DAT-heads Digest #358

Contents:
  The Lindley piece (Jonathan)
  Black Crowes in NYC 03/05 (imissmybus@earthlink.net)
  Re: jerrys smack (MIKE AHERN)
  need somebody to declick a song for me (Dat Head)
  Headphones and David Lindley (Edwin Hurwitz)
  Looking for Holdsworth shows (Jeff Shirkey)
  amateur sound effects ("Will Spence")
  Lindley...on crack? (Charles)
  You guys, lay off Lindley already?! (Jonathan)
  Power for Sanken COS-11pt mics. Can you help? (Jonathan)
  Re: headphones (Brian Skalinder)
  david lindley's rant (Thomas Wulf)
  Want to buy: Stealth equipment ("Diego")
  ISO: Jeff Buckley 9/20/94 Amsterdam (rappard@dds.nl)
  Re:Was David Lindley Bootleggers McCabes 2004 news, now Jerry's smack (Nick Georges)
  no more reel to reel... (tesla69@threelobed.com)
  Re: COMP:  Nomad JB3 v. D100  ("fluffhead")


From: Jonathan <kc7fys@yahoo.com>
Subject: The Lindley piece
Date: Tue, 11 Jan 2005 16:26:20 -0800 (PST)

I read the Lindley piece, and chuckled at the seriousness of a couple replies on this
forum. What touched me about David's comments were his account of playing and wondering
if his audience members were stealth tapers--granted he was off-base about some of the
practices and profiles of field recordists--but I do think his point is reasonable.
Saying, "I'm going to play for you now, and please just listen without recording it."
That seems like a reasonable request. I share the Machiavellian notion to 'tape
everything; a tape can always be destroyed but unrecorded history cannot ever be
brought back'--but maybe there's an intimacy to not recording. An agreement between
audience and performer that the event is unique and singular and only for those in the
room at the time. Seems reasonable to me.
((but I'll still be taping...))
Jonathan

=====
As my father used to say: "The truth is a rabbit in a bramble patch. All you can do is circle around and say it's somewhere in there."  -Pete Seeger



From: imissmybus@earthlink.net
Subject: Black Crowes in NYC 03/05
Reply-To: imissmybus@earthlink.net
Date: Tue, 11 Jan 2005 16:27:13 -0800 (GMT-08:00)

THE BLACK CROWES
ARE SET TO =E2=80=98ALL JOIN HANDS=E2=80=99=20
WITH FIVE-NIGHT ENGAGEMENT=20
IN NEW YORK CITY
MARCH 22-27=20
=20

   After months of speculation, THE BLACK CROWES will make a triumphant ret=
urn to the live concert stage with five special shows--billed by brothers C=
HRIS and RICH ROBINSON as =E2=80=9CALL JOIN HANDS=E2=80=9D-- at New York=E2=
=80=99s Hammerstein Ballroom beginning March 22. These concerts mark the fi=
rst shows by The Most Rock =E2=80=98N Roll Rock =E2=80=98N Roll Band In The=
 World since October 31, 2001.

   Tickets for the limited engagement will be available to fans January 25 =
via an Internet pre-sale (www.blackcrowes.com & www.musictoday.com), with t=
he public on-sale date set for February 5. Each show will feature a special=
 opening guest handpicked by CHRIS and RICH: John Butler Trio (3/22), The B=
ees (3/23), The Soundtrack Of Our Lives (3/25), North Mississippi Allstars =
(3/26) and Ben Kweller (3/27). Longtime group manager Pete Angelus states t=
hat these are the only confirmed shows and no future touring plans or dates=
 have been confirmed. =E2=80=9CRegardless of the speculation, we are going =
to see how these shows at The Hammerstein evolve before giving any further =
consideration to additional shows,=E2=80=9D says Angelus.

   In early 2002, THE BLACK CROWES announced a hiatus, leaving CHRIS and RI=
CH ROBINSON free to record solo albums. Last summer, rumors about THE BLACK=
 CROWES taking flight again began when their long-dormant website (www.blac=
kcrowes.com) suddenly became animated, showing two =E2=80=9CCrowe=E2=80=9D =
heads facing each other with audio clips of the band=E2=80=99s music. Insta=
ntly, message boards on the Internet began buzzing.

   From the beginning, when they roared out of the gate with their multi-pl=
atinum debut album SHAKE YOUR MONEYMAKER in 1990, THE BLACK CROWES have pla=
yed by their own rules, pissed off detractors and formed an intimate connec=
tion with their audience, while maintaining their independence and creative=
 freedom from standard industry practices. Their mission: to create rock an=
d roll that is fierce and genuine, with a sound that didn=E2=80=99t conform=
 to easy categorization. You could hear it in their six studio albums and i=
n their panoramic live shows. As the band racked up worldwide album sales e=
xceeding 15 million, the band performed over 2000 shows between 1990 and 20=
01. Their gigs became legendary for set lists which changed every night and=
 signature incendiary musical explorations. THE BLACK CROWES are one of the=
 few contemporary bands who have also shared the stage with Jimmy Page, Bob=
 Dylan, The Rolling Stones, Aerosmith, AC/DC, The Who, Neil Young, The Grat=
eful Dead and many other legendary artists.=20

This is the highly anticipated and long awaited return of THE BLACK CROWES.

The Hammerstein Ballroom shows are as follows:
  Date
 Support
=20
  03/22:
 John Butler Trio
=20
  03/23:
 The Bees
=20
  03/25:
 The Soundtrack Of Our Lives
=20
  03/26:
 North Mississippi Allstars
=20
  03/27:
 Ben Kweller
=20




From: MIKE AHERN <mjarts@gmail.com>
Subject: Re: jerrys smack
Reply-To: MIKE AHERN <mjarts@gmail.com>
Date: Tue, 11 Jan 2005 19:27:47 -0500

keith wrote:

> 
> From: Keith Bode <Tunakebo@verizon.net>
> Subject: Re:Was David Lindley Bootleggers McCabes 2004 news, now Jerry's smack
>>>>>>>>>>>>>>>snip<<<<<<<<<<<<<<<

>  Prior to 1992, no one knew Jerry was diabetic, and we
> found out when he went into a diabetic coma.

>>>>>>>>>>>>>>>end snip<<<<<<<<<<<<<<<

back in 86 when jerry was in a coma after the deads summer tour that
ended in DC was when i found out, a full 6 years before 92.......
i figured then that playing with Petty/ Dylan for so many nights in a
row made him wish he was in a coma..... those 2 nearly did it to me,
and i'm not diabetic.

>>>>>>>>>>>>>>> and also snip<<<<<<<<<<<<<<<

> Sorry to be so long winded, but comments like the one I replied to > are
> so ludicrous and misinformed, I feel I need to set the record straight.

>>>>>>>>>>>>>>>end snip<<<<<<<<<<<<<<<

not to bust keiths chops, but before going on record as replying to
comments "so ludicrous and misinformed", please get at LEAST the most
basic facts straight..... jerry dropped into a coma in 86, not 92.



From: Dat Head <dathead2@gmail.com>
Subject: need somebody to declick a song for me
Reply-To: Dat Head <dathead2@gmail.com>
Date: Tue, 11 Jan 2005 19:44:46 -0500

has some cdr clicking problem only on this one track - about 7 minutes long

can somebody who is good with an automated declicker lend me a bit o'
time, i tried
to do it by hand but its just too much...



From: Edwin Hurwitz <edwin@indra.com>
Subject: Headphones and David Lindley
Date: Tue, 11 Jan 2005 17:57:08 -0700

I am a bass player and recording engineer. When I play out, I often 
use in ear monitors and bought two different varieties. A) Etymotic 
ER6s. These are nice and relatively hifi. Way better than standard 
ear buds. I use the foam and get pretty good isolation. and B) 
Westone UM1s. These are identical in price and not in sound. They are 
much more efficient and usable as in ear monitors. There is more low 
end, but in listening to music for pleasure and/or analytical 
purposes, they are not as accurate.

For recording, I have several sets of headphones depending on the 
circumstances. For good isolation, I'll use Beyer DT77 Pros (not very 
efficient, good isolation and nice frequency response, with very good 
low end) or UltraSone  Proline 550s. These have a more pronounced 
midrange and less intense bass, which is great for monitoring while 
in the same room as the music. I tried the 650s as well, but they 
were too bass heavy. Usually the problem while monitoring in the same 
room as the music is that there is too much bass, and if you crank 
the phones, you pummel your ears with low end just to hear the mids 
and highs. In fact, sometimes I'll use either of the above cans with 
Westone molded earplugs, just to get the phone level to ambient level 
to a good ratio. The ER6s with shooting cans also works pretty well.

As far as David Lindley's message goes, I fully respect it. I make my 
living as a bassist and while I have no problem with tapers for the 
music I make, I can see why it might be hard for others.  I would 
also expect people to respect my wishes if I didn't want a 
particularly bad show distributed. I once went to a David Lindley 
show with gear to tape, but I asked, was denied, and just enjoyed the 
great show (although I really do wish I had a copy of it!). I do wish 
that people who denied tapers on the basis of doing their own 
releases would release more of their own shows. I certainly wouldn't 
mind paying for a well mixed recording of an enjoyable show.

Just my 002c.
Edwin
-- 

Edwin Hurwitz
Boulder CO
http://www.indra.com/~edwin
http://www.cafemontalban.com Location Recording Services



From: Jeff Shirkey <jcshirke@midway.uchicago.edu>
Subject: Looking for Holdsworth shows
Date: Tue, 11 Jan 2005 19:37:09 -0600

To follow up on my post from about a week or so ago, I'm looking to 
trade for current Allan Holdsworth shows.  If anyone is seeing him in 
Boston or DC in the coming week, please drop me a line.

The Cleveland show was incredible. Anyone who is remotely interested 
in jazz, fusion, or guitar instrumental music must get out to see him.

Thanks,
Jeff



From: "Will Spence" <will@duxtra.com>
Subject: amateur sound effects
Date: Tue, 11 Jan 2005 19:15:08 -0700

I've been a part of this list for a very long time but do not post much.
I've learned a great deal from the people who post here often.  I'm very
interested learning more about recording.  Currently I'm interested in
communicating with people who make amateur or homemade sound effects.  If
you would be interested in communicating with me further regarding this
please send me an e-mail.  Thanks





From: Charles <cvm900@yahoo.com>
Subject: Lindley...on crack?
Date: Tue, 11 Jan 2005 18:35:02 -0800 (PST)

 Lindley needs to get over himself! Just because some asshole is trying
to sell a bootleg of one of his shows on Ebay doesn't mean tapers are
to blame for all the ills in the world. I can understand that he's
pissed about it, but damn dude, lighten up! I suppose Mr. Lindley
thinks tapers are to blame for the war in Iraq too!? 
 It never has been, and never will be, my intention to make money from
the shows I record. I think everyone on this list will agree that
taping is a labor of love, and an expensive one at that. I'd much
rather trade a show, or just give it away, before I took money for it.
That's half the fun of taping shows. It's a damn shame that Lindley
doesn't get that. But I guess he'd rather justify his paranoia on the
actions of one anonymous greedy bastard on Ebay.
 But the part that really offends me about Lindley's rant is the fact
that he dragged Jerry's name into it! Jerry poured his heart and soul
into his music and asked for nothing in return, which is a hell of a
lot more than I can say for you Mr. Lindley! David Lindley will be a
faded memory one day and chances are the only thing left of him will be
a few recordings made by tapers who thought his music was worth
preserving. If he's lucky.

 Just my $0.02.
 Peace,
  Charles

 http://www.anomalator.com/music/index.html



=====
"Mongo just pawn in game of life."



From: Jonathan <kc7fys@yahoo.com>
Subject: You guys, lay off Lindley already?!
Date: Tue, 11 Jan 2005 18:51:38 -0800 (PST)

Phil T. and others: 
Yes, Lindley does go off a bit, and has a few important misconceptions--but come on
fellas, he legitimately wants to feel that he has control over a certain aspect of his
music. Not all artists share his mindset--but he's not crazy, and the comments about
his pharmacological state... please guys. David Lindley is no different than any of us
who perform professionally or to any degree as amateurs.
Depending on how small and intimate the show is, wouldn't you at least want to know if
it was being recorded? And perhaps having a bad experience with tapers who don't
observe respectful practices might make you skeptical of all of us. I guess if I was
playing a gig, and I specifically asked my listeners, "This experience we are having
tonight is for just us, just now--please don't record me now." Wouldn't that be a
reasonable thing to say?
((of course it's great to hear performers say that on a tape))
Jonathan

=====
As my father used to say: "The truth is a rabbit in a bramble patch. All you can do is circle around and say it's somewhere in there."  -Pete Seeger



From: Jonathan <kc7fys@yahoo.com>
Subject: Power for Sanken COS-11pt mics. Can you help?
Date: Tue, 11 Jan 2005 19:18:06 -0800 (PST)

Hello, 
A few years ago, I squeezed my money together and got a couple of Sanken COS-11 mics in
the pigtail configuration, and then shopped at Radioshack and got components to make a
battery box for them. With the help of legendary Japan-based stealth recordist Kato
Masato (who turned out to be a legendary hard-ass when I had trouble finding him for an
arranged meeting: "I have no time for a man who is not prompt!" And bailed on me).
Anyway, with his help I built a little box to power them. I have to admit, I did a
pretty cheap-n-dirty build on the circuit, then 'potted' the whole thing in epoxy to
make it safer. I think something has happened in there between the components and the
epoxy, because my mics have a huge hum, and one channel is about 10dB down from the
other one. I am HOPING it's the circuit and not the mics themselves. Anyway, I'm
building a new box for these. Where do I turn? Any Sanken users out there who've built
this PS? I also would love to build a bass rolloff as long as I'm at it, and also make
them compatible with my Edirol R-5 input for running into my R-5>JB3 setup.
Help, please. 
Thanks kindly, 
Jonathan



From: Brian Skalinder <bskalinder@yahoo.com>
Subject: Re: headphones
Date: Tue, 11 Jan 2005 22:23:16 -0500

FWIW, they've worked just fine for me in the field.  YMMV.

__________________________________________

From: aadam jacobs <aadamjacobs@yahoo.com>
Subject: Re: headphones
Date: Tue, 11 Jan 2005 08:47:33 -0800 (PST)

Adam wrote:
Avoid er6 for live application. They just didn't give
me what I needed. They distorted with high input
levels, and were clumsy.




From: Thomas Wulf <TaWulf@wulfware.de>
Subject: david lindley's rant
Reply-To: Thomas Wulf <TaWulf@wulfware.de>
Date: Wed, 12 Jan 2005 10:28:10 +0100

<I thought David's post (http://www.davidlindley.com/news9.html) was darn
<reasonable, myself.
<What's so unreasonable about abiding by the man's wishes?
<It's not necessary to tape everything, is it?

No it isn't. His wishes, though are quite unreasonable because he
wants to control things he can't.

And his post was plain wrong on most
accounts and quite ridiculous on many: No, Jerry didn't die because of tapers.
Nor because of the greed of his fans. Nor btw because of hard drugs.

He died because of his own greed for cheeseburgers and cigarettes.
Persian heroin didn't kill him even though he tried hard to make it.
But its cost was what forced him to push the group to
many more tours and larger shows than was good for their music. And his
75% clogged arteries were what made him so tired and what hurt his
music most. Seems like David Lindley knows nothing about Jerry.

And no it were not tapers who were responsible for the split-up of Phish or
SCI or whichever group ever split up. This is just nonsense.

He also makes no difference between tapers who preserve their memory
as well as musical history and bootlegers who mass produce for profit.
This is really convenient but also wrong. If he really thinks that
there is a lot of money to be made by mass-producing
his shows he must be mad. For this you would need masses..

I don't know about Ry Cooder. Maybe he is another control freak who is
sour because the music industry doesn't pay well enough for him and
blames it on the tapers. But maybe he isn't and Mr. Lindley got him as
wrong as everything else..

Well, I won't tape his show if he comes here; in fact I wouldn't even go.
But not because he says so but because I never play all those records
of his I bought either.  And, of course, since I found the
tapers' scene I didn't buy one bootleg of anybody in the last 10 years.

:):):)  Thomas    mailto:TaWulf@wulfware.de




From: "Diego" <diego@u2eastlink.com>
Subject: Want to buy: Stealth equipment
Date: Wed, 12 Jan 2005 11:16:18 +0100

Hi all,

I'm in search of some stealth mics, a SP-CMC-4 or something like these, with 
battery box prefered, or I can adquire it separately if anyone wants to 
sell.
Thanks

Diego




From: rappard@dds.nl
Subject: ISO: Jeff Buckley 9/20/94 Amsterdam
Date: Wed, 12 Jan 2005 11:19:15 +0100 (CET)

A friend is looking for the 9/20/94 Jeff Buckley show at the Melkweg
Amsterdam - thanks in advance for any pointers.

Regards,

Martin
http://pixieslive.com



From: Nick Georges <nick@nickspicks.com>
Subject: Re:Was David Lindley Bootleggers McCabes 2004 news, now Jerry's smack
Date: Wed, 12 Jan 2005 06:37:04 -0500

qouted:

First, heroin is one of the least 
toxic drugs ever made, 
>snip>



I bet a lot of dead people would beg to differ.






From: tesla69@threelobed.com
Subject: no more reel to reel...
Date: Wed, 12 Jan 2005 06:54:21 -0800 (PST)

You need a password to get to the online edition, but todays Wall Street
Journal front page has this story (with a picture of Jeff Tweedy for Wilco
fans):

Audiophiles Bemoan End of the Reel
Since news hit that one of the last companies in the world manufacturing
reel-to-reel tape shut down its plant, there's been a frantic scramble in
the music industry to secure as much Quantegy tape as possible.




From: "fluffhead" <fluffhead@cox.net>
Subject: Re: COMP:  Nomad JB3 v. D100 
Date: Wed, 12 Jan 2005 09:04:49 -0700

Hey now... 

I actually just received support from Creative for one of my JB3's.
However, it was a battery issue and not a HD one.  I heard the JB3's were
getting pretty hard to get so I ended up getting a second one in case my
first went belly up.  2XJB3 is still a lot less than other options such as
DAT.  After a few uses the refurb battery refused to recharge.  I had no
problem getting a replacement (I was under warranty).

Also... BTW... The JB3 uses a standard laptop hard drive and if you can use
a screwdriver it is easily replaceable.  Look on tapersection or email me
for directions.  In my first unit I replaced the standard 20gig drive
(Toshiba I believe) with a new 80gig 7200 laptop drive (IBM).  The newer
drive works great and batteries seem to last 30-45+ min longer when
recording.

I've recorded about 50 shows with my original JB3 and 20 with the second
(different mic setup) and have never had any another problems.  I love my
JB3's and for the price I don't see any better option out there right now.  

Get one while you can.  Nothing beats being able to have the show on your PC
within 5 min of getting home. :-}

Stay Kind,
Dana


> From: Tonton Blino <tontonblino@yahoo.fr>
> Subject: Re: COMP:  Nomad JB3 v. D100
> Date: Mon, 10 Jan 2005 10:29:42 +0100 (CET)
> 
> Thanks for the comparison Brian...
> 
> However it seems Creative do not support the
> JB3 anymore !
> Indeed, I had a JB3 40Gb I specifically purchased to
> tape. It lasted 4 shows (2 x And Also The Trees and 2
> x The Cure), and then surrendered (possibly hard disk
> problem).
> Creative Labs support could not fix the HD, it
> seems they do not manufacture it anymore ? I insisted
> I purchased the JB3 to record audio, that I would take
> it back even with a new drive, but they ended up
> sending me their Zen JB 60Gb... !
> I won 20Gb, but lost the ability to record audio...
> I'm really disapointed...
> 
> So if any of you has a JB3, I wish you good luck with
> it, hoping it will never run out of order :-(
> 
> 
> Bruno
> 
> 



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