My rules: Format: I prefer trading shn. If you can?t do shn trades please let me know. TAO: No, thank you. Media: I prefer Maxells, but I?ll basically take anything EXCEPT cheap-ass generics or Imation. Also, I won't accept ANYTHING on anonymous blank silver cd?s. They?re clicky as hell and (even worse) sometimes won?t copy, which defeats the purpose of trading. Please tell me what brand you prefer, and I?ll do my best to accommodate you. I like to do big shn trades on Maxell DVDminusR, if you can burn DVDminusR. I can only burn on Maxell DVDminusR?s, so that?s what you?ll get from me. Let me know if this is a problem and we?ll do shn?s on cd-rs. Amount of trade: No more than ten disks at one time, please. We can always do more later. B&P?s: I?ll do B&P?s ONLY if your list has nothing I?m interested in (which is pretty rare). No offense to our burnerless friends, but burners are so cheap there?s no excuse for not having one, especially if trading live music is your hobby. Packaging and mailing: Use bubble-padded envelopes or at the very least wrap the discs in bubble wrap. NO padded envelopes filled with that grey shit that falls all over the place when you open them up. No cases. Plastic-lined paper sleeves are fine, but ONLY ONE DISC PER SLEEVE. C?mon, paper sleeves are even cheaper than burners. Set lists: I don?t need art but would like a setlist, which can be e-mailed. Obviously I've gotten things without set lists in the past and am trying to get them up to snuff. If I have a set list, you'll get it. And let?s close out with a few words from the wonderful and talented Tina Weymouth of the Tom Tom Club, on audience vs. soundboard tapes: ?As for taping, the best recordings are going to be made on a simple cassette or DAT recorder using a stereo condenser mic. This is how we do it for ourselves. No soundboard recordings are permitted. That?s because they SUCK. Soundboard recordings give the listener no idea of how the music is intended to sound. They are only of use as a learning tool to the musicians and the soundman. (Why are soundboard tapes so bad? Because the soundman is ALWAYS attempting to compensate for what ISN?T amply amplified, as well as various anomalies of the room, such as backwall slap, and so on; and because soundboard recordings are also dry, i.e. no reverberation, and frequently compressed to the flatness of Kansas, they lack dynamic as well as resonance. They are missing crucial elements that are, in fact, part of the music. It continues to amaze us that these wretchedly inferior recordings are still touted and traded. To us it?s a little like those 16th-century surgeons who would ?bleed? their patients in the notion that they were doing them some good.)