Conference napalm::commusic_v1

    
    I suspect that, in the long run, the (commercial) recording industry
    will not be much different. Yeah, things will sound more produced,
    if such a thing is possible or imaginable, but in that business,
    it is not WHAT you know but WHO you know that gets you distribution
    on any "major" label.
    
    As for local music, that's another story. I suspect that having
    more and more small studios will proliferate the local music scenes
    in places like Boston, Worcester, Burlington VT, etc, etc, (I know,
    those were three provincial towns but take it anywhere else too).
    By proliferation I mean that cassettes and DATs will be available
    in non-chain music shops which originate from home or low-budget
    recording studios by local (i.e. commercially untouchable) musicians.
    
    And they will sell.
    
    This phenomenon happens elsewhere (look at Jamaica where people
    sell cheap reggae singles on the street for a quarter apiece - they
    sell like crazy and there are millions of releases). 
    
    I do believe the industry will change. I don't think that the
    multi-billion-dollar-Michael-Jackson-Etc recording industry will
    change it's spots quickly. But as long as mom-and-pop record shops
    are still around then there will be a livelier and more varietal
    music industry.
    
    /pjh
    

    I'm wondering on how to turn this into a golden opporitunity. Somewhere
    along the line, someone will decide to put into place a distribution
    network for this sort of stuff & whammo, some lucky studio may be
    able to make a lot of bucks.  I agree that Local Hits is the first
    wave that will hit the streets. I recall back when the Beatles brought
    in the first wave of English hits, there were lots of Local bands
    getting airplay, on thier own songs - This was back in 1964 & in
    Richmond Virgina. While few of these musicians ever got further
    than that, I happen to have bought some of the 45's & still got
    em. These were all local efforts, done on a shoestring. The airplay
    help the bands get more local work (not a bad thing!).
    
    I guess I have to figure out how to make this transition work for
    me. I'd be overjoyed to produce local hits & the like. Occasionally
    larger established acts will buy your song rights & put it on an Album
    as filler, or, maybe, turn it into a money maker. One never knows
    what this may lead to. Back in 1970, a friend of mine (Johhny Whiteside
    - he wrote 'Music to Watch Girls By') started producing local bands
    around Chicago. He sent Demo's out all over the place.  A number
    of his tunes ended up on other peoples Albums because of this -
    In other words, he made money. His Local acts did pretty well in
    the Chicago Area & in general, lots of people benifitted. Lots of
    Local Artist 45's were sold, but not much airplay occured (I even
    played Bass Guitar on a couple of cuts on some of these songs -
    my first studio experiance, at the Universal Music Studios in Chicago).

    The point is that with DAT coming, it's possible for local studios
    to put out a product that competes quite nicely with the quality
    of a CD. I think that I'd like to find out how to start signing
    local acts that I think have potential & seeing how to make them
    into Local hero's (myself included). 
    
    							Jens

    One real possibility is that in pro-studios all the synths, effects
    and so forth will go digital (as with the Roland GC-8, E-660 and
    R-880).  These will be linked together via MIDI and optical or coaxial
    cables conforming to the AES/EBU standard (Audio Engineering Society
    'Recommended Practice for Digital Engineering-Serial Transmission
    Format for Linearly Represented Data' - White Paper #AES3-1985,
    see V6, #1 issue of the Roland Users Group, pp. 60-62).  This standard
    permits sampling frequencies of from 32 kHz to 48 kHz and up (assuming 
    such would be necessary).  This will probably create a market in
    the future for synths which generate/accept this kind of data. 
    And, this stuff will be expensive, at least initially.  So, I figure
    this is one way the pro-studios will keep ahead of the home studios.
    
    Home studios may be able to generate DAT tapes inexpensively, but
    there will still be a little bit of noise and distortion due to
    the analog interfaces.  But, I would predict a strong underground
    market - if musicians unions and such permit the home MIDIot into
    the market.  I could see a local record store pedalling the regular
    stuff as well as 'local' stuff, if other forces that be don't squash
    it.  
    
    As for me, I'm mostly working on ideas with the intent that down
    the road there will be some kind of fun opportunity open up.  When
    that happens, I'll have a backlog of material I can use.  But, until
    then, I'll make whatever music I feel like and share it with any
    of my friends that might have interest.  
    
    When DAT comes out, I could see polishing up a DAT album and looking
    for local record stores that might have interest.  Sure, somebody will 
    make copies.  But, not before a few copies are sold or rented.  The
    guy at the record store will probably sell the blanks that people copy
    to, so he'll make money.  He'll probably just let people check out
    local DAT tapes and players and let them copy the way people do now
    with video tapes.  It might even be possible for me to make a
    recording with a player I lease and then split any proceeds from
    rentals with the guy at the record store.
    
    
    Steve

    DAT definitely improves the capabilities of the smaller guys, but
    I don't see it as the underpinning of a revolution.  The recording
    meduim is but one advantage among many. 
    
    There are still lots of limitations to the method of equipment of
    the smaller guys.
    
    I'm not sure that providing a DAT demo is gonna make it any more
    likely that BCN will play your tape if the engineering isn't up
    to pro standards.
    
    	db

    Mah favorite subject ! Yes, the technology is here, today, with
    PCM/VCR, 1/2 track open reels, etc.. and, DAT around the corner.
    
    Of course, the problem is what to do with the album once mastered.
    There are LOTS of independent distributors, some quite large, that
    will at least consider handling independent releases. 
    
    In order to keep from getting discouraged, I remember Ray Lynch's
    story. He recorded a work called 'Deep Breakfast'.. by the time
    he was picked up by a major label, he'd sold 25,000 cassettes out
    of his home.
    
    karl

    On the basis of commusic IV, I'd have to say that the big studio
    musicians
    will always have one ovewhealming advantage:
    
    
    singing lessons
    ~/~ ;-) ^^^
    
    also pro engineers, also pro arrangers with masters in music from
    USC, also pro studio spaces.
    how do you do a form feed in EVE
    Tom

    I agree with Tom.
    
    I don't think that DAT is going to change much for the home studio.
    
    The hang up with the popularity of home-brew music certainly isn't in
    the low quality of the analog recording gear.  A decent cassette deck
    can give quality equal or better than the vinyl recordings of the
    ``professional'' artists that radio stations play. 
    
    Sheer manpower is main thing which the big studios have which the
    home studios don't.  Its the same reason why small computer firms
    can't compete directly against the VAX in its estabilished market--they
    can't possibly build such a thing with a small number of people.
    
    As long as that manpower makes the sonic difference that it currently
    does, better recording technology won't change a thing.  What's
    necessary is more time-efficient engineering and arranging
    processes.  Good luck.
    
    That's ^V ^L  (a form feed in EVE)
    
    Steph

    >< Note 1265.7 by ROLLIN::BAILEY "Steph (stef') Bailey" >
 >                   -< There are only 24 hours in my day. >-
 >
 >   I agree with Tom.
 >   
    
 >   Steph

Wow! The first one in this conference!
    
 8-)    tome
      

    There's already a fairly active private distribution music scene.
    Mags like Electronic Musician (probably the biggest example) publish
    reviews (albeit short reviews) of privately distributed stuff, sort
    of in the columnist format.  Privately produced and distributed
    efforts could take off if there were a better way of getting the
    stuff reviewed/announced.  Imagine a national network somewhat
    like the EasyNet  where individuals could post reviews of tapes
    they had heard (as opposed to a few "professional" reviewers serving,
    or trying to serve, as a central clearinghouse) and producers/
    performers could announce availability of their works.
    
    I agree with a lot of what's already been said - DAT is not likely
    to change the scene anymore than laser printers are likely to change
    the private publishing scene.  Tools that allow higher quality
    production are not what's need; the problem is distribution.
    
    len.
    

    I won't argue that distribution will be a prime issue. My thought
    is that if someone takes the bull by the horns, in the same manner
    that Windham Hill has done, they could concievably create a market
    for thier product. The reason that I say that DAT will be an influence,
    is because the sound quality can be exceptional. If you go back
    to some of the recordings on COMMUSIC III and IV, You'll see that
    some of the people appear to be quite capable of generating a mix
    that is equal to most releases to date. Maybe we all need singing
    lessons, or I need to teach my dog to burp in the key of C, or
    what ever, that is not the point. I have recordings that the sound
    is very good on, and I think that with additional massaging, they
    could get me a bit further into the real music arena. I also think
    that I have heard things from contributers to the COMMUSIC tapes
    that also have quite a bit of potential. My next step is to figure
    out where the next actual step is. I've had 2 of my own compositions
    played on one of the Local radio Stations (I know 2 DJ's - gotta
    start somewhere), that were recorded on a lowly TEAC Porta-Studio
    (the old model 144). Sure it wasn't up to current standards, but,
    I hope to rectify this.
    
    As simple as it seems, maybe all of us can get somthing like this
    rolling, by calling up the local stations, or writing the managers
    and demanding that local talent be showcased - I know that the College
    stations will do this. The local talent can be anyone that the radio
    station wants to play, or maybe they can work off of requests. This
    was what happened way back in the late 1950's. In the 60's, I recall
    a local TV station showcasing local talent with a 30 minute TV show,
    with a Live band in the Studio, playing thier songs (This was Richmond
    Virgina). If Musicians can pull thier talents together, maybe, if
    the quality is high enough, an opporituinity may be available. I
    never said that I thought money would drop from the sky on random
    HOME studio operators. Recording is a lot of work. If You are recording
    at home anyway, why not shoot for the moon? DAT strikes me as an
    opporituinity to compete headon with CD's. DAT won't be wide spread
    for a couple of years, so, it gives many of us the time to polish
    up some skills, and get publishing, and all other manner of related
    issues squared away. Karl Moeller has done something similar & has
    written up a few good articles about it. I plan to attack this
    with a ferver & I think that the 'niche' markets that are out there
    waiting for us need to be addressed. Distribution worries me a bit,
    but getting it started locally worries me more. Those of you in
    Boston may have a harder time (one of the advantages of living in
    a less populated area), But that's no reason to not start. 
    
    I recently read an article about Alabama & how the MUSIC SCENE is
    happening down there. How did this get started? Lots of work.
    As a group, we actually have some clout, world wide - If nothing
    else, the DECMS could get some of their Store contacts to sell
    some of the tapes - as long as the quality is good. We also have
    to publish the works & handle legal issues.   
    
    							Jens

    Well, personally, I don't think non-professionally polished music
    will make it on the air-waves.
    
    Our college station used to play ``alternative'' music and were
    proud of their position as a source of music that you couldn't hear
    anywhere else.  Actually, it was garbage that none of the other
    stations could stand to play, and nobody wanted to hear.  I never
    found a single listener to that station outside of the crew of the
    station.
    
    However, I think Len has a great idea.  If you could pick and chose
    the music yourself (download music off BBSs, or whatever), that
    would be great.  I'm sure the good stuff would surface and the bad
    stuff would sink.
    
    That would be something.
    
    Steph

    
    	Check out the dead_heads for some lessons on distribution. I
    hear tell their "bootleg" recordings are available for *every one*
    of the shows they've played, except for the ones when the portable
    tape recorder wasnt invented yet! :')
    	I dont see DAT as being the "majic medium" enough to cause a
    market stir. Can you imagine having Nakamachi's CD recorder - and
    a bunch of CD blanks though?
    	Last Friday, I heard an eight track recording that was better
    than most 4 track stuff could ever be. Later, I heard a 24 track
    recording that would put the 8 track one to shame. This was on
    random media, one on cassette and the other on reel tape. I *dont*
    think it was the media difference I was hearing...
    	What would trully revolutionize home recording would be a digital
    process of multitracking - talking *infinite* (or, until you wear
    out the media) number of tracks layered with zero recording noise
    multiplication. Tape generations a non-issue. Backups a must, cause
    once modified, that's what you've got now! This would really challenge
    the so called engineers of the "home" recordings, cause once mixed,
    ya cant "bring up the snare track a little bit" like you could from
    a multitrack master. But imagine having "no limit" - at home!
    
    	Joe Jas
    

    
    I will have to agree with Tom and Steph...
    
    The real problem is not the quality of the music, it's the polish
    of the recording...how many layers can you pile on, how many incredible
    harmony singers can you hire, etc.
    
    Listening to some tapes I did as demos for an album and comparing
    them with the final album (recorded with different sidemen in a
    better studio) I was flabbergasted at the improvement in the songs.
    The arrangements were identical, the only differences the studio
    band , the engineer and the high-priced studio toys.  Put the
    three together and WOW...I am definitely humbled.

    

    I never said that you wouldn't have to improve your chops, or that
    your need for additional people would not increase, or that you
    could get away with mediocre production quality. Lets assume that
    you had a very good quality tape deck, you had excellent signal
    processing equipment, and you could find a group of people who (for
    money, or whatever) would add the pieces that you felt needed to
    be added.  Lets say that you own the gear & it's in your basement.
    What is to prevent you from doing as well as the studio that you
    might otherwise record in? If you have a computer/squencer set up
    & lots of MIDI gear, you have the basis of the musicians that you
    might be paying for in studio. You can get the MIDI parts together
    well in advance & record these without wasting a lot of studio time.
    Adding your own parts will be the challenge. 
    
    The production issue is a major one. I'm certain that anyone who
    has used thier home studios for a year or more, have spent upwards
    of 30 hours on a 3 minute song, only to hate it when its done, and
    do it over again. I've spent at least 1000 hours (since 1982) sitting
    in front of my Teac Porta-Studio & My recording quality is now
    reasonably consistant (I use a lot of acoustic/electric instruments
    and nothing MIDI controlled as of yet). I don't think that the Porta-
    Studio is good enough for what I have in mind, but, maybe I'm wrong.
    I feel that 8 tracks will do me just fine - this are on the wish
    list, as well as more signal processing gear.
    
    I figure with enough money, I can build the studio up so that it
    is capable of the quality that I need. The thing is, I would probably
    spend this money anyway, since I can use much of this gear for LIVE
    work. Since I'm earning very consistantly with the LIVE work, The
    source of cash is there to buy this stuff. Finding the rest of the
    players should not be that tough. If the studio can hire them, so
    can you. I used to play Saxaphone & at one time (before my parents
    couldn't stand it anymore) played drums. For either of those
    instruments, I'd rather hire someone to put the parts together.
    I played Bass guitar for years & I feel that I'm as good as anyone
    that I can hire, I've also played guitar for years (since 1964)
    & I would rather work out my own solos & play the pieces myself.
    If I can get MIDI to fill in the rest & get a few singers to add
    what I can't handle, then the question will production quality.
    
    Lets assume that at some point in time, all of us that are trying
    to work out our own songs, will be capable of the production quality
    needed, from our lowly home studios (some people contributing to
    the last 2 COMMUSIC tapes are at that point right now). What's to
    prevent anyone from putting out thier own DAT albums? If the quality
    standard is the CD (which it appears to be), then anything that
    has the same sound quality should be marketable. DAT tapes are the
    entry way into this opporitunity.
    
    I'm making all kinds of assumptions, however, I'm also trying to
    follow thru with them myself. I'll be ready for the DAT tape when
    it arrives. I'm currently searching for the additional talent that
    I need to be successful. I would think that other COMMUSIC readers
    might be also, after all we are all latent Musicians (crazed in
    my case), and in the backs of most of our minds we feel that we
    could do as well as some of the music that we hear - wouldn't it
    be nice if we could.... and get the recognition for it at the same
    time!
    
    						Jens  

    I've been watching this with a certain amount of wry amusement;
    the same kind I feel when I read an advertisment that says "The
    only limit is your imagination."
    
    First class production is no longer a priviledge reserved only for
    those willing to part with a certain amount of cash. Perfectly
    respectable recordings are being produced in closets and basements
    all over the country. DAT won't change that, and as Jens contends,
    will probably enhance it.
    
    What will stand in the way is public apathy. John Q. Public generally
    won't tolerate real doggy production, but I believe there's a point
    above which it doesn't matter. To apply this directly to the
    discussion, I say "The serious home studio owner *already* can 
    produce a product that many (most?) consumers find acceptable. DAT
    isn't going to entice them."
    
    I hear in Jens' replies that he believes (or at least hopes) that
    some sort of major revolution in home studios is coming. All I see
    coming is the next "me too" train...
    
    MIDI was a home recording revolution. It opened lots of doors.
    Home DAT will be a revolution on a par with metal tape and dbx.
    A small improvement at best; unnoticed by the masses at worst.
    
    Edd
    
    
     
    

    
    
    Until the day comes when someone builds a multitrack DAT recorder,
    I don't see any major differences in the way things are today.
    Mixing down onto DAT is going to mix down all the noise of your
    4 track master along with it.  At the other end, bouncing between
    2 DAT recorders to achieve overdubs creates serious problems
    when trying to mix down.  In that case, there really is no
    mix down....you've got to do it everytime you add another
    generation to the tape.  That'll create lots of problems in
    making a high quality production...."Gee, if I only had a little
    more acoustic guitar in there".
    
    At this point, I think its just another step up in quality,
    not the start of a recording technology revolution.
    
    Ralph
    
    

    Ralph, you've mentioned the mixdown problem twice and I'm confused.
    How will DAT contribute to the problem? Analog is just as susceptable
    to the "print it and live with it" syndrome, no?
    
    Edd

    I've been bouncing between tape decks for years. Sure, it is a lot
    less convenient, you have to make sure you get the mix right the
    first time, but it is workable, and as long as you don't try to
    layer too much stuff in there, sounds fairly decent. Myself, I decided
    I wasn't going to buy a multitrack. I am waiting for DAT, and then
    I will bounce between two of them.
    
    I mean, in the studio of the future, very little will go on tape.
    It will go between RAM and DISK. The number of tracks you can mix
    will be limited by your system memory, and will be upgradable.
    Effects will be software packages.
    
    Can I afford to keep up with the power user? No way. I decided that
    sound quality was more important than ease of use. 
    
    DAT to me represents a major breakthrough to the home recorder.
    
    						John.

    
    I think that all you are buying right now with DAT is now you can
    DIGITIZE your multitrack analog hiss.  The ONLY person who might
    exploit DAT is the MIDIot :^) with a sequencer and mixer that can
    have a "tapeless studio", and mix down to 2 track digital.  Of course
    this excludes having vocals, unless you sample them.
    
    Analog is dead, long live analog.

    But many people are working towards a nearly tapeless studio.
    My most recent experiance required only 4 tracks - MIDI instruments
    on tracks 1 & 2 (already balenced & ready to go), guitar on track
    3 & vocals on track 4. This was a very quiet tape, as compared to
    some of my other efforts that used a lot of bouncing around. With
    a good Noise Gate (I've heard of, but never tried something called
    a 'HUSH', but it sounds like what I need), the analog hiss might
    be gone, or as close to gone as I can get it. I was amazed at what
    I was able to get out of my 'old' Porta-Studio. I think that the
    synth technology is making it simpler to get what you want, with
    less sophisticated equipment. My contention all along is that
    technology improvements will allow for the 'Average Musician' with
    lots of reasonably current gear to start thier own record label
    & not sound remarkably different than what the 'Big Established
    Studios' can do. 
    
    Out here in Colorado, If you want airplay, you have to have your
    music associated with a Record Label before people will play it.
    I'm certain that this also goes for other areas of the country.
    Wouldn't it be nice to have your own Label. Most stations in Colorado
    expect CD's. DAT will be roughly the equivalent for the Local Labels.
    
    Needless to say, if you are shooting for a particular audience,
    you had better consider how to go about it. Don't re-issue the classic
    'How Much Is That Doggy In The Window', and expect it to be played
    along side of Bruce Springsteen, or Anthrax. There are marketing
    issues involved, as well as dealing with the intended audience.
    I'm more concerned with the last 2 items, as I think that with some
    work & the right 'HOME STUDIO' equipment, I can attack the audience
    issue. I'm not really a MIDIot, but, to some degree, it seems like
    the answer to lots of mixing problems & musician Ego issues. My
    Electronic musicians alwasy show up, play in time (when I tell them
    to), and never play any louder than I want them to. Currently, I
    am working with another person. I think that team work is & will
    always be important. Something that MIDI has a tendancy to suppress
    (especially if you got all sorts of whiz bang things that took you
    quite a while to figure out). 
    
    						Jens

    I agree with Edd that major home studio revolution(s) have happened
    and continue today.  That is the advent of MIDI, advanced synthesizers,
    affordable digital effects, sampling technology (samplers and drum
    machines), and sequencers.  DAT is not going to be that big of a
    revolution compared to what has happened already.
    
    Still, the major difference from COMMUSIC submissions compared to
    major label releases is engineering, number of tracks, and vocals.
    There is no way mono guitar tracks that have been bounced are going
    to sound like layered stereo guitars EQ'd properly with digital
    effects.  Even the best COMMUSIC vocal tracks are marginal at best.
    The engineering quality is improving steadily, but someone who
    records and engineers 40 hrs a week is going to do it better than
    the part time MIDI hack.
    
    A large mixer and sequencer utilizing 'virtual' MIDI tracks really 
    helps as do multi digital effects.    
    
    I think the next big revolution will be affordable music 'work
    stations' that process all signals in the digital domain including
    storage.  Once a signal goes through a DAC it stays that way
    until conversion for monitoring or playback. 
    
    Dave

>    I think the next big revolution will be affordable music 'work
>    stations' that process all signals in the digital domain including
>    storage.  Once a signal goes through a DAC it stays that way
>    until conversion for monitoring or playback. 
    
    Gosh Dave, you took the words right out of my mouth!
    
    I've been thinking about this on and off for some time now.
    
    In fact, what I think is gonna happen is that hardware will progress
    to the point of bringing on a software revolution.
    
    The idea is the music workstation provides via software, most of
    the functions now provided with hardware.  All your processors,
    tone generators, mixers, sequencers, analog recorders, etc come
    as floppies.

	db

    
    
    re .17
    
    Edd,
         I wasn't trying to say that DAT would contribute to the problem,
    but I don't think its going to make any great differences either.
    Bouncing between two decks, whether analog, or digital, you'll
    lose lots of control over your final production.  The only
    benefit of DAT in that application, is you'll end up with less noise.
    
    DAT is just another step up in the recent technology explosion...
    not the savior for home studioists.
    
    Ralph
    

    Ah! OK, we agree.
    
    Bouncin' is bouncin' is bouncin' is....
    
    Edd

    
    
    re .24 
    
    DATs ok Edd...:^)  (I know, I know....enough of the puns!)
    
    Something I've been wondering.....are DAT decks available 
    in Canada?  I mean, most of us are not all THAT far a drive!
    
    Ralph
    
    

    
    re: .-1 Canada.
    
      Really! I wonder... Montreal is half as far from here as Boston,
    and a quarter as far as NYC. Other than the obvious massive duty
    at the border, they might have something. Next time I'm up there
    I'll look around.
    
    /pjh_who_lives_30_miles_from_Canada_anyway

    Yeah!  Try Canada, and let us know!  I actually had a dream about
    it last night.  I dreamed that we found a DAT recorder for sale.
    A bunch of us got together and bought shares in the thing with the
    idea that we would rotate it around our little users group.  As
    I think about it, that would make sense for many of us.  Usually,
    we would only need the thing for the final mix, anyway.  I'd rather
    lease the unit when I need it if I can.
    
    Steve

    A few things I noticed in the April MIX mag...
    
    Roland has announced an EQ and a 4 channel digital reverb that work
    entirely on digital audio, ie: they use the AES digital audio
    transmission standard. I guess you can hook directly to the output
    of your yamaha DMP-1 (digital mixer) and skip any analog processing.
    
    New England digital is offering a 4, 8 or 16 track direct to disk
    (winchester) multi track recorder. Extensive editing, patching etc
    with 10 usec resolution, non-destructive edits so you can A/B various
    mixes etc. 100khz bandwidth, 96 db sn ration...
    
    Digital Audio Research (DAR) is offering the soundstation II a digital
    recording desk that uses removavble magnetic or *optical* disks
    for storage. Edit functions include track slippage, time compression
    etc. 18 bit conversion....wow!                 
    
    this stuff is here now...also for you DAT freeeks:
    
    Audio Gallery
    2624 Wilshire Bl.
    Santa Monica, Ca. 90403
    (213)829-3429
    
    
    has DATS, portable, home and pro (??) in stock now! also PCM stuff
    if you're really loaded with $$$$
    
    
    dave

    < Note 1265.28 by RANGLY::BOTTOM_DAVID "Wilderness king of da' bluz" >
>    this stuff is here now...also for you DAT freeeks:
>    
>    Audio Gallery
>    2624 Wilshire Bl.
>    Santa Monica, Ca. 90403
>    (213)829-3429

    Hmmm... I be going to Long Beach for 3 days' training in early April, and
    plan
    (thanks EVE!) to visit a friend in Santa Monica anyhow...
    
    (thanks DAVE!)
    
    karl

    Hey, how about a report on prices at Audio Gallery?  Eeeeeeg ...
    drooling on my keyboard ...
    
    Steve

    I didn't call them (no $$ for a DAT) just read the ad in MIX...
    
    dave interested also
    

    
    well it turns out that Casio is putting out (available in Canada,
    too) a DAT with a number of features. However, the catch is that
    it is a 12-bit device... Prices is about 1200 buckaroos CDN which
    is a bit cheaper (950 bucks) American. I got to see the spec sheet
    but I was NOT allowed to copy it. So everything I say is from memory.
    
    It uses subcodes to allow classification and cataloguing of sounds
    data. Also auto-search, memory, and the typical play/record functions.
    No real bells and whistles. I think I'll wait.
    
    /pjh

    Is there anyone who can tell me from where I can obtain specifications
    for the following digital audio interfaces:
    
           AES/EBU, S/PDIF, SDIF
    
    
    Joachim