A440

Sound Professionals BMC-2, Microphone Madness basic binaurals, Church Audio (I think), and these Good Audio mics all use the same microphone capsule: Panasonic WM-61a. http://dkc3.digikey.com/pdf/T041/1053.pdf So they all have the same specs. The difference is in the housings, clips, cords and plugs. I got the SoundPros and (separately) these clips http://www.bhphotovideo.com/bnh/controller...u=217592&is=REG which fit snugly on the little tapered tips of the SoundPros (other mics have bigger housings), at right angles to the mics, and place them at perfect outward-pointing angles when they're on my shirt collar. The SoundPros have a thin cord, which is good for stealth but perhaps not as strong as some of the others. These GA mics with the alligator clips sticking straight out the back are going to look twice as large as the mics alone, and while they recommend hanging them off eyeglasses, they'd either project way out or be pointed toward the floor. They might be OK clipped to a baseball cap or something like that. Think how you're going to wear them, though, before you get them.

That's great info on the mastering. Audacity has Fade In and Fade Out effects that might do something similar. In my experience with loud music, the preamp for Mic-In overloads before the microphone does. If you're using a battery box for anything but super-quiet sounds, then you should go through Line-In, which doesn't have a preamp to overload but expects a stronger signal than Mic-In. With or without the battery box, loud music is likely to overload Mic-In. If you are going to use Mic-In, I recommend Low Sensitivity and my little panacea, the $6.59 Radio Shack Headphone Volume Control pictured with my signature, which is technically an attenuator. With its little volume knob turned all the way up, it attenuates (lowers) the signal before it gets to the preamp to overload. My current loud music setup: SoundPro BMC-2 mics, Radio Shack gizmo, Low Sensitivity, Manual Volume 20/30. If you want, you could probably add the battery box between mics and attenuator. I have had one painfully loud concert recently where the mics overloaded, audible even with the attenuator, but that's rare. Whereas without the attenuator the preamp was overloading every time someone tapped a bass drum.

At a concert? Kurisu, I know you love your 900, but if the whole point of the gumstick is to make the unit more compact, then the add-on battery pack is a little....well....dorky. I can record a 1GB 90-min PCM show without a battery change in my NHF-800. And until they make a remote with Record and Track buttons, my interest is meager. More mud!!!

I use the Sound Professionals BMC-2s. You can hear what they sound like in the "loud English rock" sample at yahoo mail box livefrommd (at) yahoo.com, password 1minidisc1 Sound Pros itself sometimes sells them on Ebay for $29 or $39 on the website. You'll probably want to get clips with them. http://www.soundprofessionals.com/cgi-bin/gold/item/SP-BMC-2 But if you're serious about only recording in arenas, then cardioids might be better for you because of all the audience noise and your distance from the stage. The cardioids are directional and should provide more music, less ambience.

Guajiro-- I've been curious about that Church Audio preamp for some time. Have you recorded loud sounds and quiet sounds with it? Are its settings (the switch for gain instead of an adjustable knob) flexible enough for you? EDIT: Well, it looks like you did: http://forums.minidisc.org/index.php?showtopic=8375 Perhaps Kurisu could also add it to the Accessories Browser, since it's such an affordable alternative to the other portable preamps.

http://sonyelectronics.sonystyle.com/walkmanmc/wav.html Scroll down for the download link. And Otto, the NH700 does have a line-in that accepts optical or analog conections. Look at the equipment browser on this site. The 900 has some extra frills. It has a digital amp for the output, which some people like better and some people find brittle; it doesn't affect the recording input. It also has a fancier remote. But I don't think it's worth it because the NH900 also takes a rechargeable gumstick battery. The NH700 takes a regular AA battery, so that if your battery runs out it's a lot easier to replace, and it's barely thicker than the NH900. I actually like the slight battery bulge because it tells you which side is up if you've got the unit in the dark or in a pocket.

At first guess I would think it's the discs themselves. Memorex and Hi-Space discs are the only ones that have ever given me trouble. Try getting some Sony or TDK discs and see if the problem persists.

The Core Sound mics you were using are probably an order of magnitude better than these, but you can get decent recordings with less pricey mics. Listen to some of the samples at the yahoo mailbox livefrommd (at) yahoo.com, password 1minidisc1 From the specs, those Ebay mics probably use the same basic Panasonic capsule as other basic binaural mics, and their MP3 sample sounds good. I just wonder about the way the alligator clips are attached--it makes them rather long and visible and limits the flexibility of where you place them. You certainly wouldn't want to clip it to a jersey as shown in one picture--it would rub against the fabric. The budget equivalents are Sound Professionals BMC-2's, sometimes $29 on Ebay, and Church Audio's $25 mics on Ebay. Core-Sound also sells some budget binaurals, and it claims to modify the microphone capsules to improve them, but I've never had a pair to compare side-by-side with my SoundPros.

Free the tracks from SonicStage. Use Wav. converter to turn the track into a .wav file, and then you can use any audio editing program, like Audacity.

I've recorded concerts in LP2 when I thought disc changing would be impractical. They are quite listenable (unlike LP4, which isn't), but there is a slight dropoff from SP quality, less definition. If you're going to one that's not ultra precious, I suggest just trying it and see if it's tolerable to you--or go check out the local bar band and see what you think of an LP2 recording. Some bootleggers would turn up their noses at the thought of anything but SP, so it's really your own taste that's going to have to decide this one.

It should work, but check details below. Just to clarify one more time: WinNMD will not upload faster than realtime. That just can't be done with any MD before Hi-MD. What it will do with a NetMD recording (SP, LP2, LP4) is look (via Sonic Stage and USB) at the track information on your MD and RECORD IN REALTIME each track out of the headphone jack into a separate file. You said you have an "older MD." You need a NetMD to do this, none of the MZ-R* models. WinNMD costs about $20, depending on the Euro conversion, and if you do have lots of tracks edited it's a time-saver. If you don't have trackmarks to preserve then you might as well record with Audacity or whatever sound-recording software your Mac offers. Take a look at http://winnmd.net/winnmd.htm The site says it works with SonicStage 2.2, so you might email him and ask about 2.3. It also needs Microsoft's .Net framework and DirectX 9. Hope you're on broadband, .net is a big download. (Though not as big as SonicStage.) You'll also need some hard-drive space. For SonicStage on ME, depends on how fast the processor is, but probably yes. It is a system resources hog, so you're better off if that VAIO isn't your everyday computer. From Sony's FAQ on SS 2.0. (not 2.3, but probably similar) The following system environment is required in order to use the SonicStage Ver.2.0 software. Computer IBM PC/AT or compatible CPU Pentium II 400MHz or higher (Pentium lll 450MHz or higher is recommended) Hard disk drive space 200MB or more (1.5GB or more is recommended)(The amount of space will vary according to the Windows version and the number of music files stored onto the hard disk.) RAM 64MB or more (128MB or more is recommended) Others CD drive (capable of digital playback by WDM) Sound Board ; USB port ( supports USB (previously called USB 1.1)) ; Operating System: Factory installed Windows XP Media Center Edition 2004 / Windows XP Media Center Edition / Windows XP Professional / Windows XP Home Edition / Windows 2000 Professional /Windows Millennium Edition / Windows 98 Second Edition Display High Color (16bit) or higher, 800 x 600 dots or better (1024 x 768 dots or better is recommended) Others Internet access for web registration, EMD services and CDDB Windows Media Player (version 7.0 or higher) installed for playing WMA files The following systems are not supported: * Macintosh * OSs other than the indicated above * Personally constructed PCs or operating systems * An environment that is an upgrade of the original manufacturer-installed operating system * Multi-boot environment * Multi-monitor environment

To go back to the first original question on this thread, I've been doing more experimenting and hereby revise my previous settings upward. IF you are using the RS attenuator, Low Sensitivity and SoundPro binaurals (or, I assume, other mics based on the Panasonic capsules with the same specs), a big thumping loud music show will not overload at 20/30. To play it safe, try 17 or 18/30. Without the attenuator, 10/30 makes a lot more sense. But I've still found a problem with loud bass, even at that level.

[if i just hold the 2 mics together i assume thats the same effect of a single point mic.] Exactly. But if you're recording a concert, separate them by about 6 inches, like your ears, for much more satisfying stereo. Point them forward if you plan to play back through speakers, outward if you prefer headphones.

Those SP-BMC-12's look very tempting if you are primarily doing recording at concerts and rehearsals and want something small. They can handle 110 dB without a battery box, and that's a very loud concert already. I would suggest starting with them, and if your preamp overloads, then run them through a Radio Shack attenuator. If that doesn't sound good enough when you try it, then your next upgrade would be a battery box/preamp combination like the Boost Box or the Sound Professionals preamp. You can also look at similar microphones at www.microphonemadness.com and www.reactivesounds.com . If you expect to get jostled a lot at concerts, the Auris from Reactive Sounds promises isolation from handling noise. But before you take the plunge, you need to decide a few things. Do you want mics small enough for stealth recording? Or can you use a larger mic or pair of mics that sits on a stand? Are you going to be recording primarily in places where you want to shut out the sounds behind you? Then instead of binaurals you should get cardioids, which are directional (but susceptible to wind noise, by the way), like the ones FeatFan80 is using. Or do you want the full 360-degree ambience? Then get the binaurals, also known as omnis. I like stereo separation for music, so I suggest a pair of mics rather than a one-point mic. But if you are primarily doing interviews, then a one-point mic is better. And if you are going to be mixing down your recordings to mono, then get a M/S (mid/side) combination mic. If your budget is 140 euros, you have a choice of matchstick-sized mics, high-quality full-sized mics, and excellent cardioids. A Euro buys a lot in the US these days.

In the spirit of scientific inquiry, I did a test on the RS attenuator, full up. New York subway car (inside), SP-BMC-2. Without attenuator, AGC, 6-7 bars on the NHF-800 meter With attenuator, 3 bars. At $6-7 a pop, it'll be a while before it's as expensive as a battbox/attenuator, much less a preamp. And by then, Gerry Bolda will no doubt be selling the perfect attenuator. (Right?) I have a battery box, but I do like not carrying an extra box around.

[Generally speaking, the signal drop of any variable attenuator like the RSVC is at or close to zero when it's "fully up." In theory, the loss should be zero.] Dex old friend, you're theorizing again. There is definitely a drop in sensitivity with the RS. Full up, which is the only way I ever use it any more, still lowers the signal. It's just a little el cheapo connector. [As for its static - RadioShack and others sell electronics cleaning spray] Turning the volume knob, even brand new, is staticky. Then, after considerable use, static occurs constantly, either because the knob lets in dust and the like or it's wearing down. So I heave the HVC into the nearest trashcan and get another one. Which is why I would love a closed, non-variable one that matched the RS.

The difference is that I also have the attenuator between the mic and the preamp, and it cuts the signal significantly. I have run the mics in directly at 10/30, Low Sensitivity, and gotten clipping, so I've pretty much given up on recording amplified music without the attenuator (or a battery box if I feel like carrying one and I know it's going to be LOUD). As far as I can tell, it's generally not the mics that are clipping but the pre-amp, so feeding it the reduced signal from the attenuator means there's room to raise the Manual Volume. I wish one of the electronics experts here would measure how much the attenuator dampens the signal when the volume is fully up and describe how to build a more robust one with that same level of attenuation--or market one (hint hint). The adjustability of the Radio Shack was useful with the MZ-N707, which had to pause to change volume, but now its static is a liability.

You can get a mono-in, stereo-out adapter at any Radio Shack. There's no Mono recording mode on Hi-MD. The white input takes either an optical input OR an analogue input with a stereo jack. I actually wrap my headphone cord around the MD when not using it, figuring it will provide a little extra cushioning. For other cords, neatness counts of course. And I'd think a rewriteable label would rub off in your pocket. The Sony labels peel off pretty easily, and you get plenty with each MD.

You're right: you're recording it into the computer with a software recording program. Because SonicStage doesn't support Mac, you're basically stuck. WinNMD would turn separate MD tracks into separate files, but it's a Windows program that needs SonicStage to work. So say goodbye to those track marks. If you want it to be as digital as possible, get a deck with optical out and a card with optical in. You'd still be recording in real time. For an analog connection, which isn't bad, just record out of the headphone jack into a Line In if your soundcard has it. If your G5 doesn't have a line input, you can add one with the Griffin iMic, via USB. http://www.griffintechnology.com/products/imic/

Hey, sorry I misunderstood. I suspect that the next few hundreds of dollars are only going to slightly improve your sound. Because there's a lot of ambient noise in a live recording, you don't need super-low-noise studio microphones. Do make sure you're using Manual Volume, not AGC, so you get all the dynamics of the response. By the way, Sound Professionals has a 30-day trial period. If you wanted to try their improved-specs version of the 907 to see if there was a serious improvement, all it would cost you would be shipping.

It's not about diplomacy, it's about honesty. We're all groping here for the best ways to use a piece of equipment that is at once a technological marvel--a palm-sized PCM recorder!!! amazing!!--and a frustrating, quirky, user-indifferent gadget with very clunky software. Would that some of us had a research shelf full of all the MD models, a broad selection of mics and mixers, and all the test equipment that Dex knows how to use (and I don't). As is, we have to compare notes on what we each get with our individual setups. And one reason I like this forum is that we can experiment and share results with people all over the world. For me, they are experiments, never the last word. When someone who's brand new to MD asks how to get started, I'm happy to offer settings and procedures that have worked for me: Do this, use this number. But if someone has better settings or methods, I'm not going to be insulted--I'm going to try them and see if they're better than mine. It's not an ego thing. Since Dex and I are using essentially the same setups--NH700 vs. NHF800, in-ear binaurals vs. basic binaurals made by the same manufacturer from the same mic capsules--I am curious about why our results differ so much. Perhaps, Dex, having them placed inside your ears shelters them somewhat and adds up to lower sensitivity? Sorry to get all philosophical on yo' ass. Anyway, to get back to the topic at hand, I'm curious about what you think of my new recording at livefrommd of loud rock, low sensitivity, 21/30.

Mrsoul--I was considering Giant Squid myself, but I listened to their sound samples and it sounded to me like the bass response was rolled off at about 100 Hz, which to me is a real mistake. It's possible their samples were recorded through roll-off filters, but when you get your SoundPros, it would be great if you could test them both on the same source material and see which sounds better. ?eter, I agree with Mrsoul: a pair of binaurals is what you need. You can separate them to get realistic stereo recordings, you can tie them together as the equivalent of a one-point T mic, and if you're stealthing you can clip them to a dark shirt and hardly anyone will notice them. My SoundPro BMC-2s (often on ebay for $29 direct from SoundPro) are small and sound good--listen to my latest upload on livefrommd (at) yahoo.com, password 1minidisc1 . SoundPro does ship overseas, though I don't know if that includes SA. Get the clips with them, they can be hard to find.

Are you recording through Mic-In with your current setup? It should be the equivalent of what I usually use-- just a mic through the attenuator--plus the added headroom provided by the battery box. My MZ-N707 used to be nice and loud with that setup. Make sure the volume control on the attenuator (I'm pretty sure it's the same gizmo that Radio Shack sells) is all the way UP. If you're using Line-In, you're going to get those low levels. I don't know if you can remove the attenuator or not from that battery box. If you can, you should try going mic--batt box--mic-in for an acoustic show. You should be able to get some amazing mics with that budget--look around at Sound Professionals, www.reactivesounds.com and www.core-sound.com . Unfortunately, they're out of my own price range, so someone else is going to have to recommend particular models. Since you already have binaurals, you might want to try cardioids for more flexibility. Another place where this stuff is discussed to the point of madness is http://taperssection.com/ Is your computer a desktop, with room to install a new soundcard, or do you need an external one? Some brands to look at are Turtle Beach, Creative Labs (though some audiophiles say they're too geared to games rather than music), M-Audio, Terratec, Lynxstudio and Philips. I just Googled "audiophile soundcard" and found this page which suggests some possibilties, though I don't know how old these models are (and they're UK versions). http://www.computeraudio.co.uk/caw/cawbgsndcards.html "Audiophile sound card" (with a space) also turns up some interesting info Line-In from the soundboard.

That boundary mic looks like it's supposed to be nailed to a lectern. I don't think it's for you. Since you are recording just your voice, you don't need a full-frequency range mic. And since you don't have to worry about stealth, you can go for pro audio equipment, which opens up a lot of other possibilities. Unfortunately, I'm usually on the other side of the footlights. But what mic do you usually use when you're performing? Have you tried running that into the MD (probably with an XLR-to-minijack cord)? I remember a conversation I had with a recording engineer once, who swore by the Shure SM57 or SM58 as an affordable, good sounding vocal mic. You might also go to a pro-audio store like the Guitar Center (national chain) or www.samash.com and ask them for recommendations. Or contact Shure itself. I once had a charming conversation with their customer service dept. about my E3 earphones--unlike Sony, they actually seemed to care about user experiences. One more thought: those little lapel microphones they use on TV talk shows. A place like www.bhphoto.com carries them.

Another recording in the Inbox: a club gig by an English rock band that played at nearly painful volume, but the Radio Shack attenuator and Low Sensitivity handled it. It has convinced me to raise my previous settings as long as I'm using the attenuator and Low Sensitivity. With the attentuator, 10/30 is definitely too conservative. But later in the set, when the band got even louder, 18/30 would have been better than 20/30.