DAT-heads Digest #377
Contents:
Re: 744T ("Wayne Brissette")
Re: Theoretical Placement (3:1 Rule) (Seth Breidbart)
Looking for a portable DAT (BCLedfoot@aol.com)
Melbaworld/Brother Russell Miles/Vinyl Comm...ISO. Is this (JH)
digest #376.... ("john e. bogus")
From: "Wayne Brissette" <waynefb@earthlink.net>
Subject: Re: 744T
Date: Sun, 30 Jan 2005 12:21:32 -0600
>From: "Robert O'Haire" <plummer@nyc.rr.com>
>Subject: 744T
>Having said that I now have the dilemma of what to do with the files
>on the drive in respect to mixing and archiving. I have burned the
>files to cd using toast but this won't allow me to make any
>adjustments as far as track location or EQing. I see that Protools
>and Logic are commonly used for this..(I use a mac G4/OSX). The 744
>records wav and bmf files which can be dropped via firewire right
>into an editing program...will one of these programs allow me to EQ
>and tweak the mix without the need of an interface or soundcard? Is
>there a best low cost option?
You might want to try audacity, it's available at <http://
audacity.sourceforge.net/>
I have a Deva IV and thus have some of the same issues. However, I would
encourage you to think about upgrading the audio interface. For $199 -
$299, you can get 3 or 4 top notch USB interfaces. There are several
FireWire versions starting in the $399 range. All of these are able to do
24/96.
For editing, save your money and think about using Digital Performer, Pro
Tools, or Nuendo. I own both DP and Logic and rarely use Logic anymore
because the interface has been totally wacked by Apple (not that it was
ever very good, but the latest version is worse than anything Emagic ever
did).
>
>Also...when doing a 4 track recording what is the standard way of
>archiving the files for future mixdown? I was thinking of storing
>them as data on a DVD.
The standard? I didn't know there was a standard. ;-)
Here is how I do it with the Deva. On one DVD disc, I put the raw files.
These are what comes off the Deva and haven't been touched. If there is
room, I'll put my 2 track mix down on that disc (if there are only 4
channels of data, putting this file on this DVD usually not a problem,
but with more channels you tend not to have room). On another DVD I
usually put the DP files and a copy of the 2 channel mixdown session that
i have prepared for CDs (converted from 24/48 or 24/96 to 16/44.1)
This way I always have the data I need. If you need to make CDs, you use
the 2 channel mix-down for CDs. If you want to make DVD-A discs, you use
the 2 channel 24-bit files. Unless I'm doing something for an artist that
wants the 4 or 6 channels of audio, nobody gets those, those I don't tend
to give out. If I was working on a 5.1 surround project, that would be
different, but as long as the mix-down is OK, then you're in good shape.
Hope this helps.
Wayne
From: Seth Breidbart <sethb@panix.com>
Subject: Re: Theoretical Placement (3:1 Rule)
Date: Sun, 30 Jan 2005 16:36:45 -0500 (EST)
"Martin" <martinwk@ptd.net> wrote:
> But this does make me wonder, why would anyone take $3K Schoeps
> microphones into such an environment?
Dunno about those, but B&Ks can stand it. (Ever see someone driving a
nail with a 4011, or dunking a 4006 into a glass of water?)
Seth
From: BCLedfoot@aol.com
Subject: Looking for a portable DAT
Date: Sun, 30 Jan 2005 20:20:07 EST
Hello
Anyone on the list have an extra DAT they are looking to get rid of? I'll
be ready to purchase one in the next couple weeks. Looking for something
along the lines of an M1/D100.
Thanks for the space,
-Brian
From: JH <kc7fys@yahoo.com>
Subject: Melbaworld/Brother Russell Miles/Vinyl Comm...ISO. Is this
Date: Mon, 31 Jan 2005 18:41:15 +0900
Howdy,
A few years back there was a guy selling CDs of his own compilations of
religious, political, and other kinds of media oddities under the name of
Brother Russell Miles. His site was Melbaworld and appeared to be doing a
pretty brisk business. It was almost kinda like what Oswald does--but way
way lowbrow and very funny. Any of you guys have this stuff and be willing
to do a swap? Know of his current site?
Thanks,
Jonathan
From: "john e. bogus" <bogusisme@surfbest.net>
Subject: digest #376....
Date: Mon, 31 Jan 2005 11:48:44 -0500
"Just as a note of common courtesy I'd say if you have a full blown rig
(stand and all) stay behind the SBD unless the board op says it is OK to be
in front. I know that is a pet peeve of some of the SBD ops and have
actually seen one person have to take down their rig cause they set up in
front of the board."
This kind of common courtesy should go without saying! Soundmen most
certainly do not like having their sightlines to the stage obstructed.....if
you tape FOB on a regular basis, you quickly learn which soundmen like to
mess with the connections on the front of the board between sets, and it's
no big deal to have to move your stand out of the way for a couple minutes,
set up in a spot that dosen't block access to connections on the front of
the board, or even lower your stand by 6" if you have to in order to stay
out of the soundman's sightlines to the stage......unless you're used to
dealing with a specific soundman or venue, always ask if you'll be in their
way, or if you're blocking their sightlines.....I've never had a problem
with this, and a bit of common courtesy and common sense goes a long way
here.....
"But this does make me wonder, why would anyone take $3K Schoeps microphones
into such an environment? Surely, given the conditions and risk, a pair of
Audio Technica ATM33a's would do a fine job with a much lower exposure to
loss"
Heck, even if you're stealthing an arena show with reserved seating and
security goons all over the place, you still run the risk of flying beer.
An element of risk in ANY field recording is unavoidable, and simply goes
with the territory! (mindless drunks aren't limited to only metal or punk
shows, they do also attend jazz, bluegrass, jamband, spoken word, and even
classical performances) If this risk is unacceptable, then don't bother to
tape....I've never heard of a taper lowering his standards because of "loss
exposure".....perhaps it's time to realize that some of us have more to put
up with than others to tape the kind of music that we enjoy, and that field
conditions vary widely, to the point where some concerns such as theoretical
placement take a back seat to getting into and out of the show with a
complete tape and your gear intact...... And FWIW, no ball-less, bass-less
$3k Schoeps here.....just a beat up pair of Nak 300's and an old
D7.....*smiles*......
Yours Truly,
john e. bogus
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