DAT-heads Digest #268

Contents:
  Re: making test tones ("Gary Davis")
  re:ebay promoting criminal activity (david cohen)
  ISO: Vida Blue/JMP 6-5-04 Fillmore, SF (Jonathan Seff)
  bootlegs on ebay (KindTaper@aol.com)
  ISO Dylan 10-13-04 (dolphin smile)
  current Bob Dylan campus tour, FS: extra ticket for Davis (Christian Spiess)
  Fw: Soundforge question ("Joshua")
  Using Your PC Soundcard To Improve Sound Quality In Your Studio ("Joshua")


From: "Gary Davis" <g@hoxnet.com>
Subject: Re: making test tones
Reply-to: g@hoxnet.com
Date: Thu, 14 Oct 2004 12:23:44 -0700

Don't know about Sound Forge, but Cool Edit Pro has a feature to 
generate all sorts of tones and white/pink noise.  Just choose 
"Generate" from the top of the screen.
--Gary



From: david cohen <decohen@ameritech.net>
Subject: re:ebay promoting criminal activity
Date: Thu, 14 Oct 2004 14:56:52 -0500

my how we have evolved! stealth tapers accusing ebay of unsavory behavior...





From: Jonathan Seff <jon@seff.net>
Subject: ISO: Vida Blue/JMP 6-5-04 Fillmore, SF
Date: Thu, 14 Oct 2004 13:18:16 -0700

I know both sets exists because I see them listed in circulation at 
db.etree.org. Only problem is, the one person who's listed as having 
them both hasn't responded to my (several) e-mails.

Looking to trade for SHN/FLAC or CD copy of both bands. I have a fast 
FTP server, so I can do an online trade as well.

Thanks,
Jon



From: KindTaper@aol.com
Subject: bootlegs on ebay
Date: Thu, 14 Oct 2004 16:29:08 EDT

I tried to sell an old James Taylor/Joni Mitchell boot LP from my collection 
and they pulled it. At the same time, there are dozens of people selling live 
Tool shows, Bob Dylan boot DVDs and other boot vinyl by artists like Pink 
Floyd, etc. and those go through with no problems. It's an unfair selection 
process, but I think it has to do with certain artists (or their representatives) 
that police ebay for their stuff being sold, and the other artists do not 
care/don't have people policing their stuff.

Check out www.grayzone.com

Thanks,
Wes



From: dolphin smile <thedolphinsmile@yahoo.com>
Subject: ISO Dylan 10-13-04
Date: Thu, 14 Oct 2004 17:02:15 -0700 (PDT)

anyone tape him in SF yesterday, email me
have much to trade.

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 



From: Christian Spiess <christian.j.spiess@gmx.de>
Subject: current Bob Dylan campus tour, FS: extra ticket for Davis
Date: Thu, 14 Oct 2004 18:03:37 -0700

Hey everyone,

I'll be at the Davis show on the 18th. Can anyone attending the earlier 
dates let me know how long these shows are running? Are the under 2 
hours? Also, who is doing most of the lead work? Campbell or Kimball? 
Right or left? Any info greatly appreciated.

Also, I have an extra general admission floor ticket for the Davis show. 
Asking $40 (which is face value plus charges) or $30 if you bring me 
beer during the show.

later...
Christian



From: "Joshua" <josh@unified-tech.com>
Subject: Fw: Soundforge question
Date: Thu, 14 Oct 2004 20:10:54 -0600

thanks to the people who emailed me!

the frequency sweeps were perfect and exactly what I was looking for


To: <josh@unified-tech.com>
Sent: Thursday, October 14, 2004 2:24 PM
Subject: Soundforge question


"Anyone have any suggestions for the generation of test tones in Soundforge?
I'm tuning the subs in my car and would like to have a disk of reference
frequencies."

Hey Josh, for some reason I can't get my posts through on the DAT digest,
See if this will work.
make a new sound file. Next I found a couple of options. Under tools you
should have a syntheses option with 3 sub options.
FM has several canned options that might work, frequency sweeps, etc. Also
the sub option Simple has a middle C ref or you can enter your own
frequency. By using the FM  option I was able to quickly make a sound file
that went from 1H to 30H then jumped from 1.5-20KH. I found my speakers
responded down to 20Hz and knocked off around 16KH or at least my ears did.
anyway maybe this will work for you good luck and thanks for the Idea





From: "Joshua" <josh@unified-tech.com>
Subject: Using Your PC Soundcard To Improve Sound Quality In Your Studio
Date: Thu, 14 Oct 2004 20:36:21 -0600



TEST CARD
Using Your PC Soundcard To Improve Sound Quality In Your Studio
Published in SOS September 2000
 Print article : Close windowTechnique : PC Musician
In order to get the most out of your audio equipment, you need to be able to
line it up correctly. Most PC users, however, may already have all the
necessary tools and, as Martin Walker explains, they are easy to use when
you know how.

Many musicians probably don't realise that their PCs already contain enough
audio test tools to rival a small electronics lab. These facilities can be
used to improve the sound of your mixes, and to sort out audio problems in
the rest of your studio. We've nearly all got oscilloscope and spectrum
analyser plug-ins, or the equivalent functions in our audio editors, and
these can be used, along with what labs call signal generators (but we can
simply call oscillators) to set up and optimise other equipment in the
studio. The controls may be unfamiliar, and the options initially daunting,
but with a little knowledge you can get a long way. So, if you want your
studio to have lower noise levels, less distortion, reduced hum, and better
acoustics then read on.

Creating Reference Tones

Most upmarket mixing desks contain oscillators for line-up purposes, which
provide a sine-wave tone at 1kHz, as well as at a number of other
frequencies, such as 100Hz and 10kHz. Even some budget desks, such as the
Spirit Folio range, have a basic 1kHz oscillator built in. These oscillators
are used primarily to line up the output of the desk to a tape, DAT, or ADAT
machine, ensuring that at one extreme you don't overload any unit's input
(causing distortion) and at the other that you don't waste the large dynamic
range of the mixer by having background noise levels unnecessarily high.

Replaying a suitable 1kHz sine-wave tone through a soundcard is an extremely
simple task, and the resulting test signal can be used in exactly the same
way -- I'd be lost without my WAV file containing a few seconds of 0dBFS
(Full Scale) 1kHz sine-wave tone. It's easy to create one using most audio
editing packages -- with Cool Edit Pro you can use the Tones option in the
Generate menu, with Sound Forge using the Simple Synthesis option in the
Tools menu, and with Wavelab using the Audio Signal Generator in the
Analysis menu. You need to choose settings for a sine wave with 0dBFS level
and a frequency of 1000Hz, and generate a file four or five seconds long.
For most purposes a 16-bit/44.1kHz stereo file will be fine.

For those whose audio editors don't have such signal-generation functions,
some excellent ready-to-use WAV-file test signals are available at RME's web
site (www.rme-audio.com/english/download/download.htm). These include
'0_16.wav', which contains five seconds of a 1kHz sine wave.

All you now need to do to generate a continuous test tone is to use the
looped playback option in your WAV editor. For applications compatible with
VST plug-ins, there is an even easier option. Paul Kellett of Maxim Digital
Audio has written six packs of excellent plug-ins for both PC and Mac, and
Pack 4 contains TestTone, a fully featured signal generator. This provides
sine waves at all ISO third-octave frequencies, sweep tones, white and pink
noise, and even single-sample impulses (for testing reverbs and room
acoustics for instance). The soundcard output has to be open before you hear
anything from this plug-in -- this happens in Cubase VST even when you're
not playing back a song, but in other applications like Wavelab you will
have to play a file containing digital silence before the tones are heard.

Lining Up Your Mixer

If your soundcard is plugged into a hardware mixer, you can use your test
tone to set up various gain and level controls. First adjust the input gain
or trim control of the mixer channel your soundcard is connected to (using
the Solo or PFL button to display the pre-fader signal level) so that a
suitable level is displayed in the mixer's output meter. With analogue
sources such as tape recorders and mic preamps, you need to leave headroom,
but signals coming from D-A converter outputs on soundcards or other digital
sources have fixed peak levels. A test tone at 0dBFS will produce the
maximum possible output level from the converter, so you can safely adjust
the mixer's input gain so that either your mixer meters just reach their top
LED, or you just light any channel Peak LED. These are often at one and the
same level, depending on the design of the mixer, and this still leaves a
cushion of about 5 or 6dB before clipping.

If you are playing back stereo signals through two mono channels of a
hardware mixer you can also use your test signal to accurately match both
input gains. Make sure the two sets of EQ controls are either set flat or
switched out altogether before you do this, and don't be surprised with
low-cost mixers if the two input gain controls end up in slightly different
positions, since there will inevitably be gain variations between channels.
If you have more than one soundcard, you can also use the tone to make sure
that the output levels of each one are matched for the same output signal.

Now you can adjust the input sensitivity of your recorder relative to the
output level of your mixer. You need to allow some headroom above the 0dB
setting of your mixer to cope with unexpected peaks, and the amount depends
on what sort of music you're recording. For predominantly synth-based music
a setting of -12dB is probably sufficient to avoid clipping, while for
classical and any other live recording a figure of -20dB is safer to cope
with any unexpected peaks (for more details, see 'Meter Rules' in SOS June
2000). Let's say you choose -12dB. First set the soundcard channel faders to
0dB, and then slowly raise the main output faders until the mixer meters
read exactly 0dB. Now, with your recorder set to monitor input levels,
slowly increase its input level control until the recorder meters read
exactly -12dB.

Nearly all DAT, ADAT, and Minidisc recorders will have an input level
control and suitable metering, and if you're using a PC-based DAW system
then your soundcard will also be the recorder. In this case you'll need to
open the soundcard mixer utility, and adjust its input gain controls.
Unfortunately not all soundcards provide input gain controls, and such
soundcards will need their recording levels set at source, by running the
mixer at lower output levels -- not the best solution for low noise!

More Scope For Synths

Judging by the popularity of our current series Synth Secrets, quite a few
of you are eager to learn more about what makes synthesizers tick. You can
learn a lot about how sounds are created by examining their waveforms. The
easiest way is to record the output from a hardware synth using the analogue
input of your PC soundcard, and then zoom into the resulting WAV file with
your editor until the individual cycles of the waveform are visible. You can
certainly learn a lot in this off-line way, but real-time analysis is far
less tedious, since you can instantly see the effect of changing any control
parameter on the waveform. To do this you need an application that will let
you monitor your soundcard's input signal in real time, and a suitable
viewer.

The most useful type of display for this purpose is the oscilloscope, which
displays the amplitude of one or more signals against time. A huge number of
musicians already have one in the form of the Scopion plug-in bundled with
Cubase VST, and the rather more advanced Scope plug-in bundled with Nuendo,
but there are also freeware and shareware utilities available if you don't
already have either of these. For instance, Paul Kellett's Wave Tools is a
single freeware 211K download that contains a stand-alone oscilloscope,
spectrum analyser (more on these tools later), signal generator, and audio
meter -- check out www.abel.co.uk/~maxim.

All scopes have the same basic controls, and are fairly easy to master even
if you haven't used one before. Scopion is fairly simple, and only has a few
controls. The L/R slide switch lets you see the left or right channel output
(while the Nuendo version also has a Stereo option which displays both, one
above the other), while the control marked 'A' (or Amplitude in the Nuendo
version) sets the vertical height of the waveform, and is exactly the same
as a zoom control.

It's the third control, labelled 'timebase frequency', that might confuse
the beginner -- however, this need not be intimidating, as it is effectively
a horizontal zoom control. You will normally want to set this so that you
can see a couple of cycles of the waveform, and the setting changes
depending on the frequency of the note you're playing -- if you get too many
or too few cycles in the Scopion window, increase or decrease the Time Scale
setting.  Improving Studio Acoustics
  In addition to being a useful general-purpose audio test tool, your PC can
also be pressed into service for more advanced audio analysis with suitable
software. Acoustic X (reviewed in SOS December '98 and available from the
Pilchner-Schoustal web site) will calculate all the room modes if you type
in your room dimensions, and will point out any problem areas. It will also
suggest the best place in the room to position your monitor speakers, and
then use ray-tracing techniques to calculate the effect of room reflections.
It can even suggest suitable acoustic treatment, and where to place it to
achieve suitable reverb times at various frequencies. The main limitation is
that it's theoretical, and relies on you entering accurate data about your
studio space.
A more practically based application is ETF (Energy Time Frequency), which I
reviewed in PC Notes March '99. Now at version 5.0, this is designed to
troubleshoot the acoustic problems of existing studios, and provides
graphical readouts of room-related frequency response, room resonances,
early reflections, late reflections, comb filtering, RT60 (reverberation
time), and harmonic distortion.

ETF provides a set of special tone sweeps on the audio part of the
mixed-mode CD-ROM, as well as the same signals in WAV file format. If you
place any cheap omnidirectional mic where your head normally is when
monitoring, and play back the test signal, you can record the result using
your soundcard. The results are analysed using Time Delay Spectrometry, and
can then be displayed in a variety of ways. Particularly useful are the
Energy/Time Curves, which due to the special properties of the test signal
can display the arrival of energy over time, so that you can see the
reflections caused by the physical configuration of your studio. It can also
display the more familiar waterfall plots that show the changing frequency
response of your studio as sounds decay, to highlight room resonances and
honks.

The beauty of this utility is its immediacy -- you can reorganise your gear,
move the speakers, or just drape a duvet over your mixing desk, and then run
the tests again to see how the sound improves. It also provides a separate
utility to aid design of Helmholtz resonators and QRD diffusers should you
need to deal with more serious problems, and has lots of practical advice in
the electronic manual. There's even a dedicated forum for users to compare
notes.

 www.pilchner-schoustal.com
 www.etfacoustic.com




You can use Scopion to view input signals in real time with any music
application that has an option to monitor the signal to be recorded -- 
examples include Wavelab's Live Input function and the Tape Type monitoring
facilities of Cubase VST. For example, using Wavelab you simply choose the
Scopion plug-in using the Master Section, and then click on the Live Input
toolbar button. Then just click on the Play button, and anything you play on
your synth will be visible in the scope. Using stand-alone scope utilities
is even easier -- just click on the Run button.

Examining Soft Synths

What may interest many PC musicians even more is the ability to look at the
waveforms produced by soft synths. This is easiest to do if the synth is
running in a host application that supports VST plug-ins like Scopion. One
example is VAZ Modular (reviewed in SOS March 2000) -- all you need to do is
select Scopion as one of its Aux Send effects and turn up the appropriate
Aux controls to see the waveforms. The most popular format for soft synths
now seems to be the VST Instrument, largely because it runs as part of the
host application, which is invariably easier than running a stand-alone soft
synth alongside a MIDI + Audio sequencer. Using Cubase VST or Logic Audio as
a host application, you can use Scopion to view VST Instrument waveforms.

Some of the most interesting soft synths, such as Reality and Tassman, are
still stand-alone applications. To learn more about these you could monitor
their outputs exactly like those on an external hardware synth, by
connecting the analogue audio signal to your soundcard input -- all you need
to do is connect the soundcard output used by the soft synth to your
soundcard's input with a suitable cable. However, there is a far more
elegant way.

VAC (Virtual Audio Cable) is a small utility written by Eugene Muzychenko
which adds an extra Windows audio input and output device to your PC. These
exist only in the virtual world, but can be treated just like any other
audio device by music software. The main difference is that the In and Out
ports are internally connected, so that any signal sent to the output can be
patched into another music application. Both input and output are also
multi-client, so that you can connect them simultaneously to several music
applications. It's exactly the same concept as our old favourite Hubi's
Loopback, but for audio rather than MIDI.

VAC is just what you need to connect the output of a soft synth to an audio
editor for closer examination, and for our purposes the demo version will be
sufficient -- you can download this as a single zipped file from the Ntonyx
web site (www.ntonyx.com). Installation of VAC is carried out like a
hardware device -- you launch the 'Add New Hardware' applet of Control
Panel, but then ignore the results of the Windows search for new Plug and
Play devices. Instead, click on 'No, the device isn't in the list', and then
opt to select hardware from a list when it offers to search for non-Plug and
Play devices. Then click on the 'Sound, video, and game controllers' entry,
and then on 'Have Disk' when the next window appears. Now use the Browse
button to point to the folder holding the unzipped VAC files, and you can
then install the new driver.

Once this has finished you will find new entries labelled 'Virtual Cable 1
In' and 'Virtual Cable 1 Out' in your audio I/O choices. All you do is
select 'Virtual Cable 1 Out' for your stand-alone soft synth audio output,
and 'Virtual Cable 1 In' in your monitoring application, and then the output
from the soft synth will be transferred digitally so that you can once again
view it using Scopion. The only problem with the demo version is that its
buffers are only updated twice a second, during which time the average soft
synth may update its output 20 times. This gives rise to audible crackling
and break-up, but is still quite sufficient to examine the waveforms. The
full version of VAC can have its latency lowered to anywhere between 1 and
100mS, which should solve this problem completely, as well as providing up
to 16 virtual cables if required.

Viewing The Spectrum

Although viewing the amplitude of a signal over time on a scope will teach
you a lot, in many instances examining its frequency content is more useful.
A spectrum analyser does just this, and can prove invaluable for the
musician when examining overall mixes since you can see at a glance the
relative amounts of bass, mid-range, and high end. By using a spectrum
analyser you can examine some of your favourite CDs to get a better
appreciation of how a particular style of music is put together, and get
your own songs closer to whichever commercial sound you are trying to
emulate.

Another problem facing the majority of us using nearfield monitors is that
we can't hear frequencies below about 50Hz or 60Hz. This is a particular
problem for those trying to mix dance music whose intended destination is
full-range speakers. If such low frequencies are present in high quantities
your mixes may sound dreadful when transferred to a full-range speaker
system, and may also burn out smaller loudspeakers by inaudibly flapping
their cones to and fro. To avoid damage you can either keep an eye on the
cones of your bass drivers for undue movement, or use a spectrum analyser to
give you an early warning that your mix is lop-sided. The best solution is
to use one to compare the low end of your mixes with commercial releases,
and also to roll off bass levels below 30Hz.

PC Analysis For Free

Over the years many SOS readers have asked me where they can get a cheap
spectrum analyser to learn more about mixes, and in the past I recommended
Tandy's cheap 10-band graphic equaliser, which included a built-in spectrum
analyser. However, this has since been discontinued, so it's fortunate that
today's PC processors are now quite fast enough to run one alongside an
audio application. Furthermore, there are now various software spectrum
analysers available, including the one in Wavelab's excellent Montage page,
the extremely comprehensive Spectrum Analysis Tool of Sound Forge 4.5, and
the Frequency Analysis window of Cool Edit Pro, along with the stand-alone
Analyser from Paul Kellett's Wave Tools bundle.

Of course it would also be extremely useful to have a plug-in version to use
inside applications like Cubase VST or Logic Audio, and thankfully there is
a pair of excellent shareware utilities written by Nick Whitehurst, which I
originally mentioned in my August '99 PC Notes column. The simplest is
C_FFT, which is available as part of the complete C-Plugs bundle as a single
zipped file of 764K -- you can download this and other useful utilities from
his web site at ourworld.compuserve.com/homepages/NickWhitehurst. Nick also
has a more advanced FFT version available with more options and resolution,
although this can take considerably more processor power. The Scope plug-in
bundled with Nuendo also has a spectrum analysis option.

Homing In On The Details

At first, spectrum analysers can be even more confusing than scopes, with
parameters like FFT Size and Overlap, and various options for Smoothing
Window algorithms such as Blackman-Harris, Hanning, and Rectangula  Sonogram
  Yet another way of viewing audio signals is the sonogram, which displays
frequency over time, but with the relative levels of the various frequency
components shown in different colours. Once again there are various examples
available -- Steinberg's SpectroGraph in the Mastering Edition bundle
(reviewed last month), the Spectral View in Cool Edit Pro, the Sonogram
option in the spectrum analysis Tool of Sound Forge 4.5, and even the
stand-alone freeware Spectrograph available from Sound Software
(www.soundsoftware.fsnet.co.uk).
All have basically the same style of display, where audio scrolls from right
to left in the main graphic area, with low frequency content across the
bottom and high across the top, while the spectrum of colours plotted
indicates relative levels from low (blue) to high (red). Where the spectrum
analyser shows the instantaneous peak levels of each frequency, you can't
see low-level or spurious information. This is where a sonogram display can
help, particularly if there is continuous background noise such as hums,
whistles or a DC offset, which show up as horizontal lines. This type of
measuring instrument is therefore particularly useful for those involved in
restoration of old recordings.


r. Put simply, the FFT (Fast Fourier Transform) Size determines the
resolution of the display -- the larger it is the finer the frequency detail
you will get, but the more processor power will be needed. For most general
purposes a value of between 8192 (8K) and 32768 (32K) will be suitable,
although if you want real-time updates in Cool Edit Pro it must be 2048 or
lower. The Smoothing Window largely determines the sharpness of peaks -- the
Blackmann-Harris option generally produces the best-looking display for
examining mixes, while Rectangular (or no smoothing) produces sharper peaks,
which makes it easier to spot rogue frequencies such as hums or whistles,
although at the expense of overall accuracy.

You may also get various display options, such as Line or Bars, but for most
general-purpose uses these are largely cosmetic. However, if you have
options to display different numbers of bands (8, 15, and 31 in the case of
the Nuendo analyser) as well as the higher-resolution trace display, your
choice will depend on the task in hand. The trace display has the highest
resolution, to the extent that you can see individual notes jumping up and
down in time with the music. This can be confusing when you're more
interested in overall frequency balance. Since the ear is fairly tolerant of
small local wiggles in frequency response, displaying the average level in a
smaller series of frequency bands makes more sense, and if you have the
option I think one of the best compromises for examining mixes is a 1/3
octave band display, which has a total of 30 bands across the 10 octaves of
the audio frequency spectrum. This is the sort of display used by Wavelab's
Montage and Nick Whitehurst's C_FFT.

Using an application with low-latency ASIO drivers will mean that the
display doesn't lag the music by more than a few milliseconds, which will
make it far easier to interpret.

Studio Wiring Problems

There's a lot more you can do with spectrum analysis than examine mixes. For
instance, I use it to help when investigating hum and wiring problems. Most
soundcards now have very low background noise levels, so any background hum
from other sources will show up easily in the UK as a spike at 50Hz, along
with harmonics at 100Hz, 150Hz, 200Hz, and so on (in the US this will change
to 60Hz, 120Hz, 180Hz...).

By monitoring the outputs of each of your mixer channels in turn you will
soon find any sources with hum problems, and can then minimise them by
trying different cables and wiring options (Paul White discussed various
studio cable types in SOS February '96). Remember that if you are using a
hardware mixer with a Main recording output and a separate Control Room
output, any hum problems on the main output may not even be audible through
the control-room monitors. The advantages of using a spectrum analyser over
turning your monitor level way up to hear the hum are twofold: you can
quickly swap cables over without running the risk of damaging your speakers
during the process, and you get an instant readout of any improvement.

One of the easiest ways to reduce hum levels is to use equipment that has
balanced inputs and outputs, but if you don't bother to use correctly wired
cables with these you'll throw away this advantage. Here's a classic
example -- while reviewing a recent soundcard with balanced inputs I
connected it to my mixer (which has balanced outputs), and although it
sounded very good, there was still a low but audible background hum. This
was confirmed by using the spectrum analyser, as you can see in the upper
window of the screenshot. The lower window shows the drop in hum levels I
achieved simply by replacing the unbalanced lead with a balanced one.

Most of the utilities I've mentioned in this article are bundled free with
existing applications, or are low-cost shareware or freeware available from
sites such as www.hitsquad.com/smm. The tools for getting the best audio
performance from your existing studio setup are available to everyone with a
PC, so why not use them?

Published in SOS September 2000

Sound On Sound, Media House, Trafalgar Way, Bar Hill, Cambridge CB3 8SQ, UK.
Email: sos@soundonsound.com | Telephone: +44 (0)1954 789888 | Fax: +44
(0)1954 789895


All contents copyright © SOS Publications Group and/or its licensors,
1985-2004. All rights reserved.
The contents of this article are subject to worldwide copyright protection
and reproduction in whole or part, whether mechanical or electronic, is
expressly forbidden without the prior written consent of the Publishers.
Great care has been taken to ensure accuracy in the preparation of this
article but neither Sound On Sound Limited nor the publishers can be held
responsible for its contents. The views expressed are those of the
contributors and not necessarily those of the publishers.

Web site designed & maintained by PB Associates | SOS | Relative Media





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