Grateful Dead

>>Took us a couple minutes to stop laughing and escort her back to the beer tent & explain things too her... ;)<< You mean an explanation was actually possible? Gotta just smile, smile, smile sometimes.....

I just got an email from Joe Coscarelli of the NYT, who's working on stories around the upcoming festivities. He says "I'm interested in anyone attending the Soldier Field shows as a taper who can discuss the persistence of the culture." If this is you, feel free to email him at joseph.coscarelli at nytimes.com

It was ver good times :)

A>D is handled by the recorder, of course, and for less than $700, there are a number of D>A units available, there is also a growing number of portable DAC/headphone amp combos, check out the new Sony or Korg, savings from not buying DATs or storage cards will cover that in no time, in fact, the whole setup, DAC and recorder, is less than one of those fancy sound device recorders ;) and just because you can't directly hear a particular frequency, doesn't mean you aren't influenced by its presence or absence

DSD is a nice sounding way to go, but the extra $$ for A>D & D>A to take advantage of it is beyond most people's budget or frequency range of hearing. ;) The extra resolution & headroom of 24 bit recordings, no matter the sampling rate, is well worth the extra drive space to keep the 'master tapes', but until the recent (finally) offer of the Pono device there haven't been a lot of players that will cope w the 24 bit format. Most of the big players in commercial location recording (ENG & broadcast, symphony & classical) seem to have adopted the 24/88.2 as a standard. It runs on even legacy hardware DAW systems (2-3 generations back) and the 'math' is simpler for conversions to the 16/44.1 commercial CD format.

I guess they figured that I wouldn't use PCM (they were right) given the DSD capibility, only analog line and mic inputs Kind of funny, I used to run @24bit 88.2 myself, for the ease of conversion to 44.1, but I didn't know any others, they went for 24bit 96......

...& a digi cable that fits it from 24/88.2 spdif, or AES & I'll mule it for you. ;) Still hunting xtras as well. Will advise if anything pops.

Sent for tapers, got rejected, otherwise I would be running a Korg ms1000 DSD x2 with a 5.6 meg. sample rate @ 1 bit. So, if anyone has any extra tapers, I am looking.......

I asked Marye for a new topic a couple days ago... Thanks hon! :) Let's talk gear, logistics, and concert recording war stories both good and bad. I'm bringing my Sound Devices 744tc recorder, a set of Microtech Gefell 200s w either the m20 card or m21 hyper capsules in some sort of ORTF pattern & the usual cables, xtra batteries etc. Any body got a line feed for the other two channels? Patching out is no issue either. ;) I'll be flying in to Chicago a couple days before the shows, staying at a friends in the 'burbs but will have a rental car & public transport mostly works in Chi-town. The trains are good, the busses suck... Any good after-show events happening? I'll try to stay awake, unlike my three hour nap during the Radiators in Vegas after GD in '91... Made all my tape flips tho... Thanks for the nudge at the right times,Spiro. :) As for 'war stories' ; Austin,TX, April 5, 2002, String Cheese Incident in Zilker Park. Light rain, 30-40 of the Texas Tapers and other out of towners are set up in the section, umbrellas up on the mic stands, rain gear on the decks and the tapers. No problems, no real issues, but keeping it dry as is often the case in Texas for an out door show. Nice first set going.... A drunk-as-hell frat-bunny girl and her pack of bff wander up the aisle next to the section, get to the corner and stop directly underneath a pair of Rode NT 2 Mics under the -BIG- umbrella. She whips out her cell phone, starts a call and starts hollering at the top of her lungs "Hello?!!!? What??? I can't hear you!!!! I'm at a showwwwww!!!!" Took us a couple minutes to stop laughing and escort her back to the beer tent & explain things too her... ;) See ya behind the SBD.