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Archive-Name: alt-music-bootlegs-faq.txt
Version: 4.1
Last-Modified: 2002/09/13
Posting-Frequency: twice monthly
URL: http://www.ambfaq.cjb.net/
The Official Alt.Music.Bootlegs FAQ
[Version 4.1]
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Contents
========
* Chapter 0: Prologue
[0-1] Welcome to the alt.music.bootlegs FAQ
[0-2] Copyrights
[0-3] Do's and Don'ts
[0-4] Credits
[0-5] History
[0-6] Where can I find the latest version of this FAQ?
[0-7] What if something is wrong on this FAQ?
* Chapter 1: Legal and General
[1-1] What *is* bootlegging?
[1-2] What is alt.music.bootlegs?
[1-3] Which laws apply to bootlegging?
[1-4] Where can I find out more about legal issues?
[1-5] Which bands allow taping?
* Chapter 2: Trading, Buying and Selling
2.1: Trading
[2-1] Where can I find traders that have such-and-such-band?
[2-2] I've never traded with anyone before. How should I phrase an email
to someone I want to trade with?
[2-3] I'm new to this. How do I get started?
[2-4] What's a B+P?
[2-5] What's a 2 to 1 trade?
2.2: Buying and Selling
[2-6] Why will some people not sell bootlegs?
[2-7] Where is a good bootleg store in XXXXXXXX?
[2-8] Where is a good online bootleg store?
[2-9] What is a fair price to pay?
2.3: Bad Traders
[2-10] What is a Bad Trader?
[2-11] How can I avoid Bad Traders?
[2-12] How long should I wait before posting someone as a bad trader?
[2-13] What information should I include when posting someone as a bad
trader?
[2-14] What information should I *not* include when posting someone
as a bad trader?
* Chapter 3: CD-Recordable
[3-1] What is Disc-At-Once (DAO)? Track-At-Once (TAO)?
[3-2] I've heard that burning at high speeds can cause errors. Why is
this?
[3-3] Which CDRs are the best?
[3-4] How long will CDRs last?
3.1: Standalone CD-Recorders
[3-5] What is the difference between PC CD-recorders and standalones?
[3-6] What is the best model of standalone CD-recorder?
[3-7] What are the best kind of discs to use?
[3-8] What is SCMS?
3.2: PC CD-Recorders
[3-9] What is "on the fly"/"off the fly" recording? Which should I use?
[3-10] What is the best model of CD-recorder?
[3-11] How do I extract perfect WAV files from a CD?
[3-12] How do I perfectly copy a CDR?
[3-13] How do I avoid adding SCMS protection to CDs?
* Chapter 4: Other Formats
4.1: DAT
[4-1] Does anyone trade DAT?
[4-2] Where can I find DAT traders?
4.2: MiniDisc
[4-3] Does anyone trade MiniDiscs?
[4-4] Is MiniDisc lossy?
[4-5] How does ATRAC work? Is it the same as MP3?
[4-6] Which brand of MiniDiscs has the best sound quality?
[4-7] What is MDLP?
4.3: Cassette
[4-8] Does anyone still trade cassettes?
[4-9] Where can I find cassette traders?
[4-10] What is the best way to dub tapes?
4.4: MP3 Files
[4-11] What are MP3 Files?
[4-12] What are the advantages and disadvantages of trading MP3 files?
[4-13] How can I listen to MP3 files?
[4-14] How do I convert MP3 files into another format?
[4-15] How do I make MP3 files?
[4-16] Where can I find MP3 traders?
[4-17] Is there anything else I should know about MP3 files?
[4-18] How can I tell if a CD is MP3 sourced?
4.5: SHN Files
[4-19] What are SHN files?
[4-20] What are the advantages and disadvantages of trading SHN files?
[4-21] How can I listen to SHN files?
[4-22] How do I convert SHN files into another format?
[4-23] How do I make SHN files?
[4-24] Where can I find SHN traders?
[4-25] What are MD5 files?
4.6: Video Tape
[4-26] What is NTSC? What is PAL? What is SECAM?
[4-27] How can I convert between PAL, NTSC and SECAM?
[4-28] How do I copy a video?
[4-29] How do I copy a video without using SCART?
4.7: VCD
[4-30] What is a VCD?
[4-31] How do I copy a VCD?
[4-32] How do I create a VCD?
4.8: Rarely Used Formats
[4-33] What are OGG files?
[4-34] What are RM/RA/RAM files?
[4-35] What are ASF/WMA/WMV files?
[4-36] What are FLAC files?
[4-37] Does anyone trade DVDs?
* Chapter 5: Packaging
5.1: Artwork
[5-1] Should I send artwork with my bootlegs?
[5-2] How do I make artwork?
[5-3] Where can I find artwork for XXXX?
[5-4] How many pixels by how many pixels for CD artwork?
[5-5] What image format should I use when making artwork?
5.2: Mailing
[5-6] What is the postage rate from XXXX to YYYY?
[5-7] What's the best way to wrap CDs securely?
[5-8] Why do people tell me not to use fibre-mailers?
[5-9] Should I send by priority mail? First class mail? etc?
[5-10] Are there any special considerations when sending things
internationally?
[5-11] What is an International Reply Coupon?
[5-12] I sent some CDs weeks ago, but the other guy is claiming not to
have received them. What should I do?
* Chapter 6: Basic Bootleg Management
[6-1] Why should I keep track of which bootlegs I have?
[6-2] How should I keep track of which bootlegs I have?
[6-3] What information should I include?
[6-4] How should I grade quality?
[6-5] What do those letters under Source such as SB, AUD, FM, etc, mean?
[6-6] Should I include my "rules"?
[6-7] Should I include a list of people I've traded with?
[6-8] What should I do with my list?
[6-9] How often should I post my list?
[6-10] Crossposting?
* Chapter 7: Taping
[7-1] What equipment should I use?
[7-2] What are the advantages and disadvantages of DAT and MD?
[7-3] Where are the best venues to tape?
[7-4] How should I sneak it in?
[7-5] Where should I put the microphones while recording?
[7-6] Any other taping tips?
[7-7] Can I get a soundboard patch?
[7-8] What happens if I get caught?
[7-9] Should I tape in Mono or Stereo?
[7-10] What else should I know?
* Chapter 8: Audio Editing
[8-1] What audio editing tools should I use?
[8-2] How can I get rid of the gaps from CDs burnt in TAO mode?
[8-3] Why is that such a complicated process?
[8-4] How to I transfer a recording from another format (DAT, MD,
Cassette, Vinyl, etc) to CDR?
[8-5] There's a lot of hiss on my recording. How do I fix that?
[8-6] How can I remove small pops and clicks from the recording?
[8-7] What are some general tips and tricks?
[8-8] What does "Clipping" mean?
* Chapter 9: The alt.music.bootlegs Newsgroup
[9-1] What is a newsgroup?
[9-2] How do I access newsgroups?
[9-3] Are there any special considerations when posting messages to
newsgroups?
[9-4] Are there any special considerations when posting messages to
alt.music.bootlegs in particular?
[9-5] How long has alt.music.bootlegs existed? How long do you think it
will last?
[9-6] What other newsgroups might be of interest to me?
* Chapter 10: Miscellaneous Questions
[10-1] Isn't that piracy?
[10-2] What is the difference between an Outtake and a Demo?
[10-3] Where do soundboard shows come from?
[10-4] What's a filler?
[10-5] What is a "generation"?
[10-6] What is Mono? What is Stereo? What is Joint Stereo?
[10-7] What is FTP?
[10-8] Further Reading
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 0: Prologue
===================
[0-1] Welcome to the alt.music.bootlegs FAQ
Welcome to the FAQ for alt.music.bootlegs. This newsgroup has existed since
mid-August of 1994. It was started by Ben Kierulff because he felt that
people needed a place to trade their tapes. He had gotten into trading NIN,
exclusively on alt.music.nin, because there was no other place around, and
it was a pain to trade for other music groups on a.m.n. If you wanted a
Pink Floyd boot, you would have to hope someone would post on the Pink
Floyd newsgroup about it. There needed to be a place for tapes of any and
all origins to be swapped amongst netters, so he made one,
alt.music.bootlegs. We can all thank him for it, because no one would be
here today without him, and there wouldn't be a FAQ for a newsgroup that
didn't exist. :)
The first FAQ for the newsgroup was created by [EMAIL PROTECTED], it was
read by Jeff Kuhn who liked the idea, and with the agreement of Chewtoy2
developed a new FAQ for the newsgroup which he maintained from 1995 until
1998.
From 1998 until 2001 the FAQ went unmaintained until I posted about the
idea of starting a new one. A few people said they'd help out and Jeff
kindly allowed me to use parts of his original FAQ in this one. You can
find a full list of the parts that are based on Jeff's original FAQ later
on in this topic.
So here is the FAQ. We have done our best to ensure the accuracy of our
answers, although it should be pointed out that this is a work in progress.
If you have any additions or corrections, please contact the authors of the
FAQ.
-Toby
[0-2] Copyrights
This FAQ is the copyright of its respective authors. All rights reserved.
I. You have the following rights make copies of this in original form, so
long as:
* (a) the copies are complete and exact duplicates of the original;
* (b) you do not charge a fee for copying or distribution;
* (c) the distributed form is not in an electronic magazine, within
computer software, unless you have gotten specific permission from me;
* (d) the distributed form is the newest version of this FAQ to the best
of your knowledge;
* (e) the copies are in electronic form;
* (f) under NO circumstances will a monetary fee be given in exchange for
this document.
II. The following disclaimers are in effect:
* (a) The author and contributors are not responsible in any way for
their contributions.
* (b) The author and contributors are not responsible or liable for any
consequences resulting from the use or misuse of the information they
gave. The contributors, as well as the author, make no guarantees as
whether the information contained within is correct.
* (c) Some documents were reprinted electronically without permission. In
doing so, they may or may not have been been edited.
Parts of this document are from the alt.music.bootlegs FAQ ver 3.1,
reprinted with the author's permission. The copyrights and disclaimers of
that document apply to the extracts contained within this.
[0-3] Do's and Don'ts
Do Read this FAQ; Don't Not Read it :)
Do Give the FAQ to people; Don't Post this to Usenet yourself
Do Put this FAQ on Your WWW/FTP Site; Don't Forget to Notify Me First
Do Agree/Disagree with the info; Don't Change the info yourself
[0-4] Credits
Version 4.0 of the FAQ is by James Eades and Toby A Inkster, Esq. Version
4.1 has been updated by Toby.
Thanks to Chris Brightwell for information on MDLP.
The Prologue, Cassette Tape and Bootleg Management parts of the FAQ are
strongly based on Jeff Kuhn's older FAQ. Other parts of the FAQ also borrow
from Jeff's FAQ in part.
Jeff himself gives credits to the following people for making his FAQ
possible: Andy Strote, David Lynch, David J Carlstrom, Michael Burstin,
Jerry Shugars, Ben Kierulff, John R Harper, Rob Gronotte, Scott Hannon,
Phil Satterley, M Cheng, John Swenson, Len Moskowitz, Chris Trumbore, Dave,
Tomi Kause, Michael Burstin and Adam Stanley.
[0-5] History
* Jun 23, 1995 -- 1st Release (beta test release)
* Jul 07, 1995 -- 2nd Release (major additions and changes)
* Jul 21, 1995 -- 3rd Release (changes, additions, and spelling
corrections)
* Aug 04, 1995 -- 4th Release (changes regarding store addresses, dolby)
* Aug 18, 1995 -- 5th Release (last of big changes, including boot dist)
* Sep 01, 1995 -- 6th Release (FTP info, minor revisions)
* Oct 10, 1995 -- 7th Release (DAT info, taping bands, minor revisions)
* Jan 15, 1996 -- 8th Release (DOLBY, mailing list, structure revisions)
* Apr 26, 1996 -- 9th Release (Laws, sound -- minor revisions)
* Jun 24, 1996 -- 10th Release (minor revisions, FTP info, Happy 1st
Birthday)
* Aug 27, 1996 -- 11th Release (minor revisions, news articles.)
* Dec 05, 1996 -- 12th Release (minor revisions)
* Jun 19, 1997 -- 13th Release (revisions, post after inactivity)
* Mar 20, 1998 -- 14th Release (revisions, post after inactivity,
changes)
* Jun 23, 2001 -- 15th Release (major additions and changes, Happy 6th
Birthday)
* Sep 13, 2002 -- 16th Release (major additions and changes)
[0-6] Where can I find the latest version of this FAQ?
The latest version of this FAQ should always be available from:
<URI:http://www.ambfaq.cjb.net/>
It should also be posted to alt.music.bootlegs, alt.answers and
news.answers on a regular basis.
[0-7] What if something is wrong on this FAQ?
Please contact one of the authors with corrections or additions. Our email
addresses are: [EMAIL PROTECTED] and [EMAIL PROTECTED]
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 1: Legal and General
============================
[1-1] What *is* bootlegging?
Essentially, bootlegs are recordings that have not been released by an
artist's main record label. They could be live recordings, studio outtakes,
rehersals, or just jams. The source for these might be CD's that are put
out by various bootleg labels, tapes made by tapers at concerts, or tapes
that one way or another "escaped" from the recording studio.
Bootlegging is not, I repeat, not the illegal making and distribution of
alcohol. Well, it is, but that's not what we're talking about here. If you
think that was the definition, you're in the wrong time and place. Go back
about 80 years and go to alt.tv.dukes-of-hazzard. :) [No, that newsgroup
does not exist -- please don't e-mail me on that.]
Well, then. What is bootlegging, really? Well, it's something A LOT of
people disagree with. Bootlegging is where people go into concerts, record
the concert, then go and press the music onto a CD and, in turn, sell this
CD for monetary profit.
There is another type of "bootlegging", which is pretty different. There
are people/companies that are making copies of legitimate releases and
selling them as if they were legitimate. This however, is called pirating,
and not really bootlegging. This type of pirating is what record companies
are much most concerned with.
[1-2] What is alt.music.bootlegs?
Version 3.1 of this FAQ said this:
> Alt.music.bootlegs is *not* any of the above mentioned text. No-one here
> goes to concerts and records them, and then presses them on CD for a
> profit. Alt.music.bootlegs is for the * trading* of bootleg recordings for
> *personal use only* , not for a profit. Many people cringe at the name
> alt.music.bootlegs because it implies profiteering.
>
More recently though, it has become accepted that some people do sell
bootlegs on the group for profit. Generally, their profit margin is only
small and they don't aim to make a career out of it.
[1-3] Which laws apply to bootlegging?
Different laws apply to you depending on where you live. In the USA, US
Code, Title 18, Section 2319A applies to you:
> Offense. -- Whoever, without the consent of the performer or performers
> involved, knowingly and for purposes of commercial advantage or private
> financial gain --
>
> (1) fixes the sounds or sounds and images of a live musical performance in
> a copy or phonorecord, or reproduces copies or phonorecords of such a
> performance from an unauthorized fixation;
>
> (2) transmits or otherwise communicates to the public the sounds or sounds
> and images of a live musical performance; or
>
> (3) distributes or offers to distribute, sells or offers to sell, rents or
> offers to rent, or traffics in any copy or phonorecord fixed as described
> in paragraph (1), regardless of whether the fixations occurred in the
> United States;
>
> shall be imprisoned for not more than 5 years or fined in the amount set
> forth in this title, or both, or if the offense is a second or subsequent
> offense, shall be imprisoned for not more than 10 years or fined in the
> amount set forth in this title, or both.
>
<URI:http://www4.law.cornell.edu/uscode/18/2319A.html>
As does US Code, Title 17, Sections 1001-1010, which deals with any
non-profit duplication of copyrighted material:
> No action may be brought under this title alleging infringement of
> copyright based on the manufacture, importation, or distribution of a
> digital audio recording device, a digital audio recording medium, an analog
> recording device, or an analog recording medium, or based on the
> noncommercial use by a consumer of such a device or medium for making
> digital musical recordings or analog musical recordings.
>
<URI:http://www4.law.cornell.edu/uscode/17/ch10.html>
People living in the USA should also be aware that various state laws may
also apply.
In the UK, there is a legal precedent that may be of interest. To
summarise, someone was accused of *pirating* (not bootlegging) a Bob Dylan
CD. He claimed that Dylan himself had given him permission. As Bob Dylan
did not have time to go to fly to the UK to appear in court in Swansea, the
defendent was found not guilty. The case is mentioned in this House of
Lords debate:
<URI:http://www.parliament.the-stationery-office.co.uk/pa/ld199900/ldhansrd
/vo000317/text/00317-09.htm>
As a general guide, authorities tend to turn a blind eye to bootlegging as
a hobby, usually only targeting those who do it as a business.
It should also be noted that most countries' laws treat non-profit trading
of bootlegs differently from selling.
[1-4] Where can I find out more about legal issues?
Consult a lawyer in your area.
[1-5] Which bands allow taping?
A lot of bands (too many to list here) allow you to tape their shows (often
with certain restrictions). These bands include The Grateful Dead, Phish,
Pearl Jam, U2 and Dave Matthews Band. A constantly updated list can be
found at the Bands That Allow Taping website.
<URI:http://btat.wagnerone.com/>
There are also quite a few bands that are taper-friendly, but don't have an
official taping policy. This is sometimes because they don't have much of a
say over what their record company does, so if their record company has a
no-taping policy, they can't officially do anything about it.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 2: Trading, Buying and Selling
======================================
2.1: Trading
[2-1] Where can I find traders that have such-and-such-band?
Your first place to look should be alt.music.bootlegs itself. People there
trade just about every band under the sun. Post a brief message with a
subject line reading something like this:
* WTD: Such-And-Such-Band bootlegs.
* ISO: Such-And-Such-Band bootlegs.
* Wanted: Such-And-Such-Band bootlegs.
* Wanted: Such-And-Such-Band 01-July-1997.
"WTD" is short for "Wanted" and "ISO" is short for "In Search Of". It is
probably a good idea to indicate what you have to trade in return --
particularly recordings by the same and/or similar artists.
Remember to include the band name in the subject -- most people reading
alt.music.bootlegs only read the subjects most of the time, so if you don't
catch their attention with the subject, your message is likely to get
ignored.
Also remember with dates different parts of the world use different
formats. "1-2-00" means the 1st of February, 2000 to most people, but it
means January 2nd, 2000 to Americans.
If you get no responses, try a World Wide Web search on google.com. The
following links might also be of use: <URI:http://www.tapetrader.com/> ,
<URI:http://www.etree.org/> , <URI:http://www.pauserecord.com/> .
[2-2] I've never traded with anyone before. How should I phrase an email
to someone I want to trade with?
I'm assuming you've already read their list so know what you want from them
-- otherwise you wouldn't be sure if you wanted to trade with them, right?
My advice is to keep it brief, but friendly. Here is a sample email:
Hi Joe,
I was looking at your list and saw a couple of shows that I'm really interested
in:
Counting Crows -- 23-Feb-1992 -- San Fransisco, CA, USA
Travis -- 23-Jun-2000 -- Glastonbury Festival, UK
[My list is at <URI:http://somesite.com/list> | I've attached my list to this
email*]
I'm looking forward to trading,
John.
(*delete as appropriate)
[2-3] I'm new to this. How do I get started?
First, read the FAQ to find out what a 2:1 and a B+P are.
Once you know this, look around for traders who have CDs by the bands you
are interested in. If there's a lot, maybe ask around to see which CDs are
the best -- usually demos and TV/radio broadcasts are pretty cool.
Contact a few traders and ask for B+Ps and 2:1s. Ask politely. Don't be
disappointed if they turn you down. Maybe if they're too busy they might be
able to point you in the direction of someone who isn't. If you've looked
around a bit and haven't had many offers, you may have to resort to buying
a few bootlegs to start off.
Now (hopefully) you'll have a few bootlegs of your own. Listen to them,
enjoy them. See which shows you like the best. You might want to try to
find some more like that. Again, ask for recommendations -- now you have a
better idea of what you like so you'll be able to get more out of the
recommendations.
You'll probably want to start keeping a list of your bootlegs now.
Look for traders who have medium-sized lists (around 40 bootlegs). Find
some traders who have some shows that you want *and* want some shows that
you have! Write to them, asking for a trade. You'll probably want to read
this FAQ for information on how to trade.
[2-4] What's a B+P?
A B+P is a type of trade which is usually to help newbies. The newbie will
send a trader enough blank media to record what they want onto, plus enough
money or stamps for return postage. The B stands for "blanks" and the P
stands for "postage", hence B+P.
For a description of the B+P in gruesome detail, see:
<URI:http://www.mcnichol.com/bnp/>
[2-5] What's a 2 to 1 trade?
A 2 to 1 is similar to a B+P, but the newbie sends twice as many blanks as
would be needed to record what they want onto. The trader keeps the spare
blanks as "payment". This kind of deal is often discouraged by fans of
taper-friendly bands, in preference for B+Ps.
2.2: Buying and Selling
[2-6] Why will some people not sell bootlegs?
Some people regard the music as not their property, and so do not feel
comfortable with selling copies of their bootlegs -- they are just simply
morally against the whole idea of selling. Others with make a small charge
to cover the cost of the materials and postage.
Other reasons include that the trader does not want to risk being caught by
the authorities for selling music that he/she does not own the rights to,
or the trader has no need to sell -- they may be interested more in
building their collection and so prefer to conduct trades only.
[2-7] Where is a good bootleg store in XXXXXXXX?
It would be impossible to list all the stores worldwide that sell bootlegs
in the FAQ. However, the newsgroup is the best place to ask. Post a message
asking if there are any good bootleg stores in XXXXXXXXX, and hopefully
someone who reads the group will being able to provide the information you
require.
[2-8] Where is a good online bootleg store?
It would be unfair and biassed of this FAQ to recommend particular places
to purchase bootlegs online. Not only that, but stores are appearing and
disappearing so regularly that it would not be feasible to maintain a list
of the best places to purchase online, although eBay can be a good source.
The best place to ask is on the newsgroup itself -- post a message asking
for opinions on where to look.
[2-9] What is a fair price to pay?
This is another question that has sparked a lot of debate in the past.
Typically, a 'fair' price would be simply what it costs to make and post
the bootleg the blank cd, the jewel case, the printing of artwork and
postage and packaging (maybe a tiny bit of profit on top depending on the
seller). As a guide, never pay the price for a CD-R copy as you would for
an original CD.
2.3: Bad Traders
[2-10] What is a Bad Trader?
Simply a trader (or seller) who does not deliver what he or she promises.
Maybe their bootlegs are considerably worse that they had promised, or
maybe they didn't deliver anything at all.
You should avoid calling someone a bad trader merely because of receiving a
lower product than expected, because sound quality is a matter of opinion.
[2-11] How can I avoid Bad Traders?
* Ask them for references. If a trader has been trading for a while, they
will have amassed a large number of contacts, who will hopefully be
more than willing to recommend them. If they won't supply references,
then you will have to do a little more digging.
* Searching on Google <URI:http://www.google.com/> or Google Groups
(formerly Dejanews) <URI:http://groups.google.com/> for mentions of the
trader's name might be productive.
* Post a message on alt.music.bootlegs with a subject like "Trader Check:
John Doe" and see what responses you get.
* The first time you trade with someone, only trade a few discs. That
way, if you *do* get ripped off, then it will only be for a few discs.
[2-12] How long should I wait before posting someone as a bad trader?
Two months is what I recommend. If they send you a nasty email as soon as
they've got your package and tell you not to expect anything in return,
then by all means, post them straight away. But if they offer you some sort
of excuse, please give them the benifit of the doubt and wait for at least
two months for their stuff to arrive before posting them as a bad trader.
[2-13] What information should I include when posting someone as a bad
trader?
You should include enough information for anyone else trading with them to
be able to identify the bad trader with. A name and email address is
generally not enough -- services such as Yahoo and Hotmail offer free, easy
email addresses, so a bad trader can easily change email address.
Most people include the bad trader's address, as that is one piece of
information that the bad trader can't easily change. If you feel uneasy
posting someone's address to a public forum, then try obscuring parts of
it. For example:
XXXX Main Street, Smalltown, IL YYYYY USA.
You should also include details of why you think this person is a bad
trader. A tiny click might be enough for one person to think of a trader as
bad, but another person might not think of this as a problem at all!
[2-14] What information should I *not* include when posting someone as a
bad trader?
Do NOT include death threats, suggestions for people to find them and lynch
them or anything else of that sort. If the trader did get hurt, the police
would be knocking on your door straight away! Try to keep things in
perspective -- while the bad trader may have betrayed your trust, they
probably didn't break your bank.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 3: CD-Recordable
========================
[3-1] What is Disc-At-Once (DAO)? Track-At-Once (TAO)?
CD Recorders usually give you two methods of recording a disc -- DAO and
TAO. Consult your manual/help system to find out how to switch between
them. Each mode has its advantages and disadvantages.
TAO writes one track at a time. Between each track, the laser in your CD
recorder is switched off briefly. This causes there to be 2 second gaps
between each track. On a live recording, these gaps are undesireable, so
DAO is usually preferred.
With DAO the laser is left switched on for the entire disc. This means you
can control how long the gaps are between tracks -- you can have 10 second
gaps, 2 second gaps, 0.5 second gaps... even no gaps! I have not yet found
a person that would prefer you to use gaps than a gapless recording.
Consult your manual. Find out how to make gapless recordings.
A lot of newbies seem to think that if you record something in DAO mode, a
CD player will not be able "seek" tracks. This is plain wrong.
[3-2] I've heard that burning at high speeds can cause errors. Why is
this?
Whether it makes any difference depends on the recorder, the media and the
player.
Put simply, a CD recorder contains a laser that "burns" tiny parts of the
disc to make them darker -- this is how information is stored. If disc is
spinning round faster, the laser has less time to burn each bit of the
disc, so the dark bits aren't quite as dark.
This might mean that the player has trouble telling the difference between
the dark bits and the light bits.
Most CD recorders take this into account and turn up the laser power when
burning at high-speed, but how well yours copes is a matter for you to
decide.
Generally speaking, burning at speeds of up to 4x should not cause any
problems.
While on the subject of burning speeds, it is *not* true that a CD burnt at
2x can only be read at 2x -- burning speed does not effect reading speed
like this. However, if you burn so fast that it causes errors, this may
*slow down* reading the CD back.
[3-3] Which CDRs are the best?
It is widely held that brand-name CDs are the best. Exactly which brand is
best will depend on your exact setup.
Taiyo Yuden are usually touted as the best of the pack. Their factory is in
Japan and they make CDRs for (among others) TDK and Sony. They also
manufacture discs with their own brand on them and ones with no logo at
all.
In general, it seems most of the Japanese factories put more care into
their CDs than the Taiwanese ones.
[3-4] How long will CDRs last?
It is really too early to say -- CDRs have not been around for very long.
Experts predict that a well-made CDR if handled correctly could last for up
to 200 years. However long they last, it should be longer than DATs or
Cassette Tapes.
3.1: Standalone CD-Recorders
[3-5] What is the difference between PC CD-recorders and standalones?
Standalone recorders are designed to operate as part of a stereo system
rather than a computer. There are several differences between them and
their PC counterparts. Here are some advantages and disadvantages:
Advantages:
* They are easier to learn and use than PC CD-recorders
* The Analog/Digital converter is usually better than a PC soundcard
* They can communicate easily with DAT decks
* There is a "pause" button
* You very rarely end up with a "coaster".
Disadvantages:
* Audio editing is severly limited
* Standalones require more expensive discs
* Standalones themselves are usually more expensive than PC recorders
* A standalone unit is unable to duplicate a disc created by another
standalone unit -- this is a copyright protection "feature"
* There have been reports that standalones deliberately introduce clicks
between tracks when recording at speeds above 2x
* Of course -- with a standalone, you can *only* record audio -- PC
recorders can also record CD-ROMs, PhotoCDs, VCDs and more.
[3-6] What is the best model of standalone CD-recorder?
Recommendations will follow in a later revision of this FAQ.
[3-7] What are the best kind of discs to use?
Standalones require special discs that support a technique called Serial
Copy Management System (SCMS). SCMS discs are usually marketed under
phrases such as "For Audio Use Only" or "For Consumer".
As with PC recorders, it is best to use brand-name blanks like TDK.
[3-8] What is SCMS?
Short answer: your enemy!
Long answer: SCMS, often pronounced as "scums", is short for Serial Copy
Management System. It is a copy-prevention system embedded in most consumer
grade digital audio recording equipment, including DAT recorders, MiniDiscs
and stand-alone CD burners.
Under SCMS, you are allowed to make a copy of any original recording, but
not a copy of a copy. Any piece of digital media has one of three types:
* Unprotected: this is copyable. Any copies will also be unprotected.
* Protected: this is copyable, but any copies will be marked as a
duplicate.
* Duplicate: this cannot be copied.
There is no easy way to work around these restrictions without a
computer-based CD burner, so when you trade for discs, ask for them to be
unprotected if possible. However, most people who use PC-based burners
won't know what this is and won't know how to set their software up to do
this -- to make matters worse, the default setting is often to record the
CDs as protected or duplicates.
See also <URI:http://www.mitsuicdrstore.com/SCMS_nh.html>
3.2: PC CD-Recorders
[3-9] What is "on the fly"/"off the fly" recording? Which should I use?
There are two common ways of defining the difference between these two
methods. The first is more technically correct, but the second is a more
useful definition, and it's what people in alt.music.bootlegs mean when
referring to "on the fly" and "off the fly".
* "Off the fly" recording is burning from a large "image file" stored on
your hard drive as your source. "On the fly" recording is burning
directly from a source CD or source WAV files.
* "Off the fly" recording is burning from WAV files on your hard drive.
"On the fly" recording is burning directly from a source CD.
It is usually best to burn "off the fly" -- in other words, make a copy of
the original CD as WAV files on your hard disc and then record them to CD.
Burning directly from CD to CD can result in glitches. Here's why...
Your hard drives and CD drives are normally attached to things called IDE
controllers (unless you have a SCSI system -- most people don't). Systems
have 2 IDE controllers. Each IDE controller can have 2 devices attached.
Your setup will probably be something like:
PC ----- Primary IDE -------- Hard Drive
| |
| |
| --- (empty)
|
|
--- Secondary IDE ------ CD-ROM
|
|
--- CD Recorder
Now, an IDE controller is what allows the drives to communicate with the
rest of the PC. However, an IDE controller can only do one thing at a time.
When you burn on the fly from an audio CD, you are asking your secondary
IDE to read from your CD-ROM and write to your CD recorder at the same
time. It does this by reading a little bit of data and then quickly
switching modes and writing a little bit of data.
This requires a lot of work on the part of your PC, operating system, IDE
controller, CD-ROM, CD Recorder and even the discs themselves. Often,
something will go wrong. Maybe there's a fingerprint on the CD-ROM and the
IDE controller takes just a little bit too long reading it. Then the CD
Recorder will run out of data to burn, so you'll end up with a shiny new
coaster.
It really is too easy for things to go wrong when burning on the fly from
an audio CD. Even if the CD appears to have burnt correctly, the sound
quality may not be as good as you'd get with burning from WAV files on your
hard disc.
See also: <URI:http://pages.cthome.net/homepage/eac/cdtocd.htm>
[3-10] What is the best model of CD-recorder?
Generally, Plextor's get the best reviews, but if you're careful, it really
shouldn't make much difference. See also:
<URI:http://www.cdrfaq.org/faq05.html#S5-1>
[3-11] How do I extract perfect WAV files from a CD?
Your CD is spinning at thousands of revolutions per minute, there are
lasers shooting -- it's all quite exciting really. Extracting a perfect
copy of a song in extreme conditions like this seems less like an exercise
of precise science and more like a black art. However, there are some
software writers who do study such witchcraft, and here is what they've
created:
* Exact Audio Copy (a.k.a. EAC) [Win] <URI:http://www.exactaudiocopy.de/>
* CD Paranoia [Linux] <URI:http://www.xiph.org/>
If you want a perfect copy of a CD, then these are your tools. To set up
EAC, refer to <URI:http://pages.cthome.net/homepage/eac/setup.htm> . CD
Paranoia is a fairly complicated command-line program, but there is a nice
graphical front-end for it called Grip <URI:http://www.nostatic.org/grip> .
Download this software and use it whenever you need to create WAV files
from a CD.
[3-12] How do I perfectly copy a CDR?
Firstly, you will need to extract the perfect WAV files from the source
disk. How to do that is answered in the previous question. Open up your CD
burning software. Select all the WAV files you've just created and put them
into a new audio CD. Make sure you set the gaps between each track at 0
seconds (you may need to put 2 seconds gap before the first track). Put
your software into Disk-At-Once (DAO) mode. Consult your manual for details
of how to do this. Now record your CD! (To be a complete perfectionist, you
may want to specify a speed of 4x or below when asked what speed to burn
the CD at.)
[3-13] How do I avoid adding SCMS protection to CDs?
SCMS is a very irritating feature of standalone burners, and if you're
planning on trading with the owner of one of these devices, it is polite to
avoid adding SCMS protection to their CDs. Exactly how this is done depends
on your software.
In Nero [Win], once you have selected which tracks to record, highlight
them all and choose properties from the right-click menu. In the properties
section, find the "Protected" check-box and make sure it is empty.
In cdrecord [Linux], use the "-copy" parameter.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 4: Other Formats
========================
4.1: DAT
[4-1] Does anyone trade DAT?
There are a small number of very active DAT tapers and traders about. A lot
of people feel that DAT traders are a very "exclusive" group who don't
often "lower themselves" to trade with the rest of us.
Of course, DAT is a higher quality medium than CDR, so it is quite
reasonable for them to refuse to accept CDR recordings.
[4-2] Where can I find DAT traders?
Try joining the DAT-Heads mailing list. On this discussion list, people
with DAT equipment swap hints on how to get the best possible recordings
out of their DATs and set up trades with each other. To find out more,
visit the DAT-Heads website at:
<URI:http://www.solorb.com/dat-heads>
4.2: MiniDisc
[4-3] Does anyone trade MiniDiscs?
Yes, alt.music.bootlegs does have a small number of MiniDisc traders,
although most people trade CDR or Videos. MiniDiscs seem to be mainly used
by tapers though.
[4-4] Is MiniDisc lossy?
Yes, MiniDisc uses a lossy compression system called Adaptive Transform
Acoustic Coding (ATRAC) to achieve a compression ratio of roughly 1:5. If
no compression was used, a MiniDisc could hold only 15 minutes of audio.
There have been a number of different versions of ATRAC used in MiniDiscs
over the years -- several by Sony and several by Sharp -- and the audio
loss with recent versions can only be noticed by die-hard audiophiles,
although of course, loss increases with generations.
[4-5] How does ATRAC work? Is it the same as MP3?
ATRAC is similar to MP3, but most people agree that it sounds better --
probably because ATRAC stores sounds in 292kbps, whereas normally MP3s are
no more than 192kbps. A full technical article can be found at
minidisc.org's website. <URI:http://www.minidisc.org/aes_atrac.html>
Because ATRAC is heavily patented, there are currently no computer ATRAC
players/recorders like there are with MP3. There are ATRAC3 players though:
* ATRAC3 Codec [Win] <URI:http://www.minidisc.org/atrac3.zip>
* Realplayer [Win, Mac, Linux] <URI:http://www.real.com/>
[4-6] Which brand of MiniDiscs has the best sound quality?
Despite some MiniDisc manufacturers' claims, all MiniDiscs really do sound
the same! Data is stored on MiniDiscs digitally, so disk quality does not
affect the sound quality.
Disk quality is important though -- not to sound quality, but to
*reliability* . A good quality MiniDisc will last longer than a low quality
disk, which may wear out after a few years.
[4-7] What is MDLP?
MDLP stands for MiniDisc Long Play. It is a way of fitting more sound on a
standard MiniDisc, similar to the Long Play mode of some VCRs. There are
two MDLP modes: LP2 which gets 160mins of sound onto a standard disc; and
LP4 which gets 320mins onto a disc. This is a feature of some newer
MiniDisc players.
MDLP uses a different way of storing sound called ATRAC3 (there was no
ATRAC2 -- probably a marketing decision given the popularity of MP3) so
will not play on older MiniDisc players. ATRAC3 uses only 132kbps for LP2
and 66kbps Joint Stereo for LP4 resulting in a lower recording.
That said, LP2 recordings are reportedly almost as good as ATRAC
recordings. LP4 recordings have noticeable artifacts so should probably not
be traded.
4.3: Cassette
[4-8] Does anyone still trade cassettes?
Not really! Most people are stopping trading tapes and moving onto CDR. A
lot of CDR traders will be willing to dub their CDs onto tapes for you, but
very few people will accept tapes in return, unless it's something ultra
rare!
That said, it does depend on which band or artist you are trading -- some
are still heavily centred on cassettes -- for example, Jewel, whose taping
policy forbids CDR trading, but not tape trading.
[4-9] Where can I find cassette traders?
You can *try* asking in alt.music.bootlegs and you might get one or two
replies, but I doubt you will.
[4-10] What is the best way to dub tapes?
The previous edition of this FAQ (version 3.1, from 1998) was almost all
concerned with trading cassette tapes. For a detailed explanation, find a
copy of that FAQ. What follows is a short summary.
Most people prefer you to dub *without* using Dolby Noise Reduction. While
Dolby NR suppresses a lot of the hiss generally associated with cassettes,
it also cuts back on some of the "ambience".
Nearly everyone will tell you *not* to use high-speed dubbing. High- speed
dubbing can damage sound quality considerably.
Use "virgin" tapes -- in other words, do not record the bootleg over the
top of something else -- use a brand new, unused tape to record the bootleg
onto.
Maxell and TDK are generally considered to be the best tapes. You should
always use "Type II" tapes.
4.4: MP3 Files
[4-11] What are MP3 Files?
MP3 is short for Motion Picture Experts Group, Layer 3. It is a way of
compressing sound data, invented for MPEG video files, but commonly used in
plain audio files (without any pictures).
The compression is "lossy", meaning that the sound of the MP3 file will be
of a slightly lower quality than the original source. The quality
difference is generally rather small though.
[4-12] What are the advantages and disadvantages of trading MP3 files?
MP3 files are small enough to send over the Internet, so unlike trading CDs
or other physical media, you don't have to pay any postage.
Also, as you are not sending anything physical, there is less of a problem
with bad traders.
However, MP3 files lower quality than the original CD source. Also, you
probably can't play MP3 files in your car stereo.
While MP3 files are smaller than a lot of other audio files, they are still
big (a typical song will usually be at least 4 megabytes). Downloading
could take a long time on a slow Internet connection.
[4-13] How can I listen to MP3 files?
There are a wide range of software players for MP3 files. Here are just
some:
* iTunes [Mac] comes free with Mac OS X
* mpg123 [Linux]
<URI:http://www.sfs.nphil.uni-tuebingen.de/~hipp/mpg123.html>
* WinAmp [Win, Mac, Linux] <URI:http://www.winamp.com/>
* Windows Media Player [Win] comes free with Windows.
* XMMS [Linux] <URI:http://www.xmms.org/>
There are also a few portable MP3 players available.
[4-14] How do I convert MP3 files into another format?
There are several pieces of software that can convert MP3s to WAV files.
Probably the best tool to use is LAME. Like many of the tools I recommend,
it is a command-line program, but has several user-friendly interfaces,
such as winLAME. The LAME site also has a list of other programs that
feature the LAME decoding engine. WinAmp and mpg123 mentioned above also
have the ability to convert MP3s to WAV files.
* winLAME [Win] <URI:http://winlame.sourceforge.net/>
* LAME [Win, Mac, Linux, Others] <URI:http://www.mp3dev.org/mp3/>
Although the International Standards Organisation (ISO) definition for the
MPEG format rigidly specifies the method for decoding MP3s so that all
software should give the same results, as always, some software has bugs
that result in lower quality output. In particular, versions of WinAmp
before 2.7 may contain a bug that causes static when decoding certain
files. For details of this bug and deficiencies in other decoders, please
see <URI:http://privatewww.essex.ac.uk/~djmrob/mp3decoders/>
[4-15] How do I make MP3 files?
Unlike decoding MP3s, the ISO MPEG specification allows programmers to
invent their own ways to encode MP3s. This means that different MP3
encoders will give you MP3s with different sound qualities. It is generally
accepted that LAME (mentioned above) is the best of the bunch.
There are some CD rippers that include the ability to make MP3s of your
CDs. Exact Audio Copy (EAC) and Grip are two of these and they can both use
the LAME engine to do the conversion. Other CD rippers, like AudioCatalyst
use faster but lower quality MP3 encoders so should be avoided where
possible.
* EAC [Win] <URI:http://www.exactaudiocopy.de/>
* Grip [Linux] <URI:http://nostatic.org/grip/>
When encoding an MP3, you can choose its "bitrate". MP3s with higher
bitrates have better sound quality, but are bigger files. MP3s with lower
bitrates are lower quality, but have smaller file sizes. 128kbps is
typically used as a good compromise between file size and sound quality.
192kbps is used when quality is very important.
[4-16] Where can I find MP3 traders?
alt.music.bootlegs has a lot of MP3 traders reading it, who will often
trade by sending files from computer to computer by a method called FTP
(File Transfer Protocol).
People also often tade files using "file sharing" services like Morpheus or
Napster.
[4-17] Is there anything else I should know about MP3 files?
*God, yes!!!* Most serious traders do not want to receive a recording which
is sourced from MP3 files because of the lower sound quality. This does not
just mean that they don't want the MP3 files, but that they don't want a CD
made out of the files either. Or a CD made out of a CD made out of MP3
files, etc, etc...
Please respect this wish and if you are planning on trading an MP3-sourced
recording, *warn your trading partner in advance!* If you do not, you are
likely to be posted as a bad trader, and it could repesent the end of your
new hobby! For this reason, it is strongly advisable to keep a careful
record of where all your CDs come from and if they have an MP3 "generation"
in their history.
[4-18] How can I tell if a CD is MP3 sourced?
First of all, listen to it. If you can't tell the difference, does it
matter? Well, if you still think it matters, here's a way of checking.
Rip a random track from the CD into a WAV file using EAC. Open it in a good
audio editor. Run a "frequency analysis" on the WAV file and take a look at
the treble frequencies. Most MP3 encoders savage frequencies above about
16KHz or 18KHz, so if there's little to no sound in that region, the CD is
*probably* MP3-sourced.
However, newer better MP3 encoders are always being developed. LAME at
bitrates of above 192Kbps is virtually indistinguisable from the original
WAV file.
Also, there can be other reasons for the loss of high frequencies -- older
MiniDiscs for example have a similar effect, as can a cassette tape
generation followed by hiss reduction.
Small clicks between tracks can also be a sign of an MP3-sourced recording,
but it is possible to convert MP3s to CDR without adding clicks, and there
are also other reasons why the clicks could be there (a bad TAO to DAO
conversion for example)
So in short, there's no way to be 100% sure.
4.5: SHN Files
[4-19] What are SHN files?
SHN is an abbreviation for "Shorten".
Unlike MP3, SHN files are *non-lossy* , so the sound contained in a SHN
file is exactly the same as the WAV file it was created from.
SHN does have some disadvantages though -- SHN encoders and decoders are
slower than the equivalent MP3 tools. Also, SHN files are much bigger than
MP3 files. Here is an example. These are all the same song (an acoustic
version of REM's "Losing My Religion" if you must know!):
MP3 (128kbps, Joint Stereo) ... ... ... 4,209 KB
MP3 (192kbps, True Stereo) ... ... ... 6,314 KB
SHN ... ... ... ... ... ... ... ... ... 27,870 KB
ZIP (Maximum Compression) ... ... ... 43,400 KB
WAV ... ... ... ... ... ... ... ... ... 46,397 KB
It should be noted, that SHN compresses Mono recordings *very badly* -- use
FLAC instead.
[4-20] What are the advantages and disadvantages of trading SHN files?
Like MP3 files, they can be sent over the Internet, so you have no postage
to pay and less trouble with bad traders.
Unlike MP3 though, once you've downloaded an SHN file, you have a nice
CD-quality recording which you can freely trade.
However, SHN files are much bigger than MP3 files, so you will have to
spend a *long* time downloading them! Usually only people with broadband
(very fast) Internet connections trade them.
[4-21] How can I listen to SHN files?
MP3 files are a lot more popular than SHN files, so while there are 100s of
MP3 players around, there are very few SHN players. That said, a few do
exist.
* ShnAmp plugin for WinAmp (2.x) [Win]
<URI:http://www.etree.org/shnamp.html#download>
* XMMS-SHN plugin for XMMS [Linux]
<URI:http://shnutils.etree.org/xmms-shn/>
* SHN plugin for MacAmp Lite X [Mac]
<URI:http://www.macamplite.com/addons/plugins.php>
[4-22] How do I convert SHN files into another format?
Firstly, it is wise to check that the files haven't been corrupted during
downloading them. This step is not neccessary, but it's a *very good idea.*
There is usually an MD5 file that comes with the SHN files. This file
allows you to check the SHN files are OK. To use the MD5 file, you will
need some MD5 software:
* md5sum.exe [Win] <URI:http://www.etree.org/md5com.html>
*Note:* Linux users probably already have md5sum installed. On Red Hat
based systems, it is in the "textutils" package, which is generally
installed by default. On Debian based systems, it is part of the "dpkg"
package, which is always installed. See the md5sum man page for detailed
usage instructions.
In general, to perform the check, type the following at the command prompt:
md5sum -c [FILENAME].md5
If any of the files have been damaged while downloading, then you should
re-download them. If after a second download they are still corrupted,
contact the person you are downloading them from and have him check that
the files aren't corrupted at his end. If they check out OK, then
continue...
Now you are sure the files are alright, you can decompress them. To do
this, we need some more software:
* shortn32.exe [Win] <URI:http://www.etree.org/shncom.html>
* Shorten [Mac] <URI:http://www.hornig.net/shorten/>
* Shorten [Linux] <URI:http://www.etree.org/linux.html>
Once again, we go to the command prompt to decompress the files:
shortn32 -x [FILENAME].shn [FILENAME].wav
If you are a Windows user and thus terribly afraid of using the command
line, then I can heartily recommend a piece of software called mkwACT that
does all the MD5 checking and decompressing for you using a nice
drag-and-drop interface.
* mkwACT [Win] <URI:http://home.att.net/~mkw/mkwact.html>
There are some nice instructions on how to install and use it here
<URI:http://www.etree.org/mkw.html>
Anyway, you should now have your SHN files in the flexible WAV file format.
As WAV files, they can be recorded onto CDs or converted into other file
formats.
[4-23] How do I make SHN files?
Firstly, you will need the same software specified in the answer above. To
create an SHN from a WAV file (to create WAV files from CDs, check out the
CDR section above) you can either use mkwACT or go the command line way.
mkwACT is so easy to use that I won't bother explaining it. Here's the
command line way. For each WAV file do:
shortn32 [FILENAME].wav [FILENAME].shn
At the end of converting all the files, it is a good idea to create an MD5
file:
md5sum *.shn > [FILENAME].md5
[4-24] Where can I find SHN traders?
Currently, the biggest group of SHN traders can be found at etree.org. You
can also try searching the Web for other SHN traders.
[4-25] What are MD5 files?
The MD5 algorithm is described in RFC1321 by R. Rivest. Using the MD5
algorithm, it is possible to calculate a "signature" for a file. For
example:
5c63cea472906212bffa149299be0e59
This signature is *essentially* unique to that file. Any changes to the
file (even tiny ones!) will result in a completely different signature.
An MD5 file contains a list of all the signatures of all the SHN files of a
bootleg. You can check the signatures in the MD5 file against the
signatures for each SHN file. If some of them don't match, it means that
those files were damaged during downloading them, so you should try
downloading again.
For MD5 software that automates the checking process, see etree.org. Also,
mkwACT has MD5 checking built in.
For more details about how MD5 works, please see the original RFC at:
<URI:http://www.faqs.org/rfcs/rfc1321.html>
4.6: Video Tape
[4-26] What is NTSC? What is PAL? What is SECAM?
NTSC, PAL and SECAM are different ways of broadcasting audio/video
information. PAL and SECAM offer slightly better resolution than NTSC, but
on the other hand, NTSC has less flicker.
NTSC is short for National Television System Committee. It was developed in
the USA and is used in most of North and South America and most of Asia,
including Japan.
PAL is short for Phase Alternating Line. It is used in most of Europe and
in Australia and Brazil. There are 5 variants of PAL, but once the signals
have been put onto video, the differences between them are eliminated.
SECAM is short for Sequential Couleur Avec Memoire. It is used in France,
some of Eastern Europe and the Middle East. It has two variants, which are
similarly compatable once they have been recorded onto tape.
The bad news is thata PAL video won't play on an NTSC VCR. A SECAM VCR
can't play an NTSC recording. Et cetera.
The exception to this is that most modern European VCRs can now play NTSC
videos as well as PAL, but only record in PAL.
For more information, I recommend
<URI:http://www.ee.surrey.ac.uk/Contrib/WorldTV/>
[4-27] How can I convert between PAL, NTSC and SECAM?
The short answer is that *you* can't! It requires specialist equipment. Of
course some people have this equipment and will offer to do the conversion
for you for a small fee -- expect to pay between $5 and $15 (US dollars)
per hour. There will usually be a big reduction in picture quality caused
by the conversion.
[4-28] How do I copy a video?
You need two VCRs. We will call the VCR that plays the original video "VCR
P" and the VCR that records onto the blank tape "VCR R"
If your VCRs are relatively new, they will have SCART (Syndicat des
Constructeurs d'Appareils Radiorécepteurs et Téléviseurs)
sockets at the back. These are big rectangular sockets, similar in
appearence to the parallel port socket on your computer, typically used for
printers. If you don't have a SCART socket on both videos, go to the next
question.
Connect a SCART lead between the two VCRs. Put a blank tape into VCR R and
make sure it is rewound. Switch VCR R onto the "AV" channel.
Put the original tape into VCR P and fast-forward/rewind to the beginning
of what you want to copy.
Press "record" on VCR R and wait 5 seconds. Press "play" on VCR P. Wait
until the program you are copying is finished. Press "stop" on VCR P. Press
"stop" on VCR R. Rewind the tape in VCR R.
[4-29] How do I copy a video without using SCART?
(Note: using SCART you will get a better quality copy and it will be
easier. Use SCART if it is possible.)
You need two VCRs. We will call the VCR that plays the original video "VCR
P" and the VCR that records onto the blank tape "VCR R"
Get a regular TV aerial lead (the kind you normally use to connect a video
to a TV. Connect it from the TV-out of VCR P to the aerial-in of VCR R.
Put the original tape into VCR P and fast-forward/rewind to the beginning
of what you want to copy.
Press "record" on VCR R and wait 5 seconds. Press "play" on VCR P. Wait
until the program you are copying is finished. Press "stop" on VCR P. Press
"stop" on VCR R. Rewind the tape in VCR R.
4.7: VCD
[4-30] What is a VCD?
VCD stands for "Video Compact Disc". It is a CD that contains video as well
as audio. These CDs can be played on some DVD players and some CD-ROM
drives as well as VCD players (these came out years ago, but never sold
very well, except in Asia). They can also be played in PlayStations,
Dreamcasts and Sega Saturns if you purchase the appropriate add-on.
A 74min CDR can hold 74min of film when used as a VCD. This is thanks to
MPEG1 compression. Like DVDs, they can have menus and chapters.
[4-31] How do I copy a VCD?
Just copy the VCD like a data CD-ROM.
[4-32] How do I create a VCD?
The details of VCD creation are way beyond the scope of this FAQ. A basic
summary is:
* Capture the video as an AVI file.
* Convert the video into MPEG format.
* Create your menus, chapters and still pictures.
* Burn your creation onto a CDR.
Further information at <URI:http://www.vcdhelp.com/>
4.8: Rarely Used Formats
[4-33] What are OGG files?
Ogg Vorbis is a lossy compression similar to MP3, but it gives you slightly
better sound quality and slightly smaller files. It also has much less
restrictive licensing conditions. Other than these differences, you may
treat OGG files almost the same as MP3 files. For more information, see
<URI:http://www.xiph.org/>
[4-34] What are RM/RA/RAM files?
These files are for Real Networks' media player called Real Player. It is
very difficult to convert these files to any other format, although there
is a piece of Windows software called Streambox Ripper than can do it.
Streambox no longer makes this product, but copies can be found in the
online underground.
The official Real Player can be downloaded from <URI:http://www.real.com/>
.
The format is lossy.
[4-35] What are ASF/WMA/WMV files?
These files are for Microsoft's Windows Media Player. It is even harder to
convert these files to any other format.
The official player (only for Windows and Macintosh) can be downloaded from
<URI:http://www.microsoft.com/> . An unofficial player for most other
operating systems is Xine, which can be found at
<URI:http://xine.sourceforge.net/> .
The format is lossy.
[4-36] What are FLAC files?
This is a new non-lossy format designed to replace SHN. It creates smaller
files than SHN (by about 15%), especially when dealing with a Mono
recording (sometimes about 40% difference from SHN!). The files have built
in integrity checks (so MD5 files aren't needed), built in seek tables (so
you can fast-forward and rewind them in media players) and tagging support
(so you can store information about the files, such as Title and Artist).
The format also has less restrictive licensing conditions.
The FLAC home page is <URI:http://flac.sourceforge.net/> .
[4-37] Does anyone trade DVDs?
There are recordable DVDs now, and people do trade them, but not many
people have the equipment.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 5: Packaging
====================
5.1: Artwork
[5-1] Should I send artwork with my bootlegs?
This is entirely up to you as a trader, and something that you need to
discuss with the other party during trades. However, most traders prefer to
have artwork with their shows if possible, so it is good practice to always
include artwork, if only by email, if possible.
[5-2] How do I make artwork?
There are many programs that can be used for making artwork, from MS Word
to specialist labelling programs.
One of the most popular is Neato's MediaFace II, which can be downloaded
for free from <URI:http://www.neato.com/> . This has ready-made templates
for Casettes, CDs, DVDs, Videos and much more. Of course, any decent
graphics package can be used.
What you put on the artwork is entirely up to you -- some people simply put
a tracklist on the back cover, some prefer making full colour photo-quality
artwork for the front and back.
[5-3] Where can I find artwork for XXXX?
A good starting point is Jamaka's artwork page, that has literally hundreds
of links to various artwork pages, sorted by artist.
<URI:http://home-1.tiscali.nl/~jamaka/artwork.html>
If that fails you then ask on the newsgroup or search on Google.
[5-4] How many pixels by how many pixels for CD artwork?
This depends on what resolution you want to use. 150 pixels per inch is a
fairly common resolution. The front cover should be 12cm by 12cm (12cm is
4.75 inches) which works out to be a 712 pixel square. If you would prefer
a booklet style front cover, then double the width. The back cover should
be 15cm (5.92 inches) wide and 11.85cm (4.67 inches) high, which is 886 by
700 pixels. This includes the left and right "lips" which are 6mm/0.25
inches/36 pixels.
[5-5] What image format should I use when making artwork?
I recommend using PNG format. This format gives you great compression
(better strength than GIF) and is supported by all major browsers.
JPEG is also often used, although it should be noted that JPEG pictures are
lower quality than their PNG equivalents because the JPEG compression
scheme is lossy.
5.2: Mailing
[5-6] What is the postage rate from XXXX to YYYY?
Postage rates vary from country to country, state to state, and are
dependant on the destination combined with the package's weight. The best
way to find the postage rate for an item is to visit your local post
office, or the post office's website, which should be able to give you an
indication of prices.
[5-7] What's the best way to wrap CDs securely?
The best way to ensure that cds arrive at their destination in the same
condition as they left you is to use bubble-wrapped padded bags (usually
known as jifffy bags). These protect the cd on all sides and are much
better than the fibre-filled bags -- those tend to make a mess if they get
torn.
In addition to this, pieces of cardboard can help to ensure that a package
is not bent. It is especially important to ensure that a package is not
bend if you are sending without the cds in a jewel case.
If you use staples to seal a package, please cover the staples with plastic
tape, because metal staples can be sharp and the post office may refuse to
deliver your package if it feels that it could endanger their staff. (Stabs
with pieces of metal can cause tetanus amongst other infections)
[5-8] Why do people tell me not to use fibre-mailers?
Not only are fibre mailers harder to reuse, but if they are not opened
carefully they can shower you and your room with dust. Some traders are
also afraid that the fibres will get into their system and cause havoc with
the workings, and while we haven't ever heard of this happening, it is
certainly a possibility.
[5-9] Should I send by priority mail? First class mail? etc?
This is up to you as a trader to discuss with the other party. Priority
costs more, but ensures that the package is delivered much faster. With
inland mailing, you can usually also pay for recorded and next-day
delivery. It is usually good practice to send by first class mail, and
avoid second class, though this is another thing for you to discuss with
the other party.
[5-10] Are there any special considerations when sending things
internationally?
International shipping takes much longer than inland posting, and can take
over 4 weeks when sheeping to certain parts of the world.
There are usually two options when sending packages internationally -- air
mail and surface mail. Air Mail is by far the quickest method, and is
preferred by almost all traders. Surface mail is marginally cheaper, but
usually takes 5 to 6 weeks, and so should be avoided at all costs.
When shipping abroad you will sometimes also need to fill out a customs
form. These are usually small green stickers that are attached to the front
of your packages with the weight, description of the contents and a
signature. When filling out a customs slip, it is usually best to mark the
item as a 'gift' rather than 'merchandise', and make the description 'used
cds', with a low monetary value. This will help to ensure that the
recipient does not have to pay tax upon receiving the item.
[5-11] What is an International Reply Coupon?
When sending a package to someone, if you want a reply, you'll often
enclose a stamped self-addressed envelope for them to use. However, if you
are sending a package internationally, your stamps are unlikely to be worth
anything. This is where International Reply Coupons (IRCs) come in.
An IRC can usually be bought from your local post office. Prices vary from
country to country -- for example, at the time of writing an IRC cost $1.75
in the USA, but $3.50 in Canada. Part of this price difference is due to
the lower value of the Canadian dollar, but that only accounts for a small
difference in price -- the simple fact is that IRCs cost different amounts
in different countries.
Then you can send the IRCs off. The recipient can exchange the IRCs for a
local stamp. This is usually a stamp of the values of the cheapest airmail
to the country the IRC came from. Because you are probably sending a
heavier package (containing CDs or whatever) you may need more than one IRC
to cover the postage -- typically one IRC for each CD you send and then one
more.
The IRC system is run by the Universal Postal Union (UPU) which was formed
in 1874 and is the oldest International Organisation in existance. However,
the UPU does not cover the entire world, so some countries may not accept
IRCs.
[5-12] I sent some CDs weeks ago, but the other guy is claiming not to
have received them. What should I do?
Firstly, e-mail them and tell them to wait a little while longer. Some
packages take longer to arrive than others.
If after a month or so has gone by then you can safely assume that they've
got lost in the mail. It happens. It is now your responsibility to replace
them.
Make new copies of the discs. Double check his address -- maybe you had it
wrong and that's why they disappeared. Take them to your post office and
send them. *Obtain proof of postage* -- this is usually free.
If he still doesn't get your package, then you can assume that he's
probably lying and just trying to get lots of spare copies from you. You
have proof that you've sent it and it is unlikely that the post office
would lose both packages.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 6: Basic Bootleg Management
===================================
[6-1] Why should I keep track of which bootlegs I have?
Anyone who is serious about trading will need to keep a list. Otherwise
people will not know what you have, so will not be able to set up a trade
with you!
[6-2] How should I keep track of which bootlegs I have?
Create a new file on your computer and simply list every bootleg you have.
The two most common formats for bootleg lists are plain text and HTML.
These are good, because they can be read by pretty much anyone on the
Internet. Probably in the near future some people will be using XML too.
If you use a more exotic file format (such as MS Word files, Excel files,
Databases, etc), be sure to keep an up-to-date text file or HTML file as
well, because not everyone will have the right software to view your list
in its native format.
[6-3] What information should I include?
At a minimum, record the name of the band, the date (if known) and location
(if known). It is also a good idea to include the source of the recording
(see later on!) and a quality grade (also see later!).
Other things you might want to consider including are the length of the
recording -- for example, 57 minutes; a setlist; a detailed desciption of
the source -- type of microphone used, etc; the generation of your
recording (see later).
In my experience, if you are making your list as plain text, it is best to
keep information minimal, so that each bootleg only requires one line of
text. Including setlists will detract from the readability of the list.
If you are using HTML, you can use different font sizes and other
techniques to make the headings (bands, dates, locations) stand out so that
you can include extra information such as setlists without making your list
unreadable.
If you are using HTML, you might also want to consider keeping setlists on
separate pages and hyperlinking to them from your main list.
[6-4] How should I grade quality?
Firstly, you should bear in mind that quality is an indication of the
*sound quality* of the recording. In other words, a high quality show is
very clear, has very little audience noise, etc.
Quality is NOT based on "what good songs were played".
The usual way of grading quality nowadays is by using school grades -- A+
is an exceptionally good recording, E- is terrible! This method of grading
is used as it is pretty easy for people to understand. Here are some other
ways of grading that you may come across:
Older Standard:
EX+ -- Perfect recording.
EX -- Excellent recording.
EX- -- Mainly excellent recording, maybe with some minor flaws.
VG+ -- Very, very good recording.
VG -- Very good recording. Very listenable.
VG- -- Not quite as good as very good.
G -- Good recording. Listenable.
P -- Poor recording. Only for true collectors!
VP -- Very poor. Difficult to tell what's going on at the show!
Number Grading (mainly used by DAT traders):
10 -- Perfect recording.
:
:
1 -- Awful recording.
Fractions are occasionally used, for example 9.5
Older Number Grading (never used today!):
1 -- Excellent
2 -- Good
3 -- Fair
4 -- Poor
5 -- True collector only
Whichever system you choose to use, try to be consistant. You may want to
explain your grading system somewhere on your list.
[6-5] What do those letters under Source such as SB, AUD, FM, etc, mean?
These abbreviations stand for the source of the live recording.
ALD = Taped from an assisted listening device (some venues have
this system for people with hearing problems to listen to)
AUD = Audience (These can be real good, or real bad)
FM = A show broadcast on FM radio
#PRO = Where # represents the number of cameras used in a pro-shot,
but unreleased video
PRO = Pro-shot video (unspecified number of cameras)
SB = Soundboard (Generally, the best type of live recording)
SBD = Soundboard
SDBD = Soundboard
STU = Studio tracks (Demos, Out-takes, B-sides, etc)
ST = Studio tracks
TRI = TRIpod shot (video)
TV = A show broadcast on television
VHS = Audio was taken off a VHS video-cassette
WEB = Webcast
The term "soundboard" should not be used lightly. For a recording to be
truly soundboard-sourced, it must come directly from the venue's mixing
deck. TV/FM broadcasts (and webcasts!) to not count as soundboard.
You may also see these abbreviations (particularly AUD and SBD) prefixed
with a D -- i.e. DAUD or DSBD. This just means that they are digitally
sourced -- no MP3 generation, no cassette generation.
[6-6] Should I include my "rules"?
It is useful to include a list of rules/guidelines for trading with you. If
you put them at the top of your list, try to keep them as concise as
possible, as no-one wants to read through pages of rules before trading
with you! If you put them at the bottom of the list, or on a seperate page
(on a website), then feel free to write on and on and on and on and...
[6-7] Should I include a list of people I've traded with?
It might be a good idea to add such a list to the end of your main bootleg
list. Not only will it give people a nice list of traders that they can
trust (because they didn't rip you off!), but it will also act as a set of
references for you.
[6-8] What should I do with my list?
When you have the list made, you should post it to alt.music.bootlegs in an
attempt to have people respond to you, interested in some of your bootlegs.
That's how trades start.
Make sure you only post a *text* version to the newsgroup. People don't
like HTML posts to newsgroups. If your list is in HTML, put it on a website
somewhere and post a link to it on the newsgroup.
[6-9] How often should I post my list?
This depends on how busy you like to be! Every two weeks would be sensible.
Every two days would not.
[6-10] Crossposting?
Crossposting is posting your article to several newsgroups at once. This is
commonly done, but I think people would advise you to post only to groups
relevant to your list and what you generally collect. Don't go posting to
rec.music.rem if you don't like them.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 7: Taping
=================
[7-1] What equipment should I use?
What equipment you use to record live concerts will greatly determine the
quality of your recordings. Nowadays, the most commonly used equipment is
either a DAT or MiniDisc recorder hooked up to some good microphones,
although some people still record to analogue cassette tapes.
Cassettes are by far the cheapest option, but of course do not offer the
same sound quality that DATs or MDs do.
MiniDisc is an ideal setup for beginners. A good MiniDisc recorder should
be reasonably priced, and they are very small. MiniDiscs can hold up to 80
minutes of stereo music (or 160 minutes of mono) with very little quality
loss.
DATs are the preferred taping medium, although they are much more expensive
than MiniDiscs. They record at 48000 samples per second (better than CD
quality) and can last for up to 3 hours non-stop.
Possibly more important is your choice of microphone. There are two main
types of microphone -- unidirectional and omnidirectional.
Unidirectional microphones are "focussed". If you aim them at the sound
source, they should pick that sound source up very well without picking up
much surrounding audience noise. They also can help filter out echos, if
they acoustics of the venue aren't that great. A popular type of
unidirectional microphone is the Cardioid.
Omnidirectional microphones on the other hand pick up sound from all
directions and are thus preferred for stereo recordings. These are best
used in concerts where there is only a little audience noise.
It is a good idea to have a good set of both type of microphone for
different occasions, but if you have to settle on one, unidirectional
microphones are more flexible.
Either way, you should check your microphone's sound pressure levels (SPL).
If you are going to be recording loud concerts, make sure you get
microphones with a SPL of at least 120 decibels.
It is also important to have a "battery box". This will amplify the signal
from the microphone, allowing you to plug directly into your recording
unit's line in. The line in is preferable to the microphone socket, because
most taping units have fairly poor preamps in their microphone sockets.
A bass roll-off is also useful for concerts with a lot of bass, because
bass tends to cause distortion on a lot of recordings.
[7-2] What are the advantages and disadvantages of DAT and MD?
DAT:
* Holds 180 minutes of music
* You'll never need to switch DATs half way through a show
* Better than CD quality
* The actual tape used in DAT degrades with time
* DAT can randomly fail uring recording
* Very expensive
MiniDisc:
* Holds 80 minutes of music (or 160 minutes in mono)
* It takes about 30 seconds to switch from one MD to the next one
* Lossy compression
* MiniDisc is much more stable
* MiniDisc is usually OK, unless you bump it hard
* Reasonably priced
[7-3] Where are the best venues to tape?
It is often good to start taping in smaller venues as you will be able to
get closer to the source of the sound (speaker stacks, stage, etc). You may
also be able to build a friendship with the sound guy this way. (See the
question on getting a soundboard patch)
Another advantage of taping in smaller venues is that you will be able to
speak to the band before and ask them if they would like you to record
them, which brings me to my next point...
A good place to tape is anywhere a taper-friendly band is playing! When
getting started it is useful to be able to openly tape without worrying
about your shiny new equipment being confiscated, so taper-friendly bands
are ideal practice. (See the question on taper-friendly bands)
[7-4] How should I sneak it in?
Assuming the band does not allow taping (otherwise you wouldn't be sneaking
your gear in, right?), you may need to be a little cunning.
Various methods include "crotching" (wearing two pairs of under-wear and
putting your equipment between them) to creating a false bottom in a
girlfriend's handbag. And of course, BIG jackets!
Ask fellow tapers for ideas but be creative, because security guards have
often learned about the older tricks.
[7-5] Where should I put the microphones while recording?
A usual technique is clipping them to your collar or the rim of your hat.
Hats are especially good if you're fairly tall and using Cardioids, because
it will get the microphones above the level of the audience and hopefully
you'll pick up less audience noise. More importantly... where should you
stand?
In every venue, there is a so called "sweet spot" -- the point with the
best sound in the whole building (other than the stage, that is!). This is
often just in front of the soundboard. Another consideration is audience
noise. If there's a balcony, a spot right at the front of that (combined
with unidirectional microphones) will give you very little audience noise.
[7-6] Any other taping tips?
If the guy next to you is being noisy, it might be useful to offer him a
copy of the tape if he shuts up.
Use the support band to test how good your sound is. Set up your gear how
you think will be best, then tape the full set of the support band. Between
sets (often over half an hour!), listen to your recording and make the
necessary adjustments to your gear to get an even better recording of the
evening's main event! It's cool to keep the support band's recording too.
One day they may make it big, and you'll have a very rare early recording
of them.
DATs have higher error rates at the beginning of the tape.
Don't bring along blank MiniDiscs -- bring along discs with about 3 seconds
already recorded onto them. This means there is already a table of contents
(TOC) on the disc, so when you need to eject the disc to put in a new one,
your recorder will be much faster when writing the new TOC.
[7-7] Can I get a soundboard patch?
If a band is taper-friendly, they may allow you to plug directly into the
soundboard ("betty board"). If they do:
* be polite to the sound guy
* ask him to do stuff -- never order him
* be polite to other everyone else, for that matter
* don't touch the sound guy's equipment
* YOU will be required to supply the connecting leads -- make sure you
bring lots of different types because you don't know what their sockets
will be like.
If the band is not taper-friendly, the sound guy will *not* let you connect
to the soundboard -- it's more that his job is worth (unless maybe you're a
friend ;)
[7-8] What happens if I get caught?
This depends on the venue. Check the small print on the back of your
ticket. They will probably just send you back to your car and tell you to
put the gear away and come back in when you've dumped it. In most
juristictions, staff should not be able to keep your gear (at least not
once the show is over) if they find it, although they may have the right to
confiscate any media found on you indefinately.
[7-9] Should I tape in Mono or Stereo?
A good question. The truth of the matter is that your microphones are not
likely to be far enough apart to get a good stereo effect.
According to the professionals, to get a good stereo recording, you have to
have your microphones three times as far apart as they are back from the
sound source. So for example, if you are standing 50 feet back from the
stage, your microphones should be 150 foot apart from each other! As you
are unlikely to be able to do this, it doesn't really matter if you record
in Mono or Stereo -- but remember, often your media will allow you to
record for longer if you use Mono!
The way to get a truly good stereo recording it to find a taping partner --
one of you can stand at the left of the venue and one can stand at the
right. Use similar rigs and after the show, mix your tapes together. This
is also a useful arrangement if your recorder dies half-way through the gig
-- at least your partner will probably be getting a recording.
[7-10] What else should I know?
This section has been written by a non-taper! OK, so I've taped one or two
shows, but my experience of taping is very limited. I have tried to gather
information from a range of experts, but take all this information with a
pinch of salt.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 8: Audio Editing
========================
[8-1] What audio editing tools should I use?
Links to all the software mentioned follow at the end of this answer.
First, you will need a good audio editor. The best free one I have found is
Audacity -- it works on Windows, Mac (Classic or OS X), Linux, BSD and
probably other systems too. Goldwave comes in at about $50 and is great.
CoolEdit costs a little more -- about $80. CoolEdit Pro weighs in at about
$300 and Soundforge, the mother of all audio editors will set you back
about $500!
Luckily, trial versions are available for CoolEdit and Goldwave. I have
been informed that there are various cracks and patches to unlock the trial
versions, but use these at your own risk. I will not give you any advice on
how to find such things.
General Audio Editing:
* Amadeus II [Mac] <URI:http://www.hairersoft.com/Amadeus.html>
* Audacity [Win, Mac, Linux] <URI:http://audacity.sf.net/>
* CoolEdit [Win] <URI:http://www.syntrillium.com/cep/>
* GLAME [Linux] <URI:http://glame.sourceforge.net/>
* Goldwave [Win] <URI:http://www.goldwave.com/>
* KWave [Linux] <URI:http://kwave.sourceforge.net/>
* Sound Sculptor II [Mac] <URI:http://members.aol.com/sculptorii/>
* Soundforge [Win] <URI:http://www.sonicfoundry.com/soundforge>
* Sound Studio [Mac] <URI:http://www.felttip.com/products/soundstudio/>
Professional-quality digital audio extraction (CD ripping):
* Exact Audio Copy [Win] <URI:http://www.exactaudiocopy.de/>
* CD Paranoia [Linux] <URI:http://www.xiph.org/>
Other useful tools:
* CD Wave [Win] <URI:http://www.cdwave.com/>
* WAVtrim [Win] <URI:http://www.logiccell.com/~mp3trim/>
[8-2] How can I get rid of the gaps from CDs burnt in TAO mode?
Firstly, extract all the tracks to WAV files using EAC, CD Paranoia or
another good digital audio extractor.
Now open the first track in your audio editor. Zoom in to the beginning of
the file and delete any silence you find there. Zoom into the end of the
file and do the same. Repeat this process for every WAV file. You may be
able to use WAVtrim to do all this for you, but I find it unreliable.
The easy method is now to burn the WAV files in Disc At Once mode and
you're done. This will sometimes result in a flawless copy, although there
are often tiny clicks between tracks. If you want to do the conversion
perfectly, continue reading!
Now use your audio editor to join all the edited WAV files up into one long
WAV file. CoolEdit Pro has an "Open Append" item on the "File" menu, which
is very handy for doing this. I have also been told there is a utility
called "WavMerge" that can do this, but I haven't been able to find a copy
to test it.
In Linux or Mac OS X, you can use "sox" to convert the WAV files to RAW
audio files (headerless WAV files), then join them all using the "cat"
command and then use "sox" to convert the resulting file back into WAV
format.
Listen to the transitions between tracks. Do they sound good? Do they need
a bit of editing? If so, do it. Now is also the time to do any other
editing you might need to do -- normalising, equalisation, cleaning up
hisses and pops, etc...
Save the long WAV file and delete the short WAV files you made it from --
you'll probably be running out of disc space by now :)
Use CD Wave to break the WAV file up into tracks again. Burn these tracks
in Disc At Once mode with 0 second gaps.
[8-3] Why is that such a complicated process?
You probably mean, "why join all the tracks together into one WAV file and
then split them up again", don't you?
Well, the answer is fairly complicated. Tracks on a CD must be an exact
multiple of 588 samples (1/75 second) long. If they're not, then you'll end
up with a click between tracks.
After editing the WAV files (removing silence from the beginning and ends),
the lengths of the files will be fairly random and certainly won't all be
multiples of 588 samples.
CD Wave splits files at exactly 588 sample boundaries, so if you join all
your WAVs up and resplit them, you will get a flawless CD.
[8-4] How to I transfer a recording from another format (DAT, MD,
Cassette, Vinyl, etc) to CDR?
Assuming you are using a PC to record CDRs (it's trivially easy with a
standalone, although your results will not usually be as good!), first
you'll need to connect a device (DAT/MD/Cassette/Vinyl deck, etc...) to
your computer's soundcard.
Most DAT and MD decks have a digital output. If your soundcard has a
digital input, you're sorted! Follow the instructions in your manuals and
you should have a decent recording in no time.
Assuming a digital connection is not an option, you will need an audio
cable to connect your device to your soundcard. You should be able to find
such a thing at your local electrical retailer. Check what types of output
sockets your device has (often a "headphone" socket and maybe another
socket as well) and what input sockets your soundcard has (usually the
"headphone" type).
Once you have the cable, attach one end to the output of your device and
the other to either the line in (recommended) or the microphone socket of
your soundcard.
Now, play around with the volume control in your audio editor and also on
the device you are recording from to get the right volume levels. You want
the signal to be as loud as possible without the risk of clipping. (See the
question on this)
Once you have this level, reduce the volume a little bit more just in case
-- reducing by about 15% should do.
Now, rewind to the beginning. Set up your audio editor to record in 16-bit
stereo at 44.1KHz. Press "record" on your audio editor and press play on
your device. This first step gets easier with practice!
You should now have a long WAV file of what you want to record to CDR. Use
your audio editor to edit out problems such as when you flipped the tape.
If you were recording from a tape, vinyl or some other analog medium, there
is probably a small amount of "hiss" in your WAV file. Most audio editors
have an anti-hiss tool that you can use to reduce this.
Also, listen to your recording. Does it sound to bassy? Lower the bass in
your editor's EQ. Too tinny? Then lower the treble.
Once you have the recording just how you like it, find the "normalise"
function of your audio editor. Normalise the WAV to 99%. This will raise
the volume to the highest level possible without the dreaded clipping.
Now save your WAV file and close your audio editor. Open up your WAV file
in CD Wave and use that to add in track splits. It is generally best
practice to put the split at the beginning of a song, rather than at the
end of the previous song. A good rule is that if banter lasts for more than
30 seconds, it should be given its own track -- otherwise leave it at the
*end* of the song before it (not at the beginning of the song after it!)
Now save the tracks and use your CD burning software to burn them in
Disc-At-Once mode with no gaps.
[8-5] There's a lot of hiss on my recording. How do I fix that?
Most audio editors have an anti-hiss function.
[8-6] How can I remove small pops and clicks from the recording?
Zoom in on the pop and you'll see something like this:
x
xxxx xxxx
xx xx xx xx
x x x x x
-x----------x----------x----------x----------x-
x x x x x
xx xx x xx
xxxx xxxx
it is pretty obvious which part of the waveform is causing the pop. Use
your best resources to put the rogue samples back where they are supoosed
to go to get a smoother waveform. In this case, I'd reduce the rogue
sample's volume to about 30% of its original level and then invert it, to
get something like this:
xxxx xxxx
xx xx xx xx
x x x x x
-x----------x----------x----------x----------x-
x x xx x x
xx xx x xx
xxxx xxxx
[8-7] What are some general tips and tricks?
If you have to do some work on a show, do it on the full show in one WAV
file instead of each track individually -- this will result in smoother
transitions between tracks. This is particularly important in normalising.
If you can spare the disc space and memory, you might want to do all your
working in 32 bits (instead of the standard 16) and convert back to 16 at
the end.
Always do track splits at 588 sample boundaries -- CD Wave makes this easy!
[8-8] What does "Clipping" mean?
A signal that results from an amplifier that is either overloaded or
underpowered relative to the signal amplitude (volume) it being asked to
generate.
A clipped waveform is one in which the gently rounded peaks and valleys of
the AC audio wave are instead sliced off or clipped, to yield what looks a
lot like a square or alternating DC wave.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 9: The alt.music.bootlegs Newsgroup
===========================================
[9-1] What is a newsgroup?
A newsgroup is a forum for the discussion of a particular topic. Newsgroups
belong to a vast network called Usenet (short for "User's Network") which
grew up alongside the Internet and they are now inextricably linked.
At the time Usenet was developed, the World-Wide Web did not exist and very
few people had an Internet presence. Usenet allowed people to establish
such a presence, by posting articles to its groups.
Usenet is heirachically organised. For example, there is a comp.* heirachy
that contains newsgroups about computers. This has a sub- heirachy called
comp.os.* which contains newsgroups about computer operating systems. This
contains a newsgroup called comp.os.research containing various articles
about operating systems research.
[9-2] How do I access newsgroups?
There are two main ways -- through a newsreader or through a website.
A newsreader is a program that allows you to communicate with a newsserver
(usually provided by your ISP or University) and lets you read articles
posted to newsgroups and post your own articles.
Here are *some* newsreaders that you may like to try.
* Mozilla [Win, Mac, Linux] (Free, includes browser, chat and e-mail
client) <URI:http://www.mozilla.org/>
* PAN [Linux] (Free) <URI:http://pan.rebelbase.com/>
* Netscape [Win, Mac, Linux] (Free, includes browser, chat and e-mail
client) <URI:http://www.netscape.com/download>
* Outlook/Outlook Express [Win, Mac] (Free, includes e-mail client)
<URI:http://www.microsoft.com/ie>
* Forte Free Agent [Win] (Free, although there is a paid-for version with
extra features) <URI:http://www.forteinc.com/agent>
* TIN [Win, Mac, Linux] (Free) <URI:http://www.tin.org/>
As mentioned earlier, Usenet may also be accessed via the WWW (although
most "hardcore" Usenet users would not recommend this, as it is slower and
less flexible). A popular "Web-to-News gateway" can be found at
<URI:http://groups.google.com>
[9-3] Are there any special considerations when posting messages to
newsgroups?
Definately! What follows is a short summary of Usenet Etiquette. For a
fuller guide please refer to
<URI:http://www.csam.montclair.edu/Docs/Users_guide/news.html>
* Read news.announce.newusers before you start posting messages. This
newsgroup will fill you in on the history of the usenet, some of the
newsgroups that are available, and the rules of etiquette.
* Is your post really necessary? If all you are saying is "I agree" or
"Me too", it probably isn't.
* Try to keep messages as brief as possible.
* Do not type in ALL CAPITALS -- it is considered shouting and some
people take offence. It is also ugly and difficult to read.
* Do not reply to someone to correct a spelling or grammar mistake in
their post. Remember, it is easy for your finger to slip and hit the
wrong key and English is not everyone's first language.
* Read this FAQ before asking a question. We might have the answer here!
[9-4] Are there any special considerations when posting messages to
alt.music.bootlegs in particular?
Definately! If someone posts asking for a Backstreet Boys bootleg, it may
be tempting to reply with a "flame", telling them that BSB are crap and
they should get a life and listen to some real music for a change. But
don't. We are a mixed bunch in alt.music.bootlegs. We all have different
tastes in music -- chances are that someone feels exactly the same way
about your favourite band.
Think about how to reply. You have two options -- you can reply to the
newsgroup, or reply by email to the original sender. Only reply to the
newsgroup if you feel that other people there will be interested in your
reply.
It is very important to choose an appropriate subject for your posts.
Alt.music.bootlegs is a high-volume newsgroup which usually receives
between 50 and 100 posts per day, so most people skim the subject lines,
and only read the posts if the subject looks interesting. Good subject
lines are:
* WTD: band, venue (date)
* ISO: band, venue (date)
"WTD" is short for "Wanted" and "ISO" is short for "In Search Of". They
both mean the same thing. It is probably a good idea to indicate what you
have to trade in return in the body of the message -- particularly
recordings by the same and/or similar artists. If you're just after *any*
recording by a particular artist (not a specific show), leave out the venue
and date.
* F/T: band, venue (date)
* F/S: band, venue (date)
"F/T" is short for "For Trade". "F/T" is short for "For Sale". Use these
when you want to let people know you've just recieved a show and want to
trade/sell it.
* Taped: band, venue (date)
* Filmed: band, venue (date)
Post these messages to let people know that you've taped/filmed a
particular show. It is a good idea to include information in the body of
the message indicating when you'll be ready to trade it (MD --> CD
transfers can take a while)
[9-5] How long has alt.music.bootlegs existed? How long do you think it
will last?
Alt.music.bootlegs was "newgrouped" (created) with this message:
> From [EMAIL PROTECTED] Sat Aug 13 00:08:33 1994
> Control: newgroup alt.music.bootlegs
> Newsgroups: alt.music.bootlegs.ctl
> Path: uunet!meaddata!swiss.ans.net!europa.eng.gtefsd.com!
> newsxfer.itd.umich.edu!news.cic.net!magnus.acs.ohio-state.edu!csn!
> csus.edu!netcom.com!mach3
> From: [EMAIL PROTECTED] (Ben Kierulff)
> Subject: cmsg newgroup alt.music.bootlegs
> Message-ID: <[EMAIL PROTECTED]>
> Organization: NETCOM On-line Communication Services (408 261-4700 guest)
> Date: Sat, 13 Aug 1994 00:15:54 GMT
> Approved: [EMAIL PROTECTED]
> Lines: 3
> Xref: uunet control:1122418
> --
> -=-Mach3-=-
> [EMAIL PROTECTED]
There then followed a lot of "rmgrouping" (deleting) and recreating of the
group because people couldn't agree on whether it had been created properly
(you are supposed to provide a tagline, description and optionally a
charter when you create a group -- none of this had been done), but
eventually people gave up and it now exists and is widely propogated (it is
carried on most news servers) and widely used.
Alt.music.bootlegs will exist in some shape or form for as long as Usenet
continues to exist. Once a newsgroup exists, it's pretty hard to kill!
[9-6] What other newsgroups might be of interest to me?
Alt.music.*, alt.fan.* and rec.music.* probably hold newsgroups about some
of your favourite bands. These might also be of some interest:
* alt.binaries.sounds.mp3.bootlegs
* alt.videos.bootlegs
* alt.binaries.sounds.misc
* alt.music.bootlegs.lists (not widely propogated)
* alt.binaries.music.shn (not widely propogated)
If you want to look outside Usenet, there are a lot of mailing lists around
that may be of interest. Yahoo Groups <URI:http://www.yahoogroups.com> is a
good starting place.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Chapter 10: Miscellaneous Questions
===================================
[10-1] Isn't that piracy?
Bootlegging and piracy are different! As stated earlier, piracy is the
unauthorised copying of legitimately-released material -- for example, the
albums and singles of a band. Bootlegging on the other hand is the
(re-)production of other recordings by a band -- demos, radio station
sessions, live performances, studio out-takes, etc.
In my experience, most bootleggers are strongly anti-piracy, and an
uninformed newbie coming to the group looking for a copy of an official
release is likely to be disappointed (and severly repremanded!).
While some might claim that bootlegging and piracy are treated the same in
the eyes of the law, this is *not true* -- although certain organisations,
such as the RIAA would like you to believe otherwise. Most nations' laws
treat bootlegging and piracy differently and the vast majority of the
readers of alt.music.bootlegs recognise the clear difference as well.
[10-2] What is the difference between an Outtake and a Demo?
For example, band X is looking for a record contract, so they get their
drummer's cousin (who has a MiniDisc) to help them record a few tracks.
They master it onto CDR and maybe sell a few copies at shows. But the real
reason they did it is to send copies to record companies.
Record Company Z listens to X's recording and thinks, "these guys are
really good," so he gives them a contract.
They go off to record an album. While in the studio, they record 16
brilliant songs. The record company says that 3 of the songs don't really
fit with the mood of the rest of the album, so those 3 songs are cut. Also,
they don't like the way song Y has been recorded, and ask for it to be
recorded in a more upbeat style.
The album is released and X are an instant worldwide hit.
Now, their original recording which they made on a MiniDisc is a *demo* .
If the 3 songs which were cut from the album, and the original version of
song Y somehow get leaked from the studio (maybe a recording technician is
a bootlegger), those are *out takes* .
[10-3] Where do soundboard shows come from?
* Some taper-friendly bands allow audience members to make soundboard
recordings.
* Radio stations often record shows for later broadcast. These recordings
are sometimes leaked. (Note: if you record a broadcast from the radio,
this is *not* a soundboard recording)
* Occasionally a sound guy at a venue will secretly tape a show.
* Bands often tape their shows. Some of these recordings are leaked with
or without their permission.
[10-4] What's a filler?
If a bootleg is for example 50 minutes long, you may want to add some extra
tracks on at the end to fill up the disc. This is called a "filler".
In the days of tape trading, most people used fillers. Otherwise, you would
have to sit through a lot of silence before getting back to the beginning
of the tape again.
Now fillers are less common. Some people will put them on, some won't. If
you get a filler, it's a nice bonus. It's also a good idea to pass that
filler along to anyone who you make a copy of the bootleg for, because it
doesn't take much extra effort.
[10-5] What is a "generation"?
A generation is kinda exactly what it sounds like. Did you ever tape a
movie from someone on a VHS video-cassette tape? We probably all have. Say
that person who you copied it from, taped it from someone else, and that
person taped it from someone else, and that person taped it from someone
else. Your copy of the tape will most likely be pretty shitty, because as
you continue to make copies of copies of copies, the quality continues to
deteriorate. Simply, the generation is a number that tells the person how
many times your copy has been copied down from the original.
For example, if I had a 1st generation tape, that means that the person
that I got it from had the master. That means that if you wanted that tape
from me, your tape would be 2nd generation, and so on.
In the age of digital recording, generations have become less important as
a copy is almost exactly the same as its source. Generations are still
important in video trading though. A lot of MiniDisc and DAT traders also
care a lot about generations.
[10-6] What is Mono? What is Stereo? What is Joint Stereo?
A mono recording is a recording where the sound coming out of the left and
right speakers is the same. In a stereo recording, the sound coming out of
each speaker is different, which results in a more realistic and
3-dimensional sound.
Joint Stereo is a more efficient way of storing stereo sound. Most of the
time, the left and right channels of a stereo recording are similar -- not
the same, but nearly. So instead of storing both channels, we just store
the left channel and then store the differences between the channels. This
type of storage forms the basis of a lot of audio compression.
[10-7] What is FTP?
FTP is short for File Transfer Protocol. It is the standard way of
transferring files from one computer to another. To connect to another
computer by FTP you will need 4 pieces of information:
* Host address. This tells your computer which remote computer to connect
to.
* User name. This is used when logging in. It is often "anonymous".
* Password. This is also used to log in. When the user name is
"anonymous", use your e-mail address as the password.
* Port number. This tells your computer which way to contact the remote
computer. If no port number is specified, it is probably 21.
Once you have these pieces of information, you enter them into your FTP
client. If you need an FTP client, here are some:
* ftp.exe [Win] comes free with Windows.
* NcFTP [Linux] <URI:http://www.ncftpd.com/ncftp/>
* WS_FTP [Win] <URI:http://www.ipswitch.com/>
* Fetch [Mac] <URI:http://fetchsoftworks.com/>
It is also possible to do some basic FTP with some web browsers. Just
construct an address like this:
ftp://[User name]:[EMAIL PROTECTED] address]:[Port]/
For example, if I was connecting to the potato.curry.net server (no, this
doesn't really exist!) with user name "toby" and password "secret" using
port 21, this would be the address to type into my browser:
ftp://toby:[EMAIL PROTECTED]:21/
[10-8] Further Reading
* PauseRecord Resources <URI:http://www.pauserecord.com/resources/>
* Andy McFadden's CD-Recordable FAQ <URI:http://www.cdrfaq.org/>
* How to Find and Trade Bootlegs on the Internet
<URI:http://www.rootnode.org/article.php?sid=36>
* The B+P FAQ <URI:http://www.mcnichol.com/bnp/>
* The DAT-Heads FAQ (Old) <URI:http://www.solorb.com/dat-heads/FAQ>
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Maintained by:
Toby Inkster <[EMAIL PROTECTED]>
Written by:
James Eades <[EMAIL PROTECTED]>
Toby Inkster <[EMAIL PROTECTED]>
Jeff Kuhn
--
Toby A Inkster BSc (Hons) ARCS
Contact Me - http://www.goddamn.co.uk/tobyink/?page=132
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