I used a PCM-F1/SL-2000 combo extensively in the 1980s; about 150 concert
recordings total.  Roughly half with my Soundfield MkIV used as a stereo
mic  (and a few in B-format to 4-track analog).  I'd do very rudimentary
'pause-button editing' to take out long pauses; anything fancier was with
analog tape and razor blades.

I copied most to DAT in 1990 with a Sony TCD-D3 purchased in Akihabara
before you could get them in the US.  I now have a PCM-601ES/SLHF-450
betamax combo.  All but a few of the earliest PCM-F1 tapes still play
without error.  Most of the DAT copies are unplayable.  My earlier
recordings made with a Nagra IV-S on Ampex 407 are playable if you bake
them first.

Since then, another 100 or so in B-format on DA-88, ADAT, HD24, or direct
to laptop.

Aaron ([email protected])
Menlo Park, CA  US


On Mon, Mar 17, 2014 at 4:54 PM, Fons Adriaensen <[email protected]>wrote:

> On Mon, Mar 17, 2014 at 04:04:43PM -0700, [email protected] wrote:
>
> > We did edit using SLO series Betamax, but it was control track
> > editing, nothing with reference time code. It was much later
> > before I encountered anything that could be locked to proper
> > SMPTE time code.
>
> I remember doing that. And if I remember correctly the editing
> was controlled by an Apple II. You had to cue the two machines
> (one playing, one recording) manually, and then the Apple would
> make both rewind the same number of frames, start them, and
> trigger record at +/- the right time. There was a good chance
> the edit failed, and if that happened you had to try again a few
> frames earlier. This ofter meant you had to redo the previous
> edit as well. We only used it to clean up live concert recordings,
> anything else would have been hell. I much preferred cutting and
> splicing tape...
>
> Ciao,
>
> --
> FA
>
> A world of exhaustive, reliable metadata would be an utopia.
> It's also a pipe-dream, founded on self-delusion, nerd hubris
> and hysterically inflated market opportunities. (Cory Doctorow)
>
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