Hey Jason fans.
Seeing as i just got into taping myself, i received lots of information on the topic from some very knowledgable people over the past 5 months. I thought i'd pass on the info ....
These different sections are taken from various people and places around the internet. FAQ's, U2 taping page, www.fortunatefool.com and some of the taping gurus i know up in the bay area.
************
If you are just starting out, get a refurbished Sharp brand mini-disk recorder from eBay. i got one for $54.00, works great. no one else bid against me, and i got a great MD-deck. DAT's are expensive. go Mini-disk all the way. That and the mic's and Batt box below are great. get that and a "trucker" hat to put the mics in, put the hat on backwards, and you are set to "stealth" any live show you go to.
***************
Also, very important ... get a SHARP brand Mini Disk recorder. NOT a sony mini disk recorder. Sharp MD's allow you to change levels "on-the-fly" meaning you can change the levels while the recording is still going on. Sony's require you to pause the recording to change levels. not ideal at all.
***************
Also, it is important to keep track of the "source info" of a show you are getting. The source info is a set of letters and model numbers that tell exactly what equipment was used to make the recording. They usually take this form:
Microphone used -> battery box -> recording deck
For example, my gear setup is:
AT831's -> SP-SPSB-1 -> Sharp MD-MT15
The Audio Technica 831 mics are a great microphone. The Battery box is a good thing to have, especially for loud shows. the mics plug into that, and the batt box (powered by a 9V battery) plug into the deck.
For really loud shows, plug it into the "Line In", but if things are quiet, go for the "Mic In" If you don't use a batt box, your mics can "brickwall" which means they sound blows out on the high end, and causes distortion. very bad. Watch your levels. they should peak in the -12dB to -4 dB range. anything over 0 is too much!
*******
There are two main mics types
I'm going to focus on Cardioid and Binaural Microphones. The difference between
the two are...Cardioid mics are directional. Meaning they are going to pick up what
they are pointed at and won't pick up as much of the noise to the sides and behind
you. Binaural mics pick up everything around you, in front, to the side, and behind
you. They are supposed be placed close to your ears so the recording is picking
up what you are hearing. I personally would recommend getting Cardioid mics
because at most concerts there are a lot of people talking all around you while
you're recording the concert, so Cardioid mics will pick up less of the background
noise. If you do get Binaural mics try to get as close to the sound source as possible
so the music overpowers the people talking around you. Also you will need a battery
box if you are planning on recording anything that is semi loud. If you don't use one
the sound will overpower your mics causing them to brickwall, which cause distortion
in our recording...which is very bad!
*******
if you are new to the recording game, check out the soundpros site and pick up a pair of their CMC-2 mics (aka AT831) and a battery box (w/bass rolloff option)..these are a great cardiod (directional) mic that works well for live recording and the package will only set you back about $200
great mics can only do so much if you are in a bad location...and conversely if you are in the "right" spot nearly any mic can sound great...learn to find the right spot and upgrade to "exotic" gear in the future if you feel you need to
www.soundprofessionals.co...type=store
www.soundprofessionals.co...type=store
*************
(This section was copied from a post a bay area taper put up on www.benharper.net in may)
if you are interested in quality first and price second your options break down in the following order
this is for "stealth" type small/portable gear...computer based and stand type gear is a whole different breakdown
1. Sony PCM-M1 DAT (pro model-no SCMS) -- ~$725
2. Sony D100 DAT (same as PCM-M1 without SCMS override) -- ~$725
3. Sony D8/D7 DAT (older generation "consumer" DAT recorders) -- ~$650
4. Sharp "High End" MD recorders (MD-MT770/MD-MT877/etc) -- starts near $225
----better designed for recording than the sony's; support MDLP mode
5. Sony "High End" MD recorders -- starts near $225?
----some support "on the fly changing of recording levels (an essential feature)
6. Sharp "Low End" MD recorders (MD-MT15/MD-MT90/etc) -- low $100 or less
----no support for MDLP mode, support for on the fly levels -- solid, affordable
7. Sony "Low End" MD recorders (most) -- low $100 or less
----no support for MDLP, no support for "on the fly" levels
8. Creative Nomad recorders..these can record in raw wav format, but they are a pain in the a$$ to use and are REAL flakey for recording...avoid
some things to consider
DAT vs. MD
---DAT recorders record in an uncompressed format
---MD recorders use ATRAC compression so there is some loss, although not nearly as much as mp3 encoding
---DAT recorders can record in a higher sample rate (48kHz vs 44.1kHz)
---DAT media is available in lengths up to 3hr/tape
---MD media is more limited on record time
-------up to 80min stereo in standard mode
-------up to 160 min MONO (1 channel) in standard mode (usually adequate)
-------you can go longer with MDLP modes, but compression is more extreme and loss is greater (avoid)
---you dont require MDLP and shouldnt need it for recording
---DAT recorders require maintenance
------they have fixed lifecycles on the heads and need service (usually recommended on a 300-400 hours of use interval
---MD recorders are optical so they dont usually require "maintenance"..when they go they are done
general considerations:
---backlit screens are VERY HELPFUL
---backlit remotes can be even more helpful..esp if they show levels and allow you to change them
---hardware "HOLD" switches are much better than software "HOLD" functions on keys
places to buy/read/research
www.oade.com -- DAT people
www.minidisco.com -- MD people
www.american-digital.com
www.sonicstudios.com -- some equipment reviews (mostly older gear, but still applicable)
www.ebay.com -- a good place to score refurb MD recorders
www.soundprofessionals.com -- mics and battery boxes
www.core-sound.com -- mics and battery boxes
www.solorb.com/dat-heads/ -- DAT-Heads mailing list (used high end gear/lore/etc)
www.musiciansfriend.com -- lots of high end sound cards; good prices
www.sonicsense.com -- leave your wallet at the door get the best goods
you are probably safe buying an MD recorder used/refurbed as they are a little more durable....be very careful buying a DAT used (they are finicky creatures and with their fixed lifespans, the ones being sold used are often units that are due for maintenance)
if you are looking to get started at concert recording, i would personally recommend getting one of the cheaper sharp MD recorders (or two -- makes changing discs a whole lot less of an issue and spend more money on a set of better mics (i'm a fan of cardiod/directional pattern mics instead of binaural for concert recording)..make sure to get a battery box as well..this can get you going in the less than $300 range
"rookie starter pack"
================
MD recorder from ebay: $75-$100
soundpros deluxe cardiods (CMC-2 aka AT831): $130 w/clips
soundpros battery box w/bass rolloff: $80
better quality 80min MD "PRO" media from minidisco: HHB or similar
consider that will also want to invest in a "transfer" deck to get the recording you made into your computer..usually a standalone player/recorder with digital out..you will also need a digital i/o card for your computer (NOT a soundblaster or creative product)..this is one place where going big has big advantages.."pro audio" gear is vastly superior and has much better resale value..often for only slighty more money...look at the Sony MDS-E10 for a high end transfer deck and look for sound cards from "recording" equipment companies instead of computer companies..you can often get people to transfer your recordings for you if you ask nicely enough and are patient
if you start to get serious, start by upgrading your recorder, mic preamp, external A/D converter, etc....(there is always something better)
keep reading/searching on the web and you will find lots of information
it can be an addictive/expensive hobby...start small and go from there
expect that you will always be learning and you will have many "failures"..practice makes perfect and sometimes disaster is unavoidable
****************
The below info on mic placement and such are written by Justin O'Rorke, webmaster of www.fortunatefool.com and isn't boogie's opinion or information. This post is not all info from boogie, just a compilation of infos i've been given over the time period of this year.
************
Mic Placement
First I'll explain a few different mic placements for stealth taping. Two of the most common
ways to stealth record a concert are hat method and shoulder method. The hat method will
usually get you a better sound recording because the mics as high as possible on your body
so there is less blocking the music. Hiding the wires from the mics can be a problem unless
you have long hair. So the chances of getting caught are greater. The shoulder method will
give you a pretty good recording but it won't be quite as clear as of a recording. Using this
method you are less likely to be caught while recording. For more info. on stealth taping
go to this site. It has a lot of good info. and gives you very detailed on how to use both
methods. www.geocities.com/Oysterhead00/stealth.html
If you don't need to do a stealth recording the best thing to do is get a mic stand and find
a place in the venue where you are fairly close to the stacks and also a place out of the way
of other concert goers so you are not blocking their view of the show. Make sure your
stand is high enough so it is above the heads of any people in front of you. If you don't
want to haul around a mic stand there are many other places to mount your mics to. Be
creative clip them to a nail that's in the wall or on the rafter orto a post or railing. Just
look around and try to find a good place to mount them. I would recommend bringing along
some velcro that has adhesive on one side so you can stick the velcro to a surface and clip
your mics to the velcro.
**************************
Deck
The two most common recording devices used today are the Minidisc Recorder
and a DAT. I use a Minidisc Recorder to record all of my concerts. They
are very small and easy to conceal if you are trying to stealth record a
concert. The are very cheap when compared to a DAT and the quality
very good! One draw back is with Minidisc Recorders you can only record
up to 80 min is SP mode. For most concerts that would require you to switch
disc in the middle of the concert. A solution for that is to buy a Minidisc Recorder
with MDLP (Minidisc Long Play) that allows you to record in SP, LP, and LP2.
In LP you can record twice the amount of time you could in SP mode. There is a
slight loss in sound quality, but it's not noticeable to most human ears. I'm not
going to go into DAT's very much because I don't own one and have
never used one so I don't know a whole lot about them
*****************************
there is lots of info (good and bad) on the internet...cant really think of one place to send you..try searching google.com for "dat vs. md" and see what comes up..try searching this board for the same thing ;
in short, there is lots of "opinion" and "myth" out there...on a technology level, both technologies are very comparable and in the right hands both work great
DAT recorders record in an uncompressed format and are typically used at 44.1kHz or 48kHz sample rates (16 bit)..new recorders start at $600...can record up to 3hrs per tape using 90m media
MD recorders record in a slightly compressed format (ATRAC)..~4:1 compression and at 44.1kHz sample rate (16 bit)..compare to MP3 compression which is typically ~10:1..new MD recorders start at around $100...can record up to 80mins per disc in stereo/non-LP mode
audio CDs are 44.1kHz sample rate (16 bit), so both MD and DAT can record at "CD quality"
DAT recordings are 48kHz will give you marginally higher fidelity if you keep the recording at 48kHz and dont resample it..this means listening to it on a DAT or your computer if your sound card supports unresampled playback at 48kHz..most stuff gets converted to 44.1 to be burned onto CD, so the 48kHz sample rate is not an advantage esp since very few people trade DATs anymore (there are many reasons for this), and in fact downsampling to 44 from 48 "hurts" the recording more than if it had been made at 44 in the first place
while the compression process used for regular (NON LP mode) MD recording is not "ideal" it is not something that people should worry too much about...for an identical source (same mics/location/etc) a DAT recording will be slightly superior to an MD one, but these situations are rarely encountered..the biggest difference you are typically hearing between an "MD" recording and a "DAT" recording is the experience of the taper...DATs require a more sizable finacial investment and are usually used by people who are a little more serious about taping (think several shows a week)..these people have more practice and generally know where/how to get the best sound...generally people with MD recorders are just getting into recording and dont have as good of mics and often lack the experience of the "DAT guys"...but having said that there are MANY great MD tapers out there and i have often come across MD sources that are superior to the DAT sources for the same show..dont be a bigot...if there are multiple sources for a show you care about, trade for both, or try to find someone who has heard both and can offer a comparison..dont assume the DAT source will be better, or that the MD source isnt worth listening to
recording is similar to real estate...location, location, location...some guy with a $5,000 rig in the back of the room is generally gonna get smoked by even a cheap rig running FOB (Front Of Board) in the sweet spot of the venue..learning how to find this spot is the key to making a great tape
you can make fantastic recordings with an MD deck used correctly..and you can make garbage with a DAT used incorrectly..the recorder just puts down what signals it is given (its a pretty dumb device really)...if you want to get started at recording, buy an MD and some decent mics and LEARN HOW TO USE IT before you throw down on a DAT..if you do buy an MD, get a SHARP instead of a SONY as they allow you to adjust the levels on the fly and most of the Sony's do not and you will have to pause recording to make an adjustment..and you dont need LP mode on the MD deck and you shouldnt use it for live recording as it adds unnecessary degradation above what MD already adds..use mono mode if you want longer run time (up to 160minutes) and double the channels later on for a psuedo-stereo at a better quality (most people cant ever tell the difference on their stereo systems anyway and stealth recording doesnt usually offer great stereo separation anyway)
recording is trial and error..you get lucky sometimes (those are the great ones), but you gotta make several bad ones before you figure out how to make even a good one consistently..spending alot of money on equipment isnt going to make your recordings significantly better; practice and good systematic technique will
******************************
try the both mics straight ahead thing on one side near the stack to start..when you get more familiar with levels and the like then start adding variables like mic placement or different rolloff settings
keep it simple to start..your gonna have enough to worry about just making sure you get everything smuggled in, setup, connect everything and keep the batteries charged, start the deck, get the levels right and get the hold switch set...sounds simple right?..well people seem to have problems
as you get other parts dialed in, start to experiment
rule #1: enjoy the show and try not to let the yappers get to you (aka leave the knife in the car)
IMPORTANT THING TO REMEMBER: just cause you are taping doesnt give you the right to ask people to be quiet...but conversely you did pay money to see a show, so if they are talking its all right to ask them to be quiet or take it elsewhere..just dont mention the taping (they may rat you out anyway)..be courteuous and hope for the best..sometimes you just get people that just dont care and they ruin the tape..whatever..you got to see the show, they will always be dicks, they are forever immortalized on a recording...it happens, try to be smooth and live to tape another show
ideally noone at the show should know you are taping if you can avoid it...not most of your friends (they rat)...not your neighbors in the crowd (they rat)..a trusted confidant and blocker/drink retriever is a great thing..they are on "your team"...try to get them trained on the recorder/mics too so you have someone else to cover shows or help out on long festivals
********************
Whew! So if you want more info, just drop me a line. i'll be happy to help you thought whatever questions you have.
Tyler Huff
www.huffphotography.com
thuff19@hotmail.com
Seeing as i just got into taping myself, i received lots of information on the topic from some very knowledgable people over the past 5 months. I thought i'd pass on the info ....
These different sections are taken from various people and places around the internet. FAQ's, U2 taping page, www.fortunatefool.com and some of the taping gurus i know up in the bay area.
************
If you are just starting out, get a refurbished Sharp brand mini-disk recorder from eBay. i got one for $54.00, works great. no one else bid against me, and i got a great MD-deck. DAT's are expensive. go Mini-disk all the way. That and the mic's and Batt box below are great. get that and a "trucker" hat to put the mics in, put the hat on backwards, and you are set to "stealth" any live show you go to.
***************
Also, very important ... get a SHARP brand Mini Disk recorder. NOT a sony mini disk recorder. Sharp MD's allow you to change levels "on-the-fly" meaning you can change the levels while the recording is still going on. Sony's require you to pause the recording to change levels. not ideal at all.
***************
Also, it is important to keep track of the "source info" of a show you are getting. The source info is a set of letters and model numbers that tell exactly what equipment was used to make the recording. They usually take this form:
Microphone used -> battery box -> recording deck
For example, my gear setup is:
AT831's -> SP-SPSB-1 -> Sharp MD-MT15
The Audio Technica 831 mics are a great microphone. The Battery box is a good thing to have, especially for loud shows. the mics plug into that, and the batt box (powered by a 9V battery) plug into the deck.
For really loud shows, plug it into the "Line In", but if things are quiet, go for the "Mic In" If you don't use a batt box, your mics can "brickwall" which means they sound blows out on the high end, and causes distortion. very bad. Watch your levels. they should peak in the -12dB to -4 dB range. anything over 0 is too much!
*******
There are two main mics types
I'm going to focus on Cardioid and Binaural Microphones. The difference between
the two are...Cardioid mics are directional. Meaning they are going to pick up what
they are pointed at and won't pick up as much of the noise to the sides and behind
you. Binaural mics pick up everything around you, in front, to the side, and behind
you. They are supposed be placed close to your ears so the recording is picking
up what you are hearing. I personally would recommend getting Cardioid mics
because at most concerts there are a lot of people talking all around you while
you're recording the concert, so Cardioid mics will pick up less of the background
noise. If you do get Binaural mics try to get as close to the sound source as possible
so the music overpowers the people talking around you. Also you will need a battery
box if you are planning on recording anything that is semi loud. If you don't use one
the sound will overpower your mics causing them to brickwall, which cause distortion
in our recording...which is very bad!
*******
if you are new to the recording game, check out the soundpros site and pick up a pair of their CMC-2 mics (aka AT831) and a battery box (w/bass rolloff option)..these are a great cardiod (directional) mic that works well for live recording and the package will only set you back about $200
great mics can only do so much if you are in a bad location...and conversely if you are in the "right" spot nearly any mic can sound great...learn to find the right spot and upgrade to "exotic" gear in the future if you feel you need to
www.soundprofessionals.co...type=store
www.soundprofessionals.co...type=store
*************
(This section was copied from a post a bay area taper put up on www.benharper.net in may)
if you are interested in quality first and price second your options break down in the following order
this is for "stealth" type small/portable gear...computer based and stand type gear is a whole different breakdown
1. Sony PCM-M1 DAT (pro model-no SCMS) -- ~$725
2. Sony D100 DAT (same as PCM-M1 without SCMS override) -- ~$725
3. Sony D8/D7 DAT (older generation "consumer" DAT recorders) -- ~$650
4. Sharp "High End" MD recorders (MD-MT770/MD-MT877/etc) -- starts near $225
----better designed for recording than the sony's; support MDLP mode
5. Sony "High End" MD recorders -- starts near $225?
----some support "on the fly changing of recording levels (an essential feature)
6. Sharp "Low End" MD recorders (MD-MT15/MD-MT90/etc) -- low $100 or less
----no support for MDLP mode, support for on the fly levels -- solid, affordable
7. Sony "Low End" MD recorders (most) -- low $100 or less
----no support for MDLP, no support for "on the fly" levels
8. Creative Nomad recorders..these can record in raw wav format, but they are a pain in the a$$ to use and are REAL flakey for recording...avoid
some things to consider
DAT vs. MD
---DAT recorders record in an uncompressed format
---MD recorders use ATRAC compression so there is some loss, although not nearly as much as mp3 encoding
---DAT recorders can record in a higher sample rate (48kHz vs 44.1kHz)
---DAT media is available in lengths up to 3hr/tape
---MD media is more limited on record time
-------up to 80min stereo in standard mode
-------up to 160 min MONO (1 channel) in standard mode (usually adequate)
-------you can go longer with MDLP modes, but compression is more extreme and loss is greater (avoid)
---you dont require MDLP and shouldnt need it for recording
---DAT recorders require maintenance
------they have fixed lifecycles on the heads and need service (usually recommended on a 300-400 hours of use interval
---MD recorders are optical so they dont usually require "maintenance"..when they go they are done
general considerations:
---backlit screens are VERY HELPFUL
---backlit remotes can be even more helpful..esp if they show levels and allow you to change them
---hardware "HOLD" switches are much better than software "HOLD" functions on keys
places to buy/read/research
www.oade.com -- DAT people
www.minidisco.com -- MD people
www.american-digital.com
www.sonicstudios.com -- some equipment reviews (mostly older gear, but still applicable)
www.ebay.com -- a good place to score refurb MD recorders
www.soundprofessionals.com -- mics and battery boxes
www.core-sound.com -- mics and battery boxes
www.solorb.com/dat-heads/ -- DAT-Heads mailing list (used high end gear/lore/etc)
www.musiciansfriend.com -- lots of high end sound cards; good prices
www.sonicsense.com -- leave your wallet at the door get the best goods
you are probably safe buying an MD recorder used/refurbed as they are a little more durable....be very careful buying a DAT used (they are finicky creatures and with their fixed lifespans, the ones being sold used are often units that are due for maintenance)
if you are looking to get started at concert recording, i would personally recommend getting one of the cheaper sharp MD recorders (or two -- makes changing discs a whole lot less of an issue
and spend more money on a set of better mics (i'm a fan of cardiod/directional pattern mics instead of binaural for concert recording)..make sure to get a battery box as well..this can get you going in the less than $300 range"rookie starter pack"
================
MD recorder from ebay: $75-$100
soundpros deluxe cardiods (CMC-2 aka AT831): $130 w/clips
soundpros battery box w/bass rolloff: $80
better quality 80min MD "PRO" media from minidisco: HHB or similar
consider that will also want to invest in a "transfer" deck to get the recording you made into your computer..usually a standalone player/recorder with digital out..you will also need a digital i/o card for your computer (NOT a soundblaster or creative product)..this is one place where going big has big advantages.."pro audio" gear is vastly superior and has much better resale value..often for only slighty more money...look at the Sony MDS-E10 for a high end transfer deck and look for sound cards from "recording" equipment companies instead of computer companies..you can often get people to transfer your recordings for you if you ask nicely enough and are patient
if you start to get serious, start by upgrading your recorder, mic preamp, external A/D converter, etc....(there is always something better)
keep reading/searching on the web and you will find lots of information
it can be an addictive/expensive hobby...start small and go from there
expect that you will always be learning and you will have many "failures"..practice makes perfect and sometimes disaster is unavoidable
****************
The below info on mic placement and such are written by Justin O'Rorke, webmaster of www.fortunatefool.com and isn't boogie's opinion or information. This post is not all info from boogie, just a compilation of infos i've been given over the time period of this year.
************
Mic Placement
First I'll explain a few different mic placements for stealth taping. Two of the most common
ways to stealth record a concert are hat method and shoulder method. The hat method will
usually get you a better sound recording because the mics as high as possible on your body
so there is less blocking the music. Hiding the wires from the mics can be a problem unless
you have long hair. So the chances of getting caught are greater. The shoulder method will
give you a pretty good recording but it won't be quite as clear as of a recording. Using this
method you are less likely to be caught while recording. For more info. on stealth taping
go to this site. It has a lot of good info. and gives you very detailed on how to use both
methods. www.geocities.com/Oysterhead00/stealth.html
If you don't need to do a stealth recording the best thing to do is get a mic stand and find
a place in the venue where you are fairly close to the stacks and also a place out of the way
of other concert goers so you are not blocking their view of the show. Make sure your
stand is high enough so it is above the heads of any people in front of you. If you don't
want to haul around a mic stand there are many other places to mount your mics to. Be
creative clip them to a nail that's in the wall or on the rafter orto a post or railing. Just
look around and try to find a good place to mount them. I would recommend bringing along
some velcro that has adhesive on one side so you can stick the velcro to a surface and clip
your mics to the velcro.
**************************
Deck
The two most common recording devices used today are the Minidisc Recorder
and a DAT. I use a Minidisc Recorder to record all of my concerts. They
are very small and easy to conceal if you are trying to stealth record a
concert. The are very cheap when compared to a DAT and the quality
very good! One draw back is with Minidisc Recorders you can only record
up to 80 min is SP mode. For most concerts that would require you to switch
disc in the middle of the concert. A solution for that is to buy a Minidisc Recorder
with MDLP (Minidisc Long Play) that allows you to record in SP, LP, and LP2.
In LP you can record twice the amount of time you could in SP mode. There is a
slight loss in sound quality, but it's not noticeable to most human ears. I'm not
going to go into DAT's very much because I don't own one and have
never used one so I don't know a whole lot about them
*****************************
there is lots of info (good and bad) on the internet...cant really think of one place to send you..try searching google.com for "dat vs. md" and see what comes up..try searching this board for the same thing ;
in short, there is lots of "opinion" and "myth" out there...on a technology level, both technologies are very comparable and in the right hands both work great
DAT recorders record in an uncompressed format and are typically used at 44.1kHz or 48kHz sample rates (16 bit)..new recorders start at $600...can record up to 3hrs per tape using 90m media
MD recorders record in a slightly compressed format (ATRAC)..~4:1 compression and at 44.1kHz sample rate (16 bit)..compare to MP3 compression which is typically ~10:1..new MD recorders start at around $100...can record up to 80mins per disc in stereo/non-LP mode
audio CDs are 44.1kHz sample rate (16 bit), so both MD and DAT can record at "CD quality"
DAT recordings are 48kHz will give you marginally higher fidelity if you keep the recording at 48kHz and dont resample it..this means listening to it on a DAT or your computer if your sound card supports unresampled playback at 48kHz..most stuff gets converted to 44.1 to be burned onto CD, so the 48kHz sample rate is not an advantage esp since very few people trade DATs anymore (there are many reasons for this), and in fact downsampling to 44 from 48 "hurts" the recording more than if it had been made at 44 in the first place
while the compression process used for regular (NON LP mode) MD recording is not "ideal" it is not something that people should worry too much about...for an identical source (same mics/location/etc) a DAT recording will be slightly superior to an MD one, but these situations are rarely encountered..the biggest difference you are typically hearing between an "MD" recording and a "DAT" recording is the experience of the taper...DATs require a more sizable finacial investment and are usually used by people who are a little more serious about taping (think several shows a week)..these people have more practice and generally know where/how to get the best sound...generally people with MD recorders are just getting into recording and dont have as good of mics and often lack the experience of the "DAT guys"...but having said that there are MANY great MD tapers out there and i have often come across MD sources that are superior to the DAT sources for the same show..dont be a bigot...if there are multiple sources for a show you care about, trade for both, or try to find someone who has heard both and can offer a comparison..dont assume the DAT source will be better, or that the MD source isnt worth listening to
recording is similar to real estate...location, location, location...some guy with a $5,000 rig in the back of the room is generally gonna get smoked by even a cheap rig running FOB (Front Of Board) in the sweet spot of the venue..learning how to find this spot is the key to making a great tape
you can make fantastic recordings with an MD deck used correctly..and you can make garbage with a DAT used incorrectly..the recorder just puts down what signals it is given (its a pretty dumb device really)...if you want to get started at recording, buy an MD and some decent mics and LEARN HOW TO USE IT before you throw down on a DAT..if you do buy an MD, get a SHARP instead of a SONY as they allow you to adjust the levels on the fly and most of the Sony's do not and you will have to pause recording to make an adjustment..and you dont need LP mode on the MD deck and you shouldnt use it for live recording as it adds unnecessary degradation above what MD already adds..use mono mode if you want longer run time (up to 160minutes) and double the channels later on for a psuedo-stereo at a better quality (most people cant ever tell the difference on their stereo systems anyway and stealth recording doesnt usually offer great stereo separation anyway)
recording is trial and error..you get lucky sometimes (those are the great ones), but you gotta make several bad ones before you figure out how to make even a good one consistently..spending alot of money on equipment isnt going to make your recordings significantly better; practice and good systematic technique will
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try the both mics straight ahead thing on one side near the stack to start..when you get more familiar with levels and the like then start adding variables like mic placement or different rolloff settings
keep it simple to start..your gonna have enough to worry about just making sure you get everything smuggled in, setup, connect everything and keep the batteries charged, start the deck, get the levels right and get the hold switch set...sounds simple right?..well people seem to have problems
as you get other parts dialed in, start to experiment
rule #1: enjoy the show and try not to let the yappers get to you (aka leave the knife in the car)
IMPORTANT THING TO REMEMBER: just cause you are taping doesnt give you the right to ask people to be quiet...but conversely you did pay money to see a show, so if they are talking its all right to ask them to be quiet or take it elsewhere..just dont mention the taping (they may rat you out anyway)..be courteuous and hope for the best..sometimes you just get people that just dont care and they ruin the tape..whatever..you got to see the show, they will always be dicks, they are forever immortalized on a recording...it happens, try to be smooth and live to tape another show
ideally noone at the show should know you are taping if you can avoid it...not most of your friends (they rat)...not your neighbors in the crowd (they rat)..a trusted confidant and blocker/drink retriever is a great thing..they are on "your team"...try to get them trained on the recorder/mics too so you have someone else to cover shows or help out on long festivals
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Whew! So if you want more info, just drop me a line. i'll be happy to help you thought whatever questions you have.
Tyler Huff
www.huffphotography.com
thuff19@hotmail.com
