****************GUIDE TO CASSETTE DECKS AND TAPE TRADING**********************
by
MICHAEL BELL
mbell@mail.utexas.edu
version 2.02
July 1995
Permission to copy this document or *complete* parts is freely granted.
Please do not break up sections.
******************************************************************************
INTRODUCTION
This is a very opinionated guide to help in the purchase and use of
cassette decks. It is aimed in general at people who trade tapes of live
music and in particular at Grateful Dead tape traders. I do not in anyway
condone the sale or purchase of unauthorized recordings. I have no
financial interest in any of the companies mentioned.
Most of this is based on my own experiences. I have also taken into
account the opinions of people I trust regarding audio equipment. Thanks
go to the following:
Ken Hays of Terrapin Tapes
The good people of Audio Systems, Austin, TX
Marc Nutter of Sonic Sense
John Longmire
Eric Doherty
Jeff Tiedrich
Melissa Agar
Jeff Maggard
The many contributors to the various Usenet newsgroups including:
rec.music.gdead
rec.audio.high-end
rec.audio.opinion
rec.audio.pro
& the Phish FAQ
I welcome all comments, suggestions and questions. If your favorite
cassette deck is not listed here and you think it should be, tell me about
it and what decks you compared it to.
In future editions I hope to include a glossary of terms if I can figure
out how I want to put it together.
*************************************************************
Table of Contents
INTRODUCTION
PART 1: CASSETTE DECKS: A BUYING GUIDE
NEW CASSETTE DECKS
Shopping
Extended Warranties
Dual-Well Cassette Decks
USED CASSETTE DECKS
Used Cassette Deck Price Guide
Where to Find Used Cassette Decks
PART 2: SET-UP, USE AND OTHER SUGGESTIONS
Set-Up
Setting Levels
Head Cleaning
Demagnetizing
Professional Maintenance
Bias Setting
Dolby
Erasure Prevention Tabs
Tape Length
Tape Brands
Part 3: TAPE TRADING INFORMATION AND ETIQUETTE
Your List
General Tape Trading Etiquette
Part 4: HOW TO GET STARTED
Grateful Dead Hour
Local Friends
Buying Tapes at Cost
Tape Trees
Groveling
Adopt-a-Newbie
Suggestions On What Tapes To Start With
Deadbase
Terrapin Tapes
The Live Taper's Survival Guide by Jeff Maggard
Appendix
Other Recording Formats
What About the Magazines and Specifications?
************************************************************
PART 1
CASSETTE DECKS: A BUYING GUIDE
The cassette deck market has changed quite a bit in the last few years.
Single well decks are becoming rare and 3-head decks are now almost
non-existent. The other thing is that most of the decks available now are
crap. Like with many other types of audio and video equipment, the current
trend seems to be to pack on as many features as possible, but this comes
at the expense of the overall performance quality. Most of the cheaper
decks today are going to break down under the constant use of tape traders.
Here are my very biased suggestions on looking for a good cassette deck.
I would consider myself an audiophile and also have some experience in
professional recording. You can take that for whatever it is worth. For
the record I have an Onkyo TA-2056 and an Aiwa AD-F990. Both are 3-head
and date from 1985 or 1986 or so. I bought the Onkyo at dealer cost and
the Aiwa used from a friend. If I had the money I would have Nakamichis.
Why do I need a good cassette deck?
You may say all you care about is the music and you don't really care about
spending a lot of money on a good cassette deck. Well, for one thing you
might change and start to care about better sound. I strongly believe good
sound goes a very long way in the enhancement of the musical experience.
Also, the better your deck is the better dubs you can make, which makes you
more desirable in trading. Better quality decks will also get you in a
better position on a tape tree. A better built deck will last longer and
when it does develop problems will be worth fixing.
General Comments
I lean toward 3-head decks because in most cases they perform better than
comparable quality 2-head decks. With an individual head dedicated to
playback and record they can each be optimized to best performance. Also,
the ability to monitor the playback while recording can be extremely useful
in use and calibration. Most features are of no real use and can sometimes
degrade the deck's performance. This is particularly true of auto reverse.
Since the heads have to move they become easily misaligned. The auto
rewind feature on many Onkyo decks is not really useful but is not
sonically degrading. A real time counter with time remaining can be
extremely useful. Since even the better decks are not really built that
well anymore, reliability is something that also needs to be considered.
NEW CASSETTE DECKS
Below are the new decks I think worth looking into. Most of them are
3-head and all of them should have some sort of fine bias adjust and Dolby
B and C. All but the Nakamichis and the portables have Dolby HX. None of
them should have auto-reverse unless specified.
Nakamichi
Nakamichi arguably makes the best sounding cassette decks you can buy new.
However, they are not made as well as they used to be. If you run a Nak
hard, like many tape traders will, it is going to be in the repair shop at
some point. Actually, most any deck run hard is going to need work done
after several years, but most people tend to expect more out of something
that costs as much as a Nak. Look into extended warranties. Most people
feel the older Naks sound better than the newer ones. (see below for a
list of used Naks) The DR-1($929 list) and DR-2($749) are both 3-head
decks. The main advantage of the DR-1 over the DR-2 is the user azimuth
adjust which helps to optimize playback of tapes made on other machines.
The DR-3($429) is a 2-head deck that will out perform just about every
other currently available 3-head deck.
The Nakamichi pro decks are worth a look. The MR-1 is a 3-head deck with
XLR in/out and 1/4" in and costs $995. The MR-2 is a 2-head deck, has 1/4"
and RCA in/out and runs $695. They do feature pitch control which is
difficult to find on quality decks these days. These decks sound great but
apparently suffer from some of the same reliability problems as the current
Nak consumer models, but probably not near as bad.
It should be noted that tapes made on Nakamichi decks will not sound their
best unless played back on a Nakamichi. The problem is not like it was
with older Naks, but it still exists to some degree. Keep this in mind
when tape trading.
Sony ES
The Sony ES series is beginning to look like a good possible alternative to
the Nakamichis. The TC-RX606ES ($400 list) is just about the only decent
deck with mic inputs, but it is a 2-head model and unfortunately has auto
reverse. The 3-head models include the top of the line TC-K909ES($790)
which looks like a very nice deck. The TC-K717ES($560) does not spec as
well as the other 3-head decks mentioned in this article but seems to sound
good and is built solidly. I have not had the opportunity to listen to any
of the ES series cassette decks, but I have heard good things from reliable
sources. They are among the few decks with the new Dolby S. Another plus
to the Sony ES series is the three year warranty, and in general they
should be very reliable. I don't like the regular (non-ES) Sony line very
much at all and would avoid them.
Aiwa
The Aiwa AD-F850 ($400 list) is a 3-head dual capstan deck. I have heard
some complaints about transport problems in Aiwas. My F-990 is about 9
years old and has given me little trouble. Like Nakamichi, the Aiwa decks
are not built as well as they used to be. Consider an extended warranty.
There is also an Aiwa AD-F950 which includes Dolby S and should have a list
price of around $500. It was not listed in the Audio directory, possibly
because it is a new model. For many years the upper end Aiwa models have
proven to be very good sounding decks for the money. I've seen Aiwa decks
listed in J & R Music World and other mail order catalogues for
ridiculously low prices.
Denon
The Denon DRM-740 ($400 list) is a 3-head deck that is very reliable, but I
don't think it sounds quite as good as Aiwa. The DRM-540($250) is a good
2-head deck for those on a limited budget.
Tascam Pro
The Tascam 122 MkII is virtually the industry standard in studios and has
recently been replaced by the 122 MkIII. Many feel it does not sound quite
as good as the Nakamichi MR-1, but as far as reliability it is nearly
indestructible. There is a host of user accessible calibration adjustments
on the front, and other features that are very useful but mainly in a
studio setting. XLR, RCA and 1/4" jacks are supported and it costs around
$1000. The 112 MkII is essentially a 2-head version of the 122 with a few
less features, but it does have pitch control. It runs for around $650.
The 130 is a 3-head deck that does not have the studio oriented features of
the other decks and runs for around $450.
Portables
Sony Pro
The Sony WM-D6C Pro Walkman might possibly still be available if you look
in the right places. The TC-D5 portable is no longer available. These
were the recorders of choice for Grateful Dead live tapers until DAT
machines took over. Both are 2-head, and both have pitch control.
Connections on the D6 are via stereo mini-plugs(ugh). Connections on the
D5 are 1/4 inch mic (D5M), XLR mic (D5ProII), and RCA out. There is a slim
chance that some mail order professional recording or broadcast suppliers
might have these decks in stock. They should be somewhat available on the
used market since many who used them are switching to DAT. The D6C costs
around $450 new, the D5 was around $650 to over $900 depending on the
configuration and accessories. Used D5s should be around $300-$400. Used
D6s should be around $200-$225.
Marantz
The Marantz PMD430 costs around $500 and I believe was very popular in the
professional broadcast world and in field work. It has pitch control, 3
heads and quarter inch and RCA jacks but does not have Dolby C. It is
probably easier to find new than the Sony decks. Again look at places that
sell pro recording and broadcast equipment
Shopping
All of the above prices are list price(or estimates of list) and should
really only be used for comparison purposes. Actual prices will vary
considerably from brand to brand and store to store. Most of the above
equipment will not be available at mass market stores such as Circuit City
and Best Buy. Regular prices at independent audio retail stores will
likely be fairly close to list, but in exchange you will get good one on
one service and a chance to listen to the equipment. Some of the more
upscale stores will have nice listening rooms and will often let you take
equipment home to try it out. Some independent retail stores will sell for
lower or have sales often. Things will be different in different parts of
the country.
The best prices are usually available with mail order where you can get in
the neighborhood of 10%-20% or more off of list price. Be careful with
mail order and know who you are dealing with. Using a credit card is a
good idea as the credit card company will back you up if you have problems.
Ask about warranties. You may not get a manufacturers warranty if the
mail order company is not an official dealer for the specific product line.
The rec.audio.marketplace newsgroup occasionally posts surveys of mail
order places. Our friend, Ken Hays, at Terrapin Tapes 1-800-677-8650 will
offer prices competitive with any other mail order outfit and he will treat
you right.
For the pro decks mentioned you will need to check with music stores or
other places that sell professional recording equipment.
If the above prices seem too high to you, I strongly recommend searching
out the used market(see below).
Extended Warranties
Extended warranties for as much as 5 years can be had for as little as $35
and are certainly worth looking into. Do not pay too much and do read the
fine print. It is best if the extended warranty is from the manufacturer.
If you do get an extended warranty, try to get one that will allow general
maintenance and use it for all it is worth. Take the deck in to have it
adjusted, aligned and internally cleaned about once a year. Even if you
don't get an extended warranty it is a good idea to have this done. New
decks costing less than about $250 are rarely worth an extended warranty or
even getting repaired, which is another reason for avoiding them. Also,
certain credit cards will double your warranty. If you are doing, or plan
on doing, some very heavy taping, your deck is likely going to need some
kind of service within 5 years.
Dual-Well Cassette Decks
I don't think too much of dual-well decks, but if your are on a very tight
budget it may be the only way to go. At this point my main recommendation
would go to the Sony TC-WR801ES ($430 list). The TC-WR901ES ($670) is
nicer, but at that price you are likely better off looking into separate
decks. The Denon DRW-840 ($400 list) is worth looking into. If you are
really broke consider the Denon DRW-660 ($300 list). Anything less than
this is not going to sound very good and is going to break under moderate
to heavy tape trading use.
USED CASSETTE DECKS
In the past I have not thought it a good idea to buy a cassette deck used
since they have so many small moving parts. But given the sorry state of
the market today it now looks like one of the better ways to go. I
strongly believe cassette deck quality peaked between 1983 and 1987
roughly. They sound better, are built better, and don't have a lot of
unnecessary features.
Don't buy one from a Deadhead, they work cassette decks to death. Try to
get one from someone who did not use it too much. However, avoid anything
that has been sitting completely unused for more than a year or so. Check
all transport functions and make sure they all work smoothly. A good tape
to use to test the deck is something with acoustic piano on it. Listen for
wobble or flutter in the tone and a fuzziness on the attacks. See if the
dealer/owner will let you try the deck for a period of time. Avoid decks
with auto reverse and other unnecessary features. It will cost more to buy
a deck from a dealer but they hopefully will have refurbished the deck and
will also offer some sort of warranty.
Most any Nakamichi deck made since 1979 would be a good choice, just be
real certain the transport is in good condition. The earliest Naks are the
most durable. The older top end(3-head) Onkyos and Denons where very good
and rugged. Aiwa is worth looking into, but like the Naks beware of
transport problems on more recent models. Pro models from Tascam/Teac,
Fostex and Tandberg are sometimes worth a look but are generally not too
common on the used market. Always try to get a 3-head model, but Nak
2-head decks are generally fine. Some sort of fine bias adjust is also a
good idea but will not be very common on older models. The original box
and manual is a plus. Mainly look for decks from the middle 1980s
Used Cassette Deck Price Guide
Namamichi:
3-head
%481 $200-250 (no monitoring)
581 $250-300 (no monitoring)
^581Z $275-325
^582 $300-350
^670ZX $300-400
*680ZX $450-550
*681ZX $400-500 (no monitoring)
*682ZX $450-550
^LX-5 $350-450
*ZX-7 $550-650
*ZX-9 $750-900
CR-3a $325-425
CR-4a $425-525
CR-5a $500-600
*CR-7A $750-850
*RX505 $650-750
*DRAGON $800-1100
BX-300 $375-425
Cassette Deck 1 $450-550
Cassette Deck 1.5 $400-475
DR-1 $500-600 current
DR-2 $400-500 current
2-head
580 $150-200 (no metal)
BX-1 $125-175
BX-2 $125-175
%BX-100 $150-200
BX-125 $150-225
%BX-150 $175-250
%480 $150-200
CR-1a $125-200
%CR-2a $150-225
LX-3 $250-350
RX-202 $300-400
Cassette Deck 2$200-250
DR-3 $250-300 current
Pro Models
MR-1 $475-550 3-head
MR-2 $350-425 2-head
Portables
350 portable $125-175 w/power pack $275-350 2-head
*550 portable $350-500 2-head
* = Classic Nakamichi, very desirable, highest recommendation
^ = Recommended
% = Good low cost alternative (under $250)
The BX and CR series will be worth the higher end of the scale if they have
had the gear modification done. If the mod has not been done it is highly
recommended that you get it done. The original transports in these units
turned out to be very weak and prone to breaking in as little as 2-3 years.
The gear mod can be done by any Nakamichi specialist and will fix the
problem.
Be aware that tapes made on the older Nakamichis are not going to sound as
good when played on non-Nak decks due to a difference in the head gap. If
you get one of these decks it will be in your best interest to only use it
when trading with other Nakamichi users. The CR and DR series should not
be very problematic. Tapes made on non-Nak decks may not play well on
certain Nak models but most of the better ones should play them fine.
Aiwa and Denon 3-head decks:
C. 1980-1984- $125-$175
C. 1984-1989- $150-$250
C. 1990-1994- $150-$200
Onkyo 3-head decks:
C. 1980-1984- $75-$125
C. 1984-1989- $125-$200
C. 1990-1994- $150-$175
Condition and specific models will effect the prices greatly. When new,
Aiwa, Denon and Onkyo 3-head models from the 80s ranged from $350-$700. I
think Aiwa has had some models in the $1000 range at some point and used
prices for those would be closer to $400.
The above are essentially dealer prices and should come with the option of
returning the deck and some sort of warranty(30-90 days is typical). You
should pay less if buying from an individual or if details on the deck are
sketchy and there is no option of returning the deck. Roughly 40%-50% of
the original price for models from the 80s and slightly more for more
recent decks is what you should be looking at. Some of the classic
Nakamichi decks have a very high demand and actually command prices
greater than 50% of the original price.
Even if you have to get some small repairs done, I think you will most
likely still be ahead on your money. If a cassette deck is going to have
some sort of catastrophic failure it is most likely to occur in the first
year or two. After that, most repairs concern replacing worn out parts
which is usually not too expensive.
Where to Find Used Cassette Decks
The best deals will usually be found in the classified ads. There are also
a variety of places on the internet including rec.audio.marketplace where
you can find used audio equipment. There are some stores that sell used
equipment and usually offer some sort of warranty, usually 90 days. Repair
shops also sometimes sell some used equipment. Hunt around for deals in
places that sell used electronics in general. Pawn shops are usually
overpriced and won't take stuff back. They will often take a lower than
marked price though.
Sonic Sense, P.O. Box 61141, Denver, CO 80206 (303) 698-1296, sell and
repair used Nakamichis and other recording equipment. They are very
helpful and knowledgeable.
PART 2
SET-UP, USE AND OTHER SUGGESTIONS
Set-Up
It is best to use the simplest path possible to make the best dubs. What I
do is connect both decks into the same tape loop. Here's how it works:
Preamp(Receiver)>Deck 1>Deck2> Preamp(Receiver). There are other
advantages to this aside from having only a patch cord between decks.
While you are dubbing you can listen to something else. It also frees up
an extra input on your preamp(receiver). Obviously you record from deck 1
to deck 2 so it is best to have deck 2 be the better deck. When you just
want to listen to tapes you use deck 2. If you want to record from
something other than a tape you either record on deck 1 or pass the signal
through deck 1 to deck 2. For best results you could physically remove
deck 1 from the chain but that would be a pain. If you have a deck that
has playback fine tuning features such as the Nakamichi Dragon and CR-7A
you will probably want to have it in the playback position. Do some
experimenting and see which decks work best in the play and record
positions. If you have one deck that is a Nakamichi and one that is not
you will probably want to pay particular attention to which one you use for
which purpose. Keep in mind that a tape made on a Nak will sound best when
played back on one.
It is better to not stack your stereo equipment on top of each other. You
should isolate your amp or receiver as far away as possible from your other
equipment. Try to keep other electrical appliances as far away as possible
from your audio equipment. Once you turn your cassette decks or other
equipment on you should leave them on until you are through with them for
the day. Equipment such as preamps and CD players that do not run hot
should be left on all the time. Each time you turn a piece of electronic
equipment on or off you send a surge through it. Leaving equipment on but
idle uses very little electricity. Your equipment will last longer and
sound better when left on rather than turned on and off repeatedly.
Audiophile cables are worth looking into and really can make a difference.
The following are recommended. Prices are approximate and for a 1 meter
pair.
Kimber PBJ $65
Straightwire Flex Connect $50
Vampire (not sure of model) $30
Audioquest is also a good low cost alternative, but I am not that familiar
with their line.
AVOID Monster cable, the above are far better.
Setting Levels
Setting levels is going to vary from deck to deck for a variety of reasons
explained below. You want to set the levels as high as you can to keep the
music above the noise floor(hiss). If you set the levels too high the tape
will saturate and distortion will result. With most chrome tapes on many
decks you will want the peaks around +2 or +3 dB. Different tapes and
decks will react differently. Consult your manual to see what it suggests
as far as setting levels. Use that as a starting point and then
experiment. See how far you can push different types of tapes before
distortion begins. Once you find the point where your deck is going to
distort try to stay about 2 dB below that level.
First of all, 0 dB on cassette decks can vary from one deck to another
whether by design or just by miscalibration. Most decks have a Dolby
symbol somewhere on the meter and this *should* be considered the real 0
dB. Different meters also react differently, especially different types,
i.e. needles, LED, fluorescent. Some meters are faster than others and
also some are meant to show averages(needles) and not peaks. Slower meters
are not able to "follow" a signal all the way up to the peak. Very fast
meters can read peaks of +5 or more but this is for such a small fraction
of a second that the tape will not saturate. These +5 peaks will more
likely read at around +2 or +3 or lower with most other meters.
Play recordings made on your deck on other decks and try to get a consensus
of how differently your recordings are going to react. READ YOUR MANUAL.
It will suggest recording levels based on how the deck has been set up.
Some decks, especially ones with meters that show averages, should usually
be set around 0 or +1. Very fast meters should usually be set with *peaks*
at around +4 to +7. If your source material has high continuous levels you
will need to set the levels lower or saturation will result. This is based
on chrome tapes. Metal would be a little higher, normal bias a little
lower. Experiment and see what works best. See how high you can push a
tape before distortion results. Experimenting with test tones can lead to
some insight. As an example I can use a test tone and match my two
cassette decks to exactly 0 dB with a continuous signal. Peaks on my Onkyo
TA-2056 of +2 dB will correspond to about +5 or +6 on my Aiwa F-990.
Set the levels for the loudest part of the tape. Once you get the hang of
this and get a good feel for your tape decks you will be able to do this
fairly quickly. Keep mental or actual notes about where the peaks are on
your tapes. Once you set the levels and start recording you should not
change them so as to preserve the dynamic range. If there is an obvious
change in level due to something non-musical, then it probably is a good
idea to make subtle adjustments to compensate.
Some purists say you should never adjust the balance between the left and
right channels. The simple fact though is that after a few generations it
is real easy for the balance to get skewed to one side. I personally
prefer the levels to be close to even on average unless there is a good
reason for them not to be. Some early(60s) tapes had a weird left-right
balance and necessitate being off balance. Also, the Dead's drums/space
segments will have odd balances on purpose. Use your best judgment. Find
out what your trading partners prefer.
Head Cleaning
The best and cheapest method is to use swabs (Q-tips or whatever) and plain
alcohol. Cassette cleaners that you insert in the deck are not as
effective. First of all make sure you use something that has 90% or
greater alcohol content. Most rubbing alcohols have around 70% and this is
not good as there are too many additives which are not good for your deck.
The best thing I have found to use is grain alcohol. Everclear is 95%
alcohol, and I think it is the most concentrated you can get. I can't
believe people actually drink the stuff. Another good choice is denatured
alcohol which you should be able to get at a pharmacy. There are some drug
store alcohols that are something like 92% for about a dollar. This is the
cheapest way to go, but I think using Everclear or denatured alcohol is
better. The 200ml bottle of Everclear will cost about $4 from a liquor
store, and you will probably never run out of it. Keep the cap on tight as
it evaporates easily. It is probably better to get the foam swabs rather
than cotton as the cotton strands sometimes unwind and could get caught up
in the deck. I still use the cotton though.
Take the swab and dip it in the alcohol and then scrub the heads and
anything else that the tape might touch. When the swab gets a little bit
of brown gunk on it change to another. Do not use alcohol on the rubber
pinch roller, or it can dry and crack. The safest thing to do is use only
rubber cleaner on the pinch roller. At one point you could get rubber
cleaner at Radio Shack but I have not been able to find it there lately.
Places that sell professional recording or broadcast supplies should have
it. I often use just a dry swab on the pinch roller. The capstan (metal
pin above the rubber pinch roller) is usually spinning all the time when
the deck is on. This makes it pretty easy to clean as you just have to
press the swab against the capstan and the spinning does a pretty good job
of cleaning. Some capstans only spin when there is a tape in the deck. In
this case you can feel around at the top of the deck's well and find the
switch that senses when a tape is inserted. Pressing the switch will make
the capstan spin. The capstan is very important to keep clean because it is
usually the culprit when a tape is "eaten." If the tape well in general
looks dusty or grungy try to clean it up as best you can. A can of
compressed air can be very effective. The alcohol usually evaporates
quickly, but it doesn't hurt to go over everything with a dry swab to make
sure everything is dry. Many decks have removable doors that make them
easier to clean.
Clean the heads about every 20-50 hours of use. Some decks get dirtier
faster than others. If there is more than just a hint of brown stuff on
your swab, you need to clean your heads more often. It does not hurt to do
it too often.
Demagnetizing
There is much controversy concerning demagnetizing. A few say it needs to
be done often, some say only once every few years and many say not at all
or only when necessary. One thing I will say is DO NOT use the cheap
demagnetizes that you find in record stores. These can cause more harm
than good. Demagnetizing should only be done by a professional with
professional equipment. The safe plan is not to do it all. If your deck
is having problems and you are having it serviced ask the technician about
demagnetizing. They will usually do it for free if you are already having
work done. Otherwise, if it ain't broke don't fix it.
Professional Maintenance
It is a good idea to take your deck to a reputable repairman or high-end
oriented audio store and have your deck professionally cleaned, aligned and
calibrated. If your deck gets very heavy use you should do this about
every year or so. If you are a little tight on money you can get by with
every two or three years or so. At a minimum have them 1) calibrate the
meters on playback and record 2) calibrate the transport speed 3) calibrate
the bias to the tapes you use most often 4) clean and demagnetize(only if
necessary) 5) set the head-azimuth to zero' 6) check the performance of
the analog sections. After 5 or so years it is a good idea to have them
check the motors if the deck has had very heavy use. This will cost
approximately $30-$80, depending on where you take it and how much you need
done. This can be done yourself if you really know what you are doing and
have the right equipment.
Bias Setting (Tape Types)
There are three broad bias or tape type settings. These are:
Normal or Type I
Chrome, CrO2, High Bias, or Type II
Metal or Type IV
[Type III or Ferric Chrome is no longer available.]
Each of the names on a line means the same thing. The first name is the
most common in usage.
Most cassette decks should have settings for the different types of tapes.
Car stereos, boomboxes, and walkmen sometimes do not. In playback mode
metal and chrome are basically the same. Many car stereos and walkmen have
a playback setting that says chrome/metal. Many newer cassette decks have
an auto setting so you do not have to even worry about setting this. Even
with auto setting there should still be some sort of indicator light
showing the setting.
Fine Bias
Within the normal and chrome settings there is also bias fine tuning that
is necessary. Most better decks made within the last several years will
have some sort of bias fine tuning. Some of the older decks may not. If
your deck does not have any sort of fine bias adjust you should find out
what tape the deck was factory set for and use that tape or have the deck
recalibrated for the tape you want to use. Many decks are set for Maxell
XL-II or TDK SA in the chrome position which are pretty close to each other
as far as bias. The exception would be where the deck manufacturer also
makes tapes in which case they would likely bias their decks for their own
tapes. This is a concern that needs to be addressed with Sony and Denon
decks. The deck's manual should say what tape the deck was set for. If it
does not try contacting a service representative for the company or try
experimenting with different tapes. (More on different tapes below)
There are two ways of setting the bias fine tuning. With automatic systems
it is usually just a matter of inserting the tape you wish to set the deck
for and pushing a button. The deck will go through its motions for several
seconds and then be ready to go. With a manual system there is usually a
dial on the front of the deck. In the straight up position the dial should
lock in place and be set for whatever tape the deck was biased for. The
deck's manual will show where to set the dial for other brands of tapes.
If the manual does not give the information you need, you can call a
service representative or you can try to figure it out for yourself by ear.
You will need a 3-head deck to set the bias by ear. Start recording a good
sounding source(preferably a CD or LP) you are familiar with. Put your
deck on source and get a good idea of how it sounds. Then switch over to
tape and have the bias dial set to the straight up position. Slowly turn
it to the right and see what it sounds like and then slowly turn it to the
left. Your goal is to as closely as possible find the setting that will
match the sound of the source to the tape setting. Resist the urge to set
the dial only based on where the hiss is the least. This can result in
dull highs. The difference in sound will likely be very subtle, so take
your time and listen closely. The effects will be most noticeable in the
high frequencies. Try this both with speakers and headphones.
Dolby
My best advice is to not use it. Most current tape formulations allow for
very low noise so Dolby is not really necessary. To my ears, Dolby B is
terrible and I try not to ever use it for any reason. It kills the high
frequencies and sometimes causes weird phasing or pumping problems. Dolby
C *can* work very well on a high quality deck. The problem is it only
really works well when you play the tape back on the same deck it was
recorded on. Results can vary considerably when tapes are played back on
other decks. Dolby circuits in decks that cost less than about $250 or so
are not likely to be very good.
If you have a tape that already has Dolby on it the best way to copy it is
to set the Dolby off on both decks. The copy will still have the dolby on
it and will need Dolby engaged when playing it back. Most people don't
want Dolby on their tapes though so most of the time you will decode the
dolby on your play deck and then record without Dolby. Some dubbing decks
will not let you do this. Multiple encoding and decoding of Dolby will
make the sound worse and should be avoided.
Dolby HX pro is a dynamic range enhancer, and on good decks is usually
beneficial. It is on all the time.
I have not heard a dolby S deck yet but have heard that it works very well,
better than Dolby C supposedly. The advantage is supposed to be that you
can play back a Dolby S tape with Dolby B and it will sound decent but not
as good as played back with Dolby S.
The MPX filter (not Dolby related) on cassette decks is intended to filter
out unwanted multiplex noises associated with FM broadcasts. It does not
need to be decoded on playback. It is not supposed to affect the sound of
an FM broadcast, but I can hear a subtle difference so I don't use it.
Experiment and see what you prefer.
Erasure Prevention Tabs
The tabs on the top of a cassette can be popped out to prevent accidental
erasure of a tape. You can cover the hole with thin tape if you want to
record over the tape. When doing this make sure you only cover the part
where the tab was. The hole beside the tab is used for cassette decks that
set the tape bias automatically. Also keep your tapes far away from
electro-magnetic sources such as your speakers, TV and other electrical
equipment to avoid erasure.
Tape Length
It is best to use 90s as much as possible. Use 100s when necessary. 110s
should only be used when absolutely necessary. I would avoid playing 110s
in walkmen, car stereos and boomboxes as the extreme tape length is bad for
the motors. Avoid fast forwarding and rewinding when possible in any deck
with 110s. The only two 110s I would consider using are the Maxell MX-110
and the TDK MA-110. I tend to prefer the TDK as it seems to put less
strain on the tape deck. DO NOT use anything over 110. If something will
fit on a 60(like some Dead first sets) check with who you are trading with
to see if that is OK. Most people will prefer a 90 and then some filler.
Be aware that tapes are not going to be exactly the specified length. They
are always a little bit longer. There is usually about two extra minutes
per side on most TDKs and Maxells. It will vary from batch to batch.
Tape Brands
Since most good decks now have bias fine tuning you can usually optimize
the performance of your deck with just about any good quality tape. Still
you should consider strongly the tape recommended in the deck's user manual
and also try some experimenting.
Maxell
Maxell XL-II has pretty much become the standard among tape traders. Some
people also like to trade with the nicer and more expensive Maxell XL-IIS.
For the most part XL-II will do for most situations. XL-IIS can make a
difference with super high quality low generation tapes. XL-IIS tapes have
a nicer shell and also a higher bias so that you can record higher levels.
If you do not have bias fine tuning you will see little to no advantage
using XL-IIS tapes, unless your deck was factory set for them. Maxell's
MXS metal tapes are extremely good but pretty much overkill in the world of
tape trading. Their best use would be in dubbing exceptional tapes from
DAT and for live recording. MX tapes are a notch down from MXS. In most
cases XL-IIS will probably outperform MX tapes. Avoid the Maxell Capsule
series. Many people feel that the XL-IIS and MXS are among the most
durable tapes you can get, so there is some advantage to putting
irreplaceable recordings on these tapes.
TDK
Although most everyone prefers Maxell, TDK tapes are at least worth a try.
Some decks may work better with one than the other. If you do not notice
any difference in quality get whichever is cheaper. Make sure with your
trading partners which tapes you send them. TDK SA tapes are comparable to
Maxell XL-II, SA-X are comparable to Maxell XL-IIS, MA are comparable to
MX, and MA-X are comparable to MXS. TDK does make some real high end metal
tapes above the MA-X but they are really only necessary in pro
applications. TDK D tapes are good if you want something that is real
basic and cheap. They are good for boomboxes, car stereos and walkmen.
Denon
If you have a Denon deck I strongly urge you to a least try a few different
Denon tapes and see how they sound. Denon makes a wide range of very nice
tapes. It should make sense that a company would set their decks for their
own tapes. They make one of the best metal tapes I have ever encountered,
but it costs about $7. If you do find that the Denon tapes sound better,
urge your trading partners that you will be able to make them better tapes
with the Denons.
Sony
I have never cared very much for Sony tapes, but if you have a Sony deck
you should probably at least give the better ones a try.
Fuji
I have encountered a few people that have like Fuji tapes. I have not
tried them.
Nakamichi
Nakamichi chrome cassettes are TDK SA-X but with a different (better?)
shell and higher quality control. The tape is only taken from the center
part of the large spools in manufacturing where the quality is more
consistent. They are considerably more expensive than regular tapes
PART 3
TAPE TRADING INFORMATION AND ETIQUETTE
Your List
Your list should include:
Band, Date, Venue, Source, Generation, Grade and Time(length).
Source
The source is how the master tape was made. A Soundboard (SBD) is a tape
made from the direct outputs of the soundboard at a show. The sound is
usually up front and very clear. Depending on how it is mixed there is
usually little to no crowd/hall ambiance mixed in. These are generally the
most desirable tapes. However, keep in mind that not all SBD master tapes
are perfect and there are several examples of defects on them. In very
small venues there can often be a very off balance mix if a tape is made
from just the soundboard. A tape made with a mix of soundboard feed and
mics used for ambiance can be very nice but done wrong can be really
horrible. In the past couple years there have been some Dead tapes
circulating labeled as SBDs but are actually tapes made from one of monitor
mixes. These usually don't sound very good and will have an odd balance.
They also might have the band talking to each other through their internal
intercom system.
Audience (AUD) tapes are made with microphones in the venue. With Dead
shows most of these come from the taper's section which is behind the
soundboard. Front of Board (FOB) tapes are recordings that are made from
somewhere between the stage and the soundboard, usually stealth. Most
consider the front of the soundboard a better place to record from.
Stealth recordings are recordings that are made at shows or in parts of a
venue where taping is not allowed. AUD recordings are rarely as clean as
SBDs, but some people prefer them because they give a better sense of
"being there." As some tapers are getting into better and better
equipment, AUD recording are getting better and some sound very fine. One
way to identify AUD tapes is if you hear people in the audience that sound
near and distinct. The crowd (if any) on SBD recordings will always sound
more distant.
Recordings made off of the radio are usually designated FM. With a good
tuner, FM recordings can sound quite good. Due to the limitations of radio
the very highest frequencies are lacking and the dynamic range is
compressed, however. Some people make finer distinctions regarding sources
but that is beyond the scope of this article. If you are not sure of the
source of your tape you can try to make an educated guess. It is a good
idea to put a question mark on your list if you are guessing. Example:
SBD?
Generation
The number of the generation is every copy in series made after the master.
DAT(Digital Audio Tape) generations are generally not counted since a DAT
copy of a DAT is a virtual clone. Some people call the first
analogue(cassette) copy dubbed from DAT an "analogue master", but I
strongly disagree with this. The master tape is the tape that was made at
the source. Period. Subsequent DAT copies of a DAT should be called
clones. DAT copies of the old tapes from the GD vault are usually not
counted as a generation.
Examples:
SBD master DAT>DAT>cass 1>cass 2
Cass 2 would be a 2nd generation copy of the soundboard. Many would
indicate it like this SBD/2
Analogue reel from the vault(SBD master)>DAT>DAT>cass 1>cass 2
Since people do not count the DAT generations this would also be considered
a SBD/2.
Some people will refer to DAT masters and DAT copies from the vault as DAT
SBD, DSBD or DSB.
If you make an audience tape at a show yourself or tape something off of
the radio that would be considered a master tape. Some people indicate
this as FM/0 but I prefer FM/M.
If you do not know the generation do not guess. I will put the generation
as "low" on my list if I am pretty certain it is less than about 5th or so
but don't know the exact generation. I usually base this on who I got the
tape from and the sound of the tape.
The important thing with generations is to be consistent. The lower the
generation of the tape the more desirable it is. Higher generation tapes
will have progressively more hiss, and a host of other problems that can
include: lack of bass and high frequencies, dulled transients, congested or
otherwise blurred and indistinct sound. The cassette decks can play a
major factor as well. A fifth generation tape that has only been through
Nakamichi decks will likely sound better than a third generation tape that
has gone through cheap dubbers.
Grading
The main thing to remember is be honest and consistent. If you grade tapes
high just to attract people, they won't ever trade with you again. Grading
is very subjective and varies from person to person. It is a good idea to
thoroughly explain your grading philosophy on your list. Most people use
letter grades. Some try to grade all tapes on the same scale, some make
allowances for older tapes and AUD tapes and grade them easier. I try to
grade everything on the same scale. Either way, explain your approach on
your list. To give you an idea, this is how I grade my tapes:
A+ An exceptional tape, sound is on par with a commercial release of a
live recording. Only low gen SBD or FM qualify.
A A very good clear tape with no major problems. May have some hiss when
the band is not loud. Generally only SBD or FM, but a rare few exceptional
AUD tapes can make it.
A- Some problems, but nothing that really distracts from the music. May
have some hiss, weak bass, or muffled sound, but not too badly. Usually
higher gen. SBDs and decent AUDs. I will usually include 60s tapes with
very slight amounts of distortion as A- as well- this is the one place I do
slide a little.
B+ Beginning to distract from the music. May have more extreme of the
above and/or some distortion or balance problems. Also boomy AUD tapes.
B Getting harder to listen to, but some music is still coming through.
Usually old or rare, where better versions are not available.
B- Takes some effort to listen to.
C Virtually unlistenable.
I would like to emphasis that there is more to grading tapes than just
listening for tape hiss. There are many other things to listen for. Can
you hear all the members of the band? Is the sound muffled, can you not
hear the cymbals well or at all? Is the sound congested or boomy? Is
there distortion? I consider these factors far more important than tape
hiss
Timing
Basically how long the tape is. Some picky tapers want exact timings.
Most people are happy with the length of tape the show is on to the nearest
side. For example if you have a show that fits on a 100 min. tape and on
one side of a 90 you would say 145 for the timing. It is also a good idea
to give some sort of set indication. Most use roman numerals for the sets.
Some will indicate acoustic sets with an a, encores with an e. There are
various ways of indicating partial sets. I use a p as in Ip meaning a
partial first set.
Examples of a listing:
Grateful Dead
70/02/13 Fillmore East DSB/2 A+ 180 all -or- I, a, II
85/06/16 Greek Theatre SBD/4 A 135 Ip, II
The first one should be obvious. The second one indicates a show that fits
on one and a half 90 minute tapes and has part of the 1st set and all of
the 2nd.
It is sometimes a good idea to have a column for comments where you can
mention guests, rare songs, first/last times, etc. I personally find this
a little impractical with sending a large list through email but it can be
worked out. It is not difficult to do with a hard copy of your list.
General Tape Trading Etiquette
Shipping
Agree beforehand how the tapes are going to be sent. If you are sending
one to three tapes first class mail is the standard way to go and costs
around a dollar or so. For more tapes Priority Mail is generally the
standard. Up to 2 lbs is $3 with Priority Mail and usually ships in 2-3
days. You can send about 8-10 cassettes with cases and 10-12 without cases
at this rate. Various grades of tape weigh differently. If you want to
save some money you can send tapes Special Fourth Class which is commonly
referred to as Book Rate and ships in about 5-7 days. 6 or 8 tapes would
work out to around $1.50. If you are sending a large number of tapes this
can work out to save you quite a bit of money. Also UPS is a good
alternative if you are sending a large number of tapes. UPS on heavier
packages is much less than Priority, a little more than Special Fourth
Class, and will ship in 2-5 days depending on the distance.
I prefer to ship tapes without their plastic cases. With larger numbers of
tapes this can save you some money on shipping. Also the plastic cases can
break real easy in the mail. Pull the cassette and J-card out of the
plastic case leaving the J-card to cover the exposed tape. Make sure the
tape is all the way wound. Rubber band two cassettes inverted flat against
each other. They should fit tightly together making a package not much
larger than one cassette in its plastic case. As an extra measure you can
run the rubber bands through the tape hubs to prevent them from moving.
Its a good idea to put the cassettes in a plastic bag to protect them from
water or dirt. If you send tapes without the cases make sure your partner
is doing the same!
The standard means of shipping is the padded envelope. It is best to use
the smallest one possible so that the tapes fit in tightly and do not shift
around. Pieces of cardboard, paper, bubble wrap, etc. can be useful in
packing. Staple and then use packing tape on the open end of the envelope.
Shake the envelope as a test. If the cassettes are banging around you
need to pack it better. The post office can be fairly rough on packages.
If you are sending a large number of tapes, more than 10-12, you should use
a box. The padded envelopes with the plastic bubble pack are better since
they are not dusty and dirty like the ones with that recycled filler stuff.
Reuse the padded envelopes to save money and space in the landfills. Also
you can try to find places that will give you their old padded envelopes.
Record stores, and I am sure many other like businesses, get tons of them
every week. I have never paid for a padded envelope.
Other things
Don't label the J-card. Write the date, venue, (set) and songlist on the
back of the sticker labels for the cassette. Also include
source/generation, and any other pertinent information. Most people slide
this between the J-card and the plastic case so that the songlist can be
viewed through the plastic. If you are shipping without cases ship it into
the rubber bands. You can also write the info on a scrap piece of paper.
If, when dubbing a tape, you realize that it does not sound as good as you
thought it did, make sure you tell the person you are trading with. Don't
worry if this happens, it is not too uncommon.
Don't use Dolby, EQ, or in any other way alter the tape unless the person
you are sending the tapes wants you to. If your copy of the tape has Dolby
and you did not indicate it on your list you should tell your trading
partner and see how he wants to deal with it.
Unless other arrangements have been made, you should ship a typical trade
of tapes(4-8) within 2 or 3 weeks. If there is a problem, contact your
trading partner, don't leave him/her in the dark and hanging.
If you are sending blanks to be dubbed onto DO NOT send more than agreed
to. (more on trading for blanks(groveling) below)
The general rule with Maxpoints is whoever buys the tapes keeps the points.
If you are sending blanks for someone to tape on it is a nice gesture to
let the taper keep the maxpoints
Don't post your whole list to the Internet (this is bad netiquette as
well). Just have a simple post stating how many hours you have and/or a
few juicy tidbits from your list or some sort of basic description of what
you have. You can then email your list to people that respond to your
post.
PART 4
HOW TO GET STARTED
You have few or no tapes, and without anything to offer in trade you feel
like your collection is never going to grow. Fear not, there are many
different roads you can take. This section is mostly Grateful Dead
oriented, but tape traders of other music should be able to find some
useful information.
Grateful Dead Hour
If you live in an area that has the Grateful Dead Hour radio program hosted
by David Gans you will be in business. The GDH runs every week with live
Grateful Dead music from recent shows to old rarities. Call or write the
station running the GDH and tell them how much you like it. If it is an
NPR or other non-commercial station make sure you send them a little money
when they have their fund raisers. If no station near you runs the GDH
start bugging some to get it. If you find a station that is interested,
you can contact David Gans at the addresses listed below. Cutting out
commercials and other announcements you can often, but not always, fit the
GDH on one side of a 100 minute tape. I use a 110 to be on the safe side
and don't try to cut anything out.
GRATEFUL DEAD HOUR
National broadcast schedule as of July 5, 1995
KYUK-AM 580 Bethel AK
KFSK-FM 100.9 Petersburg AK Friday 9pm
KCAW-FM 104.7 Sitka AK Thursday 10pm -> NEW STATION!
WQPR-FM 88.7 Muscle Shoals AL Friday 11pm
WUAL-FM 91.5 Tuscaloosa/Bham AL Friday 11pm
KZON-FM 101.5 Phoenix AZ Monday 11pm
KEKO-FM 92.1 Tucson AZ Friday 10pm
KHSU-FM 90.5 Arcata CA Tuesday 10pm
KPFA-FM 94.1 Berkeley CA Wednesday 8pm
KFCF-FM 88.1 Fresno CA Wednesday 8pm
KLSX-FM 97.1 Los Angeles CA Sunday midnight
KNSQ-FM 88.1 Mt. Shasta CA Saturday 8pm
KNCA-FM 89.7 Redding CA Saturday 8pm
KSEG-FM 96.9 Sacramento CA Saturday midnight
KGNU-FM 88.5 Boulder CO Saturday 8pm
KSUT-FM 91.3 Ignacio CO Saturday 9pm
WEFX-FM 95.9 Norwalk CT Sunday 9pm -> STARTS 7/9
WRUF-FM 103.7 Gainesville FL Sunday 9pm -> NEW TIME
WJCT-FM 89.9 Jacksonville FL Friday 11pm
WOZN-FM 98.7 Key West FL Sunday 3pm
WZTA-FM 94.9 Miami FL Sunday 11pm
WGLF-FM 104.1 Tallahassee FL Sunday 6:30pm -> STARTS 7/16
WMNF-FM 88.5 Tampa FL Tuesday 9pm
KBSU-FM 90.3 Boise ID Friday 11pm
KUOI-FM 89.3 Moscow ID Thursday 9pm
WEFT-FM 90.1 Champaign IL Friday 7pm
WXRT-FM 93.1 Chicago IL Sunday 9pm
WYMG-FM 100.5 Springfield IL Sunday midnight -> NEW STATION
WFHB-FM 91.3 Bloomington IN Saturday 7pm
KMKF-FM 101.5 Manhattan KS Sunday 8pm -> NEW TIME
WOMR-FM 91.9 Provincetown MA Monday 10pm
WKHS-FM 90.5 Baltimore MD Saturday 7pm
WLAV-FM 96.9 Grand Rapids MI Sunday 9pm
KUMD-FM 103.3 Duluth MN Saturday 4pm
KTCZ-FM 97.1 Minneapolis MN Sunday 10pm
KOPN-FM 89.5 Columbia MO Friday 8pm
KKFI-FM 90.1 Kansas City MO Friday 10pm
KSMU-FM 91.1 Springfield MO TBA -> NEW STATION
KMNR-FM 89.7 Rolla MO Saturday midnight
WNCW-FM 100.7 Charlotte NC Wednesday 10pm
WNCW-FM 88.7 Spindale NC Wednesday 10pm
KZUM-FM 89.3 Lincoln NE Wednesday 10pm
WNHI-FM 93.3 Concord NH Tuesday 9pm
WDHA-FM 105.5 Dover NJ Sunday 7pm
KLSK-FM 104.1 Albuquerque NM Wednesday 9pm
KGLP-FM 91.7 Gallup NM Saturday 9pm
KTHX-FM 94.7 Reno NV Sunday 8pm
WGR-FM 96.9 Buffalo NY Sunday midnight
WHCL-FM 88.7 Clinton NY Friday 11pm (off for summer)
WMAX-FM 106.7 Rochester NY Sunday 10pm
WRPI-FM 91.5 Troy NY Thursday 11pm
WNCX-FM 98.5 Cleveland OH Sunday 10pm
KSBA-FM 88.5 Coos Bay OR Saturday 8pm
KRVM-FM 91.9 Eugene OR Sunday 3pm
KPUR-FM 94.5 Forest Grove OR Friday noon
KSKF-FM 90.9 Klamath Falls OR Saturday 8pm
KSMF-FM 89.1 Medford OR Saturday 8pm
WITF-FM 89.5 Harrisburg PA Saturday 11pm -> NEW STATION
WXPN-FM 88.5 Philadelphia PA Saturday 7pm AND Thursday 11pm
WDUQ-FM 90.5 Pittsburgh PA Sunday 8pm
WQSU-FM 88.9 Selinsgrove PA Saturday 7pm
WNCW-FM 97.3 Greenville SC Wednesday 10pm
WEKL-FM 102.3 N Augusta SC Sunday 9pm -> NEW STATION!
WNCW-FM 96.7 Knoxville TN Wednesday 10pm
KGSR-FM 107.1 Austin TX Saturday midnight
WCVE-FM 88.9 Richmond VA Saturday 11:30pm
WROV-FM 96.3 Roanoke VA Sunday 11pm
WIZN-FM 106.7 Burlington VT Sunday 10pm
KISM-FM 92.9 Bellingham WA Sunday 9am
KBCS-FM 91.3 Seattle WA Tuesday 10pm
KHSS-FM 100.9 Walla Walla WA Sunday 8pm
KUWR-FM 91.9 Laramie WY Saturday 11pm
--
David Gans tnf@well.com http://www.well.com/user/tnf/
Truth and Fun, Inc., 484 Lake Park Ave #102, Oakland CA 94610
Local Friends
After the GDH, the next best way to get some tapes is to meet tape traders
in your area. Many Deadheads, including myself, are more than happy to
loan out tapes for people to copy. Just make sure you take very good care
of them and do not loan them out to anyone else. Also dub them quickly and
get them back as soon as you can. It would be a nice gesture to give the
lender a little something for his kindness. He/she should not *expect*
something though. Always remember how someone helped you out and be
willing to lend tapes to others who are just starting out.
Buying Tapes at Cost
For a variety of reasons sometimes tape traders need to liquidate part or
all of their collections. The most ethical price is the cost of the blank
tape. Some feel they deserve at least something for their effort in
acquiring the tape. Also the cost of blanks can vary quite a bit. This
will be debated forever. To me $1.75-$2.00 a tape seems to be a fair price
in most situations. The price could be a little higher if the tapes are
metal or Maxell XL-IIS or lower if they are normal bias tapes. Tapes that
are old and played to death should be less. The recipient of the tapes
should pay the postage. Don't be willing to pay too much out of
desperation to get new tapes. Something will come up. It is considered
unethical and technically illegal to sell tapes above the cost of the tape.
Use your best judgment.
Tape Trees
Getting on tape trees will not only guarantee you the tape being treed, but
if you are in a good position on a tree you can get a few additional trades
out of it. This is where high quality equipment can help you out as tree
placement is largely based on that.
Groveling
When all else fails you can always grovel for people to make you copies if
you send blanks. Keep an eye out on the Internet for people making offers.
Also look in the classifieds of Unbroken Chain, Dupree's Diamond News, and
Relix for people willing to spin tapes for blanks. Be polite when asking
people to make copies for you and don't be put off if they won't do it.
Usually when people offer to spin for blanks they will get deluged with
requests and end up with more than they can handle. When someone offers to
make you tapes DO NOT send more than was agreed on. Don't deal with anyone
asking for something in exchange like you sending 5 blanks and him sending
back 4 and keeping one. There are too many people willing to do it for
nothing. It is a nice gesture to let the taper keep the Maxpoints. It is
also a nice gesture to send something along as a way of saying thanks. It
does not have to be much, something like stickers, tape covers, or the like
Make things as easy as possible for the person making tapes for you. Get a
padded envelope and address it to yourself and have the correct postage on
it. (see section on shipping). Put the blanks in the padded envelope.
Put the padded envelope inside a non-padded large envelope addressed to the
person making the tapes. Include a list of the shows you want or ask the
person to pick favorites from certain years or all-time.
Adopt-a-Newbie
Melissa Agar has set up a system that runs periodically to get new Grateful
Dead tape traders in contact with tapers willing to spin for blanks. A
similar system is available to Phish Phans. Here's how it works:
Newbies and tapers contact Melissa Agar (magar@knox.edu) to join the
program. She will then help them connect with each other. Tapers can ask
for more than one newbie which is encouraged so that lots of newbies can be
helped out. She'll match newbies and tapers up, let them know who they're
matched with and they can trade from there. She'll also help connect
newbies who can then get together and start trading amongst themselves with
their new tapes.
There are some qualifications which must be met in order to join the program.
*** NEWBIE QUALIFICATIONS:
1. You must be willing to send blanks and postage to your parent.
2. You must be a newbie with fewer than 10 hours on tape.
If you meet these qualifications, send me the following form:
------------------------------cut here----------------------------------
Subject line: adopt-a-head newbie
Name:
Email:
Mailing address:
------------------------------------------------------------------------
***TAPER QUALIFICATIONS:
1. You must be willing to accept blanks and postage.
It would also be nice if you would be willing to take on more than one
person, but that's not required.
If you still want to become a volunteer parent, send me the following form:
----------------------------cut here------------------------------------
Subject line: adopt-a-head parent
Name:
Email:
Mailing Address:
Number of children you want to adopt:
------------------------------------------------------------------------
She will continue to do the program periodically, with the goal being
running the program signups every so many months.
Suggestions On What Tapes To Start With
When you are getting your first tapes you obviously will be looking for
tapes you want, but you should also keep in mind what tapes will make good
trading potential. If you try to get low generation tapes of really good
shows, you will then have some good stuff to offer in trade. Most of the
classic shows are really common, so be patient and wait for good copies to
turn up. Eric Doherty makes some good points:
"The most important thing for me when collecting tapes (although not always
anymore as I search for rare tapes) is getting quality low gen recordings.
High quality low gen tapes are what people are looking for and you should
get them whenever you can. If someone has a 1st gen SBD of some show in
1973 you should pick that over some unknown generation tape from 1972. You
are likely to find that '72 tape on other lists, but you may not find a
SBD/1 of that '73 show again. What you are looking for when you trade are
tapes that will allow you to get other tapes. It is all one big game.
Consider your SBD/2 1973 tape a key which you use to get a SBD/2 of some
1970 show. I also think it is valuable advice to wait for better quality
tapes when you can. I waited about 6 months to get a copy of 8/27/72. I
saw it on lots of lists, but I was looking for the best copy I could get.
If you do not absolutely need a copy of 2/15/73 then wait around and see if
something better turns up later. The fewer times you have to upgrade shows
the more money you will save and the more tapes you can collect. It
frustrates me when someone picks an AUD tape from '93 on my list over a
SBD/1 rare 1970 show. They are going to get a lot more mileage out of that
1970 show, and that is the trick to this game, IMHO."
Once you get a few good tapes you should be all set for trading. Use your
best tapes as bait.
Essential Tapes
This is a short list of some of the classic tapes that are out there. Most
of them should be readily available and have good sound. This is certainly
not all of the great shows but a good sampling. Any respectable Grateful
Dead collection should have most of these.
02/28/69 - Fillmore West
03/01/69 - Fillmore West
02/13/70 - Fillmore East
02/14/70 - Fillmore East
05/02/70 - Harpur College
02/18/71 - Portchester
04/29/71 - Fillmore East
05/11/72 - Rotterdam, Netherlands
05/26/72 - London
08/27/72 - Veneta
02/09/73 - Maples Pavilion
05/26/73 - Kezar Stadium
02/24/74 - Winterland
06/18/74 - Louisville
06/28/74 - Boston
10/19/74 - Winterland
10/20/74 - Winterland
02/26/77 - San Bernardino
05/08/77 - Cornell
12/31/78 - Winterland
10/27/79 - Cape Cod
06/14/85 - Greek Theatre
10/09/89 - Hampton
03/29/90 - Nassau
09/16/90 - MSG
09/20/90 - MSG
12/31/90 - Oakland
09/10/91 - MSG
10/31/91 - Oakland
06/20/92 - RFK
Deadbase
If you are planning on really getting into Grateful Dead tape trading you
should get Deadbase. This book will give you all the setlists, reviews,
statistics and also has a section listing favorite tapes for individual
years and all time, among many, many other features. Deadbase IX covers
everything up through 1994 and should be available in October 1995. The
yearly editions have extensive stats and multiple reviews for just that
year. This project is no longer being done, so Deadbase 93 is the last
one. A new version called Deadbase Jr should be available in July 1995.
This smaller book will contain setlists through 1994, basic statistics,
venue information and the current Deadhead survey. Ordering information:
Book Rate Priority
Deadbase Jr. $18 $20
Deadbase IX $30 $33 add $9 for hardcover
Deadbase 88-93(each) $12 $14
Deadbase 88-93(all 6) $56 $60
Deadbase Orders
P.O. Box 499-P
Hanover, NH 03755
Deadbase is only available through the mail or from Terrapin Tapes.
Terrapin Tapes
Terrapin Tapes 1-800-677-8650 will give you just about as good a price on
blank tapes and audio equipment as you are going to get anywhere. They
also sell Deadbase. Internet users are offered additional discounts. They
are an independent business and deserve our support.
*****************************************************************************
--------------------------------------
|The Live Taper's Survival Guide v1.0|
--------------------------------------
Copyright (c) 1995 by Jeff Maggard. All Rights Reserved. Duplication
of this document permitted if and only if (1) this document is not used for
financial gain in any way, and (2) if this document is copied whole,
including this copyright notice.
GENERAL THOUGHTS:
=================
This is a beginner's guide for taping live music.
First things first: Know your equipment. Know its strengths and its
weaknesses. Know where to set your levels. Know how long your batteries
will last, to the minute. Know how long your tapes will last, to the
second. Practice your tape flips (a good flip in a TCD-D5M can be done in
less than a second!).
Know the equipment you're likely to be patched into. Know if the operator
of that equipment is competent. Is the equipment reliable? Will its
batteries last through the set, the show? Does it pass a signal during the
flip?
Know the venue and the sound system. Know where and how to set up your
mics. Know whether or not FOB taping is allowed, and whether you'll get
tossed or have your tapes confiscated if you get caught anyway.
Know the people you're taping with.
THE TAPER'S CHECKLIST:
======================
MICS:
-----
mics (bodies and capsules)
mic stand
mic mounts
wind screens (outdoors)
umbrella (outdoors)
t-bar and adapter(s)
power supply
mic cables, longer mic cables
PS cables (PS <-> deck)
power supply batteries
extra power supply batteries
duct/electrical tape
DECK:
-----
Deck
batteries
tapes
extra batteries
extra tapes
patch cords
patch cord adapters (1/4" mono, 1/4" stereo, 1/8" stereo, RCA, XLR)
splitters (patch in at the side of the chain vs. the end)
battery charger, 120VAC deck PS (use when touring)
more duct/electrical tape
ACCESSORIES:
------------
flashlight + batteries
extra flashlight batteries
pocket knife
stopwatch
voltmeter
pen and paper (setlists/names/numbers)
plastic bags (outdoors)
towel
beer
food, chair, and blanket(s)
sunglasses and sunscreen
tickets - "Taper Tickets" are necessary at Phish/Dead shows!
Did I mention duct and electrical tape?
...and something to carry all this crap in!
Borrow (borrowing is free -- well, everyone appreciates a beer
or rent
a battery powered pro portable analog deck like a Sony analog D5
('full-sized' = 2"x8"x10"), a Sony analog D6 (walkman sized), or one of the
pro Marantz models ('full-sized'). It might cost as much as $100 for a
week, or $50 for a weekend to rent, plus deposit. I don't know where to
get one though -- try your local pro music shop and/or the yellow pages or
the dealers listed in the Mic-FAQ.
If you're going to be patching, bring a selection of patch cables. RCA
plugs and 1/8" headphone jack plugs are the most common, but it can't hurt
to bring 1/4" plugs too. I use RCA 'Y' cables, so I can patch into a chain
from the side -- splitting the signal -- it's a lot easier to get higher up
in the chain this way.
Tips (before showtime):
- bone up on your flipping skills (especially in 'concert mental
state')!
- bone up on your setup and break-down skills (in 'concert metal
state')
- bring a flashlight.
- bring extra batteries for everything.
- bring extra tapes.
- bring a pen and paper for the setlist.
- get a taper's ticket (if going to a Dead or Phish show.
- if you're going outside: bring RAIN gear, bring a blanket (claim
your space!) and a chair, etc...
- bring food, drinks, etc. (M&M's make friends, beer makes lasting
friends!) Caution: may require smuggling.
Tips (showtime):
- NO TALKING during the show!
- DO be polite. Everyone in front of you in the chain is your best
friend, and the guy with the mics is your very best friend!
- DON'T get in the way of people setting up their gear -- if you're
patching, you'll have comparatively little to deal with. This
often includes not asking 'dumb' questions -- no question is dumb,
but bothering people who are trying to work IS. Ask 'dumb'
questions during the setbreak.
- DON'T get in the way of people during the show who have to tend to
their gear, flip tapes, replace batteries, etc. This is more of a
problem indoors.
-----------------------
Appendix
OTHER RECORDING FORMATS
DAT
Many tape traders have made the switch from analogue cassettes to Digital
Audio Tape (DAT). One major advantage to the DAT trader is no signal
degradation through multiple generations. And to this die-hard analogue
fan, DAT does offer in many ways significant sonic advantages over
cassettes. The medium is still very expensive though. Blank tapes are now
very inexpensive, but a good machine is going to cost over $1000. Units
under $1000 are going to be unreliable and are not going to sound quite as
good as the better ones. All digital is not the same! Even the more
expensive machines need a certain amount of pampering and servicing as the
format in general can be very temperamental. At this point the life span
of DAT tapes does not look good either. 15-20 years is about all you can
expect at the most.
VHS
You can make very high quality audio recordings with a Hi-Fi VHS VCR even
at the slowest speed. The higher speeds are only necessary with video.
With this you can put 6 hours of music on one circa $3 VHS tape.
Theoretically a Hi-Fi VHS VCR should sound better than just about any
cassette deck, but my ears tend to tell me otherwise. I have not
experimented much though with it. Besides, you can't play VHS tapes in
your car or walkman. The timer function on VCRs can be very useful in
taping radio broadcasts like the Grateful Dead Hour.
Mini-Disc and DCC
Don't bother. The standard for these digital formats is too low for
acceptable sound quality. Generational loses are far worse than cassettes
but in a different way. Neither of these formats if very likely to last
very long anyway. Some tapers find the Mini-Disc easy to use in stealth
recording.
Reel-to-Reel
Good quality reel-to-reel decks will beat the pants off of just about any
cassette recorder. The machines are large, heavy and clunky and the tape
is very expensive compared to other formats. Even if you can get a machine
for cheap or even free, it is probably not worth messing with for purposes
of tape collecting or trading. Several old time traders do have many hours
of live music on reel-to-reel since it was a major format in the 1970s. It
is not unusual for someone to transfer his reels to DAT and then sell,
trade or give away his reels. Good reel-to-reel machines to look for used
include Teac, Revox and Ampex.
What About the Magazines and Specifications?
After the first edition of this Guide several people contacted me and said
Consumer Reports recommends cassette decks that are not mentioned in the
guide. What's up? Well, CR does a great job with most things. They do a
horrible disservice to audio. All they do is measure the equipment and add
up the features. They do not do any serious listening tests. This is also
true of other magazines such as Stereo Review. They also do not bother
with some of the more expensive equipment. Their general attitude is that
it all pretty much sounds the same.
Specifications really do not tell you very much about how a piece of audio
equipment will sound. They can also easily be reported in a way that is
deceiving. Trust your ears. You can probably hear more differences than
you think. Always try to listen thoroughly to a piece of equipment before
you buy it. Make sure it sounds good to you and feels comfortable to
operate.
by
MICHAEL BELL
mbell@mail.utexas.edu
version 2.02
July 1995
Permission to copy this document or *complete* parts is freely granted.
Please do not break up sections.
******************************************************************************
INTRODUCTION
This is a very opinionated guide to help in the purchase and use of
cassette decks. It is aimed in general at people who trade tapes of live
music and in particular at Grateful Dead tape traders. I do not in anyway
condone the sale or purchase of unauthorized recordings. I have no
financial interest in any of the companies mentioned.
Most of this is based on my own experiences. I have also taken into
account the opinions of people I trust regarding audio equipment. Thanks
go to the following:
Ken Hays of Terrapin Tapes
The good people of Audio Systems, Austin, TX
Marc Nutter of Sonic Sense
John Longmire
Eric Doherty
Jeff Tiedrich
Melissa Agar
Jeff Maggard
The many contributors to the various Usenet newsgroups including:
rec.music.gdead
rec.audio.high-end
rec.audio.opinion
rec.audio.pro
& the Phish FAQ
I welcome all comments, suggestions and questions. If your favorite
cassette deck is not listed here and you think it should be, tell me about
it and what decks you compared it to.
In future editions I hope to include a glossary of terms if I can figure
out how I want to put it together.
*************************************************************
Table of Contents
INTRODUCTION
PART 1: CASSETTE DECKS: A BUYING GUIDE
NEW CASSETTE DECKS
Shopping
Extended Warranties
Dual-Well Cassette Decks
USED CASSETTE DECKS
Used Cassette Deck Price Guide
Where to Find Used Cassette Decks
PART 2: SET-UP, USE AND OTHER SUGGESTIONS
Set-Up
Setting Levels
Head Cleaning
Demagnetizing
Professional Maintenance
Bias Setting
Dolby
Erasure Prevention Tabs
Tape Length
Tape Brands
Part 3: TAPE TRADING INFORMATION AND ETIQUETTE
Your List
General Tape Trading Etiquette
Part 4: HOW TO GET STARTED
Grateful Dead Hour
Local Friends
Buying Tapes at Cost
Tape Trees
Groveling
Adopt-a-Newbie
Suggestions On What Tapes To Start With
Deadbase
Terrapin Tapes
The Live Taper's Survival Guide by Jeff Maggard
Appendix
Other Recording Formats
What About the Magazines and Specifications?
************************************************************
PART 1
CASSETTE DECKS: A BUYING GUIDE
The cassette deck market has changed quite a bit in the last few years.
Single well decks are becoming rare and 3-head decks are now almost
non-existent. The other thing is that most of the decks available now are
crap. Like with many other types of audio and video equipment, the current
trend seems to be to pack on as many features as possible, but this comes
at the expense of the overall performance quality. Most of the cheaper
decks today are going to break down under the constant use of tape traders.
Here are my very biased suggestions on looking for a good cassette deck.
I would consider myself an audiophile and also have some experience in
professional recording. You can take that for whatever it is worth. For
the record I have an Onkyo TA-2056 and an Aiwa AD-F990. Both are 3-head
and date from 1985 or 1986 or so. I bought the Onkyo at dealer cost and
the Aiwa used from a friend. If I had the money I would have Nakamichis.
Why do I need a good cassette deck?
You may say all you care about is the music and you don't really care about
spending a lot of money on a good cassette deck. Well, for one thing you
might change and start to care about better sound. I strongly believe good
sound goes a very long way in the enhancement of the musical experience.
Also, the better your deck is the better dubs you can make, which makes you
more desirable in trading. Better quality decks will also get you in a
better position on a tape tree. A better built deck will last longer and
when it does develop problems will be worth fixing.
General Comments
I lean toward 3-head decks because in most cases they perform better than
comparable quality 2-head decks. With an individual head dedicated to
playback and record they can each be optimized to best performance. Also,
the ability to monitor the playback while recording can be extremely useful
in use and calibration. Most features are of no real use and can sometimes
degrade the deck's performance. This is particularly true of auto reverse.
Since the heads have to move they become easily misaligned. The auto
rewind feature on many Onkyo decks is not really useful but is not
sonically degrading. A real time counter with time remaining can be
extremely useful. Since even the better decks are not really built that
well anymore, reliability is something that also needs to be considered.
NEW CASSETTE DECKS
Below are the new decks I think worth looking into. Most of them are
3-head and all of them should have some sort of fine bias adjust and Dolby
B and C. All but the Nakamichis and the portables have Dolby HX. None of
them should have auto-reverse unless specified.
Nakamichi
Nakamichi arguably makes the best sounding cassette decks you can buy new.
However, they are not made as well as they used to be. If you run a Nak
hard, like many tape traders will, it is going to be in the repair shop at
some point. Actually, most any deck run hard is going to need work done
after several years, but most people tend to expect more out of something
that costs as much as a Nak. Look into extended warranties. Most people
feel the older Naks sound better than the newer ones. (see below for a
list of used Naks) The DR-1($929 list) and DR-2($749) are both 3-head
decks. The main advantage of the DR-1 over the DR-2 is the user azimuth
adjust which helps to optimize playback of tapes made on other machines.
The DR-3($429) is a 2-head deck that will out perform just about every
other currently available 3-head deck.
The Nakamichi pro decks are worth a look. The MR-1 is a 3-head deck with
XLR in/out and 1/4" in and costs $995. The MR-2 is a 2-head deck, has 1/4"
and RCA in/out and runs $695. They do feature pitch control which is
difficult to find on quality decks these days. These decks sound great but
apparently suffer from some of the same reliability problems as the current
Nak consumer models, but probably not near as bad.
It should be noted that tapes made on Nakamichi decks will not sound their
best unless played back on a Nakamichi. The problem is not like it was
with older Naks, but it still exists to some degree. Keep this in mind
when tape trading.
Sony ES
The Sony ES series is beginning to look like a good possible alternative to
the Nakamichis. The TC-RX606ES ($400 list) is just about the only decent
deck with mic inputs, but it is a 2-head model and unfortunately has auto
reverse. The 3-head models include the top of the line TC-K909ES($790)
which looks like a very nice deck. The TC-K717ES($560) does not spec as
well as the other 3-head decks mentioned in this article but seems to sound
good and is built solidly. I have not had the opportunity to listen to any
of the ES series cassette decks, but I have heard good things from reliable
sources. They are among the few decks with the new Dolby S. Another plus
to the Sony ES series is the three year warranty, and in general they
should be very reliable. I don't like the regular (non-ES) Sony line very
much at all and would avoid them.
Aiwa
The Aiwa AD-F850 ($400 list) is a 3-head dual capstan deck. I have heard
some complaints about transport problems in Aiwas. My F-990 is about 9
years old and has given me little trouble. Like Nakamichi, the Aiwa decks
are not built as well as they used to be. Consider an extended warranty.
There is also an Aiwa AD-F950 which includes Dolby S and should have a list
price of around $500. It was not listed in the Audio directory, possibly
because it is a new model. For many years the upper end Aiwa models have
proven to be very good sounding decks for the money. I've seen Aiwa decks
listed in J & R Music World and other mail order catalogues for
ridiculously low prices.
Denon
The Denon DRM-740 ($400 list) is a 3-head deck that is very reliable, but I
don't think it sounds quite as good as Aiwa. The DRM-540($250) is a good
2-head deck for those on a limited budget.
Tascam Pro
The Tascam 122 MkII is virtually the industry standard in studios and has
recently been replaced by the 122 MkIII. Many feel it does not sound quite
as good as the Nakamichi MR-1, but as far as reliability it is nearly
indestructible. There is a host of user accessible calibration adjustments
on the front, and other features that are very useful but mainly in a
studio setting. XLR, RCA and 1/4" jacks are supported and it costs around
$1000. The 112 MkII is essentially a 2-head version of the 122 with a few
less features, but it does have pitch control. It runs for around $650.
The 130 is a 3-head deck that does not have the studio oriented features of
the other decks and runs for around $450.
Portables
Sony Pro
The Sony WM-D6C Pro Walkman might possibly still be available if you look
in the right places. The TC-D5 portable is no longer available. These
were the recorders of choice for Grateful Dead live tapers until DAT
machines took over. Both are 2-head, and both have pitch control.
Connections on the D6 are via stereo mini-plugs(ugh). Connections on the
D5 are 1/4 inch mic (D5M), XLR mic (D5ProII), and RCA out. There is a slim
chance that some mail order professional recording or broadcast suppliers
might have these decks in stock. They should be somewhat available on the
used market since many who used them are switching to DAT. The D6C costs
around $450 new, the D5 was around $650 to over $900 depending on the
configuration and accessories. Used D5s should be around $300-$400. Used
D6s should be around $200-$225.
Marantz
The Marantz PMD430 costs around $500 and I believe was very popular in the
professional broadcast world and in field work. It has pitch control, 3
heads and quarter inch and RCA jacks but does not have Dolby C. It is
probably easier to find new than the Sony decks. Again look at places that
sell pro recording and broadcast equipment
Shopping
All of the above prices are list price(or estimates of list) and should
really only be used for comparison purposes. Actual prices will vary
considerably from brand to brand and store to store. Most of the above
equipment will not be available at mass market stores such as Circuit City
and Best Buy. Regular prices at independent audio retail stores will
likely be fairly close to list, but in exchange you will get good one on
one service and a chance to listen to the equipment. Some of the more
upscale stores will have nice listening rooms and will often let you take
equipment home to try it out. Some independent retail stores will sell for
lower or have sales often. Things will be different in different parts of
the country.
The best prices are usually available with mail order where you can get in
the neighborhood of 10%-20% or more off of list price. Be careful with
mail order and know who you are dealing with. Using a credit card is a
good idea as the credit card company will back you up if you have problems.
Ask about warranties. You may not get a manufacturers warranty if the
mail order company is not an official dealer for the specific product line.
The rec.audio.marketplace newsgroup occasionally posts surveys of mail
order places. Our friend, Ken Hays, at Terrapin Tapes 1-800-677-8650 will
offer prices competitive with any other mail order outfit and he will treat
you right.
For the pro decks mentioned you will need to check with music stores or
other places that sell professional recording equipment.
If the above prices seem too high to you, I strongly recommend searching
out the used market(see below).
Extended Warranties
Extended warranties for as much as 5 years can be had for as little as $35
and are certainly worth looking into. Do not pay too much and do read the
fine print. It is best if the extended warranty is from the manufacturer.
If you do get an extended warranty, try to get one that will allow general
maintenance and use it for all it is worth. Take the deck in to have it
adjusted, aligned and internally cleaned about once a year. Even if you
don't get an extended warranty it is a good idea to have this done. New
decks costing less than about $250 are rarely worth an extended warranty or
even getting repaired, which is another reason for avoiding them. Also,
certain credit cards will double your warranty. If you are doing, or plan
on doing, some very heavy taping, your deck is likely going to need some
kind of service within 5 years.
Dual-Well Cassette Decks
I don't think too much of dual-well decks, but if your are on a very tight
budget it may be the only way to go. At this point my main recommendation
would go to the Sony TC-WR801ES ($430 list). The TC-WR901ES ($670) is
nicer, but at that price you are likely better off looking into separate
decks. The Denon DRW-840 ($400 list) is worth looking into. If you are
really broke consider the Denon DRW-660 ($300 list). Anything less than
this is not going to sound very good and is going to break under moderate
to heavy tape trading use.
USED CASSETTE DECKS
In the past I have not thought it a good idea to buy a cassette deck used
since they have so many small moving parts. But given the sorry state of
the market today it now looks like one of the better ways to go. I
strongly believe cassette deck quality peaked between 1983 and 1987
roughly. They sound better, are built better, and don't have a lot of
unnecessary features.
Don't buy one from a Deadhead, they work cassette decks to death. Try to
get one from someone who did not use it too much. However, avoid anything
that has been sitting completely unused for more than a year or so. Check
all transport functions and make sure they all work smoothly. A good tape
to use to test the deck is something with acoustic piano on it. Listen for
wobble or flutter in the tone and a fuzziness on the attacks. See if the
dealer/owner will let you try the deck for a period of time. Avoid decks
with auto reverse and other unnecessary features. It will cost more to buy
a deck from a dealer but they hopefully will have refurbished the deck and
will also offer some sort of warranty.
Most any Nakamichi deck made since 1979 would be a good choice, just be
real certain the transport is in good condition. The earliest Naks are the
most durable. The older top end(3-head) Onkyos and Denons where very good
and rugged. Aiwa is worth looking into, but like the Naks beware of
transport problems on more recent models. Pro models from Tascam/Teac,
Fostex and Tandberg are sometimes worth a look but are generally not too
common on the used market. Always try to get a 3-head model, but Nak
2-head decks are generally fine. Some sort of fine bias adjust is also a
good idea but will not be very common on older models. The original box
and manual is a plus. Mainly look for decks from the middle 1980s
Used Cassette Deck Price Guide
Namamichi:
3-head
%481 $200-250 (no monitoring)
581 $250-300 (no monitoring)
^581Z $275-325
^582 $300-350
^670ZX $300-400
*680ZX $450-550
*681ZX $400-500 (no monitoring)
*682ZX $450-550
^LX-5 $350-450
*ZX-7 $550-650
*ZX-9 $750-900
CR-3a $325-425
CR-4a $425-525
CR-5a $500-600
*CR-7A $750-850
*RX505 $650-750
*DRAGON $800-1100
BX-300 $375-425
Cassette Deck 1 $450-550
Cassette Deck 1.5 $400-475
DR-1 $500-600 current
DR-2 $400-500 current
2-head
580 $150-200 (no metal)
BX-1 $125-175
BX-2 $125-175
%BX-100 $150-200
BX-125 $150-225
%BX-150 $175-250
%480 $150-200
CR-1a $125-200
%CR-2a $150-225
LX-3 $250-350
RX-202 $300-400
Cassette Deck 2$200-250
DR-3 $250-300 current
Pro Models
MR-1 $475-550 3-head
MR-2 $350-425 2-head
Portables
350 portable $125-175 w/power pack $275-350 2-head
*550 portable $350-500 2-head
* = Classic Nakamichi, very desirable, highest recommendation
^ = Recommended
% = Good low cost alternative (under $250)
The BX and CR series will be worth the higher end of the scale if they have
had the gear modification done. If the mod has not been done it is highly
recommended that you get it done. The original transports in these units
turned out to be very weak and prone to breaking in as little as 2-3 years.
The gear mod can be done by any Nakamichi specialist and will fix the
problem.
Be aware that tapes made on the older Nakamichis are not going to sound as
good when played on non-Nak decks due to a difference in the head gap. If
you get one of these decks it will be in your best interest to only use it
when trading with other Nakamichi users. The CR and DR series should not
be very problematic. Tapes made on non-Nak decks may not play well on
certain Nak models but most of the better ones should play them fine.
Aiwa and Denon 3-head decks:
C. 1980-1984- $125-$175
C. 1984-1989- $150-$250
C. 1990-1994- $150-$200
Onkyo 3-head decks:
C. 1980-1984- $75-$125
C. 1984-1989- $125-$200
C. 1990-1994- $150-$175
Condition and specific models will effect the prices greatly. When new,
Aiwa, Denon and Onkyo 3-head models from the 80s ranged from $350-$700. I
think Aiwa has had some models in the $1000 range at some point and used
prices for those would be closer to $400.
The above are essentially dealer prices and should come with the option of
returning the deck and some sort of warranty(30-90 days is typical). You
should pay less if buying from an individual or if details on the deck are
sketchy and there is no option of returning the deck. Roughly 40%-50% of
the original price for models from the 80s and slightly more for more
recent decks is what you should be looking at. Some of the classic
Nakamichi decks have a very high demand and actually command prices
greater than 50% of the original price.
Even if you have to get some small repairs done, I think you will most
likely still be ahead on your money. If a cassette deck is going to have
some sort of catastrophic failure it is most likely to occur in the first
year or two. After that, most repairs concern replacing worn out parts
which is usually not too expensive.
Where to Find Used Cassette Decks
The best deals will usually be found in the classified ads. There are also
a variety of places on the internet including rec.audio.marketplace where
you can find used audio equipment. There are some stores that sell used
equipment and usually offer some sort of warranty, usually 90 days. Repair
shops also sometimes sell some used equipment. Hunt around for deals in
places that sell used electronics in general. Pawn shops are usually
overpriced and won't take stuff back. They will often take a lower than
marked price though.
Sonic Sense, P.O. Box 61141, Denver, CO 80206 (303) 698-1296, sell and
repair used Nakamichis and other recording equipment. They are very
helpful and knowledgeable.
PART 2
SET-UP, USE AND OTHER SUGGESTIONS
Set-Up
It is best to use the simplest path possible to make the best dubs. What I
do is connect both decks into the same tape loop. Here's how it works:
Preamp(Receiver)>Deck 1>Deck2> Preamp(Receiver). There are other
advantages to this aside from having only a patch cord between decks.
While you are dubbing you can listen to something else. It also frees up
an extra input on your preamp(receiver). Obviously you record from deck 1
to deck 2 so it is best to have deck 2 be the better deck. When you just
want to listen to tapes you use deck 2. If you want to record from
something other than a tape you either record on deck 1 or pass the signal
through deck 1 to deck 2. For best results you could physically remove
deck 1 from the chain but that would be a pain. If you have a deck that
has playback fine tuning features such as the Nakamichi Dragon and CR-7A
you will probably want to have it in the playback position. Do some
experimenting and see which decks work best in the play and record
positions. If you have one deck that is a Nakamichi and one that is not
you will probably want to pay particular attention to which one you use for
which purpose. Keep in mind that a tape made on a Nak will sound best when
played back on one.
It is better to not stack your stereo equipment on top of each other. You
should isolate your amp or receiver as far away as possible from your other
equipment. Try to keep other electrical appliances as far away as possible
from your audio equipment. Once you turn your cassette decks or other
equipment on you should leave them on until you are through with them for
the day. Equipment such as preamps and CD players that do not run hot
should be left on all the time. Each time you turn a piece of electronic
equipment on or off you send a surge through it. Leaving equipment on but
idle uses very little electricity. Your equipment will last longer and
sound better when left on rather than turned on and off repeatedly.
Audiophile cables are worth looking into and really can make a difference.
The following are recommended. Prices are approximate and for a 1 meter
pair.
Kimber PBJ $65
Straightwire Flex Connect $50
Vampire (not sure of model) $30
Audioquest is also a good low cost alternative, but I am not that familiar
with their line.
AVOID Monster cable, the above are far better.
Setting Levels
Setting levels is going to vary from deck to deck for a variety of reasons
explained below. You want to set the levels as high as you can to keep the
music above the noise floor(hiss). If you set the levels too high the tape
will saturate and distortion will result. With most chrome tapes on many
decks you will want the peaks around +2 or +3 dB. Different tapes and
decks will react differently. Consult your manual to see what it suggests
as far as setting levels. Use that as a starting point and then
experiment. See how far you can push different types of tapes before
distortion begins. Once you find the point where your deck is going to
distort try to stay about 2 dB below that level.
First of all, 0 dB on cassette decks can vary from one deck to another
whether by design or just by miscalibration. Most decks have a Dolby
symbol somewhere on the meter and this *should* be considered the real 0
dB. Different meters also react differently, especially different types,
i.e. needles, LED, fluorescent. Some meters are faster than others and
also some are meant to show averages(needles) and not peaks. Slower meters
are not able to "follow" a signal all the way up to the peak. Very fast
meters can read peaks of +5 or more but this is for such a small fraction
of a second that the tape will not saturate. These +5 peaks will more
likely read at around +2 or +3 or lower with most other meters.
Play recordings made on your deck on other decks and try to get a consensus
of how differently your recordings are going to react. READ YOUR MANUAL.
It will suggest recording levels based on how the deck has been set up.
Some decks, especially ones with meters that show averages, should usually
be set around 0 or +1. Very fast meters should usually be set with *peaks*
at around +4 to +7. If your source material has high continuous levels you
will need to set the levels lower or saturation will result. This is based
on chrome tapes. Metal would be a little higher, normal bias a little
lower. Experiment and see what works best. See how high you can push a
tape before distortion results. Experimenting with test tones can lead to
some insight. As an example I can use a test tone and match my two
cassette decks to exactly 0 dB with a continuous signal. Peaks on my Onkyo
TA-2056 of +2 dB will correspond to about +5 or +6 on my Aiwa F-990.
Set the levels for the loudest part of the tape. Once you get the hang of
this and get a good feel for your tape decks you will be able to do this
fairly quickly. Keep mental or actual notes about where the peaks are on
your tapes. Once you set the levels and start recording you should not
change them so as to preserve the dynamic range. If there is an obvious
change in level due to something non-musical, then it probably is a good
idea to make subtle adjustments to compensate.
Some purists say you should never adjust the balance between the left and
right channels. The simple fact though is that after a few generations it
is real easy for the balance to get skewed to one side. I personally
prefer the levels to be close to even on average unless there is a good
reason for them not to be. Some early(60s) tapes had a weird left-right
balance and necessitate being off balance. Also, the Dead's drums/space
segments will have odd balances on purpose. Use your best judgment. Find
out what your trading partners prefer.
Head Cleaning
The best and cheapest method is to use swabs (Q-tips or whatever) and plain
alcohol. Cassette cleaners that you insert in the deck are not as
effective. First of all make sure you use something that has 90% or
greater alcohol content. Most rubbing alcohols have around 70% and this is
not good as there are too many additives which are not good for your deck.
The best thing I have found to use is grain alcohol. Everclear is 95%
alcohol, and I think it is the most concentrated you can get. I can't
believe people actually drink the stuff. Another good choice is denatured
alcohol which you should be able to get at a pharmacy. There are some drug
store alcohols that are something like 92% for about a dollar. This is the
cheapest way to go, but I think using Everclear or denatured alcohol is
better. The 200ml bottle of Everclear will cost about $4 from a liquor
store, and you will probably never run out of it. Keep the cap on tight as
it evaporates easily. It is probably better to get the foam swabs rather
than cotton as the cotton strands sometimes unwind and could get caught up
in the deck. I still use the cotton though.
Take the swab and dip it in the alcohol and then scrub the heads and
anything else that the tape might touch. When the swab gets a little bit
of brown gunk on it change to another. Do not use alcohol on the rubber
pinch roller, or it can dry and crack. The safest thing to do is use only
rubber cleaner on the pinch roller. At one point you could get rubber
cleaner at Radio Shack but I have not been able to find it there lately.
Places that sell professional recording or broadcast supplies should have
it. I often use just a dry swab on the pinch roller. The capstan (metal
pin above the rubber pinch roller) is usually spinning all the time when
the deck is on. This makes it pretty easy to clean as you just have to
press the swab against the capstan and the spinning does a pretty good job
of cleaning. Some capstans only spin when there is a tape in the deck. In
this case you can feel around at the top of the deck's well and find the
switch that senses when a tape is inserted. Pressing the switch will make
the capstan spin. The capstan is very important to keep clean because it is
usually the culprit when a tape is "eaten." If the tape well in general
looks dusty or grungy try to clean it up as best you can. A can of
compressed air can be very effective. The alcohol usually evaporates
quickly, but it doesn't hurt to go over everything with a dry swab to make
sure everything is dry. Many decks have removable doors that make them
easier to clean.
Clean the heads about every 20-50 hours of use. Some decks get dirtier
faster than others. If there is more than just a hint of brown stuff on
your swab, you need to clean your heads more often. It does not hurt to do
it too often.
Demagnetizing
There is much controversy concerning demagnetizing. A few say it needs to
be done often, some say only once every few years and many say not at all
or only when necessary. One thing I will say is DO NOT use the cheap
demagnetizes that you find in record stores. These can cause more harm
than good. Demagnetizing should only be done by a professional with
professional equipment. The safe plan is not to do it all. If your deck
is having problems and you are having it serviced ask the technician about
demagnetizing. They will usually do it for free if you are already having
work done. Otherwise, if it ain't broke don't fix it.
Professional Maintenance
It is a good idea to take your deck to a reputable repairman or high-end
oriented audio store and have your deck professionally cleaned, aligned and
calibrated. If your deck gets very heavy use you should do this about
every year or so. If you are a little tight on money you can get by with
every two or three years or so. At a minimum have them 1) calibrate the
meters on playback and record 2) calibrate the transport speed 3) calibrate
the bias to the tapes you use most often 4) clean and demagnetize(only if
necessary) 5) set the head-azimuth to zero' 6) check the performance of
the analog sections. After 5 or so years it is a good idea to have them
check the motors if the deck has had very heavy use. This will cost
approximately $30-$80, depending on where you take it and how much you need
done. This can be done yourself if you really know what you are doing and
have the right equipment.
Bias Setting (Tape Types)
There are three broad bias or tape type settings. These are:
Normal or Type I
Chrome, CrO2, High Bias, or Type II
Metal or Type IV
[Type III or Ferric Chrome is no longer available.]
Each of the names on a line means the same thing. The first name is the
most common in usage.
Most cassette decks should have settings for the different types of tapes.
Car stereos, boomboxes, and walkmen sometimes do not. In playback mode
metal and chrome are basically the same. Many car stereos and walkmen have
a playback setting that says chrome/metal. Many newer cassette decks have
an auto setting so you do not have to even worry about setting this. Even
with auto setting there should still be some sort of indicator light
showing the setting.
Fine Bias
Within the normal and chrome settings there is also bias fine tuning that
is necessary. Most better decks made within the last several years will
have some sort of bias fine tuning. Some of the older decks may not. If
your deck does not have any sort of fine bias adjust you should find out
what tape the deck was factory set for and use that tape or have the deck
recalibrated for the tape you want to use. Many decks are set for Maxell
XL-II or TDK SA in the chrome position which are pretty close to each other
as far as bias. The exception would be where the deck manufacturer also
makes tapes in which case they would likely bias their decks for their own
tapes. This is a concern that needs to be addressed with Sony and Denon
decks. The deck's manual should say what tape the deck was set for. If it
does not try contacting a service representative for the company or try
experimenting with different tapes. (More on different tapes below)
There are two ways of setting the bias fine tuning. With automatic systems
it is usually just a matter of inserting the tape you wish to set the deck
for and pushing a button. The deck will go through its motions for several
seconds and then be ready to go. With a manual system there is usually a
dial on the front of the deck. In the straight up position the dial should
lock in place and be set for whatever tape the deck was biased for. The
deck's manual will show where to set the dial for other brands of tapes.
If the manual does not give the information you need, you can call a
service representative or you can try to figure it out for yourself by ear.
You will need a 3-head deck to set the bias by ear. Start recording a good
sounding source(preferably a CD or LP) you are familiar with. Put your
deck on source and get a good idea of how it sounds. Then switch over to
tape and have the bias dial set to the straight up position. Slowly turn
it to the right and see what it sounds like and then slowly turn it to the
left. Your goal is to as closely as possible find the setting that will
match the sound of the source to the tape setting. Resist the urge to set
the dial only based on where the hiss is the least. This can result in
dull highs. The difference in sound will likely be very subtle, so take
your time and listen closely. The effects will be most noticeable in the
high frequencies. Try this both with speakers and headphones.
Dolby
My best advice is to not use it. Most current tape formulations allow for
very low noise so Dolby is not really necessary. To my ears, Dolby B is
terrible and I try not to ever use it for any reason. It kills the high
frequencies and sometimes causes weird phasing or pumping problems. Dolby
C *can* work very well on a high quality deck. The problem is it only
really works well when you play the tape back on the same deck it was
recorded on. Results can vary considerably when tapes are played back on
other decks. Dolby circuits in decks that cost less than about $250 or so
are not likely to be very good.
If you have a tape that already has Dolby on it the best way to copy it is
to set the Dolby off on both decks. The copy will still have the dolby on
it and will need Dolby engaged when playing it back. Most people don't
want Dolby on their tapes though so most of the time you will decode the
dolby on your play deck and then record without Dolby. Some dubbing decks
will not let you do this. Multiple encoding and decoding of Dolby will
make the sound worse and should be avoided.
Dolby HX pro is a dynamic range enhancer, and on good decks is usually
beneficial. It is on all the time.
I have not heard a dolby S deck yet but have heard that it works very well,
better than Dolby C supposedly. The advantage is supposed to be that you
can play back a Dolby S tape with Dolby B and it will sound decent but not
as good as played back with Dolby S.
The MPX filter (not Dolby related) on cassette decks is intended to filter
out unwanted multiplex noises associated with FM broadcasts. It does not
need to be decoded on playback. It is not supposed to affect the sound of
an FM broadcast, but I can hear a subtle difference so I don't use it.
Experiment and see what you prefer.
Erasure Prevention Tabs
The tabs on the top of a cassette can be popped out to prevent accidental
erasure of a tape. You can cover the hole with thin tape if you want to
record over the tape. When doing this make sure you only cover the part
where the tab was. The hole beside the tab is used for cassette decks that
set the tape bias automatically. Also keep your tapes far away from
electro-magnetic sources such as your speakers, TV and other electrical
equipment to avoid erasure.
Tape Length
It is best to use 90s as much as possible. Use 100s when necessary. 110s
should only be used when absolutely necessary. I would avoid playing 110s
in walkmen, car stereos and boomboxes as the extreme tape length is bad for
the motors. Avoid fast forwarding and rewinding when possible in any deck
with 110s. The only two 110s I would consider using are the Maxell MX-110
and the TDK MA-110. I tend to prefer the TDK as it seems to put less
strain on the tape deck. DO NOT use anything over 110. If something will
fit on a 60(like some Dead first sets) check with who you are trading with
to see if that is OK. Most people will prefer a 90 and then some filler.
Be aware that tapes are not going to be exactly the specified length. They
are always a little bit longer. There is usually about two extra minutes
per side on most TDKs and Maxells. It will vary from batch to batch.
Tape Brands
Since most good decks now have bias fine tuning you can usually optimize
the performance of your deck with just about any good quality tape. Still
you should consider strongly the tape recommended in the deck's user manual
and also try some experimenting.
Maxell
Maxell XL-II has pretty much become the standard among tape traders. Some
people also like to trade with the nicer and more expensive Maxell XL-IIS.
For the most part XL-II will do for most situations. XL-IIS can make a
difference with super high quality low generation tapes. XL-IIS tapes have
a nicer shell and also a higher bias so that you can record higher levels.
If you do not have bias fine tuning you will see little to no advantage
using XL-IIS tapes, unless your deck was factory set for them. Maxell's
MXS metal tapes are extremely good but pretty much overkill in the world of
tape trading. Their best use would be in dubbing exceptional tapes from
DAT and for live recording. MX tapes are a notch down from MXS. In most
cases XL-IIS will probably outperform MX tapes. Avoid the Maxell Capsule
series. Many people feel that the XL-IIS and MXS are among the most
durable tapes you can get, so there is some advantage to putting
irreplaceable recordings on these tapes.
TDK
Although most everyone prefers Maxell, TDK tapes are at least worth a try.
Some decks may work better with one than the other. If you do not notice
any difference in quality get whichever is cheaper. Make sure with your
trading partners which tapes you send them. TDK SA tapes are comparable to
Maxell XL-II, SA-X are comparable to Maxell XL-IIS, MA are comparable to
MX, and MA-X are comparable to MXS. TDK does make some real high end metal
tapes above the MA-X but they are really only necessary in pro
applications. TDK D tapes are good if you want something that is real
basic and cheap. They are good for boomboxes, car stereos and walkmen.
Denon
If you have a Denon deck I strongly urge you to a least try a few different
Denon tapes and see how they sound. Denon makes a wide range of very nice
tapes. It should make sense that a company would set their decks for their
own tapes. They make one of the best metal tapes I have ever encountered,
but it costs about $7. If you do find that the Denon tapes sound better,
urge your trading partners that you will be able to make them better tapes
with the Denons.
Sony
I have never cared very much for Sony tapes, but if you have a Sony deck
you should probably at least give the better ones a try.
Fuji
I have encountered a few people that have like Fuji tapes. I have not
tried them.
Nakamichi
Nakamichi chrome cassettes are TDK SA-X but with a different (better?)
shell and higher quality control. The tape is only taken from the center
part of the large spools in manufacturing where the quality is more
consistent. They are considerably more expensive than regular tapes
PART 3
TAPE TRADING INFORMATION AND ETIQUETTE
Your List
Your list should include:
Band, Date, Venue, Source, Generation, Grade and Time(length).
Source
The source is how the master tape was made. A Soundboard (SBD) is a tape
made from the direct outputs of the soundboard at a show. The sound is
usually up front and very clear. Depending on how it is mixed there is
usually little to no crowd/hall ambiance mixed in. These are generally the
most desirable tapes. However, keep in mind that not all SBD master tapes
are perfect and there are several examples of defects on them. In very
small venues there can often be a very off balance mix if a tape is made
from just the soundboard. A tape made with a mix of soundboard feed and
mics used for ambiance can be very nice but done wrong can be really
horrible. In the past couple years there have been some Dead tapes
circulating labeled as SBDs but are actually tapes made from one of monitor
mixes. These usually don't sound very good and will have an odd balance.
They also might have the band talking to each other through their internal
intercom system.
Audience (AUD) tapes are made with microphones in the venue. With Dead
shows most of these come from the taper's section which is behind the
soundboard. Front of Board (FOB) tapes are recordings that are made from
somewhere between the stage and the soundboard, usually stealth. Most
consider the front of the soundboard a better place to record from.
Stealth recordings are recordings that are made at shows or in parts of a
venue where taping is not allowed. AUD recordings are rarely as clean as
SBDs, but some people prefer them because they give a better sense of
"being there." As some tapers are getting into better and better
equipment, AUD recording are getting better and some sound very fine. One
way to identify AUD tapes is if you hear people in the audience that sound
near and distinct. The crowd (if any) on SBD recordings will always sound
more distant.
Recordings made off of the radio are usually designated FM. With a good
tuner, FM recordings can sound quite good. Due to the limitations of radio
the very highest frequencies are lacking and the dynamic range is
compressed, however. Some people make finer distinctions regarding sources
but that is beyond the scope of this article. If you are not sure of the
source of your tape you can try to make an educated guess. It is a good
idea to put a question mark on your list if you are guessing. Example:
SBD?
Generation
The number of the generation is every copy in series made after the master.
DAT(Digital Audio Tape) generations are generally not counted since a DAT
copy of a DAT is a virtual clone. Some people call the first
analogue(cassette) copy dubbed from DAT an "analogue master", but I
strongly disagree with this. The master tape is the tape that was made at
the source. Period. Subsequent DAT copies of a DAT should be called
clones. DAT copies of the old tapes from the GD vault are usually not
counted as a generation.
Examples:
SBD master DAT>DAT>cass 1>cass 2
Cass 2 would be a 2nd generation copy of the soundboard. Many would
indicate it like this SBD/2
Analogue reel from the vault(SBD master)>DAT>DAT>cass 1>cass 2
Since people do not count the DAT generations this would also be considered
a SBD/2.
Some people will refer to DAT masters and DAT copies from the vault as DAT
SBD, DSBD or DSB.
If you make an audience tape at a show yourself or tape something off of
the radio that would be considered a master tape. Some people indicate
this as FM/0 but I prefer FM/M.
If you do not know the generation do not guess. I will put the generation
as "low" on my list if I am pretty certain it is less than about 5th or so
but don't know the exact generation. I usually base this on who I got the
tape from and the sound of the tape.
The important thing with generations is to be consistent. The lower the
generation of the tape the more desirable it is. Higher generation tapes
will have progressively more hiss, and a host of other problems that can
include: lack of bass and high frequencies, dulled transients, congested or
otherwise blurred and indistinct sound. The cassette decks can play a
major factor as well. A fifth generation tape that has only been through
Nakamichi decks will likely sound better than a third generation tape that
has gone through cheap dubbers.
Grading
The main thing to remember is be honest and consistent. If you grade tapes
high just to attract people, they won't ever trade with you again. Grading
is very subjective and varies from person to person. It is a good idea to
thoroughly explain your grading philosophy on your list. Most people use
letter grades. Some try to grade all tapes on the same scale, some make
allowances for older tapes and AUD tapes and grade them easier. I try to
grade everything on the same scale. Either way, explain your approach on
your list. To give you an idea, this is how I grade my tapes:
A+ An exceptional tape, sound is on par with a commercial release of a
live recording. Only low gen SBD or FM qualify.
A A very good clear tape with no major problems. May have some hiss when
the band is not loud. Generally only SBD or FM, but a rare few exceptional
AUD tapes can make it.
A- Some problems, but nothing that really distracts from the music. May
have some hiss, weak bass, or muffled sound, but not too badly. Usually
higher gen. SBDs and decent AUDs. I will usually include 60s tapes with
very slight amounts of distortion as A- as well- this is the one place I do
slide a little.
B+ Beginning to distract from the music. May have more extreme of the
above and/or some distortion or balance problems. Also boomy AUD tapes.
B Getting harder to listen to, but some music is still coming through.
Usually old or rare, where better versions are not available.
B- Takes some effort to listen to.
C Virtually unlistenable.
I would like to emphasis that there is more to grading tapes than just
listening for tape hiss. There are many other things to listen for. Can
you hear all the members of the band? Is the sound muffled, can you not
hear the cymbals well or at all? Is the sound congested or boomy? Is
there distortion? I consider these factors far more important than tape
hiss
Timing
Basically how long the tape is. Some picky tapers want exact timings.
Most people are happy with the length of tape the show is on to the nearest
side. For example if you have a show that fits on a 100 min. tape and on
one side of a 90 you would say 145 for the timing. It is also a good idea
to give some sort of set indication. Most use roman numerals for the sets.
Some will indicate acoustic sets with an a, encores with an e. There are
various ways of indicating partial sets. I use a p as in Ip meaning a
partial first set.
Examples of a listing:
Grateful Dead
70/02/13 Fillmore East DSB/2 A+ 180 all -or- I, a, II
85/06/16 Greek Theatre SBD/4 A 135 Ip, II
The first one should be obvious. The second one indicates a show that fits
on one and a half 90 minute tapes and has part of the 1st set and all of
the 2nd.
It is sometimes a good idea to have a column for comments where you can
mention guests, rare songs, first/last times, etc. I personally find this
a little impractical with sending a large list through email but it can be
worked out. It is not difficult to do with a hard copy of your list.
General Tape Trading Etiquette
Shipping
Agree beforehand how the tapes are going to be sent. If you are sending
one to three tapes first class mail is the standard way to go and costs
around a dollar or so. For more tapes Priority Mail is generally the
standard. Up to 2 lbs is $3 with Priority Mail and usually ships in 2-3
days. You can send about 8-10 cassettes with cases and 10-12 without cases
at this rate. Various grades of tape weigh differently. If you want to
save some money you can send tapes Special Fourth Class which is commonly
referred to as Book Rate and ships in about 5-7 days. 6 or 8 tapes would
work out to around $1.50. If you are sending a large number of tapes this
can work out to save you quite a bit of money. Also UPS is a good
alternative if you are sending a large number of tapes. UPS on heavier
packages is much less than Priority, a little more than Special Fourth
Class, and will ship in 2-5 days depending on the distance.
I prefer to ship tapes without their plastic cases. With larger numbers of
tapes this can save you some money on shipping. Also the plastic cases can
break real easy in the mail. Pull the cassette and J-card out of the
plastic case leaving the J-card to cover the exposed tape. Make sure the
tape is all the way wound. Rubber band two cassettes inverted flat against
each other. They should fit tightly together making a package not much
larger than one cassette in its plastic case. As an extra measure you can
run the rubber bands through the tape hubs to prevent them from moving.
Its a good idea to put the cassettes in a plastic bag to protect them from
water or dirt. If you send tapes without the cases make sure your partner
is doing the same!
The standard means of shipping is the padded envelope. It is best to use
the smallest one possible so that the tapes fit in tightly and do not shift
around. Pieces of cardboard, paper, bubble wrap, etc. can be useful in
packing. Staple and then use packing tape on the open end of the envelope.
Shake the envelope as a test. If the cassettes are banging around you
need to pack it better. The post office can be fairly rough on packages.
If you are sending a large number of tapes, more than 10-12, you should use
a box. The padded envelopes with the plastic bubble pack are better since
they are not dusty and dirty like the ones with that recycled filler stuff.
Reuse the padded envelopes to save money and space in the landfills. Also
you can try to find places that will give you their old padded envelopes.
Record stores, and I am sure many other like businesses, get tons of them
every week. I have never paid for a padded envelope.
Other things
Don't label the J-card. Write the date, venue, (set) and songlist on the
back of the sticker labels for the cassette. Also include
source/generation, and any other pertinent information. Most people slide
this between the J-card and the plastic case so that the songlist can be
viewed through the plastic. If you are shipping without cases ship it into
the rubber bands. You can also write the info on a scrap piece of paper.
If, when dubbing a tape, you realize that it does not sound as good as you
thought it did, make sure you tell the person you are trading with. Don't
worry if this happens, it is not too uncommon.
Don't use Dolby, EQ, or in any other way alter the tape unless the person
you are sending the tapes wants you to. If your copy of the tape has Dolby
and you did not indicate it on your list you should tell your trading
partner and see how he wants to deal with it.
Unless other arrangements have been made, you should ship a typical trade
of tapes(4-8) within 2 or 3 weeks. If there is a problem, contact your
trading partner, don't leave him/her in the dark and hanging.
If you are sending blanks to be dubbed onto DO NOT send more than agreed
to. (more on trading for blanks(groveling) below)
The general rule with Maxpoints is whoever buys the tapes keeps the points.
If you are sending blanks for someone to tape on it is a nice gesture to
let the taper keep the maxpoints
Don't post your whole list to the Internet (this is bad netiquette as
well). Just have a simple post stating how many hours you have and/or a
few juicy tidbits from your list or some sort of basic description of what
you have. You can then email your list to people that respond to your
post.
PART 4
HOW TO GET STARTED
You have few or no tapes, and without anything to offer in trade you feel
like your collection is never going to grow. Fear not, there are many
different roads you can take. This section is mostly Grateful Dead
oriented, but tape traders of other music should be able to find some
useful information.
Grateful Dead Hour
If you live in an area that has the Grateful Dead Hour radio program hosted
by David Gans you will be in business. The GDH runs every week with live
Grateful Dead music from recent shows to old rarities. Call or write the
station running the GDH and tell them how much you like it. If it is an
NPR or other non-commercial station make sure you send them a little money
when they have their fund raisers. If no station near you runs the GDH
start bugging some to get it. If you find a station that is interested,
you can contact David Gans at the addresses listed below. Cutting out
commercials and other announcements you can often, but not always, fit the
GDH on one side of a 100 minute tape. I use a 110 to be on the safe side
and don't try to cut anything out.
GRATEFUL DEAD HOUR
National broadcast schedule as of July 5, 1995
KYUK-AM 580 Bethel AK
KFSK-FM 100.9 Petersburg AK Friday 9pm
KCAW-FM 104.7 Sitka AK Thursday 10pm -> NEW STATION!
WQPR-FM 88.7 Muscle Shoals AL Friday 11pm
WUAL-FM 91.5 Tuscaloosa/Bham AL Friday 11pm
KZON-FM 101.5 Phoenix AZ Monday 11pm
KEKO-FM 92.1 Tucson AZ Friday 10pm
KHSU-FM 90.5 Arcata CA Tuesday 10pm
KPFA-FM 94.1 Berkeley CA Wednesday 8pm
KFCF-FM 88.1 Fresno CA Wednesday 8pm
KLSX-FM 97.1 Los Angeles CA Sunday midnight
KNSQ-FM 88.1 Mt. Shasta CA Saturday 8pm
KNCA-FM 89.7 Redding CA Saturday 8pm
KSEG-FM 96.9 Sacramento CA Saturday midnight
KGNU-FM 88.5 Boulder CO Saturday 8pm
KSUT-FM 91.3 Ignacio CO Saturday 9pm
WEFX-FM 95.9 Norwalk CT Sunday 9pm -> STARTS 7/9
WRUF-FM 103.7 Gainesville FL Sunday 9pm -> NEW TIME
WJCT-FM 89.9 Jacksonville FL Friday 11pm
WOZN-FM 98.7 Key West FL Sunday 3pm
WZTA-FM 94.9 Miami FL Sunday 11pm
WGLF-FM 104.1 Tallahassee FL Sunday 6:30pm -> STARTS 7/16
WMNF-FM 88.5 Tampa FL Tuesday 9pm
KBSU-FM 90.3 Boise ID Friday 11pm
KUOI-FM 89.3 Moscow ID Thursday 9pm
WEFT-FM 90.1 Champaign IL Friday 7pm
WXRT-FM 93.1 Chicago IL Sunday 9pm
WYMG-FM 100.5 Springfield IL Sunday midnight -> NEW STATION
WFHB-FM 91.3 Bloomington IN Saturday 7pm
KMKF-FM 101.5 Manhattan KS Sunday 8pm -> NEW TIME
WOMR-FM 91.9 Provincetown MA Monday 10pm
WKHS-FM 90.5 Baltimore MD Saturday 7pm
WLAV-FM 96.9 Grand Rapids MI Sunday 9pm
KUMD-FM 103.3 Duluth MN Saturday 4pm
KTCZ-FM 97.1 Minneapolis MN Sunday 10pm
KOPN-FM 89.5 Columbia MO Friday 8pm
KKFI-FM 90.1 Kansas City MO Friday 10pm
KSMU-FM 91.1 Springfield MO TBA -> NEW STATION
KMNR-FM 89.7 Rolla MO Saturday midnight
WNCW-FM 100.7 Charlotte NC Wednesday 10pm
WNCW-FM 88.7 Spindale NC Wednesday 10pm
KZUM-FM 89.3 Lincoln NE Wednesday 10pm
WNHI-FM 93.3 Concord NH Tuesday 9pm
WDHA-FM 105.5 Dover NJ Sunday 7pm
KLSK-FM 104.1 Albuquerque NM Wednesday 9pm
KGLP-FM 91.7 Gallup NM Saturday 9pm
KTHX-FM 94.7 Reno NV Sunday 8pm
WGR-FM 96.9 Buffalo NY Sunday midnight
WHCL-FM 88.7 Clinton NY Friday 11pm (off for summer)
WMAX-FM 106.7 Rochester NY Sunday 10pm
WRPI-FM 91.5 Troy NY Thursday 11pm
WNCX-FM 98.5 Cleveland OH Sunday 10pm
KSBA-FM 88.5 Coos Bay OR Saturday 8pm
KRVM-FM 91.9 Eugene OR Sunday 3pm
KPUR-FM 94.5 Forest Grove OR Friday noon
KSKF-FM 90.9 Klamath Falls OR Saturday 8pm
KSMF-FM 89.1 Medford OR Saturday 8pm
WITF-FM 89.5 Harrisburg PA Saturday 11pm -> NEW STATION
WXPN-FM 88.5 Philadelphia PA Saturday 7pm AND Thursday 11pm
WDUQ-FM 90.5 Pittsburgh PA Sunday 8pm
WQSU-FM 88.9 Selinsgrove PA Saturday 7pm
WNCW-FM 97.3 Greenville SC Wednesday 10pm
WEKL-FM 102.3 N Augusta SC Sunday 9pm -> NEW STATION!
WNCW-FM 96.7 Knoxville TN Wednesday 10pm
KGSR-FM 107.1 Austin TX Saturday midnight
WCVE-FM 88.9 Richmond VA Saturday 11:30pm
WROV-FM 96.3 Roanoke VA Sunday 11pm
WIZN-FM 106.7 Burlington VT Sunday 10pm
KISM-FM 92.9 Bellingham WA Sunday 9am
KBCS-FM 91.3 Seattle WA Tuesday 10pm
KHSS-FM 100.9 Walla Walla WA Sunday 8pm
KUWR-FM 91.9 Laramie WY Saturday 11pm
--
David Gans tnf@well.com http://www.well.com/user/tnf/
Truth and Fun, Inc., 484 Lake Park Ave #102, Oakland CA 94610
Local Friends
After the GDH, the next best way to get some tapes is to meet tape traders
in your area. Many Deadheads, including myself, are more than happy to
loan out tapes for people to copy. Just make sure you take very good care
of them and do not loan them out to anyone else. Also dub them quickly and
get them back as soon as you can. It would be a nice gesture to give the
lender a little something for his kindness. He/she should not *expect*
something though. Always remember how someone helped you out and be
willing to lend tapes to others who are just starting out.
Buying Tapes at Cost
For a variety of reasons sometimes tape traders need to liquidate part or
all of their collections. The most ethical price is the cost of the blank
tape. Some feel they deserve at least something for their effort in
acquiring the tape. Also the cost of blanks can vary quite a bit. This
will be debated forever. To me $1.75-$2.00 a tape seems to be a fair price
in most situations. The price could be a little higher if the tapes are
metal or Maxell XL-IIS or lower if they are normal bias tapes. Tapes that
are old and played to death should be less. The recipient of the tapes
should pay the postage. Don't be willing to pay too much out of
desperation to get new tapes. Something will come up. It is considered
unethical and technically illegal to sell tapes above the cost of the tape.
Use your best judgment.
Tape Trees
Getting on tape trees will not only guarantee you the tape being treed, but
if you are in a good position on a tree you can get a few additional trades
out of it. This is where high quality equipment can help you out as tree
placement is largely based on that.
Groveling
When all else fails you can always grovel for people to make you copies if
you send blanks. Keep an eye out on the Internet for people making offers.
Also look in the classifieds of Unbroken Chain, Dupree's Diamond News, and
Relix for people willing to spin tapes for blanks. Be polite when asking
people to make copies for you and don't be put off if they won't do it.
Usually when people offer to spin for blanks they will get deluged with
requests and end up with more than they can handle. When someone offers to
make you tapes DO NOT send more than was agreed on. Don't deal with anyone
asking for something in exchange like you sending 5 blanks and him sending
back 4 and keeping one. There are too many people willing to do it for
nothing. It is a nice gesture to let the taper keep the Maxpoints. It is
also a nice gesture to send something along as a way of saying thanks. It
does not have to be much, something like stickers, tape covers, or the like
Make things as easy as possible for the person making tapes for you. Get a
padded envelope and address it to yourself and have the correct postage on
it. (see section on shipping). Put the blanks in the padded envelope.
Put the padded envelope inside a non-padded large envelope addressed to the
person making the tapes. Include a list of the shows you want or ask the
person to pick favorites from certain years or all-time.
Adopt-a-Newbie
Melissa Agar has set up a system that runs periodically to get new Grateful
Dead tape traders in contact with tapers willing to spin for blanks. A
similar system is available to Phish Phans. Here's how it works:
Newbies and tapers contact Melissa Agar (magar@knox.edu) to join the
program. She will then help them connect with each other. Tapers can ask
for more than one newbie which is encouraged so that lots of newbies can be
helped out. She'll match newbies and tapers up, let them know who they're
matched with and they can trade from there. She'll also help connect
newbies who can then get together and start trading amongst themselves with
their new tapes.
There are some qualifications which must be met in order to join the program.
*** NEWBIE QUALIFICATIONS:
1. You must be willing to send blanks and postage to your parent.
2. You must be a newbie with fewer than 10 hours on tape.
If you meet these qualifications, send me the following form:
------------------------------cut here----------------------------------
Subject line: adopt-a-head newbie
Name:
Email:
Mailing address:
------------------------------------------------------------------------
***TAPER QUALIFICATIONS:
1. You must be willing to accept blanks and postage.
It would also be nice if you would be willing to take on more than one
person, but that's not required.
If you still want to become a volunteer parent, send me the following form:
----------------------------cut here------------------------------------
Subject line: adopt-a-head parent
Name:
Email:
Mailing Address:
Number of children you want to adopt:
------------------------------------------------------------------------
She will continue to do the program periodically, with the goal being
running the program signups every so many months.
Suggestions On What Tapes To Start With
When you are getting your first tapes you obviously will be looking for
tapes you want, but you should also keep in mind what tapes will make good
trading potential. If you try to get low generation tapes of really good
shows, you will then have some good stuff to offer in trade. Most of the
classic shows are really common, so be patient and wait for good copies to
turn up. Eric Doherty makes some good points:
"The most important thing for me when collecting tapes (although not always
anymore as I search for rare tapes) is getting quality low gen recordings.
High quality low gen tapes are what people are looking for and you should
get them whenever you can. If someone has a 1st gen SBD of some show in
1973 you should pick that over some unknown generation tape from 1972. You
are likely to find that '72 tape on other lists, but you may not find a
SBD/1 of that '73 show again. What you are looking for when you trade are
tapes that will allow you to get other tapes. It is all one big game.
Consider your SBD/2 1973 tape a key which you use to get a SBD/2 of some
1970 show. I also think it is valuable advice to wait for better quality
tapes when you can. I waited about 6 months to get a copy of 8/27/72. I
saw it on lots of lists, but I was looking for the best copy I could get.
If you do not absolutely need a copy of 2/15/73 then wait around and see if
something better turns up later. The fewer times you have to upgrade shows
the more money you will save and the more tapes you can collect. It
frustrates me when someone picks an AUD tape from '93 on my list over a
SBD/1 rare 1970 show. They are going to get a lot more mileage out of that
1970 show, and that is the trick to this game, IMHO."
Once you get a few good tapes you should be all set for trading. Use your
best tapes as bait.
Essential Tapes
This is a short list of some of the classic tapes that are out there. Most
of them should be readily available and have good sound. This is certainly
not all of the great shows but a good sampling. Any respectable Grateful
Dead collection should have most of these.
02/28/69 - Fillmore West
03/01/69 - Fillmore West
02/13/70 - Fillmore East
02/14/70 - Fillmore East
05/02/70 - Harpur College
02/18/71 - Portchester
04/29/71 - Fillmore East
05/11/72 - Rotterdam, Netherlands
05/26/72 - London
08/27/72 - Veneta
02/09/73 - Maples Pavilion
05/26/73 - Kezar Stadium
02/24/74 - Winterland
06/18/74 - Louisville
06/28/74 - Boston
10/19/74 - Winterland
10/20/74 - Winterland
02/26/77 - San Bernardino
05/08/77 - Cornell
12/31/78 - Winterland
10/27/79 - Cape Cod
06/14/85 - Greek Theatre
10/09/89 - Hampton
03/29/90 - Nassau
09/16/90 - MSG
09/20/90 - MSG
12/31/90 - Oakland
09/10/91 - MSG
10/31/91 - Oakland
06/20/92 - RFK
Deadbase
If you are planning on really getting into Grateful Dead tape trading you
should get Deadbase. This book will give you all the setlists, reviews,
statistics and also has a section listing favorite tapes for individual
years and all time, among many, many other features. Deadbase IX covers
everything up through 1994 and should be available in October 1995. The
yearly editions have extensive stats and multiple reviews for just that
year. This project is no longer being done, so Deadbase 93 is the last
one. A new version called Deadbase Jr should be available in July 1995.
This smaller book will contain setlists through 1994, basic statistics,
venue information and the current Deadhead survey. Ordering information:
Book Rate Priority
Deadbase Jr. $18 $20
Deadbase IX $30 $33 add $9 for hardcover
Deadbase 88-93(each) $12 $14
Deadbase 88-93(all 6) $56 $60
Deadbase Orders
P.O. Box 499-P
Hanover, NH 03755
Deadbase is only available through the mail or from Terrapin Tapes.
Terrapin Tapes
Terrapin Tapes 1-800-677-8650 will give you just about as good a price on
blank tapes and audio equipment as you are going to get anywhere. They
also sell Deadbase. Internet users are offered additional discounts. They
are an independent business and deserve our support.
*****************************************************************************
--------------------------------------
|The Live Taper's Survival Guide v1.0|
--------------------------------------
Copyright (c) 1995 by Jeff Maggard. All Rights Reserved. Duplication
of this document permitted if and only if (1) this document is not used for
financial gain in any way, and (2) if this document is copied whole,
including this copyright notice.
GENERAL THOUGHTS:
=================
This is a beginner's guide for taping live music.
First things first: Know your equipment. Know its strengths and its
weaknesses. Know where to set your levels. Know how long your batteries
will last, to the minute. Know how long your tapes will last, to the
second. Practice your tape flips (a good flip in a TCD-D5M can be done in
less than a second!).
Know the equipment you're likely to be patched into. Know if the operator
of that equipment is competent. Is the equipment reliable? Will its
batteries last through the set, the show? Does it pass a signal during the
flip?
Know the venue and the sound system. Know where and how to set up your
mics. Know whether or not FOB taping is allowed, and whether you'll get
tossed or have your tapes confiscated if you get caught anyway.
Know the people you're taping with.
THE TAPER'S CHECKLIST:
======================
MICS:
-----
mics (bodies and capsules)
mic stand
mic mounts
wind screens (outdoors)
umbrella (outdoors)
t-bar and adapter(s)
power supply
mic cables, longer mic cables
PS cables (PS <-> deck)
power supply batteries
extra power supply batteries
duct/electrical tape
DECK:
-----
Deck
batteries
tapes
extra batteries
extra tapes
patch cords
patch cord adapters (1/4" mono, 1/4" stereo, 1/8" stereo, RCA, XLR)
splitters (patch in at the side of the chain vs. the end)
battery charger, 120VAC deck PS (use when touring)
more duct/electrical tape
ACCESSORIES:
------------
flashlight + batteries
extra flashlight batteries
pocket knife
stopwatch
voltmeter
pen and paper (setlists/names/numbers)
plastic bags (outdoors)
towel
beer
food, chair, and blanket(s)
sunglasses and sunscreen
tickets - "Taper Tickets" are necessary at Phish/Dead shows!
Did I mention duct and electrical tape?
...and something to carry all this crap in!
Borrow (borrowing is free -- well, everyone appreciates a beer
or renta battery powered pro portable analog deck like a Sony analog D5
('full-sized' = 2"x8"x10"), a Sony analog D6 (walkman sized), or one of the
pro Marantz models ('full-sized'). It might cost as much as $100 for a
week, or $50 for a weekend to rent, plus deposit. I don't know where to
get one though -- try your local pro music shop and/or the yellow pages or
the dealers listed in the Mic-FAQ.
If you're going to be patching, bring a selection of patch cables. RCA
plugs and 1/8" headphone jack plugs are the most common, but it can't hurt
to bring 1/4" plugs too. I use RCA 'Y' cables, so I can patch into a chain
from the side -- splitting the signal -- it's a lot easier to get higher up
in the chain this way.
Tips (before showtime):
- bone up on your flipping skills (especially in 'concert mental
state')!
- bone up on your setup and break-down skills (in 'concert metal
state')
- bring a flashlight.
- bring extra batteries for everything.
- bring extra tapes.
- bring a pen and paper for the setlist.
- get a taper's ticket (if going to a Dead or Phish show
.- if you're going outside: bring RAIN gear, bring a blanket (claim
your space!) and a chair, etc...
- bring food, drinks, etc. (M&M's make friends, beer makes lasting
friends!) Caution: may require smuggling.
Tips (showtime):
- NO TALKING during the show!
- DO be polite. Everyone in front of you in the chain is your best
friend, and the guy with the mics is your very best friend!
- DON'T get in the way of people setting up their gear -- if you're
patching, you'll have comparatively little to deal with. This
often includes not asking 'dumb' questions -- no question is dumb,
but bothering people who are trying to work IS. Ask 'dumb'
questions during the setbreak.
- DON'T get in the way of people during the show who have to tend to
their gear, flip tapes, replace batteries, etc. This is more of a
problem indoors.
-----------------------
Appendix
OTHER RECORDING FORMATS
DAT
Many tape traders have made the switch from analogue cassettes to Digital
Audio Tape (DAT). One major advantage to the DAT trader is no signal
degradation through multiple generations. And to this die-hard analogue
fan, DAT does offer in many ways significant sonic advantages over
cassettes. The medium is still very expensive though. Blank tapes are now
very inexpensive, but a good machine is going to cost over $1000. Units
under $1000 are going to be unreliable and are not going to sound quite as
good as the better ones. All digital is not the same! Even the more
expensive machines need a certain amount of pampering and servicing as the
format in general can be very temperamental. At this point the life span
of DAT tapes does not look good either. 15-20 years is about all you can
expect at the most.
VHS
You can make very high quality audio recordings with a Hi-Fi VHS VCR even
at the slowest speed. The higher speeds are only necessary with video.
With this you can put 6 hours of music on one circa $3 VHS tape.
Theoretically a Hi-Fi VHS VCR should sound better than just about any
cassette deck, but my ears tend to tell me otherwise. I have not
experimented much though with it. Besides, you can't play VHS tapes in
your car or walkman. The timer function on VCRs can be very useful in
taping radio broadcasts like the Grateful Dead Hour.
Mini-Disc and DCC
Don't bother. The standard for these digital formats is too low for
acceptable sound quality. Generational loses are far worse than cassettes
but in a different way. Neither of these formats if very likely to last
very long anyway. Some tapers find the Mini-Disc easy to use in stealth
recording.
Reel-to-Reel
Good quality reel-to-reel decks will beat the pants off of just about any
cassette recorder. The machines are large, heavy and clunky and the tape
is very expensive compared to other formats. Even if you can get a machine
for cheap or even free, it is probably not worth messing with for purposes
of tape collecting or trading. Several old time traders do have many hours
of live music on reel-to-reel since it was a major format in the 1970s. It
is not unusual for someone to transfer his reels to DAT and then sell,
trade or give away his reels. Good reel-to-reel machines to look for used
include Teac, Revox and Ampex.
What About the Magazines and Specifications?
After the first edition of this Guide several people contacted me and said
Consumer Reports recommends cassette decks that are not mentioned in the
guide. What's up? Well, CR does a great job with most things. They do a
horrible disservice to audio. All they do is measure the equipment and add
up the features. They do not do any serious listening tests. This is also
true of other magazines such as Stereo Review. They also do not bother
with some of the more expensive equipment. Their general attitude is that
it all pretty much sounds the same.
Specifications really do not tell you very much about how a piece of audio
equipment will sound. They can also easily be reported in a way that is
deceiving. Trust your ears. You can probably hear more differences than
you think. Always try to listen thoroughly to a piece of equipment before
you buy it. Make sure it sounds good to you and feels comfortable to
operate.
