sfbp
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Everything posted by sfbp
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You can use EAC and then compress to LP2 or Hi-SP. But.... I strongly recommend ripping to Atrac Advanced Lossless (takes a lot less space than WAV) and then you can easily convert to LP2 or HiSP for portable listening. Either of these works very well from 256k AAL.
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This thread is getting out of control. I need time to respond, which I don't have the next couple of days. It also needs to be split, IMHO. The comment about upsampling LP2 is purely empirical - but in accord with what I would expect. Think about what happens to compressed bits and how they are decompressed AND upsampled in quick succession. I'm not up to the math, but intuitively don't you think there might be major artifacts here, especially when making a fractional change (44->48) in Fs?
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Tools->Options->CD Drive Settings->CD Importing->Select Format There you can choose ATRAC/ATRAC Advanced Lossless/WAV/MP3/WMA/AAC/HE-AAC "WAV" is just exactly what you expect it to be. Nonetheless this is not the way I do it, or would do it. Use EAC to rip your wavefiles, import them into Sonic Stage, and then write them using the "as is" option in Sonic Stage Transfer. I just did it (though heaven knows why anyone would, transferring to a portable won't ever let you hear all those bits when playing back, on a portable). It works. Even if it takes forever and uses up battery on playback like crazy, you can do it.
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I didn't think SB was *ever* designed to transfer PCM. Sonic Stage should work just fine. But I may be wrong.
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most unlikely your RH1 dying. SB is probably never going to work perfectly in XP mode. It's a little too close to the h/w, unfortunately. One trick you might try is to put the RH1 disc mode to "Hi-MD". Permanently. You can always change it back if you need to make NetMDs later. BUT..... you were trying to write HiMD disks. In which case you don't need XP mode at all. Be happy, install the NetMD760 driver (although you don't even need that right now) to get full functionality for NetMD under 64-bit windows. There's NO DRIVER needed to operate the RH1 (or any HiMD) in Hi-MD mode. Probably you should deinstall ALL traces of SonicStage and Simple Burner. When you install SB, there may be a problem getting the install to run - but you can probably fight that up to a point, with running things in "XP compatibility mode" which is NOT the same as the XP virtual machine you have been using (I assume).
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It may well be that the CD has the SCMS bit set. It's quite possible to make them this way. And in 1995 it may well be that somebody did, before Nero and other well-available software gave the option not to set it. Bluecrab once sent me a CD he'd made with SCMS set. Sure enough I couldn't record it to MD. IIRC many DVD players are this way (quite aside from the regional encoding encryption) with the hardware outputting the SCMS signal on the audio track, when playing a DVD. YMMV - generally the cheaper the player the less likely it will stick to SCMS rules
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My opinion is that it's all in the playback. A type-R deck opti-out into a good receiver or DAC works wonders with LP2. Don't try and upsample it to 48Khz though, there just aren't enough bits to make this a good proposition. The type-S decks (analogue out) and portables sound noticeably better on the same exact disk than their Type-R brethren. In my opinion. FWIW, I have some excellent air-to-LP4 recordings of organ some of which are full range material. Examples: Buxtehude F major Toccata, Saint-Saens organ symphony. This in turn is about the intelligent use of bits - if the original source isn't loaded with white noise (eg like FM radio), such as an online digital broadcast, then the bits are well used recording quite complex signals without wasting them on reproducing white noise.
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Do you mean all LP2, or just LP2 on this particular machine? The N1 doesn't have Type-S (which makes portable playback for LP2 really quite decent, IMO).
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What's IPA? Where I come from it's India Pale Ale, but maybe you mean (CH3)2-CH-OH? My experience is that it is necessary to score the terminals of the gumstick with a very sharp knife to break the build up of metal oxide or chloride (green) or whatever. If this is happening with a known, working battery that is charged, there are two more things to try to fix: 1. the contact on the bottom inside i.e. the part touching the -ve terminal 2. the (sliding) mechanism in the door. There are two aspects to this: a. cleansing b. making the spring bent enough so that it pushes on the battery +ve terminal hard enough You may have to be rougher than you think Oh well, THAT's another possibility I had not thought of. But before it gets replaced I wonder if it degrades, hence the necessity to adjust the unit to get it back to functioning. I'd still be inclined to use a bit more pressure when cleaning, and the knife point may well be more important than the isopropanol in this regard. Stephen PS. Jim could this chip get blown if someone tried to charge a dead battery?
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An alternative is to use the Japan made unit to charge the battery. You will be able to do so (with the 710) better if you do the adjustment in the manual which is in the SM. Or Jim does But mostly it may be a matter of contact resistance. What you are adjusting is the voltage level(s) at which charging kicks in or out. Hope this helps. Stephen PS the service manual is freely available here. I never before noticed that the 710 page didn't have one - it's the same unit.
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Right. My point being - that I would like to know if the assumption I have made over the years is correct - namely that optical out into a really decent receiver (definitions welcome!) obviates the necessity to pay for high-class DACs on the MD or CD itself.
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I didn't realise that the specs quoted on all those manuals are for analogue output only. I wonder what the corresponding numbers are for a high end Sony deck? In turn this raises the interesting comparison of what the specs of some relatively lowly decks are like too. It could be that all the differentiation between medium and "top" models is in the D->A.
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Sorry for slow turn around here - I just noticed something odd in your article linked above. The S/N and dynamic range you measured (for the Kenwood DM5090) are at least 18 dB better than Kenwood's own specifications. Seeing as this is not even considered to be a "pro" unit, and Sony's very best (recall that Sony invented the technology and others merely licensed it) figures are for the MDS-JA555ES, which this still beats by almost 2 doublings ie 12 dB, I am forced to consider one other conclusion: namely that your measurement methodology is failing at these extremely low (or high, depending on your view) figures. I'm not trying to shout you down; merely a polite question as to whether it's possible that these numbers are not real. Somewhere you note a discontinuity in your expectations with the R900. Could it be that the method of measurement doesn't quite stand up? Cheers Stephen
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Sorry Jose, you are going to have to tell us a lot more information than that 1. What is "MP3 to Minidisc Professional"? Have you got a link on the web we can see? 2. Did this process work before (eg it suddenly started failing and so now you write us)? Or have you never made it work? 3. What rate of MP3? VBR or CBR? 4. What model of Minidisc recorder? What kind of disk (size, not brand name)? What format are you attempting to convert to? Welcome to the forums!
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1. I don't have an NWZ-54x, but a NWZ-75x 2. Mine doesn't have the SP (volume cap) limitation 3. I have not done the removal of the case - which IS clearly described in the service manual for that machine So I have nothing to write a tutorial on - I am not going to give instructions on something I cannot test, have not tested, and will not test. All I can suggest is that you read the 54x service manual, figure out how to remove the cover, and then try setting the device in to service mode. Sorry!
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The point being: this is not thick and oddly-looking.
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100% correct. "faster than real time" and "using a computer" are, for the purposes of the present discussion, synonymous. Buy an RH1 - this will absolutely preserve every stored bit that's on your LP2 disks. No conversion whatsoever, unless you command it.
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Hi-MD came into existence in 2004. There are plenty of HiMD players for less than $150, you merely need to find the models you are interested in, and look for them. Examples: MZ-NH600, MZ-NH700, MZ-NH900, MZ-EH70. Hope this helps.
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If you only ever deleted one at a time, there's a good possibility something in the electronics needs fixing. That might cause you to talk to our resident h/w expert Jim Hoggarth.
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Sorry but I think your disk is trashed. DO NOT under any circumstances use Sonic Stage to delete multiple unnamed tracks from a disk. You can do it with the unit itself, or you can name every track before you start deleting (a,b,c,d... come to mind for names) with SS. Sony Media Services may be able to help - they used to charge $50. But that may be a thing of the past.
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Acid in the sense that all other factors are eliminated. Perhaps my mis-use of a metaphor.
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I think you may find that the next generation of portables with MDLP, the ones with Type-S DSP chip, basically N510/610/710/810 will bring LP2 reproduction back to where you are (at least for portable use) with the 900. Having never owned one (a 900), I cannot be definitive on this point. There's folks who swear by the 909, too. I haven't done the "acid test" SP vs SP between Type-R and Type-S, except with decks - and there are probably other factors there since I use optical out with Type-R and it sounds great going into a 24/192-capable receiver. Sony did keep on improving the audio precision and performance, especially with regard to power consumption, as you would expect, with later models.
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I got it because everyone told me it's a "must have" and someone here put one on Craigs for $40. I haven't used it much as for portable listening I need more than 80m. But it's a very nicely built machine, solid as a rock, and interesting features. Needs the right remote though, I found an RM-MZR55 which is close enough - the one I was "bequeathed" had no remote. For parts/rebuilding/repair/replacement, Jim Hoggarth's your man. He's here on the board, been a bit quiet lately but usually lurking there somewhere. He's in England, I think you mentioned you are in Germany, despite signature, so not too much hassle to and from Yorkshire if you need some help, or bits and pieces. I can't answer about the R30 as I never owned one. Many different people have said that the R50 was the best Sony made, after that some things went downhill. There's an old article from a repairer on minidisc.org that talks about how much better built the R50 is than the immediately following R55. Speaking personally, for serious recording projects involving line in, I prefer decks. Sony went the extra mile to clean up the inputs, I think. That's not to downplay the R30/50/55, just my preference.
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Sounds like you have the tools to check, anyway. HiMD is a terrific format. I suspect the reason Sony is so protective of it, is that they licensed some patented part of the compression (whatever is an advance on Dolby, which they had to pay the customary fees for the Double-D symbol) to some major players. You may not know, but Atrac3+, the format used, is the 2-channel version of something they called Atrac-X - which is designed as a multi channel format. Sony makes it clear in almost all its documentation that they consider Atrac3+ to compress about 2x as much as ATRAC3. That is, for half the bitrate (relative to ATRAC3) you get similar performance.
