FEA
Active topics
  1. Are the subcards discountinued?
  2. They're pretty hard to find from what I know.
  3. And expensive.
  4. Any opinions on the Sony PCM D100?
    I consider getting one for podcasts, field recordings and recording readings and my own shows/performances. I probably won't use it handheld, but with a stand most of the times.

    Anyway, I might as well take it to a concert and try a recording, but with external mics.
  5. Looks fine. Just tape down the levels knob so you don't accidentally knock it. And have external mics for shows.
  6. Thank you, hoserama!
  7. Originally posted by SJKamal:Are these guides still relevant or are they now outdated? With todays technology would a flagship smartphone and an external microphone do the same job as a dedicated recorder?
    It's all definitely relevant nowadays, but "proper" taping has been in decline for a good couple of years, sadly. The rise of Merkaat, Periscope and other live streaming sites, plus the decline in download numbers and impact of the recordings make that, at least for U2, there's far less people taping and/or sharing their recordings than there used to be. There are recordings for virtually every U2 show between 1987 and 2015 (only very very few shows are missing here and there, one in 1989, one in 1992, zero in 1997, one in 2005, etc). And now suddenly there are tons of shows without recordings (or at least, that have publicly surfaced): at least 5 in 2018 and 6 or 7 in 2017. And some of the ones that surfaced are actually smartphone recordings or Periscope rips. It's not a good sign and I don't think it'll change for any future tours, BUT that makes all existing recordings even more valuable than before. So yeah, by all means please get involved and dig into this wonderful hobby

    Hoserama already gave you good advice. Feel free to ask anything else you need, or if you need us to vouch for you in Taperssection
  8. Never downplay the magic of a good old school audio recording. It’s easy to consume shows in chunks via YouTube and the like but there’s nothing quite like a truly excellent audience recording for me. Without a select few recordings there’s no way I could stay interested in U2 between albums and yours.

    The quality doesn’t need to be awesome. In fact, the majority of my favourite recordings probably hover around the 3.5/5 mark but the ambiance and the crowd capture of them are so good that it becomes immersive.

    Support tapers where you can, dip in to your PayPal account to find projects, send donations, just email to say thanks. We have such a treasure trove of awesome stuff at our disposal and until the bands management decide to exploit this market, tapers remain gods amongst us.
  9. Picked up an A10 second hand from Ebay. "Opened - never used" and got it for a decent price. Just need to find some decent mics for a good price now.
  10. Originally posted by SJKamal:Picked up an A10 second hand from Ebay. "Opened - never used" and got it for a decent price. Just need to find some decent mics for a good price now.
    I might have a spare pair or two and I won't be using them anytime soon. I could lend them to you no problem
  11. Just don't forget the number one rule...practice, practice, practice. Don't wait until your favorite band rolls around to clock in your first field hours. I can tell you plenty of stories of folks who did that (myself included) and failed on their first outings under pressure.


  12. That's the plan. I have a decent enough live music scene a 20 minute walk away from me that should allow me to get some decent practice in. Just need Covid restrictions to lift first..