Assuming your DAT has a digital output and your CDR has a digital input, then all you need is an appropriate digital cable.
Hopefully, your DAT tapes were recorded at 44.1 not a 48 sampling rate. If the latter you'll need a sample rate converter. Many CDRs have this built in as a function. Alternatively, there are readily available outboard hardware units or computer software programs that offer SRC. If this sounds cumbersome, then you could always do the transfer from the analog outputs of the DAT into the analog inputs of the CDR.
there is tons of info to be found on this topic, but unfortunately audiogon isn't the place. this may halp you get started:
what shows do you have?
once you get them transferred i may be interested in some trades. Check out my list:
just remember, if you plan to trade these shows on cdr nobody will want them if you use the analog outs to do the conversion.
Thanks guys. I don't own a CDR so except the one in my G-4. What cdr could you recommend ? My Dat player is a Tascam DA -20 MK2.
if you have a digital in on your soundcard you should be good to go. then you can burn the discs on your g4 (that is a MAC, right?).
I recommend using a computer based burner as you will be able to fully edit the music once its off the DAT. you can add fades at the beginnings and ends of sets, you can split the sets into tracks, and you can also repair any digi-noise, clicks, or pops that may be on the dats.
I don't have a sound card either. I'm really in the dark on this whole deal. Yes the G4 is a MAC.
A quality sound card is a must for audiophile digital transfers. Check out a company called RME; think it is German. Stereophile reviewed their card a couple of years back and simply adored it (well, they adore lots of stuff). The Midiman/M-Audio Delta 2496 Audiophile card is also excellent but it lacks a sample rate conversion facility. Most good mastering software has a sample rate conversion facility (Soundforge, CoolEdit Pro).
the "digi-bias" is real.
Analog patch??- uh, no.
The reason I stopped dragging my mics around is that you can D/L something OR in 99% of the situations, know someone (trustafarians) with a rig 10x better than yours.
Plus, it's hard to shake your booty while protecting your gear, and shushing loud fans.
Love your post. I finally stopped dragging bags-o-gear to shows in 2001, having been doing it since 1985. started with the Sony D5 analog and a pair of mics, ending up with almost as much money in taping equipment as I have in my 2 channel system at home. When you spend your time keeping your gear safe, keeping it from getting stolen, giving out patches, fending off the touch-of-grey-heads wanting to "buy a tape" of the show, and beginning in 2001, going through absurd security checks to get gear into the show..
Even though I had one of the better rigs in the section, I am not a trustifarian, though there were plenty out there.
anyway, thanks for the post as it brought some fond memories back ;)
I am not a big dead-head, but I laughed my ass off at the reference to the "touch-of-grey heads." I know exactly what you mean.
It's funny, it is a self-serving prophecy.
Tapers as buttholes.
I was at the House of Blues in North Myrtle Beach, SC taping Widespread Panic, probably sometime around 98. They had these nice little areas, on either side of the soundboard, that had that nylon retract-a-tape around it.
Dudes just sorta took it over for taping. IT was Great.
There was this one spinner that insisted on hanging in there. We're talking about an area that is 10' x 8', probably 3 0r 4 guys, maybe 6 stands, and a hell of a lot of decks, cables, etc. in there. I kept politiely suggesting that if she wanted to dance, there were better places to do it. She just kept talking to me like I was the biggest dick she had ever met. Then she took it upon herself to try to cheer me up. "What's wrong- you're at a concert, you're supposed to be happy!?!" I guess she saw the vein in my forehead on the verge of exploding...I told her that she was the reason that I had to stand there in an otherwise safe area and keep my stand from getting knocked over. Despite the fact that she had already bumped into it several times, she didn't say anything, just kept shaking her ass in the taping pit. She didn't leave until after all encores, and it was evident that the concert was over.
You know what's coming don't you?
Before she left she asked for my email, so she could get a copy of the show.
I barely resisted the urge to cram a 7pin to coax splitter up her nose
Truly, I have much more fun without the gear.
Jsonic: sorry to hijack your thread.
It's so funny to share those stories as we all have them. In July 1999, I'm taping at Phish's Camp Oswego, hanging with all the tapers: Decks, patches, stands, cables blankets and accessories for about 50 of us nicely secured in the designated "taper section". Midway through the 1st set I spy this way-too-high chick weaving her way toward the section, stumbling, bobbing, weaving, talking to herself, stopping along the way to help herself to other folk's water (without asking of course). We decide to send someone to intercept her before she got to the stands cuz you could see what was coming. No luck. She crashes into the section, grabbing mike stands as she stumbles toward the stage. She must have pulled four or five to the ground before another taper tackled her and held on. As she was being escorted out, what do you suppose she yelled over her shoulder? "Which one of you dudes is going to give me MY copy of the show?" Classic, and reason #42 why I got out of taping.