DAT-heads Digest #75
Contents:
FS: BBE 262 Sonic Maximizer (Derrick Belbas)
iso: port chester restoration proj shows (avps)
more stg stuff ("J.W.")
more stg again ("J.W.")
What Coresounds do I have?? ("Joost")
OT: Password-locked screen saver? ("Gary Davis")
Edie Brickell Taping? ("Jeff Frank")
ISO: STRAWBS DEC. 1976 CAPITAL THEATRE FM (analog414@comcast.net)
Sharing Music... ("Phil Thenstedt")
Edie Brickell Tour ("Barry Glassberg")
Re: Super Bit Mapping (Greg Teltschik)
Repair of Sony DAT reverse rewind woos (Ulrich Grassberger)
From: Derrick Belbas <ve4vv@shaw.ca>
Subject: FS: BBE 262 Sonic Maximizer
Date: Mon, 05 Apr 2004 15:29:32 -0500
Interesting device for enhancing recordings. It works as advertised, I just
don't find that I'm getting much use out if it these days.
Good condition.
more info on this thing:
http://www.bbesound.com/pdfs/262_manual.pdf
US$50. + shipping, and I can mail from either US or Canada.
derrick
winnipeg
http://members.shaw.ca/ve4vv/trade.htm
From: avps <avps@erols.com>
Subject: iso: port chester restoration proj shows
Date: Mon, 05 Apr 2004 16:47:13 -0400
looking for all of them. lots to trade. thx avps@erols.com
From: "J.W." <rbrsol@pacbell.net>
Subject: more stg stuff
Date: Mon, 05 Apr 2004 13:51:02 -0700
>Actually, while the underlying musical composition belongs to someone else;
>In the United States the copyright in the Sound Recording would most likely
>be construed to belong to the taper. In that sense, "the show" would belong
>to him.
>-Martin
i have been under the impression that u.s phonoright covers this. while one
might tape a performance, the performance is covered by this sub-copyright
law. not trying to shake things up but I rarely see anyone talking about
phonoright.
From: "J.W." <rbrsol@pacbell.net>
Subject: more stg again
Date: Mon, 05 Apr 2004 13:59:44 -0700
i did a bit of research and here is the thread on stg:
http://www.sharingthegroove.org/msgboard/showthread.php?s=&threadid=53983
From: "Joost" <j.p.cornelissen@inter.nl.net>
Subject: What Coresounds do I have??
Date: Mon, 5 Apr 2004 23:27:59 +0200
Hi,
Len sent me recently (via a friend) a pair of Coresounds. They look =
however different than the old (and broken) cardioids that I'm used to. =
The ones that I have now have *three* holes in them, not just two, like =
my old cards... Are these still (modified??) cardioid mics? They sure =
sound like cards, from what I figured after taping Watchtower last =
saturday... Any info would be appreciated!
Thanks,
JOOST
From: "Gary Davis" <g@hoxnet.com>
Subject: OT: Password-locked screen saver?
Reply-to: g@hoxnet.com
Date: Mon, 5 Apr 2004 14:38:32 -0700
Sorry for the off-topic question, but can anyone recommend a
Windows "screen saver" that requires a password to regain access
to the system? Ie, something so that if I walk away from my
computer, no one else could gain access?
thank you,
--Gary
From: "Jeff Frank" <jsfrank@ripco.com>
Subject: Edie Brickell Taping?
Date: Mon, 5 Apr 2004 17:05:57 -0500
Anyone know if she allows it? I'll be seeing her on 4/20 here in Chicago and
will tape her if she does.
Thanks.......Jeff
From: analog414@comcast.net
Subject: ISO: STRAWBS DEC. 1976 CAPITAL THEATRE FM
Date: Tue, 06 Apr 2004 03:25:20 +0000
Hello fellow tapers, anyone old enough out there that recorded the Strawbs
in December 1976 at the Capital Theatre NJ live on FM? Or that knows who did? I
will send 5 concerts from my list to anyone who can hook me up with the MASTER
FM CASSETTE from that live performance. There has to be a few who recorded that
gig on the radio. If I can borrow that master cassette I will make it ten
concerts. "Original Master Recordings"
Good Luck, Best Regards Rick B.
http://home.comcast.net/~analog414/RicksRecordings.html
From: "Phil Thenstedt" <imgoinmad@comcast.net>
Subject: Sharing Music...
Reply-To: "Phil Thenstedt" <imgoinmad@comcast.net>
Date: Mon, 5 Apr 2004 22:31:29 -0700
> "Tapers make the tapes Its a job. Taders trade. downloaders get it all"
My response to this? If taping is too much work for you to share, maybe
you're taping for the wrong reasons. Damn, you should be proud your
recordings are getting such large scale circulation!
When I tape a show, I generally make a couple trades before releasing it and
then open it up to the masses...create shn files and share them. After all,
the music was played to be heard. Who am I to keep it under wraps?
From: "Barry Glassberg" <bgfirstgen@msn.com>
Subject: Edie Brickell Tour
Date: Tue, 06 Apr 2004 09:04:49 -0400
Hi all,
Anyone attend/tape any of Edie Brickell's shows on the currrent tour that
starts April 6th? I plan on going to the show in Philly later this month as
the two shows in NY at Joe's Pub sold out quickly.
While in the past she has permitted audience taping, there doesn't seem to
be a definitive answer as to whether she will allow taping on this tour. I
don't have a problem going stealth in a small club, but would just like to
know what to expect (and if the mike stand stays home).
I love to hear if anyone went to the opening show in Seattle April 6th.
Thanks,
Barry
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From: Greg Teltschik <gteltschik@mindspring.com>
Subject: Re: Super Bit Mapping
Reply-To: Greg Teltschik <gteltschik@mindspring.com>
Date: Tue, 6 Apr 2004 08:17:39 -0500 (GMT-05:00)
I actually own both modded and unmodded SBM-1s. My personal experience with an SBM-1 and a D100 was that the SBM-1 added a little more clarity and detail on the high frequencies over the built-in pre-amp. When comparing recordings made on the same rig, varying only the inclusion of the SBM-1, we both preferred the recordings with it. The difference is subtle and difficult to quantify, but it was there. I also have a PCM-M1, though I have not attempted to use the M1s preamp input directly so I can't weigh in there. I always expected the built-in preamp to be basically the same as the D100.
There are several different Oade mods to the SBM-1 - I assume you're referring to the line stage and mic preamp mods that they perform. One of my units is modded, and I tend to use it with audience recordings while using the unmodded unit for soundboard recordings. The difference between modded and unmodded is difficult to discern to me. In very critical listening, I can hear slight differences. Generally I use the mic input, so that may be why I hear less of a difference. I do like the idea that I can now take a pair of high-output mics and move them from the mic input to the line input and get a usable signal - I had at least one occasion where the mic output was too hot for the mic input but not quite hot enough for me to be comfortable with the line input. Can't say I've had this problem to date with the mod unit.
Greg
From: Ulrich Grassberger <grasso789@versanet.de>
Subject: Repair of Sony DAT reverse rewind woos
Date: Tue, 06 Apr 2004 19:44:57 +0200
Hello DAT friends!
I own a 57ES which has always had the reverse rewind issue, that
means that fast rewind often stops after two seconds, and I must
try another time, wait some time or use cueing to rewind the
tape. A buddy of mine has a DTC-690 with the same problem, so I
want to know what is this and how to fix it.
Uli
--
(Grassomusic.de)
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