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I've been seriously collecting for nearly 30 years and have always struggled to get the very best I could in terms of both sound quality and completeness. I adopt the policy of continuously upgrading/sourcing the lowest generation recordings. I have cassette tapes, vinyl albums, silverbacks (c.d's), minidiscs and cdr's in my library. Technology and format storage continues to change and I try to move with the times. My interest now is predominantly cdr.
I like to think of myself as a caring and careful swapper. I adhere to certain protocols and I'd really appreciate reciprocation as a courtesy.
BLANKS
I use Kodak , Mitsui or Taiyoyuden blanks exclusively as I'm led to believe they're the best, I've never had a failure yet. Please use the same if we exchange. If you can't find these, at least use Japanese derived discs. These are quality discs, I don't consider them expensive, quality is priceless. If you really cannot source such discs PLEASE tell me and I will also supply the quality blanks so that we can swap ok?. I'm fussy but fair. Please do NOT write upon or affix any labels to any cdr's that you send me : thanks.
There are only 3, repeat 3, manufacturers that use a Grade A dye. They are Taiyo Yuden, Mitsui, and Pioneer. The latter only makes dvd media for export out of Japan, but does make cdr media for sale in Japan. Mitsui make their own media and rarely does OEM work for others (Klone, HBB). Taiyo Yuden do make their own media, but they are better known as an occasional OEM for Sony, TDK, Imation, Fuji, and others. The other "brand" name media companies don't make their own media, they only out source to manufacturers and then re-badge and resell. That is where the term VAR (Value Added Reseller) comes into play. Sony uses Ritek (grade C), Mitsubishi (grade B), and TY (Grade A). So only look for media for sale that says Made in Japan because only TY, Mitsui, and Pioneer make media in Japan and they are all Grade A. BTW, Mitsui also have plants in the USA. Mitsubishi (blue azo dye only) is Grade B. However, Mitsubishi isn't using that dye much anymore as they have switched to a lower quality Grade C dye.
CDR- Identifier is a good tool to use for those that aren't familiar with all of the above. This small software programme can be freely downloaded from a link I have provided on my useful links page. A lot of good traders also look for a frosted centre and a 13 character alphanumeric serial number stamped across that frosted inner ring of each disc in a straight line rather than a clear inner ring with the serial number stamped in a semi-circular fashion. This is a good visual guide for identifying Japanese manufactured media.
Oh yes …. Blanks, I do NOT enter into what is commonly termed " B & P " so please do NOT ask me or offer me or send me blanks in exchange for things you'd like from my library.
BURNING (CLONING)
I ensure I'm not running ANY applications on my pc when I burn so as to prevent introducing digital artefacts into the clone, even though I've got scsi connections, massive hd space, mega ram (1gb) and a 2ghz processor. I use a Plextor burnproof SCSI 12x10x32s cdrw
ALWAYS clone/burn dao (disc at once) NOT tao (track at once) this prevents the introduction of annoying gaps between tracks in live recordings. Never burn "on the fly" sometimes referred to as "fast copy" and always set your burning speed to correspond with the recommended burn speed of the discs you are using ( or LOWER ) If you do NOT understand any of this or the terminology then please ASK !.
PREPARING TO SEND
Please do not write upon or affix labels to any discs you send me. Carefully package discs to protect them in transit, they do scratch easily and have been know to get shattered or cracked in the postal system.
ARCHIVING
When I get a show in I check it careful and put a slip of paper with my notes into the jewel case. OK all this is time consuming but in the long run it helps me to help others and good record keeping is part of maintaining ones musical library as far as I'm concerned. I'm a bit fussy but hopefully fair. The more information you can supply me with the better, and artwork is a bonus !
I ALSO GET INFORMATION FROM THE FOLLOWING REFERENCE BOOKS (and of course the internet):
EXPERIENCE ( and fair trading )
Please keep in touch via email so we are conversant with the status of our swaps. Communication is all part of successful swapping. Fortunately few out there are dishonest but I have been treated unfairly on rare occasions.
BAD TRADERS
Be extremely wary of a French guy who is an avid collector Of Mahavishnu Orchestra, his name is Hodura or Hodora but this character uses many non de plumes in an attempt to con. He also uses his wife's name which is Lillian Mangavelle. I got very badly burnt by him, he is based in France, Bolougne or Miroflay I think it was/is. He is also prone to using his parents address and several P.O. box no's also!. You have been warned.
MASTERING /RESTORATION
I currently have a very large project underway. The PROPER "cleaning-up" of ALL my tapes. I have a small team helping me to master and transfer them to cdr. I need more reliable skilled volunteers to come forward. Here's how it works …..
The person doing the "mastering" keeps a copy and sends me one too, a great chance to increase collections and share in the great music. Hopefully it's a quick way to success and everybody's happy?.
I am open & honest and I have to say I'm not happy releasing these old recordings unless I know they will be mastered to a respectable level before cdr's are burnt and exchanged. It is about "quality control".
What I don't want are these tapes becoming bootlegs or people profiting financially in any way from them, that would make me feel very upset and deeply hurt and offended inside. It would also be letting down my volunteers who put in a lot of hard work to make these tapes into a better sounding experience and onto a digital format for enthusiasts to collect and enjoy "freely".
What I'd like back is a "finished" master cd, i.e. as close to commercial releases as possible {relatively speaking of course} I'm not running away with the illusion that people can work miracles, I'm using this as an analogy.
I'll try to give you an overall briefing of the tapes. They vary from:~
Generally the age of the concert bears much in relation to the faults and restoration work required. Sometimes there are a myriad of problems, others are pretty sweet recordings full stop. Sound quality I suppose are all and none of the above. Sound clarity is different and my recordings vary from exceptionally good down to poor.
So, if you are interested in joining the team and feel confident that you can clean tapes up properly without ruining or losing the music by introducing digital artefacts, email me Musical.Archivist@virgin.net
QUALITY CONTROL
A few notes about digital faults, if cdr's are cloned badly then various forms of diginoise can be introduced i.e. pops, clicks and static sounds. If any form of remastering has been badly done then diginoise will be introduced into the recording. If you are going to send me any cdr's I'd much prefer not to receive discs containing such faults. Please remember that if the disc you are burning from has faults then your burn will produce a clone of it "warts n all".
DISCLAIMER:
I have been collecting unreleased recordings since the mid 1970's. Since then, some material has been released in part or whole.
So, these are unreleased and non-commercial recordings and are intended for music research and historical purposes only.
I wish to expand my collection by way of exchange, these recordings are therefore strictly for swap only and not for sale under any circumstances.