HDTenEightyP/NetNews huggingface dataset:
From: connelly@panthera.key.amdahl.com (John Connelly)
Newsgroups: rec.music.makers
Subject: Re: 8 track suggestions, please
Date: 8 Jan 93 16:36:16 GMT
Reply-To: connelly@panthera.key.amdahl.com
Distribution: world
Organization: Amdahl Corporation

>    This raises a question I've been wondering about: At what point 
> does cassette based multi-track recording become inadequate.
> 
>     We've had many high end tapes end up in the trash because of noticable
> drop outs on our 4 track.
> 
>     Another concern of mine would be cross talk between the tracks.

I've used a Tascam 238 Syncaset 1/4" 8-track for about two years now. Here's
what I've found:

  - Tape dropout is the biggest problem, but only with tapes that have been
    used a LOT (>500 or so plays) or are of cheap quality.
  - Buy the best tapes you can afford. TDK used to make awesome tapes with
    the letters SA-XG. These had lead shells and very thick tape.
  - Crosstalk was never a problem thanks to tascam's "offset tracks" in the
    play/record head.
  - I measured frequency response at 35Hz-17.3Khz, +-3dB, @-10db.
  - Headroom is decent, around 5db.
  - Measured S/N ratios (dbx on) were impressive: 78db @ 1KHz, 0dB.

In short, the tascam is a great unit considering the small tape. The key is to
buy VERY GOOD tapes, and don't use them a lot. One recording / editing session
per tape is about it (don't reuse them for later recordings of different
material).

I've made several demos and a couple CD-quality EPs with the 238, both in all-
acoustic situations and in acoustic-MIDI configurations (syncing track 8 to
a midi sequencer). I have no complaints.

John




Xref: sparky rec.music.makers:11803 rec.music.makers.guitar:1225
From: tom@cpac.washington.edu (Tom May)
Newsgroups: rec.music.makers,rec.music.makers.guitar
Subject: Re: Recording Off an 8ohm Spkr Output
Date: 11 Jan 93 02:53:13 GMT
Organization: Center for Process Analytical Chemistry, UW
NNTP-Posting-Host: bailey.cpac.washington.edu
In-reply-to: rost@tecrus.dec.com's message of 8 Jan 93 20:09:21 GMT

In article <1993Jan8.171249.21242@ryn.mro4.dec.com> rost@tecrus.dec.com (My name is Brian Rost) writes:

>Do you need direct recording?  A mike in front of the amp will work just fine,
>you know...8^)  8^)  After *years* of trying all sorts of direct rigs, I just
>stuck my EV mike in front of the cab and got this killer sound, no EQ, no
>compression, no $300 mystery boxes.  It worked for Jimi  8^), 8^)

Sticking the mike right in front of the cab for recording has never
made sense to me (although that's all I've ever done...).  Sure, it
makes sense for going through a PA for a live show because that way it
picks up just the guitar sound.  But for recording in a real studio,
I've always gotten my own little (fairly) sound-proof room to play in
(or at least to stick the amp in), so it seems like sound bleeding
into the mike from other sources is not an issue.  Since I adjust the
controls on my amp to sound good to my ear, which is usually about six
feet in front of my amp at ear level, wouldn't it make sense to stick
the mike there?

In an interview I read not so long ago with Jack Endino (Sub Pop
recording engineer guru), he mentioned something about how what the
mike hears just inches from the cab is not at all what your ear hears
six feet away, and that through long experimentation he knew how
things should sound to his ear to ensure things would sound good to
the mike.  This seems really weird - why not just make it sound good
to your ear and then stick the mike there?

Just for the record (:-), my band often leaves a tape running during
practices with a single Radio Shack stereo mike hanging in the middle
of the room (plugged straight into the tape deck) to pick up the
sound, and we've gotten some pretty decent recordings -- the guitar
and bass sound just like they do live (drum sound isn't so great,
though).
--
Tom
Newsgroups: rec.music.makers
From: gehman@iscp.bellcore.com (Andrew Gehman)
Subject: Hammond questions
Organization: Bellcore
Distribution: usa
Date: Fri, 8 Jan 93 21:40:46 GMT

I recently acquired a Hammond E-182 organ and a Leslie 351
(used of course) and I have a few questions I was hoping
that someone could help me with.
(1) The Leslie came with a very impressive manual that has
    all the technical stuff: schematics, parts, service
    instructions, etc., but the Hammond "owner's manual"
    is severely lacking in this area. Is there another
    more technical manual for the Hammond?
(2) The Hammond's manual mentions oiling the motor (and I
    found a tube of oil in the back), but it doesn't say
    how. It refers to some card that I don't have for the
    instructions. Can anyone describe how to oil it?
(3) The Hammond has a 25 note pedal keyboard. It basically
    works, however, as you ascend the pedal keys, the last
    six or so all produce the same note. Any thoughts on
    what could be wrong and how to fix it?
(4) Can anyone date this baby by the serial numbers? The
    Hammond is A-51152 and the Leslie is A40887.
(5) I paid $300 for both. Think I got a good deal?
    (Sorry, I couldn't resist the gloat :-)

Any help would be greatly appreciated. Please send e-mail,
or you can post if you think it's of general interest.

-- Andy Gehman
   gehman@iscp.bellcore.com

P.S. I'm located in central New Jersey (near New Brunswick)
     if there's anyone out there who'd like to come over and
     jam on it. I hack at guitar and bass and have drummer
     friend and other guitarists.
From: cooper@kdx200.enet.dec.com
Newsgroups: rec.music.makers
Subject: Re: 8 track suggestions, please
Date: 8 Jan 93 16:35:17 GMT
Reply-To: cooper@kdx200.enet.dec.com ()
Organization: Digital Equipment Corporation


>Speaking of 8 track open reel decks, does anybody have an experience
>with the Fostex R8? This is the latest toy to catch my eye, but the
>only real info I've found has been from sales flyers and a few brief
>descriptions in some mail order catalogs.

I bought one recently.  They have a REAL nice deal on a package consisting
of a FOSTEX 812 Mixer, R8 1/4" Reel to Reel, snakes etc...  All for about $3k.
IMHO, you can't been it.  

I've recorded some stuff with it, and am genuinely impressed with the
performance of the unit, features and sound quality.  An OTARI it's not,
but to my ears, it's excellent (especially the price).  The mixer is 
also LOADED with nice features.  It's a 12x8 mixer with sweepable lows and 
mids (nice and warm sounding), three FX loops etc...

FWIW - A good friend of mine has the predecesor - a MODEL 80, and he
is very please with his also (perhaps Greg will speak up, Greg??).
About the only difference is the R8 has a removeable transport controller,
while 80 doesn't, but then the 80 has a couple more segments on the 
meters.

I went back and forth between getting used gear and something new, and also
looked long and hard at the 488/688 from Tascam.  The used 1/2" R2R's out
there are nice, but the media is expensive.  The ADATs cost too much, and
I'm the kind of person who likes a modular type of system (for ease of 
upgrading etc...).    

It's a TOUGH decision to make, but I'm happy I got my Fostex stuff.
:-)

Jeff

+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
                    Jeff Cooper - Cooper@KDX200.enet.dec.com
          Digital Equipment Corporation - Colorado Springs, Colorado

                            Thats *DOCTOR* KDX200"
                                   To YOU!!

President - DIGITAL Equipment Corp. Trail Riders Assn. (DECtrail)
Member -    Rocky Mountain Enduro Circuit - AMA - MIDI Rack Puke

       No one cares about my stupid views and opinions, so why bother??
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
From: Bill Sloan <wls1@cornell.edu>
Newsgroups: rec.music.makers
Subject: Urgent: Drumset needed in NYC
Date: 10 Jan 1993 19:18:02 GMT
Organization: Cornell University
Distribution: world
NNTP-Posting-Host: 128.253.86.102
X-UserAgent: Nuntius v1.1.1d7
X-XXDate: Sun, 10 Jan 93 11:34:04 GMT

I need a drumset for some gigs in NYC the weekend of the15 & 16.  I am
looking to buy a nice woodgrain set for jazz/rock, ideally 12,13, 14, &
16" toms.  If I can't find what I want by then I will need to rent any
kind of a set for these gigs.  I have my own cymbals and stands, so all I
really need are the drums.  If you can help please call 607 564-3400 or
607 255-0958 and leave a message.  Thanks much!
Newsgroups: rec.music.makers
From: morrowjp@rtsg.mot.com (Jerry P Morrow)
Subject: Having trouble finding musicians that can balance career and band
Organization: Motorola Inc., Cellular Infrastructure Group
Distribution: usa
Date: Mon, 4 Jan 1993 19:04:44 GMT

I am a bass player looking for a band in the Chicago area,
and everyone I call wants to 'make it big'.  So, I'm up
front with them and tell them I would like to do it part-time
just on the weekends, and the conversation dwindles from 
there.  I really get ticked when people that want to do
music full-time don't take us part-time musicians seriously.
I guess it comes down to the fact that most of these rock'n'roll
star wanna-be's have a day 'job' rather than a 'career', and
they have nothing to lose.  It's really a shame, oh well.
Has anyone ever talked a rock'n'roll star wanna-be out of 
attempting to pursue a full-time music gig??  I think trying
to bring some of these people back to reality is really a 
shot to their ego or their dreams, so it would be really
tough.

Also, what ever happened to 'making it' by one thing leading
to another???  A lot of the people I talk to think they should
sit in their basement for months on end, crafting their songs,
and they paying loads of their own money to record them, and
hope that some record label will pick them up, just based on
the demo tape of the band.  What ever happened to the band that
would gig until they are blue in the face, gain regional popularity,
and they something bigger happens??  At least, if nothing happens
at a national level, you would have had a lot of fun playing clubs.

Jerry Morrow
morrowjp@adobe.rtsg.mot.com
From: Paco Ojeda <ffoogg@macmailgw.dfci.harvard.edu>
Newsgroups: rec.music.makers
Subject: REQUEST Good sources of bulk cassettes
Date: 8 Jan 1993 19:55:29 GMT
Organization: Thinking Machines Corporation
Distribution: na
NNTP-Posting-Host: macdrf_43.dfci.harvard.edu
X-UserAgent: Nuntius v1.1.1d11
X-XXMessage-ID: <A77347053F024F9B@macdrf_43.dfci.harvard.edu>
X-XXDate: Fri, 8 Jan 93 19:58:13 GMT

Greetings. I have had moderate success in finding good local sources of
bulk cassettes. I'm interested in good quality chrome C10's and C20's for
demo work. TDK now sells a "Master Series" cassette that I've had
excellent results with. It comes in C10, 15, and 20 configurations. The
problem is that I can only find it at local record stores, sold
individually, at prices that I'm sure can be beat.

So my request is:

1. For a good priced source of brand-name cassettes (mail order?)

2. For a good priced source of bulk cassettes.

Any information would be appreciated.

Paco

=======================================================================
Paco Ojeda-Gonzalez               |   ffoogg@macmailgw.dfci.harvard.edu
Macintosh Consultant              |
FOG Midi Pre-Production and       |                      ffoogg@aol.com
Graphic Services                  |
Boston, MA - USA                  |
=======================================================================
From: Jim.Greenlee@cc.gatech.edu
Newsgroups: rec.music.makers
Subject: Re: 8 track suggestions, please
Date: 8 Jan 93 14:27:50 GMT
Reply-To: Jim.Greenlee@cc.gatech.edu
Organization: Georgia Institute of Technology

Regarding "8 Track suggestions, please", gompertz@sdd.hp.com wrote:
>This raises a question I've been wondering about: At what point 
>does cassette based multi-track recording become inadequate.

I've been wondering about this myself. I've been sort of casually
looking at what's available in the 8-track market. I had been
considering the Tascam 688 because of the builtin support for MIDI,
but I'm real nervous about putting 8 tracks on a 1/4" cassette. The
688's editing capabilities seem pretty robust, but I think the same
thing could be accomplished with a computer and some decent S/W.

Besides which, an all-in-one unit such as the 688 sort of violates my
personal philosophy of acquiring gear, which is to purchase things a
la carte (it's more expensive, but a lot more flexible in the long
run). I've about made up my mind that an open reel deck is the only
way to go if you want "pro" sounding results, plus it will be easier
to upgrade if you decide to go for more tracks. I'd be interested in
other opinions, though.

Speaking of 8 track open reel decks, does anybody have an experience
with the Fostex R8? This is the latest toy to catch my eye, but the
only real info I've found has been from sales flyers and a few brief
descriptions in some mail order catalogs.

And while we're on the subject - how do folks feel about a mixed
media approach (some analog tracks plus some digital tracks, using
a regular deck in conjunction with an ADAT or something like it).
Or is it better to go all digital?

-JimG

--
Jim Greenlee (jkg@cc.gatech.edu)	Jryy abj lbh'ir tbar naq qbar vg!
Instructor, College of Computing	Whfg unq gb xrrc svqqyvat jvgu vg
Georgia Tech, Atlanta, GA 30332		hagvy lbh oebxr vg, qvqa'g lbh ?!
Newsgroups: rec.music.makers
From: dcovell@hfglobe.intel.com (David Covell)
Subject: Re: 8 track suggestions, please
Organization: Intel Corporation
Date: Fri, 8 Jan 1993 19:53:15 GMT

Jim.Greenlee@cc.gatech.edu writes:

>Regarding "8 Track suggestions, please", gompertz@sdd.hp.com wrote:
>>This raises a question I've been wondering about: At what point 
>>does cassette based multi-track recording become inadequate.


My experience has been that the cassette format is less forgiving when
recording "sparse" material such as solo acoustic guitar than when doing
full-band mixes, because the tape hiss inherent to cassette will be more
apparent during the "empty" parts. Busy mixes will cover most of the noise,
but cassette still suffers from lower frequency response and lower dynamic
range. The result is that you'll get less spatial imaging, less clarity,
and less of a sense of separation between instruments that share common
frequency ranges with cassette. This is okay for demo tapes but fatal for
airplay and other considerations. 

>Speaking of 8 track open reel decks, does anybody have an experience
>with the Fostex R8? This is the latest toy to catch my eye, but the
>only real info I've found has been from sales flyers and a few brief
>descriptions in some mail order catalogs.

On the plus side, the R8 has a nice interface for MIDI and the like. It
also uses 1/4" tape, which means you pay <$15 per reel rather than
$35-55 per reel for 1/2".
The 1/4" format also appears on my minus list. I believe this causes at
least a 3dB loss in SNR and headroom. Definitely beats cassette, but
IMHO isn't as good as 1/2", while costing nearly the same. 
I'd look into the Tascam TSR-8, but then I'm biased...

>And while we're on the subject - how do folks feel about a mixed
>media approach (some analog tracks plus some digital tracks, using
>a regular deck in conjunction with an ADAT or something like it).

Many big studios do this, keeping vocals and drums in the analog domain to
take advantage of tape saturation. Guess it's a judgement call.
Newsgroups: rec.music.makers
From: gmayhew@sven.lerc.nasa.gov (George Mayhew)
Subject: Drum machine recommendations?
Organization: NASA Lewis Research Center
Date: Fri, 8 Jan 1993 19:54:00 GMT

I've been thinking about buying a drum machine.  I don't need
anything elaborate, as in thousands of voicings.  I mainly intend
to use it for practicing harmonica (blues and jazz) rather than
for recording or gigging.  It would add an element of variety
that my metronome doesn't provide.  I do want the ability to
set up an store a lot of songs.

Can anybody recommend a particular unit?  Cost is a limiting 
factor of course.  I'd appreciate any information or rocommendations.

George

Newsgroups: rec.music.makers
From: marck@nwu.edu (Jater & Co.)
Subject: Re: 4 track questions
Followup-To: rec.music.makers
Organization: NU ACNS
Date: Thu, 7 Jan 1993 15:17:03 GMT

In article <1993Jan6.234648.10474@dg-rtp.dg.com>, lander@hydra.rtp.dg.com
(Howard Lander) wrote:
> 
> Number one: My house has a large space heater in the same room I am using
> for my studio. When the fan kicks in it throws a nasty hum into the 
> recorder. I live in an old house with old wiring, so I think what I want is
> some kind of filter to put on the 4 track's power cord. Any ideas?

same problem here, but a very basic answer:  i work with the heater on
until i'm good and ready to start laying down a track; then i turn the
heater off.  i live in the chicago area, so you *know* it's cold here -- so
i work for about 45 minutes of actual recording time, and then stop for
awhile and turn the heat back on.  this actually has a nice side effect:  i
can take the headphones off for a few minutes and "rest" my ears before i
come back and re-listen to what i've accomplished.  a micro version of
listening to your work "the morning after."


mlb

*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+* marck@nwu.edu +*+*+*+*+*+*+*+*+*+*+*+*+*+
m l bailey                           || Zorg: "I don't see the connection
flagrant poseur                      ||        between demolition and 
northwestern university              ||        writing."
"Ceci n'est pas une .sig."           || Betty: "I'm not surprised."
               -- Rene Magritte      ||
Xref: sparky rec.music.makers:11766 rec.music.synth:19827 rec.music.makers.percussion:416
From: doug@penny.telcom.arizona.edu (Doug Wellington USGS)
Newsgroups: rec.music.makers.bass
Subject: Opinions wanted on Ibanez SR1500...
Date: 12 Jan 93 01:33:00 GMT
Distribution: world,local
Organization: University of Arizona Telecommunications
News-Software: VAX/VMS VNEWS 1.41

Hi Folks,

I was down at my favorite music store, playing through a bunch of combos,
and since I didn't have my own bass, I was using this Ibanez SR1500.  I
liked the way it played, and it looks nice too.  It has a dark colored
finish (no paint) and some kind of dark wood neck.  I looked at the tag
and it said $1400!  Whew!  Well, as I put it down, the manager said, "But
for you, Doug, we have a special price... $799."  Well, that got me to
thinking...  So, I thought that I would ask my trusted network companions
what they thought of that price on that bass...

So, guys, whatdayathank?

BTW, I liked the Fender BXR300 (?) combo best of all the ones I tried...
-Doug
Geesh, just when I get one thing off of layaway, along comes another...
From: mjkobb@media.mit.edu (Michael J Kobb)
Newsgroups: rec.music.makers.bass
Subject: SWR vs. Carvin
Date: 12 Jan 93 05:56:18 GMT
Distribution: rec
Organization: M.I.T. Media Laboratory

Greetings!

  Okay, I'm a pretty big SWR fan, folks.  I like all their stuff, to
the exclusion of many other things.  I have very nearly settled my
long amp hunt with the decision to get an SM400 and an Eden 4x10.

  However, I was looking through the Carvin sale catalog I got in
the mail the other day, and they have an incredible price on a
stack: PB500 FET head, 4x10 cab, 1x15 cab.  All for $1099 +
shipping.  Now, the SWR Redhead commonly goes for ~$1200, and the
SM400 plus an Eden 4x10 is between $1300 and $1400, so this price is
pretty incredible.

  The amp looks quite good on paper.  I believe it has all the
features of the SM400 except the tube preamp.  Granted, it has a
non-parametric graphic EQ, but otherwise it's mostly the same, and
it claims a couple of watts more power.

  The question:  anybody own one?  Played one?  A/B'd it with the
SWR?  It's especially difficult to figure this one out, since
there's no place to check out the Carvin stuff in Boston!

Argh!
--Mike
Newsgroups: rec.music.makers.bass
From: jconway@sol.UVic.CA (Jason Conway)
Subject: Acoustic 135
Originator: jconway@sol.UVic.CA
Organization: University of Victoria, Victoria, B.C. CANADA
Date: Sat, 9 Jan 93 00:06:39 GMT

	A few months back I bought a used acoustic 135, from a shop it
seems to be an excellent amp, but its quite old and I know nothing
about except that it is transistor and sounds really warm compared to
many of the newer amps I've played, I just wondering if anyone out there
has any experience with or info on these amps.

Jason Conway

Xref: sparky rec.music.makers.bass:540 ne.forsale:5798 misc.forsale:35174 rec.music.marketplace:2984 alt.guitar.bass:2235
From: shinh@nmr-z.mgh.harvard.edu (Shinjiro Hirose)
Newsgroups: rec.music.makers.bass,ne.forsale,misc.forsale,rec.music.marketplace,alt.guitar.bass
Subject: 5-string bass for sale
Keywords: Hohner Steinberger XL copy
Date: 12 Jan 93 13:48:03 GMT
Distribution: ne
Organization: Mass General Hospital NMR Imaging Center


For sale:

Black Hohner 5-string bass.  
Steinberger XL copy (small body)
2 humbucking pickups (passive)
satin finish on neck
comes with gig bag and 2 new sets of strings

$350 or best offer

The bass is in terrific condition and sounds very good.  
I've done some recording with it, and it sounds great through
the board.  This bass is a good, inexpensive way to try a
5 string.

-Shin Hirose
(617) 623-1202
-- 

Shin Hirose						1980 CB750-F
shinh@nmr-r.mgh.harvard.edu                         	1970 Porsche 914
DoD # 0670 						"the serpent was subtil"


-- 

Shin Hirose						1980 CB750-F
shinh@nmr-r.mgh.harvard.edu                         	1970 Porsche 914
DoD # 0670 						"the serpent was subtil"
From: rgonzal@gandalf.rutgers.edu (Ralph Gonzalez)
Newsgroups: rec.music.makers.bass
Subject: Re: Hohner JBFL fretless bass.
Date: 6 Jan 93 17:19:31 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

kjx@comp.vuw.ac.nz (R James Noble) writes:
[regarding a phenolic-fingerboard Hohner guitar]

>Caveats - the fingerboard will scratch with use and if you are really
>unlucky you might chip it (if, say, your guitar player drops his
>guitar at just the wrong angle :-(

I used to have a Kramer with a phenolic fingerboard, which had the frets 
removed. I never had any problems with it chipping. When I played with
roundwound strings it marked the fingerboard up a little, but probably
less than if it had a wood fingerboard.

I think the effect of the phenolic, which is very hard, is to give
a better fretless "whine" sound, especially if you use roundwound
strings. The drawback, however, is that string noise (like the 
"clacking" sound when you press the string to the fingerboard) is
more noticeable, especially if you have the tone knob turned up.

By the way, I used some Fender 2200 nylon-wound strings for a while,
and was pretty pleased with them. They don't mar the fingerboard but
they give a brighter sound than most nylon-sheathed strings. The
difference is that the Fender strings actually have nylon WOUND
around them so they act a little more like (metal) roundwounds.

-Ralph
-- 
Ralph Gonzalez, Computer Science, Rutgers Univ., Camden, NJ
Phone: (609) 757-6122; Internet: rgonzal@elbereth.rutgers.edu
--
Newsgroups: rec.music.makers.bass