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Attn: Reel to Reel Owners, music exchange


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OK.....One must change there behavior to change the consequence.

Maron,

I apologize if my response to your post was harsh or abrupt. Please understand that I had read it after a long hard day and when I first read it I took it as belittling what we were trying to do. It took a bit of effort to get just 4 guys trading tapes. The other thing that caused me to react the way I did was the situation here in Austin.

In other parts of the country I have lived I think I could have made arrangements to record a band, and they would have loved the opportunity. However, as you probably know, Austin is the home of 100's of bands trying to go from nowhere to somewhere. They all have managers, agents and lawyers. They all have CDs for sale where they play, regardless of how long they have been together or their experience level. The newpaper advertises 1000 CD's being duplicated and packaged, with artwork for under $1,000. There is no way they are going to let me get close to them with a tape recorder, let along microphones. (By the way, on Austin Craigslist there is almost always a Tascam ½" 8 track recorder for sale, just a sign of a band or recording engineer hopeful going by the wayside).

There are a lot of folks that know a great deal about recording a band, I am not one of them. From what little I know, like how to properly mike a drum kit or an acoustic piano, I know that I know nothing about live or studio recording, nor do I have even the basic equipment for it. Just hearing folks like Dr. Who, who is going to a full fledged college to learn recording, and Synthfreak here in Austin who has his own in home studio, I know there is no way I could even achieve what I would be satisfied with in terms of recording a live band (even if I could get in a place where they would allow me to record it).

The way this thing got started, which was actually contained in another thread, was some friends of mine were burning various tracks on CDs and exchanging them. A way to hear new music, see if they wanted to buy a CD, etc. When the subject of Reel to Reel machines came up on another thread some folks talked about how they forgot how good reel to reels sounded, and how even tapes recorded from LPs sounded better the CD equivalent. I just thought it would be a great way to compare recording techniques, whether it be from LP or CD, to see what sounded good, or not so good. I also thought it might stimulate some interest in those who had decks to get them out and start recording again. While I know there is not nearly as much involved in recording a tape from an lp or cd as there is in recording a live band, it at least get us motivated to use the equipment, share some music and talk about what works, or doesnt.

I was serious about wanting to hear any tape you recorded of live music, it is so far beyond my level that I think it would be fun to hear. I will make sure it is safely returned to you, and I would also enjoy talking about what you did and how you did it on this thread. Even if we dont have any plans to record live, I am sure there is plenty that can be learned that would carry over to simply recording an lp.

Most importantly, please dont let anything I said chill your enthusiasm. I am sure it didnt, and I think I understand where you were coming from with your post. I was trying to impart the same sort of enthusiasm to just get some folks to record lps and cds on tape. If you have a live tape that you have done I hope you will share it, I would love to hear it, and more importantly, I would love to talk with you about how you did it.

Travis

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Misunderstandings come in various size,s. I know i can get salty at times.....It is very hard to find bands to record. But I came in the back doore on that one. Of all things to record the St Louis Philharmonic....Little did I know it would last almost 20 years.....Through them it opened other doors. Musicians on that orchestra refered other groups to my talents to make demo tapes. Also some University music departments wanted me to record the student recitals. A professor at WU ....Tishner....Well known for RAG TIME music asked me to record his concert. Other bands,,, local also wanted to make records, They didnt have mutch money. But what the heck we all pitched in dug into our pockets & made do to press some LP,s The love of music & keeping those flames burning gave them hope. At the moment the master tapes are not available. But I have some LPs...If you want one its yours....Someone else on this site asked for a copy. I cannot sell them but i can give them away. Dont want the RIAA knocking at my door. Copy protection of CDs SACD, and the Blue Ray DVds will now lock out every body as they should. We dont want to infringe on copyright.... I sold my big recorders. Have only a play back machine thats all i need for now. maron greenranch@stoutsville.net

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Maron you are a true Gentleman....................refreshing, really........

I second that! It is all coming back to me now, I have been horn-swoggeled (no pun . . .) Maron put up the post in the other thread about selling/getting rid of the master tapes. Maron was simply trying to get this kid (I can't speak for Luther, Chuck or Don) out of the sandbox and into the lab of life. Kind of "you only rise to the level you aspire to. . . ."

In my own defense, I would note that someone with 20+ years of recording experience, of an orchestra no less, telling me I need to aim higher is akin to Mack Brown telling a volunteer Pop Warner weekend football coach that he is wasting his time in PoP Warner and should move right into a NCAA Division 1 spot. Maron, you are light years ahead of me, and have probably fogotten more about recording a live performance then I will ever know. I appreciate your encouragement to go out and "just do it." I think I will start by improving my recording techniques of lp's and move up, slowly, from there.

I for sure would like to hear the lp and then would like to pass it on to whoever wants to listen to it so we can discuss it and what you did, the equipment, tape, etc. Please let me know what the shipping is and I will be happy to pay you.

I will send you and email with the address if the offer still stands,

Travis

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Horn Swoggleded................now your talking.........Travis you too are a Gentleman, a good example of both parties having a little class in handling a mis understanding, the right way,in my opinion.............Hat's Off to both of you.........No Name calling....a breath of fresh air...

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Maron - my appologies too. Being a relative newbie to these forums, I

really know few people. When I read your first post, I thought you were

raining a little on our parade. So, I posted about how we all approach

audio differently. Then, I read your second post and thought how rude.

I must admit I didn't have a high opinion of you. You sir have had me

eat my words (thoughts). I have done a full 180 and now with more

and better information understand where you were coming from and how

easily misunderstandings can occur. You are welcome to add a

little of your "enthusiasm" whenever it strikes your fancy.

Luther

(kid in the audio sandbox)

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Wardsweb....Hope my harshness didnt rub your fur the wrong way. When I bought my first recorder Ampex 600-2 I thought what now. I was at a strangers home. Several of us where there to audition a modified Klipschorn. This one was really different (mono) The top unit (HF) was a wide flat horn made of wood plus a smaller wide flat tweeter horn, but identical in shape to the mid horn (Bob Smith DSH horn) The owner of this system was George Ashworth...He was the Scientist who worked with Paul Klipsch on solving the high complience & high free air resonce of all woofers made at this earley stage. The manufactures (at this time ) would not help Paul. George found a way to lower the outer surround compliance chemicly. He had a Ampex 350 tape recorder on the floor. (mono) I sat down to listen.....The tapes were of the St Louis Symphony and St louis Philharmonic orchestras. The clarity was amazing. I asked why he didnt go stereo? He then took me downstairs to his den ...Another Klipschorn identical to the one up stairs was in the corner...This was the famous horn number 145 a special unit PWK made to do all woofer testing. a special side door & rail system for fast changing on woofers...A calibrated special mic was sitting a few feet in front. Test gear sweep frequency recorder ., scopes fancy equipment looked like a Frankenstein movie set. HolyShischKabob !!! He snorted "only Bell Labs knows how to make a good stereo play back system.!!!" I had to bring him up tp speed. I thought ( famous last words) I said i could do it...After all RCA & Columbia were doing it. I had a recorder but no mics (yet) my big mouth....He said get your gear together next week you wiil record the rehersal of The ST L orchestra. I aquired two AKG 451 mics & 200 ft of cable ...He had a Altec condenser mic. I made a special tree to hang all mics together Decca style. during a playback he liked my mics better than the altec. I suggested going to a Sennheiser mic. I thought was better and quieter (MKH Sennheiser series ) I orderd three . He had spooked that hall pretty good & new where to place that mic ... The rest is history the recordings were played on NPR on Sundays for many years ... We tried many mic placements & tried every theory we could find some good some realy realy bad. He scoffed and stayed Mono till his death....He Held only one job recruted from Mich. state U By Monsanto there he stayed the rest of his long carrere.

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Kind of a mindless comment for this post (other than this thread depressing me for getting rid of my Akai & all my reels [:(] )

Anyone here been to Hilton Head and seen Greg Russel? I don't know if he's still performing there (babysitting?) but a number of years ago I was there for a summer and got to know him. Asked if I could tape him and he was fine with it. I brought my stuff and couldn't plug in because he had 1/4 plugs and I had RCA's. Next day I got the proper parts and taped his entire show. His only request was that I send him a copy. That recording still exists and was a good recording. Also intersting was, at the time it was recorded, he'd been doing it for like 10 years and was now getting kids up there to visit with him who started when they were 5 years old and were now 15. Was a nice event to listen to.

When I lived somewhere else, they had a nice radio station. I'd just turn the tape on every now & then to see what happened. One night they played instrumental stuff ONLY. Like "Classical Gas", theme to good/bad/ugly'... other stuff I never heard of and a LOT that I did know. It's kind of interesting how I can't sit here now and name 10 instrumental pieces that made the radio but they had an entire evening of it. I raced home and hit record and got several hours of that stuff.

oh well... I can go be depressed now that I can't share in this endeavour with you guys.

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Guys,

I guess I am the slackard in this music exchange group. Though my tape was ready yesterday in my rush to go out of town it was left by the door. It was mailed today! The package may be a little soggy as we are getting the first rain bands from Ernesto and I took it to the post office in a driving rain. I will be more prompt in round two.

I was away from the pc for a day and came back to read all the news on the forum. Sounds like everything worked out okay.

I remember my first attempts at live recording in the late 70s and early 80s. I owned a sprawling victorian house in Wilmington's historic district and after a night out at a local pub to listen to some music and have a drink or two I gave the performer a ride back to my house for more of the same. He spent the night in a sleeping bag on the hard floor and in the morning when my wife had gone to work I called in sick and Neil and I bought a case of beer, borrowed two microphones and made a tape. I don't remember what brand of mics but I still have that tape and the tape deck all these years later. The next year I recorded Neil live at Thalian Hall, a historic theatre/opera house with great accoustics. One line directly to the mixing board and one mic hung from the balcony railing to pick up the audience participation. Great stuff! Another tape followed in '78 and a third in '82.

I lost track of Neil for many years and often thought about getting those tapes to him but no one seemed to know his whereabouts. I later learned he had been in Nashville making music for many years and later returned to NC and had a place in Brevard. Through a series of coincidences I learned he was in town and invited him to stop by. He saw my tube equipment and said "thats some real old stuff, I'm glad you are still listening to music" and was surprised to learn that the tube gear was new and still made in the USA (Quick Silver Audio).He brought a copy of his latest cd and I was delighted by some of the talent that accompanied him. Warren Haynes of The Allman Brothers Band and Gov't Mule joined Neil on this cd named "Rosieface". I played the old reels for Neil and his new wife and agreed to make copies. I sent the tapes to Sonic Perfectionist in Kirkland, Washington. They did a great job and marked all the tracks for the cds which are safely now in Neils hands.

Well......thats enough rambling on for now but what an interesting time the 70s and 80s were.... not good or bad...just interesting.

Luther, it was great talking to you Tuesday. You caught me at happy hour listening to Prairie Wind. Hope I was coherent. Thanks for the call.

Contact Neil if you want at bighungrymusic.com. Tell him Chuck said hey!

Chuck

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Coytee,

Don't let that stop you from joining in. If you want a deck I have a Teac X-7 ( 7inch reels only) that is 99% cosmetically including the wood cabinet but the reels just stopped turning on rewind one day and I boxed it up since I have two other decks. It is yours for the shipping charges if you want to get back in. Maybe others on the forum (such as Luther or Travis) could advise you on how to go about repairing the deck. Let me know.

Chuck

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