sfbp

Starting to look at the schematics for the NH700. Seems there is only one candidate for the output data and it is not connected to anything, namely pin 298 on IC801 (the monster main IC). It is labeled DADT (Audio Data Output Terminal. Not used). On the NF810 it looks like it's pin 50 (also DADT). Furthermore I note that in the R90/91 the comparable pin is brought out to a test point. Too much to hope that there is data there.....? Comments?

Limiting only seems necessary when using Analog because of the inherent distortion. You can (and probably should?) safely set the volume on your PC optical input to 100%. There's no ability to "amplify" on any of the decks, I think, for output. However a number of decks will happily amplify the incoming optical sound (optical gain). Since this comes before the Type-R ("intelligent bit reallocation") processing as the MD is recorded, I fancy that this improves the dynamic range of what you record from an optical source. I have, to be honest, not noticed any of the distortions noted by Avrin, though I understand perfectly his point, and the theory behind it - at least I think I do. I'm actively looking for a friend to help me with the HiMD output mod. I have someone in mind here, but encouragement from others online would be great.

That will have to wait until I get Audition$$$, only 16 bits in CoolEdit. Stephen

Actually I only ever used it to do exactly as you describe, unless I wanted to "fix the level" of some sounds, or fade-in/out. If peak is > 50% generally it seems ok to leave it. However I would point out that I think the "puristic" approach is more important when the original sound is (already) compressed. With PCM recordings there is probably lots of data (x5 compared to SP?) which can be jerked around a fair amount if you want to clean it up, for example removing noise by FFT. These manipulations will still be of a greater effect than your rounding errors, and ultimately neither will be that noticeable (of course one would always check after every step!) So that's why I recommend always using PCM for live recording - if you want to fix the levels you have got lots of "headroom". Conversely a canned signal nicely "levelled" by a broadcaster, can be recorded at lower data rates and still getting a very nice sound (eg LP2) because you do NOT have to do any messing around with digital rounding - rather record at the highest (constant) level, knowing that the source will not have unexpected peak passages in it. Thanks for the insight.

I have CoolEdit, presumably you mean that it's ok to set exactly 200% and this will have the right effect?

Fine. So what hardware or software will double something? What about the S.F.Edit feature on MD decks? Or do some systems "know" that when you say +6dB (or -6dB) you actually intended to double (or halve) it?

Good morning, Avrin. What on earth do you mean? By definition, +6dB is exactly double. If you double something its output will be exactly 6dB higher. Perhaps you are referring to the means for doubling? I recall something of the sort when preparing JPG's for the Web.... its ok to divide by 2, or even 4 but don't try 3

I got an even easier idea..... make a switch of some kind that allows minimum wires to come out of the HiMD unit, instead of the DOUT on my MD deck, the DOUT as explained on an NH700. Now the optical out socket, drivers, everything is already on the MD deck, just the signal is coming from HiMD - so in essence a HiMD Deck. There are some minor problems like power supply for the HiMD and the physical arrangement won't be as nice as a deck, but for PLAYBACK (record is no problem) this should work nicely. Anyone want to correspond on how to attack this one? I checked the schematics and the line goes more or less straight from the master chip to the optical out socket on the MD deck.

Ah, this thread happened before I got serious about MD. Thank YOU! Has anyone actually tried this? As Oz says, it really looks like a HiMD deck with opti-out might be worth having. That, or a HiMD portable (not the RH1, but somethibng less valuable) hooked up to digi-in on my receiver to simply PLAY BACK HiMD recordings through the stereo system. Happy New Year Stephen

Certainly if you have no pc->md downloaded tracks, then the MZ-RH1 can upload everything. But a deck is so much nicer for editing and titling before upload. You can assemble a list of MDLP-capable decks from the equipment browser. My short list would look like this MDS-JE640 MDS-JB940 MDS-JB980 MXD-D400 and I dare say there are others. On top of that you're going to need a card on the PC that accepts optical input. A good one is Terratec. There might be an optical->USB dongle available, don't know, don't have one. Good luck!

I would say it doesn't matter. Buy whatever you can that is good value second hand. The current offerings don't have what you want, mostly.

To be truthful, optical transfer is NOT lossless. But it's a lot better than the alternatives. Only a few of the transfers via USB are lossless, namely if you don't convert the .oma file in any way. I ran into trouble that CD->MD turned out crap, not because of the transfer to MD but because of the initial ripping from CD!!!!! The major pain about MD decks is that SP disks hold only 80 minutes. If this is ok for you, go for it. However MDLP decks (most have Type-R) will record LP2 quite nicely, and this is what I rely on for most recordings off the internet (since they are rarely at higher bit rate than 128k). If you want to "save" your recordings (frankly they will last longer on MD than on either CD or HD) then you really don't have a choice except MZ-RH1 (MZ-M200). However if any of them were transfers via USB to the MD, then optical out from the deck is the ONLY way to go.

I'm not 100% sure that the latter restriction is true. It's not something I care about, but I did try it one day, and I think I was able to upload something. The trick is to make sure it's been decrypted first... then it won't have anything of the computer from which it was downloaded at all. "Decryption" meaning running the OMA File Conversion Tool (not converting to MP3) and UNchecking the box marked :Add Copy Protection: Hope this helps Stephen

If you installed the program that **calls itself** OpenMG Jukebox, you have an ancient relic which will not work. However the name of the executable file did not change when they "renamed" for marketing purposes to "Sonic Stage". Did you know that it is far more important to shut down Windows when you REMOVE a program than when you ADD one? Perhaps you need to take seriously the advice to remove all traces of Sony Software from these machines before you try adding Sonic Stage Ultimate (Avrin's nice version) back in again. Also you would be well advised to be (stay) connected to the internet, or the encryption setup will not authenticate, I feel sure, if there is any recovery to be done (which is usually the case if you had another version already running and removed it for upgrade, leaving behind some "useful" data that SonicStage knows about). This may have some strange effects on startup. Another suspect is antivirus programs. Very likely they need to be turned completely OFF (Sony warn you about this) at least during installation. Good luck Stephen

yes - circuit diagrams most often in english, including part numbers

Look at the date on the post you are quoting - it predates the delivery of the MZ-RH1. and the post starts with NOTE: This guide does not apply to the 3rd Generation Hi-MD - MZ-RH1

Trust me, you don't want any (new) LP player you can buy on the internet. Too cheap or too expensive, if you see what I mean. Or standalone pre-amp. Your best bet is to get a second hand amp (at least 3 years old, likely has phono in) and turntable. Here's a turntable: Technics SL1210 Here's an amp that would do perfectly. Depends on the final price of course. Never mind all the extra channels, that is irrelevant, but this has digital in AND out, just like I mentioned. Sony amplifier Another good make is Onkyo.

Problem, most easily available MD drives are already either IN a deck/drive type of enclosure, OR they are the clamshell type used by portables, which are useless for the kind of thing you are thinking of. There's an MDS-DAV1, I think, which is the closest you will get. Also the 480/780/980 all hook up to USB... only problem being you can't read music OFF of them. For HiMD there is basically no possibility since all HiMD mechanisms are clamshell except the very few made into decks by Onkyo.

You can get a top quality amplifier/receiver with digital in (and in Sony only, I think, also OUT) for $200 or less on Ebay. Go for one about 3 years old. At these prices I wouldnt consider buying new ($800-1000) or trying a kit of any kind.

However, it's not clear since I don't have the circuit diagram of any deck with Type-S (including the two that I possess, JB980 and MXD-D400) that they **didn't** realise this and do something different (I apologise for the double negative but I can't see a better way to express myself). What about Onkyo HiMD decks, does anyone here have a schematic? How to set up a test that distinguishes this point, Avrin?

Interesting. So maybe the S/N ratio quoted in the specs (assuming it is correct) is the determining factor? Type-R ought to be the winner for quality, because of what it does (all Type-S machines include Type-R). I looked at the MDS-B5 and it says 88dB (for material recorded on the machine, it's better for premastered MD's). Whereas the spec on the JB980 is 100dB. The JA333ES claims 106dB, my JE640 claims 98dB. What's in a number? As always the ears are the final arbiter.

Audiocubes has it

It's not beyond the wit of man (woman?) to beat the encryption. Currently all that is required is for you to decrypt your files periodically, rather like backup. This way you can keep the size advantage of oma but with no problem to access the files across a network, for example, or from a revived backup on a different machine. There's a group working on defeating the encryption. Meanwhile Sony still has the master keys and the algorithm which will enable anyone to access anything, one day. But their goal was preventing "illegal" copying, doubtless in part because Sony also owns Sony/BMG Music. I suggest you hang on to the files. I too have suffered .oma, but I have also suffered .MP3 In the latter case most often I have ended up not even wanting to listen. Which is worse?

Others will answer but simple summary: 1. You can't upload NetMD to Mac, only HiMD. You need SonicStage. 2. You MUST use the RH1, no other unit will do. (you can, as I used to, upload via optical cable and record as WAV, and at least this avoids another D->A and A->D stage, at x1 of course, using an MD deck) Hope this helps Stephen

Taking the last first: you can always do analog output to an MD deck or portable, but it won't be as good a recording as something which is digital (SP/DIF) already. I wouldn't trust these cheapie LP players. People have been known to spend $4000 on the RIAA-equalised pre-amp for a turntable alone, with at the very least as much for the cartridge as the entire (new) player would cost you. Whilst I'm not suggesting you actually lash out at that level, I would think that a second hand Technics turntable for a couple of hundred bucks (sorry 100 quid) and a cartridge costing a similar amount would do you nicely. As long as their amplifier has a decent preamp and noise-free line out, then you are good to go with an MD deck. I would avoid any cheap "solutions" you find on the internet (eg phono preamps costing $50-100) as they are terrible. If you have to buy an amp, most up to about 4 years ago still had phono input (ie the preamp is included), so you could easily get lucky on Ebay or one of the other for-sale websites.