall is union, the 
house sound person can use the letter of the law of the IATSE agreement live 
recording clause to shut down any live recording if the appropriate 
additional fee has not been paid to the union. Even if the recording is being 
made by the artist, if the additional fees haven't been paid, the union can 
shut down the recording.  As the poster noted, a little money flowing in the 
right direction can make this little problem go away.

take care,
Paul


. 
.> .Un=
> ion venues are imfamous for not allowing access unless the right palms ar=
> e greased - places in LA like the Greek Theatre and Hollywood Bowl come t=
> o mind - good luck getting a Sbd patch there even if you are the FOH engi=
> neer for a band (unless of course you do a stealth Sbd) - I imagine some =
> greenbacks would change this policy or at least have them turn their back=
> s but hard to say.  Your best bet for these sorts of venues is to know th=
> e band's manager and/or soundman and have them plug you in - this is best=
>  done at load-in/soundcheck when no one is paying attention from the venu=
> e
. 



From: "jeffrey sebastianelli" <jxs1971@adelphia.net>
Subject: computer recording question
Date: Mon, 29 Dec 2003 13:55:03 -0500

hello,
just wondering if anyone is familiar with or has used the terratec DMX 6
fire card.  i want to transfer DAT's to computer bit for bit - no
resampling!!  i am also considering the RME hammerfall light  digi9636 and
would like to know the pros and cons of each.  any help would be greatly
appreciated!!!
jeff




From: Joshua <sprung598@yahoo.com>
Subject: RE:  ? What is the most musical DAT portable.
Date: Mon, 29 Dec 2003 12:44:25 -0800 (PST)

At first glance none of these devices are musical. 
However, a couple years back I was bored and decided
to throw the ol' M1 under an electron microscope.  Low
and behold, I see some tiny little Germans in
Lederhosen busting out out the polka.  Who woulda
thunk.

Further investigation showed some guys with big hair,
a flying V guitar and spandex on the P1 and some Run
DMC lookin' dude with gold chains and rings on the D8.
 The older Maranz units have some dude in a diaper
playing guitar - I guess those were made for funk?

-Josh


From: analog414@comcast.net
Subject: ? What is the most musical DAT portable.
Date: Sun, 28 Dec 2003 17:37:21 +0000
 There are three DAT units I believe I can buy. Sony
M1, Sony D8, 
Tascam DA-P1. I do not care about convenience or
history on repairs, ONLY 
how musical the recorder is when put under a
microscope stereo system. I 
can stealth with the other three DAT units. The Tascam
LOOKS to be the 
best but I want to hear from ONLY you people who have
owned or compared 
these units side by side.
     Thank you in advance for any help and happy
holidays.
                      Best Regards Rick


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From: pressrun@pacbell.net
Subject: Great American Music Hall SF
Date: Mon, 29 Dec 2003 14:59:45 -0800

>>  GAMH is weird about taping/tapers. The main sound
>>  engineer doesn't like tapers.They tried to charge us
>>  $100.00 to tape from the audience and $500.00 for a
>>  full matrix board feed, but we managed to talk our way
>  >out of paying for to tape from the audience. Be
>  >prepared to go stealth.
.>>

>I don't know if the GAMH owner knows about it, but you need to inform the
>GAMH owner and the band(s) that played that night that this shit is going
>on.  I'd also let EVERY band playing there know that GAMH sells sbd access
>for $500.  You might even want to drop a line to some of the record
>labels.  A few big acts that book the Fillmore instead of GAMH might
>"change some minds" or "get some people fired".  Clubs with strict rules
>against taping are one thing, but profiteering from tapers is downright
>evil.


I have taped many times at the GAMH and have never paid a penny. 
Slim's across town always would try to charge you $50. They called it 
a facilities fee and it was charged on a kind of hit-or-miss basis, 
depending on night manager, soundman, etc, unless you could get the 
artist to tell them you were with them. (And now Slim's and GAMH are 
being operated by the same people, so that policy could have moved 
over to GAMH, but I have taped there kind of recently and no charge. 
Oddly enough, I think they're doing less of it now at Slim's than 
ever. And there's a place called the Mint in LA, where they will make 
the tape for you, and hand you a CD at the end of the night. I think 
it's $75.)

That older Asian sound guy at GAMH doesn't seem to really like 
tapers. (There's that sign on the wall, can't remember the exact 
words but something like "One day, we can dream, there will be a cure 
for incessant taping.") But when bands give the OK, he's always let 
me patch, and been pretty pleasant most of the time. Same with their 
other sound people.

Berkeley Mike



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