| 4.0 GUIDE TO COLLECTING AND TRADING SRV MATERIAL |
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4.1 HOW AND WHERE TO FIND MATERIAL 4.2 RECORD/CD SHOWS 4.3 TRADING 4.4 AUDIO/VIDEO RATING STANDARDS 4.5 TAPE TREE PRIMER 4.6 DUPLICATING EQUIPMENT |
4.1 HOW AND WHERE TO FIND MATERIAL
Many people that sign up to Texasflood discover that there is a wealth of Stevie Ray Vaughan audio and video tape recordings that have been distributed amongst fans for years. A frequently asked question from these people is "how and where do I find this material?" This list of frequently asked questions attempts to answer many of the questions that a beginning collector might have. If you have questions that are not answered herein, feel free to direct your inquiry to the Texasflood mailing list.
4.1.1 STEVIE RAY VAUGHAN AND DOUBLE TROUBLE RELEASED VERY FEW ALBUMS.
IS THERE
OTHER MATERIAL THAT I CAN ACQUIRE?
Many audio and video recordings have been made of SRV/DT at various stages of
their careers. These recordings come in a variety of sources, including
television shows, personal recordings, unreleased studio recordings, etc.
4.1.2 WHERE CAN I PURCHASE NON-COMMERCIAL RECORDINGS OF SRV/DT?
Non-commercial recordings (also called bootleg recordings, unofficial
recordings, bootlegs, boots, or imports) should not be purchased, unless the
country in which the recordings are purchased allow the sale of bootleg
recordings without paying royalties to the proper agencies. In most countries
the sale and purchase of bootleg recordings is illegal. However, many SRV/DT
boots are available from a variety of sources. These come in both CD and
cassette form. There are several magazines which contain information related to
the purchase of collectible music and musical memorabilia. Ask at your local
bookstore for information on these magazines. You can also obtain boot
recordings at record and CD shows. For details related to record/CD shows, refer
to section 4.2 of the FAQ.
4.1.3 DO I HAVE ANY OPTIONS IF I DO NOT WISH TO PURCHASE NON-COMMERCIAL
RECORDINGS FROM MAGAZINES OR AT RECORD/CD SHOWS?
You can obtain non-commercial recordings by tape trading and from tape trees. A
tape trading infrastructure exists all over the world which relies heavily on
the Internet as a communication mechanism. Many people prefer this method of
bootleg distribution, since it is low-cost and far reaching. For example,
Texasflood recently completed a relatively small tape tree that had branches in
Europe, the United States, Iceland, and Australia. Refer to sections 4.3 and 4.5
of the FAQ for details on tape trading and tape trees.
4.1.4 WHAT DOES THE TERM 'IMPORTS' MEAN?
Do not confuse the use of the term "imports". In one case, "import" is a polite
word which means bootleg recordings, since most boots are manufactured in other
countries and imported. In another case, "import" refers to legitimate
commercial recordings made in other countries and imported.
4.1.5 WHERE CAN I FIND A LIST OF THE RECORDINGS THAT ARE AVAILABLE BY SRV & DT?
In section 3.0 of the FAQ there are listings of the known commercial audio
(discography), bootleg audio (bootography), and video (videography). In
addition, the SRV Fan Club has a similar listing. The address of the SRV Fan
Club and how to join can be found elsewhere in section 6.0 of the FAQ. There are
also small bootographies at the back of the SRV biographies.
4.1.6 WHAT IS THE QUALITY OF MOST BOOTLEG RECORDINGS?
You should be forewarned that the quality of many boot recordings is often poor
and is almost certainly inferior to the quality of studio recorded works. Many
people that listen to these recordings consider the sound an "acquired taste",
however, and find it very enjoyable to listen to amateur recordings of their
favorite artists.
4.1.7 WHAT IS THE SOURCE OF MOST BOOTLEG RECORDINGS?
The source of boot recordings ranges from cheap hand-held dictaphone(TM)-style
recorders to studio-generated out takes. If quality of recording is of concern
to you, you should ask about a specific title or date/venue prior to trading.
--(Major contributor: Steve Toney)
4.2 RECORD/CD SHOWS
Record and CD shows are a good way to find collectibles and rare recordings of
Stevie Ray Vaughan and Double Trouble. Several of the recordings that SRV made
guest appearances on were never released on CD and exist only on vinyl. Others
may have been released on CD, but the CD is no longer available from the CD
stores. Record and CD shows can provide an opportunity to obtain some of these
rare or hard-to-find recordings. If you have questions that are not answered
herein, feel free to direct your inquiry to the TexasFlood mailing list.
4.2.1 HOW DO I GET INFORMATION ON SHOWS IN MY AREA?
Most areas have collectible record/CD stores that are likely to be aware of the
major shows in the area. Call or visit the store to inquire about the dates and
locations of the major shows in the area. They should also be able to provide
some pointers if you are seeking specific items, such as imports, or posters.
There are several collectible magazines that are available by subscription or
from larger book stores that provide summaries of the shows in your area.
Goldmine and Discoveries (both published in the US) are good sources of
information for collectors. Goldmine provides a state-by-state listing of the
scheduled record shows.
4.2.2 WHEN AND WHERE ARE MOST RECORD/CD SHOWS HELD?
Most are on the weekend. Most record shows are held in the banquet rooms of
hotels, or at shopping malls.
4.2.3 ARE SRV COLLECTIBLES AVAILABLE?
SRV collectibles have been in high demand for a long time. Obviously, SRV's
death made certain items more desirable, such as autographs and concert
publications. It is a safe assumption that SRV collectibles will be in
relatively short supply and prices will reflect this.
4.2.4 WHAT COLLECTIBLES ARE AVAILABLE?
A record show is apt to have anything collectible. Dealers in collectible
records are likely to also deal in other things. For SRV, collectibles include
vinyl records (LPs, 12 inch singles, and 45s), back stage passes, promo CDs,
import (legal) CDs, bootleg CDs, commercial posters, promo posters, magazines,
photos, concert items, autographs, press kits, etc. The most desirable pieces
include autographs, concert items, and anything else that is no longer available
due to SRV's death.
4.2.5 WHAT SHOULD I EXPECT TO PAY?
SRV collectibles can range from inexpensive to VERY expensive. Prices for
collectibles are NOT standard, and the price of a specific piece can vary
greatly. It is good to have a general idea of what you desire and what you are
willing/able to pay prior to the show. This way you will not let the 'passion of
the moment' cause you to pay more for a piece than you may have otherwise paid.
It is not uncommon to be overwhelmed when you find a piece that you have never
seen before and pay dearly for it, only to discover later that you overpaid. SRV
items tend to sell for higher prices. The standard saying in the collectible
world is that "the value of the piece is the price someone is willing to pay".
It is safe to say that all prices are negotiable, although a dealer with a
desirable SRV piece is highly unlikely to lower his or her asking price shortly
after the doors open on the first day of a show. While you may not be
successful, you will not be out-of-line if you offer a lower price for a piece.
You are more likely to be successful in negotiating the price of higher priced
items than CDs or records. Obviously, it never hurts to ask and then pay the
asking price if the price is not negotiable. Generally, bootleg CDs run from $18
to $30 per disc. Promo CDs run from $8 to $50 or more, for a truly rare CD.
Bootleg and/or promo vinyl items are not very plentiful and some of these are
VERY rare.
4.2.6 WHEN IS IT BEST TO GO TO A RECORD SHOW?
Obviously, the best time to arrive at a record show is early to ensure that you
will get to choose from the largest selection. At any given show, you are likely
to be competing with a number of other SRV collectors, especially at the larger
shows. People with the greatest desire for collectibles have the most money on
hand and do not leave with any money left-over (speaking from first-hand
experience!). It is a safe assumption that the SRV-hawks will arrive before the
doors open on Day One, especially for the larger shows. Many of the more
desirable SRV pieces never make it to the official opening of the show. Dealers
are always on the lookout for collectible items for their own profit, or for
their own collections. Since SRV stuff is in demand, there is a higher
likelihood that desirable SRV items will be purchased by dealers prior to the
opening of the show. Dealers arrive early to set up their tables and to
prospect. If possible, use inside connections to get inside before the doors
open to the public.
4.2.7 CAN I TRADE AT SHOWS?
Dealers are just that...dealers. They have two motivations at a record show; to
sell what they have and to pick up some other stuff to sell. As stated
previously, many dealers arrive early to do their prospecting before doors open.
After doors open, the primary concern is to sell. Since they are dealers, profit
is the motivation. You should not expect even-value trades with dealers at
record shows or at the dealers' store. For these reasons, many dealers are open
to trading, but do not do much trading at the show. Most dealers are present at
record shows to make the most money in the shortest amount of time. This usually
happens the first day, or within the first couple hours after the doors open.
Many dealers pack up prior to the end, since sales slow down after the initial
surge. Many show organizers have policies against this, however. My personal
experiences in negotiating trades at shows have not been successful. it is best
to consider shows as a place to purchase items. Keep your trade-items to trade
with like-minded traders who have a desire for what you have. This makes
even-value trading possible. Obviously, if one has a desirable piece they are
attempting to trade and the dealer has a desire for your item, an even-value
trade may be worked out.
4.2.8 WHAT CAN I EXPECT WHEN I GET TO A RECORD/CD SHOW?
The first things you are likely to find are a locked door and a line, if you
arrive prior to the starting time. Behind the locked door are the dealers with
their vans and car trunks freshly replenished with all the great SRV stuff they
just scored. :-) When you enter, you may have to pay a small entry fee, $2 to
$5. Many record shows are free. There is usually a myriad of tables with every
square inch covered by records, CDs, posters, Elvis suits, Michael Jackson
studded gloves, and other such 'essential' rockabilia (Actually, most shows just
have lots of stuff, but nothing of great value to the ... say Hendrix clothing
collector). If you arrive early, you can expect mass hysteria when the doors
open. Unless you are seeking a specific piece, or practice extreme conservatism
in your buying, you can also expect to leave with exactly $0 in your pocket.
4.2.9 WHAT FORMS OF PAYMENT ARE ACCEPTED AT SHOWS?
Most dealers at record shows have a cash only policy. You may encounter an
occasional dealer who will accept credit cards or checks. It is best to be
prepared to make all your purchases in cash.
4.2.10 SHOULD I SHOP AROUND?
This depends on your personal resolve to find the right piece at the right
price. From personal experience, however, you should assume that as soon as you
leave a table that has something you desire, the next guy will buy it. This is
especially true of a) SRV collectibles that many people desire, and b) when you
see something you want immediately after the doors open at the start of the
show.
4.2.11 ARE DEALERS REPUTABLE?
The general policy is to be familiar with what you are buying before you give
the dealer your money. Do your homework ahead of time. Make a list with album
numbers, promo CD numbers, etc. Forgery's are not uncommon for posters, and are
quite common for back stage passes. Dealers all know of the collectible value of
SRV, therefore, if something appears to be a GREAT deal because of low price,
perfect condition, etc. you should ask yourself if the item is a forgery or
second printing before parting with your cash. Using common sense is the best
policy here. A poster from 1983 in perfect condition for $20 is likely to be a
reprint, even if the dealer says it's original. Assume a great deal is not such
a great deal unless the dealer is reputable or has some proof of its
originality.
4.2.12 DO RECORD SHOWS ALLOW BOOTLEGS?
Many record shows prohibit the sale of bootleg recordings. There are two reasons
for this; the political reason, and the REAL reason. The political reason is
that the sale of bootlegs is illegal. The REAL reason is that bootleg dealers
tend to make off with too much of the cash. Boot dealers tend to be "fly by
night" operations that don't typically compete with "straight" dealers, other
than at shows. The "name of the game" at record/CD shows is to have the consumer
leave all of his cash in the room, and most of us do. Bootleg CDs tend to be
popular selling items at shows. The less competition from bootleg disc dealers,
the more cash is available for the others. If your primary interest is bootleg
recordings, you should call in advance to determine if bootleg dealers will be
allowed. A general rule of thumb is that the large, widely advertised shows do
not allow bootleg dealers while the small shows sometimes do. Even so, the large
shows are still likely to have a smattering of "import" discs for sale.
--(Major contributor: Steve Toney)
4.3 TRADING
Trading, as discussed in FAQ Section 4.1, is an excellent way to build a
collection of non-commercial recordings of SRV/DT. A frequently asked question
from people is "what do I need to know to start trading for this material?" This
list of frequently asked questions attempts to answer many of the questions that
a beginning tape trader might have. If you have questions that are not answered
herein, feel free to direct your inquiry to the TexasFlood mailing list.
4.3.1 HOW DO I TRADE TAPES WITH OTHERS WHO HAVE MUSICAL INTERESTS SIMILAR TO MINE?
You must make contact with these people through whatever means possible. By far,
the easiest and most popular method is via the Internet. There are many music
talk groups, such as Texasflood or Blues-L, where contacts can be made. It is
reasonable to assume that most music talk-groups have many tape traders that are
willing to trade boot recordings with you.
4.3.2 HOW DO I CONTACT PEOPLE ON THE INTERNET TO ARRANGE TRADES?
Normally, if you make a posting to the talk-group stating your desire, someone
will respond who is willing to work with you. If the talk-group protocol is not
trade-related, the responses will indicate this to you (In other words, you will
be flamed!). Alternately, you can wait for someone else to make a post related
to trading, whereupon you can respond directly to the person making the trade
request.
4.3.3 WILL I BE RIPPED OFF?
Tape trading on the internet is based purely on trust, usually it will work out
fine, but on occasions you will be ripped off. Bad trades should be viewed as an
occupational hazard, you should never mail more than you can afford to lose. It
is a safe assumption that if you rip someone else off, you will not be trading
again using the mechanisms you used for the rip-off (i.e. most people will post
your name and internet address to the list). Conversely, it is common courtesy
to investigate the reason for a potential rip-off prior to public humiliation of
the offender. There may be a legitimate reason for the situation.
4.3.4 WHAT IF I HAVE NOTHING TO TRADE?
Most newbie traders use the "blank-trading" option to start their collections.
Blank trading is done by posting a "grovel" to the talk-group requesting a
blank-trade. A blank-trade involves sending extra blank tapes to the person who
has a copy of the recording(s) you desire. He/she then makes the recording(s)
for you and keeps a blank tape(s) as compensation for his/her effort. Normally,
the trade is two blank tapes for one recorded tape. Most experienced traders
also request return postage to be paid by the newbie trader. Most experienced
traders prefer to trade "even-up" with those that have other shows to trade,
however, you should find experienced traders that are willing to trade for
blanks. This is normally done by posting a "grovel" to the talk-group. Most
experienced traders realize that they were once a newbie too, and are willing to
help newbies get started.
4.3.5 WHAT IS THE STANDARD TRADE FOR TAPE TRADING?
Generally, tape trading is done on a one for one basis when both parties have
material that the other party desires. Both parties pay for postage from their
location to the trading partner. When trading blanks, generally two blank tapes
should be sent to receive one filled tape in return. Postage should be paid both
ways by blank trader. In an audio for video trade, generally two filled audio
tapes are traded for one filled video tape. Postage would be paid by both
parties. In a blank audio for filled video trade, four blank audio tapes should
be traded for one filled video tape. Postage should be paid both ways by the
blank trader.
4.3.6 WHY SHOULD I PAY FOR RETURN POSTAGE?
The biggest reason to provide return postage is to give the experienced trader
more of a reason to trade with newbies. Newbie traders derive FAR greater value
from the filled tapes than experienced traders get from a blank. However, newbie
traders often do not include return postage with the trade. Many experienced
traders have built their collections through much diligence, expense, and elbow
grease. While postage is often inexpensive, having to pay return postage negates
the relatively small incentive of the experienced trader to deal with
inexperienced newbies.
4.3.7 WHAT IS THE BEST WAY FOR ME TO CONTINUE TO BUILD MY COLLECTION,
ONCE I'VE
"WORN OUT MY WELCOME" WITH EXPERIENCED TRADERS?
The best way is to become familiar with the "have lists" and "want lists" of the
people you are trading with. If a person has a large collection, he/she is less
likely to want to make many blank trades with newbies, however, he/she is always
willing to trade for recordings that are not in their collections. Familiarize
yourself with recordings that are on multiple peoples "want lists." When you see
that recording on a "have-list," make a trade to get something that does not
show up on the have-list of the "pro traders." By doing this, you maximize the
impact by getting shows that are rare, or have not circulated much. When you get
something that the pro(s) want, then trade the rare-finds to the pros for stuff
that doesn't show on newbie lists. Then trade the "less-rare" stuff with other
newbie traders. Just remember...rare-pros, rare and less-rare - newbies.
Helpful hint: Become familiar with recordings that are published on CD...these
are the "less-rare" recordings because they are typically better quality and
have circulated more and for longer time periods. Good quality recordings that
have not been published on CD usually make very good "trade-bait." When using
the above technique, you may sometimes have to trade for something that is not
at the very top of your personal "want list," but you are setting yourself up
with "bait" for future trades. You may wish to confirm with the pros that they
will indeed trade with you if you pick something up that they need.
Using this technique requires two things a)diligence and b)patience. You may not
get your first picks for awhile, but as long as you are diligent, you WILL have
them eventually. For example, a newbie might REALLY like to have a tape of the
jam between SRV and Albert King on In Session, but this show has been
circulating forever... everyone has this show in both video and audio, but you
can get it later from many different people. Don't waste a trade on this stuff.
Get something that the "pro" wants and then when you trade with the pro, get
something that the majority of lists don't have. There are lots of people that
want to trade, it's just a matter of finding them. Once you establish a good
trading relationship with them, everything that they have on their list you can
also have on your list. The key is, get the lists and keep them... develop a
strategy in your trading to get the most total impact from each trade.
It is not difficult to see how you can enlarge your collection significantly
once you establish relationships with six or seven diligent traders. Diligent
traders are always on the lookout for new shows. As long as you are reputable
and are also diligent, you will maximize your overall searching breadth with
these relationships. You should treat these relationships sacredly.
4.3.8 WHAT "STANDARDS" MUST I USE TO ESTABLISH GOOD RELATIONSHIPS WITH TRADERS?
First and foremost, you must establish yourself as a reliable trader. You must
be timely and provide quality trades. Most experienced traders have many
contacts that they have established over the years. They will not bother with
someone who is very slow, or has poor trading habits, unless they have great
collections. Typical newbie problems include:
- poor time response (most consider one week turnaround time to be more than
adequate)
- using cheap audio tapes (Maxell XLII or better)
- using cheap recording equipment... you must have, at minimum, a reasonable
quality recording deck to ensure reasonable quality reproductions
- making high speed audio dubs
- cutting songs in the middle from Side A to Side B; most experienced traders
prefer blank space on a tape to a cut song
- poor attention to levels; if you use a double well deck, recording from tape
to tape does not allow for level control, however, if you can control levels,
make sure the tape is not oversaturated and distorted, or undersaturated. Many
audio tapes are generations removed from original and undersaturation increases
the predominance of tape hiss in the recording.
- not including track lists or venue information with the trade
- making dupes on equipment with dirty heads (causes sound to fade in and out).
Obviously, there is no better way to screw up a relationship than by not
honoring your end of the agreement. If you send fewer tapes than agreed to, if
you pay poor attention to the experienced traders wants, they will likely not
trade with you in the future (I have had many occasions where people just didn't
read what I was asking for, and sent something that I already had or didn't
want...READ their letters and posts carefully). My personal suggestion is to
always "brown-nose" with someone you want to trade a lot with in the future.
Common sense dictates here...if you send someone extra tapes or "freebies," or
always practice good trading etiquette, they are more likely to deal with you in
the future.
4.3.9 WHAT OTHER WAYS CAN I ENSURE QUALITY IN MY TRADES?
Be diligent in properly identifying the source of the recording. Many recordings
become misnamed and circulate under alias'. It is useless for an experienced
trader to receive a recording he or she already has under a different name. If
you obtain something that you think you've already heard, try to identify it
properly. If you know the proper name of the show, don't propagate the myth by
trading a show under the guise of a false name. Many people cannot face the fact
that they have received a duplication because they want their collections to be
as large as possible. :-(
Rate your recordings using some sort of rating standards. A good starting point
is Section 4.4 of the FAQ. If you do not have standards that you are familiar
with, make up your own standards and then publish these standards with your
lists, or make them known with your trading negotiations. Become familiar with
tape rating standards, where they exist, and be CONSERVATIVE in your ratings.
Don't call something excellent if the sound quality is anything short of
excellent, i.e. near studio quality. Rate audio recordings on the sound quality
alone, not the performance quality... SRV could have given a STELLAR
performance, but the sound may be bad... it's still given a low sound rating.
Many traders include notes with their ratings to indicate the performance
quality.
Rate video's on two factors, video quality and sound quality. Again be
CONSERVATIVE and make your rating system known. Take care to get the recording
levels set correctly. In general the needle (or leds) should just be kicking
into the red zone during the loudest passages for type 1 tapes, 3db above that
for type 2 tapes and a further 3db up again for metal tapes. It is annoying to
receive tapes that have the recording level set so low that music is lost in the
hiss, or so high that loud passages saturate the tape.
The above are general guidelines, it is best to play back some of the louder
passages to make sure that the tape has not saturated. Include the track list
with the tapes you are trading. Identify any cuts in tracks. Indicate when you
expect to mail the tapes that you are recording. If there are any slippages, let
the other person know. It is polite to let the other person know that you have
received his or her tapes when they arrive.
4.3.10 SHOULD NOISE REDUCTION BE USED WHEN MAKING DUPLICATIONS?
Most tape traders prefer their dupes without noise reduction. As always, work
this detail out prior to making your trade. It is generally accepted that the
standard is NO noise reduction, therefore, if nothing is said assume that the
recording should be made without NR.
4.3.11 SHOULD I SEND CASSETTE BOXES AND LINERS WITH THE PACKAGE?
To save the extra expense of postage, even-up trades can be completed without
mailing the boxes and liners. Boxes are made from brittle plastic and are often
cracked in transit. Tapes without boxes are strong and are infrequently damaged
by the postal services. Make sure the tapes without boxes are properly
identified by taping a note to the tape with the pertinent information.
4.3.12 SHOULD I WRITE ON CASSETTE LINERS OF TAPES I MAKE FOR TRADE?
Some people prefer to fill in their own tape liners, so it is best to leave the
liners blank. Several options exist for reporting track lists, dates, venues,
etc.
- include a separate piece of paper with the track lists
- e-mail the track list
- print up some tape liners and add those in with the unblemished original
liners
4.3.13 DO PEOPLE TRADE FOR SPECIFIC PERFORMANCES OR FOR A SPECIFIC LENGTH
OF
RECORDED MATERIAL--SAY 90 MINUTES OF SRV/DT RECORDINGS?
Consider your trades to be trades for tapes, not trades for specific
performances. Most people prefer filler on the end of tapes which have not been
filled. For example, if a seventy minute recording is placed on a ninety minute
tape, twenty minutes of tape should be provided with filler. Remember not to cut
songs across sides, however. As a courtesy, you should try to fill the blank
tape with complete performances, or tape segments, rather than partial
performances. This helps to ensure the widespread distribution of complete
performances. Some traders are compelled to place portions of performances on
their "have list," if it is received as filler. To ensure integrity in your
trades, it is best to avoid placing partial performances on your "have list." If
you DO have the partial performance on your list, make it known. The exception
is when the partial performance is the only source of material known to exist.
4.3.14 WHAT CONSIDERATIONS ARE INVOLVED WITH TRADING VIDEO TAPES?
Many of the same standards exist for trading video tapes as for audio tapes. A
few additional considerations include:
- Establish which video format you use and the format used by the person that
you wish to trade with. For example, VHS has different standards in different
countries; NTSC standard is used in the US & Canada, PAL standard is used in
Australia and most of Europe, and finally SECAM is used in France. Unless you
have a very upmarket VCR you will only be able to view one of these formats on
your VCR. Transfers between formats can be made, but are usually expensive.
Always check first that the necessary transfers can be made by both parties
before proceeding.
- NEVER use long play mode, except by prior arrangement.
- Establish if Hi-Fi video taping is required.
4.3.15 HOW SHOULD I PACKAGE THE TAPES FOR SHIPMENT?
Make sure that the tapes are well packaged. Jiffy bags and bubble wrap packaging
are good and cheap ways of packaging tapes. Where more than one tape is being
mailed, taping the boxes together to make one large item can help to prevent
damage.
4.3.16 IS THERE ANYTHING I SHOULD KNOW FOR OVERSEAS SHIPMENTS?
Unless you have specifically arranged otherwise, use air mail for overseas
shipments. While surface mail is cheaper, it takes much, much longer.
International packages usually require a green customs declaration form to be
filled in and attached to the package. A money saving tip - International trades
can be mailed at the "small package rate" if they don't contain a letter. The
savings is worthwhile.
--(Major contributor: Steve Toney)
4.4 AUDIO/VIDEO RATING STANDARDS
A full write up on this topic is forthcoming.
4.5 TAPE TREE PRIMER
Tape tree's are an organized form of tape trading that is used on the internet
to distribute a specific performance to many people. Texasflood recently
completed a tape tree that distributed tape to members in the US, Europe,
Iceland, and Australia. Tape trees are a great way to obtain tapes you may not
have in your collection. The following is a primer on how tape tree's work, and
some of the standards used when participating in a tape tree. If you have
questions that are not answered herein, please send your question to the mailing
list.
4.5.1 HOW DO TAPE TREES WORK?
Tape tree's utilize the concept of pyramiding to distribute a recording to the
maximum number of people with a minimum of effort and cost by any individual.
One person provides the source tape for the tape tree. This person is called the
tree 'seed'. The source tape is sometimes called the seed tape. The seed
provides copies of the source tape to tape tree 'branches', who then distribute
tapes to "leaves." If a tree is large enough, another layer of distribution may
be added to the tree.
4.5.2 WHO INITIATES A TAPE TREE?
Anyone can initiate a tape tree. The only prerequisites to seeding a tape tree
are seed material (a performance, compilation, or theme tape) and a commitment
to efficient and timely completion of the tree. Since the tree seed will be
distributing a source tape to a number of people who will receive 1st or 2nd
generation copies of the seed tape, it is recommended that the tree seed provide
a reasonably high quality sound reproduction for the source tape. The seed
should also be familiar with specifics of the source tape, such as the track
list, venue, date, etc. It is also a nice touch for the seed to originate some
art work for a sleeve. A recent Texasflood compilation tape tree included a nice
sleeve with the tape title, setlist, descriptive information about the
performances, and credits to the contributors of the source material. A number
of computer software packages can be used for this purpose. Other things that a
seed may need to consider include;
- capability to make high quality tape dupes,
- capability or access to make both DAT and analog dupes (this is not a
requirement, but a number of people may prefer DAT to analog copies)
- the filler to be used, in case the source material does not fill a complete
tape.
4.5.3 IF I WISH TO SEED A TREE WHAT MUST I DO TO INITIATE THE TREE?
You must make a post to the Texasflood list, stating your intentions to initiate
a tape tree. This initial post is called a "call for branches." There are four
primary purposes of this initial post:
- to provide detailed information related to the performance you intend to seed,
- to inform Texasflood of your intention to seed and tape,
- to obtain a general idea of the number of people interested in participating
in the tree
- to obtain commitments from others to be branches. The call for branches is
accompanied with a response deadline, typically about three days to a week.
4.5.4 WHY SHOULD I WANT TO BE A BRANCH ON A TAPE TREE?
Since the branch will be obtaining a 1st generation copy of the source tape from
the seed and trading the source tape to a number of other people, the branch has
a great opportunity to increase the size of his/her collection. A branch also
obtains a lower generation copy of the source tape.
4.5.5 WHAT INFORMATION SHOULD BE INCLUDED IN THE RESPONSE TO A CALL FOR BRANCHES?
Typical information requested by the seed includes:
- tape type preferred; DAT or analog,
- what the branch will trade with the seed for a 1st generation copy of the
source tape,
- the number of duplications which the branch can make,
- if the branch will trade for blanks with leaves,
- the location and email address of the branch,
- the type of equipment duplications will be made from, and
- whether the branch can/will do DAT>DAT, DAT>ANALOG, or ANALOG>ANALOG
duplications.
4.5.6 IF I RESPOND TO A "CALL FOR BRANCHES," WHAT ARE MY RESPONSIBILITIES?
Branches are responsible to receive the source tape from the seed and duplicate
the tape for distribution/trade to the leaves assigned to her/him. The branch is
responsible to ensure that (s)he completes the trade to the satisfaction of
her/his leaves. This includes timeliness and high-quality dupes.
4.5.7 WILL I BECOME A BRANCH BY RESPONDING TO THE "CALL FOR BRANCHES"?
Responding to a call for branches does not automatically make you a branch. The
seed determines his/her branches based on a number of factors. These include:
- Tree size; the number of copies the seed can make and the number of leaves
which must be assigned to each branch to ensure complete distribution to
everyone on the tree.
- The quality of duplicating equipment used by the branch. The seed should
ensure that high-quality duplications are provided by the branch to his/her
leaves.
- The location of the branch. It is common to group branches with leaves in the
same country, or close proximity.
- The number of blank tape traders that sign up to be leaves on the tree.
- The tape format desired by the leaves. The seed should group DAT traders
together and analog traders together.
4.5.8 WHAT HAPPENS AFTER RESPONSES ARE RECEIVED FROM THE "CALL FOR BRANCHES"?
After the deadline elapses for the call for branches, the seed makes a 'call for
leaves'. The call for leaves determines the size of the entire tree. The number
of leaves responding to the call for leaves will determine the number and
make-up of the branches. As with the call for branches, the call for leaves must
provide a deadline, usually three days to one week, and a request for specific
other information including;
- What you intend to trade, or if you will be trading blanks. (Note: If you do
not have the capability to make dupes, you can still participate in the tree by
trading blanks.)
- The desired format of your tree tape (DAT or analog)
- Your e-mail address
- If you would consider being a branch (in case not enough people responded to
the call for branches).
4.5.9 WHAT ARE MY RESPONSIBILITIES IF I AM A LEAF ON THE TAPE TREE?
You are responsible to contact the branch to whom you are assigned to arrange an
equitable trade with the branch for the tree tape. Generally, you should make a
post to your branch as soon as the tree assignment is posted to the list. You
should indicate to your branch what you have to trade for the tree tape, or if
you will be sending blanks for the tree tape. Of course, you are responsible to
fulfill your end of the trade. High quality duplications should be provided in a
timely manner. If you are trading blanks, you are also responsible to send the
proper number of blanks and postage both ways.
4.5.10 WHO IS RESPONSIBLE FOR DEVELOPING THE TAPE TREE STRUCTURE?
The seed is responsible for determining the structure of the tape tree after the
call for leaves is closed. Typical considerations when developing the tree
structure are;
- making sure people in the same country are on the same branch.
- making sure blank traders are equally distributed among the branches (Since
branches typically want other performances in trade, blank traders should be
evenly distributed).
- assigning DAT leaves with DAT branches, and analog with analog.
- determining the appropriate number of branches to ensure that branches don't
need to make too many copies. Five or six leaves per branch is a good goal.
- ensuring that the minimum number of tape generations occur from seed to leaf
(making sure all leaves have the minimum possible gens).
4.5.11 HOW MANY TAPES WILL I BE REQUIRED TO DISTRIBUTE?
A good rule of thumb is that branches will be assigned about five or six leaves.
Leaves only trade with the branch for the tree tape, unless a separate trade is
arranged between the tree and the branch.
4.5.12 WHAT IF I HAVE NOTHING TO TRADE?
If you have nothing to trade, respond to the call for leaves or branches and the
seed with distribute blank traders equitably throughout the tree structure.
4.5.13 WHAT IS THE STANDARD BLANK TRADE, IF I HAVE NOTHING TO TRADE WITH MY BRANCH?
Two blank tapes should be sent to the branch for the tree tape. The branch will
duplicate the tree tape on one blank and send it back to you. The branch keeps
the second tape as compensation for his/her effort. On blank trades, postage
should be paid both ways by the leaf.
4.5.14 WHAT TAPE TRADING STANDARDS SHOULD I USE WHEN PARTICIPATING IN A TREE TAPE?
Refer to FAQ Sections 4.3 and
4.6 for guidelines related to tape trading
standards.
4.5.15 WHAT IS THE EXPECTED TURNAROUND TIME?
Branches may need more time if they have many duplications to make, but one week
should be an adequate amount of time to make your duplications and mail them
after receiving the source tape.
4.5.16 IF I AM A BRANCH, SHOULD I WAIT TO SEND TAPES TO MY LEAVES
UNTIL AFTER
THEY'VE FULFILLED THEIR SIDE OF THE TRADE?
This is entirely at the option of the branch. Since tape trees are conducted on
the honor system, it is likely safe to send tapes prior to receiving your trade.
Many tape traders are eternally slow, however, and it is not considered out of
line for a branch to wait until after they've received their compensation before
sending the tape to the branches.
--(Major contributor: Steve Toney)
4.6 DUPLICATING EQUIPMENT
People that trade tapes desire the highest quality reproductions possible from
the tapes they receive in trade. Most tape traders are aware that many live
recordings are generation after generation removed from the master source
recordings which were made years ago. To ensure the highest quality tape
reproductions, there are several standards which should be followed. These are
presented in the frequently asked questions provided below. If you have further
questions that are not answered herein, please send a note to TexasFlood.
4.6.1 WHAT IS THE STANDARD TYPE OF AUDIO TAPE TO USE WHEN MAKING TRADES?
Generally, the minimum standard tape type to use when trading concert recordings
is a Type II chrome tape. By far, the most popular of the Type II chrome tapes
is the Maxell XLII. This tape has been proven to be reliable and have a long
life. A member of Texasflood recently stated that he has XLII tapes that still
work flawlessly after 20 years. Another popular Type II tape is the TDK-SA.
These tapes are available world-wide. Lesser-grade tapes should be provided only
with agreement of the trader. Since lesser-grade tapes do not record as wide a
frequency band, if the source tape is on a Type I tape, you should inform the
person with whom you are trading of this fact.
4.6.2 WHAT IS THE STANDARD LENGTH AUDIO TAPE TO USE WHEN MAKING TRADES?
Ninety minute is the standard tape length. You should not provide tapes that are
longer than 90 minutes, unless previously agreed to with your trading partner.
Longer tapes have thinner tape stock, which makes the tapes subject to jamming
in some machines. It is logical to assume that thinner tape stock will have a
shorter life. Shorter tapes are acceptable, provided the other trader has no
problem with shorter tapes. As always, the golden rule is to ask if you are
unsure of the desires of your trading partner.
4.6.3 WHAT IS THE DIFFERENCE BETWEEN MAXELL XLII AND MAXELL XLII-S TAPE?
Both tapes are Type II tape. The XLII-S is constructed with a heavier
heat-resistant plastic case (the tape casing is heavier, not the hard plastic
case the entire cassette is stored in). The XLII-S tape also has a slightly
wider frequency band than the XLII tape; about 2-4 db at both the high and low
ends. Based on this, therefore, a trader wanting to ensure the highest quality
trades would make tapes on XLII-S tapes when the music source is of comparable
frequency ranges as the tape can hold. For example, when recording from digital
technology to analog, some tapers will use XLII-S tape to preserve the wider
frequency band delivered by DAT or CD. If the source is an analog XLII tape,
however, the tape already contains the best frequency band achievable and an
XLII tape is okay to use. You should be aware, however, that this practice is
not widely known, accepted, or practiced. If you make CD dupes on XLII-S tape,
you should probably expect to be disappointed at not receiving an XLII-S tape in
return. You could prevent this by making a prior agreement with the person you
are trading with to use XLII-S tape for CD or DAT dupes. Of course, the fallacy
of this standard is that the wide frequency band may already have been lost due
to generation-down duping. In other words, it is probably a reasonable
assumption that the vast majority of bootleg CDS of SRV and DT were not made
from the master tape. If this is true, any recording on a bootleg CD has likely
already lost the widest possible frequency band by the earlier generation of
tape, or by the quality of original taping equipment.
4.6.4 I HAVE A DOUBLE-WELL CASSETTE DECK. IS HIGH SPEED DUBBING ACCEPTABLE?
Under NO circumstances is high-speed dubbing acceptable. The sibling tape is
always a lower quality dub than the same tape dubbed at normal speed. Some may
contend that you cannot hear the difference between a tape made under high-speed
dubbing and one made at normal speed. You must always remember, however, that
the tapes you are providing to your trade partners will be the source tape for
the subsequent trade he does from the same tape. Many of you have or will obtain
live recordings from Jimi Hendrix concerts from almost 30 years ago. If everyone
had used high speed dubbing from their source to make Hendrix trades, we would
not be able to hear the music through the tape hiss. Be courteous to those who
wish to listen to this music years from now... DO NOT USE HIGH SPEED DUBBING.
4.6.5 WHAT SHOULD I KNOW ABOUT DAT TAPE RECORDING?
DAT tape recording is digital recording technology. As for CDS, since the
quality of DAT is inherent in the digital technology, the quality of the
recording is not dependent on the quality on the recording equipment, but rather
on the sound processing equipment. In other words, the quality of a live
recording made on a DAT recorder is a function of the microphone quality rather
than the DAT recorder quality. The ones and zeros placed on the DAT tape
recording are interpreted the same on a cheap DAT deck as they are on a studio
grade $15,000 piece of equipment. Because of this, duplications made with DAT
technology do not suffer from generational degradation. The hundredth generation
DAT tape clone should be as high-quality as the master.
4.6.6 WHAT IS THE DIFFERENCE BETWEEN CONSUMER DAT DECKS AND PRO DECKS?
DAT decks are categorized as consumer decks and pro decks. The main difference
between these two is that consumer decks put an automatic copy protect code
(called SCMS - Serial Copy Management System) onto the DAT while pro-decks do
not. Of course, pro- decks are more expensive than consumer decks.
4.6.7 ARE PORTABLE DAT DECKS AS GOOD AS RACK-MOUNT DECKS?
Since the high-quality sound reproduction is inherent to the digital technology
being used, the quality of recordings and/or duplications should not be affected
by the type of deck being used. As with CD players, the primary differences
between lower-cost portable DAT decks and more expensive rack-mount decks are
the features. Don't be fooled by the size of portable decks. DAT is digital
technology so the quality is in the technology and not in the features or size.
A portable deck will provide just as good a sound from the 1s and 0s as a high
priced DAT deck, when played through the back of your stereo. The quality of a
sound recording is a function of the input device (i.e. the microphone). The DAT
simply records all the information input to it by the mic and digitizes the
input. When played back, all the digitized information is translated back to the
sound that the microphone picked up originally. Therefore, the sound quality on
a DAT recording is a function of the ability of the mic to translate the sound
waves as accurately as possible.
4.6.8 WHAT IS SCMS?
SCMS is an acronym which stands for Serial Copy Management System. SCMS is an
industry standard method of copy protection to prevent the widespread
duplication of commercially available digital products onto recordable digital
media. With respect to DAT, SCMS allows for one archive copy of a CD to DAT and
one archive copy of a master DAT. A code is automatically placed on the DAT by
the hardware being used. The code is such that, once one archive copy code has
been written to the DAT no further duplication is allowed. Pro-decks do not
write a copy-prohibit SCMS code to tape. SCMS was a compromise reached between
the recording industry and the manufacturers to, supposedly, prevent the
widespread copying of CDS onto recordable digital technology... i.e.,
bootlegging. Since it penalizes or limits people with honest intentions, most
people do not like SCMS. Additionally, most agree that SCMS does not prevent
bootlegging, and therefore, has failed miserably on all accounts to have any
usefulness to the music industry, manufacturers, or consumers.
4.6.9 CAN SCMS BE DEFEATED?
SCMS can be defeated in several manners. SCMS strippers are available which
locate and change the SCMS code. In situations where the taper has access to a
pro-deck, a DAT can be cloned from the consumer deck to a pro-deck. The clone is
free from the copy-prohibit code.
4.6.10 WHAT ABOUT DIGITAL>ANALOG>DIGITAL COPYING?
Any number of analog duplications can be made from a DAT with SCMS copy-prohibit
code, providing infinite D>A>D copying capabilities. Some believe that this
defeats the purpose of using digital technology, since the possible frequency
range of most audio tapes is not as wide as the potential frequency range of the
DAT. This subject has been debated extensively. While many tapers claim that
they hear a difference, many tapers also say they cannot.
4.6.11 CAN BOOTLEG CDS BE RECORDED TO DAT?
Yes, provided you have the proper cables necessary to patch from the CD player
to the DAT deck.
4.6.12 WHAT DOES IT COST TO GET INTO DAT RECORDING?
DAT taping is coming down in price, but it is still expensive compared to
analog. The least expensive consumer-DAT decks run around $600. The least
expensive pro-DAT is around $750. It is not uncommon to find used DAT from
individuals or reconditioned decks from manufacturers outlet stores.
4.6.13 ARE DAT TAPES EXPENSIVE? WHAT ARE THE TYPES AND STANDARD LENGTHS?
The cheapest way to buy DAT is Mail Order. Tapes can be purchased for about $4
mail order vs. $7 store price for a 60 meter tape. Tapes come in two different
types, audio grade and computer grade. Audio grade DATs are not certified
error-free and are available at larger music stores. Computer grade DATs are
certified error free. Some merchants sell DATs that have been used once by
computer manufacturers to certify equipment. A 60 meter tape provides 120
minutes of tape play in SP mode and 240 minutes in LP mode. A 90 meter tape
provides 180 minutes of tape in SP and 360 minutes in LP. Since it's digital,
some don't hear much difference between SP and LP. If you want to use DAT for
recording to CD, you must use SP mode.
4.6.14 WHAT LENGTH OF DAT TAPE IS PREFERRED?
Some tapers prefer to stay away from any tape length longer than 60 meters. As
for analog tape, the longer tapes have thinner tape stock which may not work
well in particular model DAT decks. Many people swear by the 90 meter tapes,
however. As for anything, it's best to try the different lengths and determine
for yourself what works, and/or fits your needs the best.
4.6.15 WHERE CAN I OBTAIN MORE INFORMATION ON DAT TECHNOLOGY?
More information can be obtained by subscribing to DAT-heads, an Internet
talk-group dedicated to the discussion of digital taping technology. DAT-heads
should be able to provide you with locations and phone numbers of merchants with
good mail order prices for tapes, cables, decks, and supplies. Requests to be
added to or deleted from DAT-heads can be sent to one of the following service
addresses:
Internet:
dat-heads-request@virginia.edu
UUCP: ...!uunet!virginia!dat-heads-request
You can send mail to the entire list via one of these addresses:
Internet: dat-heads@virginia.edu UUCP: ...!uunet!virginia!dat-heads
--(Major contributor: Steve Toney)