DAT-heads Digest #377, Volume #7 Mon, 31 Jan 05 11:50:01 EST 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" Subject: Re: 744T Date: Sun, 30 Jan 2005 12:21:32 -0600 >From: "Robert O'Haire" >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 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 Subject: Re: Theoretical Placement (3:1 Rule) Date: Sun, 30 Jan 2005 16:36:45 -0500 (EST) "Martin" 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 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" 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 ------------------------------ ** FOR YOUR REFERENCE ** To unsubscribe from this digest, please send email to dat-heads-unsubscribe@datheads.phish.net If your email address has changed, you may (optionally) send the message to dat-heads-unsubscribe-oldaddress=olddomain@datheads.phish.net and the old address will be removed. Problems or questions about a subscription should be addressed via these avenues and then if needed to dat-heads-owner@datheads.phish.net or postmaster@datheads.phish.net never the list itself You can submit a message for inclusion in the next digest via this address: Internet: dat-heads@datheads.phish.net Archives of DAT-Heads digests and related files are available on the DAT-Heads home page: http://www.solorb.com/dat-heads/ End of DAT-Heads Digest ******************************