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Re: Mini-discs: To the point...(OT)

Check out the plan below:  it doesn't require you to get a second minidisc
recorder.  It's looks a little freaky at first but bear with me 'til the 

1) keep your minidisc as a track master.  copy the minidisc to tape, then 
the same tape recorder (to preserve tempo) to copy it another minidisc, and
send the new minidisc to your collaborator.

2) your collaborator copies your minidisc to tape, then using the same tape
player (again, to preserve tempo), he monitors what you've done and records
his tracks, without your sounds, independently to his minidisc, then sends 
the minidisc of his isolated sounds.  Since all he's using the tape for is 
monitor you the quality doesn't have to be sterling.

So by this step you will have two minidiscs:  your track master and his 

3) provided you have a four-track recorder or computer mixing software you 
record to it first from your track master, then from his track master, and
then mix down
the resulting four tracks to a final mixed master recording.

(The only difficulty is time-synchronizing the two recordings, but if you 
some tempo
clicks at the beginning of the recording in step (1) and then have him 
those clicks
when he records in step (2) it's not insurmountable, especially if you are
using a
computer.  You could do 8 clicks of the same tempo on your recording, then
have him click along to the last 4 in his recording.  It's cheap but
effective.  They don't have to be in time with the song, they just have to 
in synch with each other for the purposes of synchronizing the tracks in 
final mixdown.)

If you don't have a 4-track recorder or a good enough computer to do step 
above, you could try this:

1)  copy the minidisc to tape and send him the tape
2)  he monitors you with the tape and records his isolated sounds to a
minidisc and sends you his minidisc
3)  you play back his sounds and re-record your own sounds "live", then 
both your and his sounds on tape.

All this requires is that each of you have both a minidisc recorder and a 
recorder.  In either case, your collaborator is only using your sounds to
monitor so the quality doesn't have to be perfect.

Hoping this helps a little,

----- Original Message -----
From: Lanpheer, James <James.Lanpheer@cai.com>
To: Looper's Delight <Loopers-Delight@annihilist.com>
Sent: Thursday, September 02, 1999 12:57 PM
Subject: Mini-discs: To the point...(OT)

> Mikey posed a good question on MD's and let me follow up by clarifying.
> I'm going to give him source material on MD that he's going to add to.  
>In a
> past life, we've worked together before.  Now, he lives in Texas, i live 
> Denver.  I'm going to send him discs.  Obviously, i want to back up my 
> before trusting it to snail-mail.  I'm working with the portable Sharp MD
> MS-702.  The problem is:  How to best backup the discs?  Clearly, it 
> that its BEST (in terms of the quality of the backup) to copy the discs 
> another MD player.  The problem is that i don't have a second unit, funds
> are tight, blah blah, blah.  The inability to make backups could delay 
> project anywhere from weeks to a couple of months (when my piggy-bank 
> back up).
> We're wondering:
> 1.  What are the "best" options for backing up these MDs?  It would seem
> that the "best" (highest quality of sound) option is to have TWO MD
> recorders (i have one).  Are there any other options that come VERY 
> this one?
> 2.  If i need to get a second disc player, MUST it be another MS-702, or
> will any second deck do?  Anything propreitary about the Sharp format 
> say, a Sony MD deck couldn't read?
> 3.  Is there any risk to the data on an MD by sending it thru the mail?  
> there any precautions that we can take?
> I think that about sums it up.  Sorry to be OT.  We get lots of good info
> from knowledgeable people on this board!
> Cheers!
> Jim.