I also like Audacity -- a free download -- and use it with a PC , just running cassette tapes into it. This is a very straight forward way to do it... Ah yes, Margaret -- I remember those Uher recorders (though I<br>think mine was a Wallensach)...
<br><br>S. yes<br><br><div><span class="gmail_quote">On 7/24/07, <b class="gmail_sendername">Buckner, Margaret L</b> <<a href="mailto:MBuckner@missouristate.edu">MBuckner@missouristate.edu</a>> wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I've had really good luck with the iMic, which imports sound very easily onto a Mac, using the (free) sound-editiing software program, Audacity. I've imported from reels recorded in 1960s on a Uher, and also from cassette tapes. (It took a while to find the right connecting cable for the Uher, but once I found one, it worked great.) The iMic costs about $30.
<br>For PCs, others will have to answer...<br><br>Margie Buckner<br><br><br>-----Original Message-----<br>From: Indigenous Languages and Technology on behalf of Dr. Dorene Wiese<br>Sent: Tue 7/24/2007 11:19<br>To: <a href="mailto:ILAT@LISTSERV.ARIZONA.EDU">
ILAT@LISTSERV.ARIZONA.EDU</a><br>Subject: [ILAT] Cassette Tape Transfeer<br><br>What programs do researchers recommend for transferring cassette tapes to cds and other formats?<br>Dorene<br><br><br><br><br><br><br><br><br>
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<br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br>-----Original Message-----<br>From: Natasha L Warner <<a href="mailto:nwarner@U.ARIZONA.EDU">nwarner@U.ARIZONA.EDU</a>><br>To: <a href="mailto:ILAT@LISTSERV.ARIZONA.EDU">
ILAT@LISTSERV.ARIZONA.EDU</a><br>Sent: Tue, 24 Jul 2007 2:28 am<br>Subject: Re: [ILAT] ipod recording<br><br><br><br>Hi,<br><br>before we totally write off all compressed data that already exists, let's<br>think twice. Sure, if you're choosing at the beginning of a project, it's
<br>probably far better to just record uncompressed in the first place. But<br>if data exists that was recorded in a compressed format, that doesn't make<br>it useless, it depends greatly on what you're going to be measuring.
<br>Pitch, for example, is extremely robust, even under atrocious recording<br>conditions and with poor equipment. One of the few things that will make<br>pitch unmeasurable is overlapping voices (or other periodic sound sources)
<br>where the one you're trying to measure is not substantially louder than<br>the others. But considering that you can measure pitch even with shocking<br>amounts of background noise, or an extremely clipped signal, I'd be
<br>surprised if you couldn't measure it pretty reliably on mp3 data. On the<br>other hand, if you want to measure voice quality (creaky voice, breathy<br>voice, etc.), then you need to know that you have a really reliable
<br>recording that didn't mess with the spectral tilt. But at that point,<br>position of the mic relative to the mouth is also going to be pretty<br>important.<br><br>A few years ago when the compression at issue was minidiscs, I
<br>heard that a few phoneticians, including Ian Maddieson, did a test of<br>compressed vs. uncompressed recordings and couldn't find a difference in<br>any part of the signal they were interested in. They concluded the
<br>compression wasn't so bad. Of course, I'd rather know I have uncompressed<br>data so I just don't have to worry about it. But given a choice of using<br>existing compressed data or starting over, I would look at the signal and
<br>see what looked measurable and what didn't, keeping the compression in<br>mind.<br><br>Also, it's worth considering that in many field recording situations, the<br>background noise (whether it's airplanes, construction noise, chickens,
<br>kids, crickets, refrigerator hum, a college cafeteria, or a preschool<br>setting--I've run into all of these at least indirectly, for acoustic<br>phonetics work) is going to contribute a whole lot more problems to the
<br>signal than the compression creates. And sometimes we do work with data<br>collected over the phone, which limits the signal a lot more than<br>compression does. So my personal approach would be to use a reasonably<br>
good headmounted mic, get it as close to the speaker's mouth as possible,<br>make sure any other noise sources are far further from the mic than the<br>speaker's mouth is, and record uncompressed if possible. It would also be
<br>nice to have a clearer understanding than I do at this point of just what<br>we lose during the compression.<br><br>Thanks for the discussion, everyone,<br><br>Natasha Warner<br><br>*******************************************************************************
<br>Natasha Warner<br>Associate Professor, Department of Linguistics<br>University of Arizona<br>PO Box 210028<br>Tucson, AZ 85721-0028<br><br><br>________________________________________________________________________<br>
AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com.<br></blockquote></div><br><br clear="all"><br>-- <br>____________________________________________________________<br>Susan D. Penfield,
Ph.D.<br><br>Associate Director, Center for Educational Resources in Culture, Language and Literacy (CERCLL)<br>Department of English (Primary) <br>American Indian Language Development Institute (AILDI)<br>Second Language Acquisition & Teaching
Ph.D. Program (SLAT)<br>Department of Language,Reading and Culture<br>Department of Linguistics<br>The Southwest Center (Research)<br> Phone for messages: (520) 621-1836<br><br><br>"Every language is an old-growth forest of the mind, a watershed of thought, an ecosystem of spiritual possibilities."
<br> <br> Wade Davis...(on a Starbucks cup...)