For those interested in equipment insurance, I use MusicPro
(http://www.musicproinsurance.com/). They insure equipment when it is on th=
e
road. You'd have to ask for detail about your specific needs but their
product is designed around touring musicians.
Robin
>From:
>Reply-To:
>To:
>Subject: [Nature Recordists] Digest Number 1700
>Date: 9 Apr 2005 14:56:18 -0000
>
>
>
>There are 23 messages in this issue.
>
>Topics in this digest:
>
> 1. Re: level setting
> From: "Rich Peet" <>
> 2. Re: level setting
> From: Mike Feldman <>
> 3. Re: sony MZ-RH910 HiMD - manual record setting?
> From: Debbi B <>
> 4. Equipment Insurace
> From: Tim Nielsen <>
> 5. Re: level setting
> From: grantfinlay <>
> 6. Re: level setting
> From: "Rich Peet" <>
> 7. Re: level setting
> From: Jeremiah Moore <>
> 8. Re: Equipment Insurace
> From: Jeremiah Moore <>
> 9. Re: A Serendipitous Finding
> From: "ladyraven_69" <>
> 10. Re: Equipment Insurace
> From: Barb Beck <>
> 11. Re: Equipment Insurace
> From: Tim Nielsen <>
> 12. Re: A Serendipitous Finding
> From: Dan Dugan <>
> 13. Re: A Serendipitous Finding
> From: "John Hartog" <>
> 14. Lake Delancy
> From: "Martyn Stewart" <>
> 15. Re: Hi-MD, Mac and Virtual PC (report)
> From: Walter Knapp <>
> 16. Re: level setting
> From: Walter Knapp <>
> 17. Re: A Serendipitous Finding
> From: Tim Nielsen <>
> 18. Microphone Cables
> From: Tim Nielsen <>
> 19. Re: A Serendipitous Finding
> From: Walter Knapp <>
> 20. Re: Microphone Cables
> From: Mike Feldman <>
> 21. Martyn, Lake Delancy- wow, that's beautiful. the clarity
> From: "Richard Lyttle" <>
> 22. Re: Microphone Cables
> From: Klas Strandberg <>
> 23. Re: Lake Delancy
> From: "Rich Peet" <>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 1
> Date: Fri, 08 Apr 2005 16:22:21 -0000
> From: "Rich Peet" <>
>Subject: Re: level setting
>
>
>--- In Jim Lee <> wrote:
> > Rich,
> > I would like to hear the example set.
>
>Comments good and bad appreciated as this is a work in progress and
>anything can be changed.
>
>Recording of an organ donor just missing his chance with a deer in a
>large valley.
>Horn of the organ donor at 1 mile and not direct line of sight.
>Recorded at +60 db on the mic pre. No edit of any kind done.
>
>Not small, each file at 1.5 megs.
>If you only have stereo pick any pair combination with the neighbor
>pairs preferred. (LF=3Dleft front, Rs=3DRight Surround)
>
>Http://home.comcast.net/~richpeet/LF.mp3
>Http://home.comcast.net/~richpeet/RF.mp3
>Http://home.comcast.net/~richpeet/Rs.mp3
>Http://home.comcast.net/~richpeet/Ls.mp3
>
>Rich
>
>
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 2
> Date: Fri, 08 Apr 2005 13:24:32 -0500
> From: Mike Feldman <>
>Subject: Re: level setting
>
>Rich Peet wrote:
>
> > Comments good and bad appreciated as this is a work in progress and
> > anything can be changed.
>
>Gotta love those 110's!
>
> > Recording of an organ donor just missing his chance with a deer in a
> > large valley.
> > Horn of the organ donor at 1 mile and not direct line of sight.
> > Recorded at +60 db on the mic pre. No edit of any kind done.
> >
> > Not small, each file at 1.5 megs.
> > If you only have stereo pick any pair combination with the neighbor
> > pairs preferred. (LF=3Dleft front, Rs=3DRight Surround)
>
>I assume that you encoded these as mono files so that
>there's be no joint-stereo ducking:
>
> > Http://home.comcast.net/~richpeet/LF.mp3
> > Http://home.comcast.net/~richpeet/RF.mp3
> > Http://home.comcast.net/~richpeet/Rs.mp3
> > Http://home.comcast.net/~richpeet/Ls.mp3
>
>Have I got the orientation right? (render in monospaced font):
>
> OD..
> ...
>
> ^
> LF RF
> < >
> Ls Rs
> v
>
>
>What's the orientation of the valley?
>
>-- Mike 40N 88W ... too flat for valleys.
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 3
> Date: Fri, 08 Apr 2005 12:01:02 -0700
> From: Debbi B <>
>Subject: Re: sony MZ-RH910 HiMD - manual record setting?
>
>That's good to know about the remote, since I do much at night (and can't
>see a thing on my R50, let alone find the tiny buttons...
>
>At 12:26 AM 4/8/2005, you wrote:
>
>
> >--- In Debbi B <>
> >wrote:
> > > I've found an online seller that appears to have the NH900 in stock
> >for
> > > $239. Is it worth getting one of these as an alternate to my MZ-R50?
> >
> >I would also consider the NH1, which is the model above the NH900 -
> >and also on its way out of the market.
> >
> >I just picked up a refurbished model in Norway for about $250 (which
> >is VERY cheap relative to Norwegian prices in general), and so far
> >I'm very happy with it.
> >
> >It's got a display on both the player itself and the remote, AND the
> >remote has a big display which shows record levels - AND it is
> >backlit.
> >
> >It seems like a very robust and solid model, and does not have a
> >cheap-ish finish at all.
> >
> >=D8.
> >
> >
> > > At 02:11 PM 4/7/2005, Gene Dorcas wrote:
> > >
> > > >Yes. I received one yesterday. It has some improvements in
> >uploading files
> > > >to the PC but it is constructed in a cheap plastic case unlike the
> >NH900
> > > >which was in a nice aluminum case. Also, the N. American model
> >does not
> > > >come with a remote.
> > > >
> > > >I haven't tried it yet in the field.
> > > >
> > > >Gene
> > > >
> > > >-----Original Message-----
> > > >From: Jeremiah Moore
> > > >Sent: Thursday, April 07, 2005 2:19 PM
> > > >To: ;
> > > >Subject: [Nature Recordists] sony MZ-RH910 HiMD - manual record
> >setting?
> > > >
> > > >
> > > >Hi - apologies for cross-posting
> > > >
> > > >Does anybody have the new Sony MZ-RH910? (this is the recent crop
> > > >sony HiMD recorder)
> > > >
> > > >if you're not familiar, for details see:
> > > >http://www.minidisc.org/part_Sony_MZ-RH910.html
> > > >
> > > >I've used Sharp models which are setup to 1) automatically start
> > > >recording at the end of the disc and 2) default to manual gain
> > > >setting on pressing record
> > > >
> > > >Question is: Can the 910 be set up to behave that way? I find it
> > > >incredibly annoying to hold pause-record for 2 seconds on my
> >current
> > > >Sony, and I won't buy another deck that doesn't do both 1 and 2
> >above.
> > > >
> > > >If anybody has a 910 and can speak to this I'd be grateful.
> > > >
> > > >Thanks!
> > > >
> > > >-jeremiah moore
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >--
> > > >-------------------------------------------------------------------
> > > >jeremiah lyman moore | sound+media | san francisco |
> > > >http://babyjane.com/timeweb/
> > > >http://northstation.net/ downtempo acid jazz project
> > > >
> > > >
> > > >
> > > >"Microphones are not ears,
> > > >Loudspeakers are not birds,
> > > >A listening room is not nature."
> > > >Klas Strandberg
> > > >Yahoo! Groups Links
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >"Microphones are not ears,
> > > >Loudspeakers are not birds,
> > > >A listening room is not nature."
> > > >Klas Strandberg
> > > >Yahoo! Groups Links
> > > >
> > > >
> > > >
> > > >
> >
> >
> >
> >
> >
> >
> >"Microphones are not ears,
> >Loudspeakers are not birds,
> >A listening room is not nature."
> >Klas Strandberg
> >Yahoo! Groups Links
> >
> >
> >
> >
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 4
> Date: Fri, 8 Apr 2005 12:35:50 -0700
> From: Tim Nielsen <>
>Subject: Equipment Insurace
>
>Does anyone here have a special insurance policy for their recoding
>equipment? I'm looking for a policy that would cover my gear while out
>in the field recording. I'm wondering if anyone knows of what exactly I
>should ask for when contacting insurance companies. I'm probably
>looking to insure about $15k worth of gear, and I'd like it to be
>covered in my car, while traveling, etc. This is mainly against theft
>obviously.
>
>Thanks for any tips.
>
>Tim Nielsen
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 5
> Date: Sat, 09 Apr 2005 07:55:34 +1200
> From: grantfinlay <>
>Subject: Re: level setting
>
>
>with using the portable radio i mentioned, all you have to do is to
>point it at the sky rather then at each microphone.
>simple solution!
>
>GF
>
>On 8/04/2005, at 3:45 AM, Rich Peet wrote:
> > I can not point the mic at the sky, can not use a small radio as the
> > volume changes as it is turned, and can not carry studio equipment
> > into the field. I already carry 25 lbs into the field for a 3 hour
> > record capability at 24/96 or 10 lbs for 16 bit atrac full day
> > capability. Right now I am just setting levels based on a hold of the
> > minimum valley gain and maybe that is good enough with a good quantity
> > of material
> >
> > I am starting to think that accurate level settings are not done in
> > the music industry except by ear.
> >
> > Rich
> >
> >
> >
> >
> >
> >
> >
> >
> > "Microphones are not ears,
> > Loudspeakers are not birds,
> > A listening room is not nature."
> > Klas Strandberg
> > Yahoo! Groups Links
> >
> >
> >
> >
> >
> >
> >
> >
>Grant Finlay
>Hm:++64 9 5256465
>Mb: ++64 21 943997
>http://www.ultrasound.orcon.net.nz
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 6
> Date: Fri, 08 Apr 2005 21:40:56 -0000
> From: "Rich Peet" <>
>Subject: Re: level setting
>
>
>--- In grantfinlay
><> wrote:
> >
> > with using the portable radio i mentioned, all you have to do is to
> > point it at the sky rather then at each microphone.
> > simple solution!
> >
> > GF
>
>Thanks, I wasn't thinking about pointing it towards the sky. I will
>do that.
>
>And Mike,
>Yes you have the orientation correct.
>My relationship with the mkh-110's is still a love/hate relationship.
>I posted 4 mp3 files because a 6 channel wave file would be to large
>and I did not know if 6 channel .wma files are universal enough yet
>for the mac people.
>If groups where multichannel is more common use a common method to
>post files I would be glad to change but do not own a ac3 encode
>program yet.
>
>Rich
>
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 7
> Date: Fri, 8 Apr 2005 15:12:40 -0700
> From: Jeremiah Moore <>
>Subject: Re: level setting
>
>Not sure if multi-mono mp3 ensures phase coherency... anybody checked for=
>that?
>
>FWIW, Industry standard for multichannel in the pro realm is a
>multiple-mono, broadcast wav typically.
>
>-j
>
>
> >--- In grantfinlay
> ><> wrote:
> >>
> >> with using the portable radio i mentioned, all you have to do is to
> >> point it at the sky rather then at each microphone.
> >> simple solution!
> >>
> >> GF
> >
> >Thanks, I wasn't thinking about pointing it towards the sky. I will
> >do that.
> >
> >And Mike,
> >Yes you have the orientation correct.
> >My relationship with the mkh-110's is still a love/hate relationship.
> >I posted 4 mp3 files because a 6 channel wave file would be to large
> >and I did not know if 6 channel .wma files are universal enough yet
> >for the mac people.
> >If groups where multichannel is more common use a common method to
> >post files I would be glad to change but do not own a ac3 encode
> >program yet.
> >
> >Rich
> >
> >
> >
> >
> >
> >
> >"Microphones are not ears,
> >Loudspeakers are not birds,
> >A listening room is not nature."
> >Klas Strandberg
> >Yahoo! Groups Links
> >
> >
> >
> >
>
>
>--
>-------------------------------------------------------------------
>jeremiah lyman moore | sound+media | san francisco |
>http://babyjane.com/timeweb/
>http://northstation.net/ downtempo acid jazz project
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 8
> Date: Fri, 8 Apr 2005 15:12:58 -0700
> From: Jeremiah Moore <>
>Subject: Re: Equipment Insurace
>
>Mine is covered under rentors/homeowners insurance. For those
>purposes, I'm an amateur and the gear is personal property.
>
>-jeremiah
>
>
>
>
> >Does anyone here have a special insurance policy for their recoding
> >equipment? I'm looking for a policy that would cover my gear while out
> >in the field recording. I'm wondering if anyone knows of what exactly I
> >should ask for when contacting insurance companies. I'm probably
> >looking to insure about $15k worth of gear, and I'd like it to be
> >covered in my car, while traveling, etc. This is mainly against theft
> >obviously.
> >
> >Thanks for any tips.
> >
> >Tim Nielsen
> >
> >
> >
> >
> >"Microphones are not ears,
> >Loudspeakers are not birds,
> >A listening room is not nature."
> >Klas Strandberg
> >Yahoo! Groups Links
> >
> >
> >
> >
>
>
>--
>-------------------------------------------------------------------
>jeremiah lyman moore | sound+media | san francisco |
>http://babyjane.com/timeweb/
>http://northstation.net/ downtempo acid jazz project
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 9
> Date: Fri, 08 Apr 2005 22:34:31 -0000
> From: "ladyraven_69" <>
>Subject: Re: A Serendipitous Finding
>
>
>--- In "Scott" <> wrote:
>
> > I'm curious how both of you - as well as any others reading this post
> > -
> > first learned of nature recording and what motivated you to
> > become involved. The concept is so new to me that anything you share
> > will be interesting.
>
>Raven writes:
>
>I am a nature loving musician and have always been interested in all kinds=
>of sounds. I
>started nature recording some years ago, when I began to collect recording=
s
>of rain,
>thunder, wind and other nature sounds for my recording projects. I found=
>this group a
>couple of years ago and have learned a lot and made some fun new friends. =
>A really
>wonderful group of folks. I have had the priveledge of attending the last=
>2 nature
>recording workshops sponsored by the Nature Sounds Society. My husband,
>also a
>musician and sound engineer, became interested a little over a year ago an=
d
>attended last
>year's workshop at Whiskytown with me. We released a CD last spring that=
>combines our
>music with nature sounds that I recorded. It was mastered by our friend,=
>Dan Dugan. If
>you're are interested, I am happy to send you a copy. Feel free to e-mail=
>me off list with
>your mailing address. I am only online when I am at work. My other e-mai=
l
>addys are
> and You can find my=
>website at
>http://www.shapeshifting.com.
>
>regards,
>Raven Simons
>Salt Lake City, Utah
>
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 10
> Date: Fri, 08 Apr 2005 16:37:29 -0600
> From: Barb Beck <>
>Subject: Re: Equipment Insurace
>
>We need a rider for extra value stuff above what is considered "normal"
>and that at least used to include computers. Same true iwhen we lived
>in the states.
>
>Barb Beck
>Edmonton, Alberta, Canada
>
>Jeremiah Moore wrote:
>
> >Mine is covered under rentors/homeowners insurance. For those
> >purposes, I'm an amateur and the gear is personal property.
> >
> >-jeremiah
> >
> >
> >
> >
> >
> >
> >>Does anyone here have a special insurance policy for their recoding
> >>equipment? I'm looking for a policy that would cover my gear while out
> >>in the field recording. I'm wondering if anyone knows of what exactly I
> >>should ask for when contacting insurance companies. I'm probably
> >>looking to insure about $15k worth of gear, and I'd like it to be
> >>covered in my car, while traveling, etc. This is mainly against theft
> >>obviously.
> >>
> >>Thanks for any tips.
> >>
> >>Tim Nielsen
> >>
> >>
> >>
> >>
> >>"Microphones are not ears,
> >>Loudspeakers are not birds,
> >>A listening room is not nature."
> >>Klas Strandberg
> >>Yahoo! Groups Links
> >>
> >>
> >>
> >>
> >>
> >>
> >
> >
> >
> >
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 11
> Date: Fri, 8 Apr 2005 15:20:24 -0700
> From: Tim Nielsen <>
>Subject: Re: Equipment Insurace
>
>Yeah, but this is what I don't want. I want it covered 'professionally'
>so there is no disputing it if something should happen. I'm partially
>covered under my home owners as well, but since I use the gear
>professionally, I want it covered that way.
>
>Thanks,
>
>Tim
>
>On Apr 8, 2005, at 3:12 PM, Jeremiah Moore wrote:
>
> > Mine is covered under rentors/homeowners insurance.=A0 For those
> > purposes, I'm an amateur and the gear is personal property.
> >
> > -jeremiah
> >
> >
> >
> >
> > >Does anyone here have a special insurance policy for their recoding
> > >equipment? I'm looking for a policy that would cover my gear while
> > out
> > >in the field recording. I'm wondering if anyone knows of what
> > exactly I
> > >should ask for when contacting insurance companies. I'm probably
> > >looking to insure about $15k worth of gear, and I'd like it to be
> > >covered in my car, while traveling, etc. This is mainly against theft
> > >obviously.
> > >
> > >Thanks for any tips.
> > >
> > >Tim Nielsen
> > >
> > >
> > >
> > >
> > >"Microphones are not ears,
> > >Loudspeakers are not birds,
> > >A listening room is not nature."
> > >Klas Strandberg
> > >Yahoo! Groups Links
> > >
> > >
> > >
> > >
> >
> >
> > --
> > -------------------------------------------------------------------
> > jeremiah lyman moore | sound+media | san francisco |
> > http://babyjane.com/timeweb/
> > http://northstation.net/=A0 downtempo acid jazz project
> >
> >
> > "Microphones are not ears,
> > Loudspeakers are not birds,
> > A listening room is not nature."
> > Klas Strandberg
> >
> >
> >
> > Yahoo! Groups Links
> >
> > =95 To visit your group on the web, go to:
> > http://groups.yahoo.com/group/naturerecordists/
> > =A0
> > =95 To unsubscribe from this group, send an email to:
> >
> > =A0
> > =95 Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> > Service.
> >
> >
>
>[Non-text portions of this message have been removed]
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 12
> Date: Fri, 8 Apr 2005 17:32:51 -0700
> From: Dan Dugan <>
>Subject: Re: A Serendipitous Finding
>
> >I'm curious how both of you - as well as any others reading this post
> >-
> >first learned of nature recording and what motivated you to
> >become involved. The concept is so new to me that anything you share
> >will be interesting.
>
>My career lurched from theatrical lighting to theatrical sound design
>to manufacturing, with many side trips. As a theatrical sound
>designer I had to learn how to maintain tape recorders, and that work
>became a profitable sideline. When I started servicing Nagra
>recorders (Swiss portables used in the film industry) I rapidly
>developed a huge clientele, as there was a need for quality work in
>this area and my reputation spread rapidly. I serviced Paul Matzner's
>Nagra from the Oakland Museum, and he invited me to speak at the
>Nature Sounds Society's annual Field Recording Workshop in '89. Going
>camping with the nature sound people was a lot of fun, and I was
>hooked. For many years I helped people with their equipment, loaned
>out all of mine, and did photography. In the last couple of years
>I've started doing more of my own recording, still doing the
>photography, too.
>
>-Dan Dugan
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 13
> Date: Sat, 09 Apr 2005 02:53:27 -0000
> From: "John Hartog" <>
>Subject: Re: A Serendipitous Finding
>
>
>
> > The concept is so new to me that anything you share
> > will be interesting.
>Since you put it that way:
>
>It was back in winter of 1999. While I was studying wetland hydrology and=
>finishing
>up my bachelors degree, I was complimenting my intellectual coursework wit=
h
>some
>more physical and creative classes consisting of Poekoelan kung fu and
>Butoh
>dance. Both of these intense arts had a common thread - the embodiment of=
>natural
>forms or phenomena.
>Anyway, I took advantage of the media loan center and the audio lab on
>campus and
>checked out a tape deck and some mics and went out and recorded and put
>together
>a CD of ocean waves, so I could have some nice natural music to dance to -=
=20
>and
>that's how it all started.
>
>So now several years later, I'm working full time here in Portland Oregon=
>at a
>nonprofit doing community education on water conservation for the water
>bureau and
>putting all my free time into my nature sound recording obsession.
>I stumbled across the Nature Sounds Society a couple years ago and attende=
d
>their
>two workshops at Whiskeytown where I met many super techno nature geeks
>(aka
>nature sound recordists) kind of like me. It was there that I learned
>about this yahoo
>group.
>
>I have been enjoying recording, and editing, and searching for natural
>soundscapes to
>put on CD, but nothing is in shrink wrap yet. I have several examples of=
>my
>recordings posted on my new webpage, and I expect to put a bunch more up
>over the
>next few weeks. It's nothing fancy, but check it out if you want at:
>www.rockscallop.org
>-John Hartog
>
>
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 14
> Date: Fri, 8 Apr 2005 20:59:29 -0700
> From: "Martyn Stewart" <>
>Subject: Lake Delancy
>
>I had a brief time down in Florida last weekend and got to do some nice
>recordings, one sound I was particularly proud of was the Limpkin I found=
>at
>Lake Delancy (thank you Meena) what a great place to go and lots of good
>noises.
>This is a sample from Lake Delancy 1.59sec 1.85megs.
>http://www.naturesound.org/Sound%20Files/Sample%20recordings/Lake%20Delanc=
y.
>mp3
>If this link doesn't work, go to
>http://www.naturesound.org/world_sounds.htm
>and scroll to the bottom and click on "Lake Delancy"
>Recorded with Modified SASS Microphone using Sennheiser MKH-20's (Thank yo=
u
>Walt) onto Marantz PMD-670 recorder.
>Enjoy.....
>
>Martyn
>
>Martyn Stewart
>Bird and Animal Sounds Digitally Recorded at:
>http://www.naturesound.org
>N47.65543 W121.98428
>Redmond. Washington. USA
>Make every Garden a wildlife Habitat!
>
>425-898-0462
>
>
>
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 15
> Date: Sat, 09 Apr 2005 00:24:59 -0400
> From: Walter Knapp <>
>Subject: Re: Hi-MD, Mac and Virtual PC (report)
>
>From: "digidandy" <>
>
> > --- In Walter Knapp <>
> > wrote:
> >
> >
> >>> Virtual PC has been a useful piece of software for considerably
> >>> longer back than a couple generations.
> >
> >
> > Indeed. But there is very little evidence that Connectix, and now
> > Microsoft, has been able to take advantage of the increased processor
> > speeds.
> >
> > Stangely enough, running VPC 7 on my Dual G5 doesn't feel very
> > different from when I was running it for the first time about 7 or 8
> > years ago - on a much, much slower machine. This, of course, is much
> > due to the fact that Microsoft haven't been able to take advantage of
> > the G5 processor, and as far as I know they might not be very
> > interested in doing it either. They spent a considerable amount of time
> > just getting it to *run* on the G5.
>
>There is some question just what Microsoft's purpose was in buying VPC.
>It could have been to kill it.
>
>When you consider what Microsoft's own OS does with fast processors, I'm
>not sure they understand much about getting effective work done with any
>processor.
>
> > I don't think so. Rob D. was saying he got about 4-6x transfers on a
> > lowly 286 processor, while, as I said in a reply to his post, I'm
> > getting about 0.3x on my Dual G5.
>
>I'm, of course, keenly interested in what a G5 does as one is in my
>future. From what I've seen of disk handling info about the G5, I'm a
>little worried about it's disk speeds. But, then I'm used to Ultra SCSI
>160 disks. Disks are my biggest worry about going to a G5.
>
> > The bottleneck has to be the emulation, because even though USB 1.0/1.1
> > is slow - it's not that slow. However, I will try running Windows 98 on
> > VPC - that might help a bit.
>
>Use windows 2000 pro. If there is a "good" windows that seems to be it.
>Too much of the new software does not like 98, or 98 does not like what
>it wants to do.
>
>Walt
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 16
> Date: Sat, 09 Apr 2005 00:34:08 -0400
> From: Walter Knapp <>
>Subject: Re: level setting
>
>From: "Rich Peet" <>
>
> >
> >
> > I guess I was not clear enough in what I need.
> > I have moved from multichannel laptop recording using de-correlated
> > wide spaced microphone arrays to coherent full immersion surround
> > recording.
> >
> > The results are wonderful and very direction accurate in a full 360
> > degree field. But when I setup I need to define reference levels for
> > each channel that I can see for use in post production. This is
> > needed to keep the immersion direction accurate.
> >
> > I can not point the mic at the sky, can not use a small radio as the
> > volume changes as it is turned, and can not carry studio equipment
> > into the field. I already carry 25 lbs into the field for a 3 hour
> > record capability at 24/96 or 10 lbs for 16 bit atrac full day
> > capability. Right now I am just setting levels based on a hold of the
> > minimum valley gain and maybe that is good enough with a good quantity
> > of material
> >
> > I am starting to think that accurate level settings are not done in
> > the music industry except by ear.
>
>There are good mic calibrators for sound meters that are small. They put
>out a standard level, usually at 1khz. Your big problem is that you'd
>have to have a method of sealing the calibrator to the mic to get
>consistent setting. On sound meters the calibrator is matched to the mic
>diameter and you just slip it on to the mic. We used to do a calibration
>at the beginning and end of each sound measurement run.
>
>Such calibrators are not all that cheap either, often costing as much as
>the meter they calibrate. And may be overkill for what you want. It
>should not be all that hard to build a small field oscillator that's
>similar.
>
>Walt
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 17
> Date: Fri, 8 Apr 2005 21:37:00 -0700
> From: Tim Nielsen <>
>Subject: Re: A Serendipitous Finding
>
>This is an interesting topic to find, and since I've just recently
>joined the group, thought I'd introduce myself.
>
>I fell into recording through the film business, where I work as an FX
>editor. From the beginning, I was in love with recording new FX, and
>have always had a background for 'backgrounds'. To that end, I've ended
>up doing lots of recording of new elements, and at some point just
>began recording nature sounds for fun as well. I spent about a year
>living in New Zealand working on Lord of the Rings, and recorded quite
>a bit down there as well.
>
>I've finally taken some money and invested in some new toys, including
>a pair of omni Schoeps, an 816 Sennheiser, and a Telinga parabolic, and
>hope to do a lot of recording this summer, as work looks slow. Also a
>new 722 Sound Devices recorder to fill up, and I'm super excited about
>recording again.
>
>I'm hoping to take all of May or June, and hop in the car, head up
>along the coast starting here in San Francisco, and spend about 4 weeks
>recording, just everything that I can find.
>
>I've thoroughly enjoyed reading the posts so far and listening to the
>examples people have up on their sites. What a great community you all
>have here, and I'm happy to have found it.
>
>I wonder if anyone here has set up any kind of an informal 'trading'
>circle. I have some nice CD's I've made (including my favorite of
>gentle Lake Superior waves recorded at 2am) and with burning CD's as
>easy as it is, might be fun to trade CD's with others who have made
>them.
>
>Tim Nielsen
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 18
> Date: Fri, 8 Apr 2005 22:49:52 -0700
> From: Tim Nielsen <>
>Subject: Microphone Cables
>
>OK, here's one to toss out there. What are people using for high-end
>microphone cables? Having spent a bunch on new mics, I'm wondering
>whether to believe the hype that I should now be spending $200 for a
>pair of 15' XLR cables...
>
>I've always used Mogami or similar, with Neutrik connectors, so I've
>been using decent cables, but would I notice any real difference with
>something like X-Stream or Audio Magic super high end cables?
>
>Curious the thoughts of some of you with golden ears.
>
>Tim
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 19
> Date: Sat, 09 Apr 2005 01:51:10 -0400
> From: Walter Knapp <>
>Subject: Re: A Serendipitous Finding
>
>From: "Scott" <>
>
> > I'm curious how both of you - as well as any others reading this post
> > -
> > first learned of nature recording and what motivated you to
> > become involved. The concept is so new to me that anything you share
> > will be interesting.
>
>My very first nature recording was with a wire recorder and a microphone
>hung out the window. I was 5 years old and it was more interesting than
>practicing phonics which was what I was supposed to be doing. This was
>in 1949. I got a few local birds, did not keep the recordings. I've been
>at it off and on ever since.
>
>Did not get into really formal equipment deliberately bought for nature
>recording until the late 90's. As a biologist/ecologist I'd been exposed
>to good equipment in the 60's at university. First learned of sonograms
>and how to do and read them then. But for a good part of my life did not
>have the money for good equipment.
>
>I now am somewhat of a specialist in frog recording, though I record
>other interesting things.
>Some samples here:
>http://frogrecordist.home.mindspring.com/docs/mic_samples.html
>http://wwknapp.home.mindspring.com/SASS_MKH20_tall.mp3
>http://naturerecordist.home.mindspring.com/2004D003-020.mp3
>http://naturerecordist.home.mindspring.com/2004D005-001.mp3
>http://naturerecordist.home.mindspring.com/2004D005-003.mp3
>http://naturerecordist.home.mindspring.com/gopher.mp3
>
>I do a fair amount of documentation of frog distribution by recording
>calls. Also, more and more lately I'm into just good listening stuff.
>I've one CD out, done as a benefit to Georgia DNR non-game research and
>sold by them. Frogcalls, of course, made up mostly from various
>documentation recordings.
>
>I'm one of the original members of this group. Until this group was
>formed it was a very isolated sort of interest. Nature recordists are
>not all that many so you'd rarely meet anyone.
>
>Walt
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 20
> Date: Sat, 09 Apr 2005 01:09:16 -0500
> From: Mike Feldman <>
>Subject: Re: Microphone Cables
>
>Tim Nielsen wrote:
>
> > ... What are people using for high-end
> > microphone cables? Having spent a bunch on new mics, I'm wondering
> > whether to believe the hype that I should now be spending $200 for a
> > pair of 15' XLR cables...
>
>It may be worth $200 to you to have cables that survive abuse
>when they're doing paying gigs daily, but at 15 feet you're not going
>to hearany difference between them and ones that fall apart after a week.
>
> > I've always used Mogami or similar, with Neutrik connectors, so I've
> > been using decent cables, but would I notice any real difference with
> > something like X-Stream or Audio Magic super high end cables?
>
>gepco.com D61801EZGF, 250' =3D $62.50
>
>http://www.gepco.com/products/cablenew/analog_audio/singdual_22.htm
>
>This is zip-cord (like lamp cord) but it's shielded balanced audio
>cable 22 guage. Very handy for stereo pairs and long runs, and
>handy for stereo pair short runs, like insert cabes. Put some
>shrink tube where you want the pairs not to separate any further.
>
>-- Mike
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 21
> Date: Sat, 9 Apr 2005 07:00:35 -0400
> From: "Richard Lyttle" <>
>Subject: Martyn, Lake Delancy- wow, that's beautiful. the clarity
>
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