A440

Here's a link to some (translated) specs: here Looks like it's got a switchable pickup pattern, and claims it's ideal for MD. Not the lowest bass response, but it might be good for the right price.

If it's still under warranty, and it's not obviously dented or something from being dropped, then have Sony fix it. Go to their website and find a local service center or an address to send it to. I had an MZ-N707 repaired under warranty: took it to SonyStyle in NYC, they sent it somewhere, and it was mailed back to my home within two weeks, no hassle.

It's hard to find any useful specs on that mic with a Google search, even on Sonystyle. It looks like a directional mic that connects to your camcorder, which raises the question: How is the sound on your camcorder? Stereo or mono? Full-range frequency response (20-20000K) or limited? The interesting-looking thing about it is that it's directional and it claims to coordinate with the zoom on your camcorder so you can single out one person's sounds as you zoom in. Whether that will work with your particular camcorder is something you'd have to investigate. If your camcorder is mono, has limited frequency response and isn't compatible with that mic's zoom feature, you're likely to be better off with the MD. If your camcorder is stereo and has full-spectrum recording, and you can somehow find out what that mic's specs are--perhaps by calling Sony?--then maybe it's your solution.

Look at any picture of Hi-MD, like this one: http://www.pocketfad.com/md/Sony/news/himd...imd_blank_s.jpg That wide case is the case. That's right, Sony kept the MD small and then put it in an extra-large box. Another genius move.

Your problem may be SP2, which screws up a lot of programs. Look at this Sony page and see if it helps. http://ciscdb.sel.sony.com/perl/news-item....=825&news_id=52 You could also try unstalling SP2 and see if you get Sonicstage back, but first try calling Sony support or using their online "chat" support and see if you can do something more targeted.

The only problem with the Radio Shack gizmo is that they do tend to wear out and get staticky like your Sony control. It's always a good idea to test it before some crucial recording. Shermy, if you've got the battery box you don't need the attenuator. I'm not familiar with MusicMatch, but .wma files are generally a pain since they have their own digital rights annoyances built in. The free dbpoweramp should be able to convert them into mp3s, which might be easier to transfer. Try one or two and see how they work. http://www.dbpoweramp.com/dmc.htm

The typing sound is mysterious. Does your computer regularly send keyboard sounds through speakers or headphones? I suggest you go to Settings--Control Panel--Sounds and turn off every sound you don't think is essential. Norton, Microsoft Works and all kinds of other programs trigger sounds. You have to select (None) for each one from the top of a drop-down list, very tedious--and don't forget to Apply--but you only have to do it once. If that doesn't fix it, then....don't type? With the static, you need to check along the signal path step by step. Let's assume that headphones plugged directly into the MD sound OK. Does your computer have a separate line-in jack and mic-in jack? Or is there only one input, which is (unfortunately) a mic jack? My first guess about your problem is that you're recording via mic jack, which is dicey. If you are using a genuine Line-In, then try recording something else into it, like a CD player, and see if that's staticky too. And try changing your connector cord. Even new ones can sometimes be lemons. But I fear it's a mic jack. A mic jack leads to a preamp, a cheap little one if you have a laptop. You may be describing the static of a bad connection, or you may be describing a noisy preamp. Try plugging your microphone into the mic jack and recording it. Do you also get static? Move the plug in the jack and see if there's any difference, something that might suggest a loose mic-jack connection. On the other hand, if the mic works without static, then your plug-to-plug cord may be the problem, so just replace it. If the preamp is pumping up the signal from your MD too much or straining to amplify a low signal, that could create static. Try using different volumes coming out of the headphone jack, both louder and softer. But a little preamp may just be noisy. If your computer is under warranty you could demand they fix a bad mic jack connection or line-in jack connection. But if your preamp is staticky, you may just be stuck with it. In that case, or if you're out of warranty, your best and cheapest solution is probably to get an external sound card or a Griffin iMic, either of which will also give you a line input via a USB port, for a cleaner recording. Back when this thread was starting, I got my Creative Labs Extigy soundcard, which I'm still satisfied with, but there may be newer and/or cheaper models now, and the iMic will do the job too for about $35.

I've used Sony (74-minute and 80-minute color, 74-minute Neige), Denon Lapisia 74, Maxell Gold and TDK (blue and pink, I forget the cutesy name) with no problems at all. The only blanks that have given me trouble are Memorex (iffy) and Hi-Space (avoid like the plague). Get better headphones than the ones that come with the player, especially if you're a musician. The headphones that come with virtually every portable player are best used for emergency shoelaces. Decent phones make a world of difference for a very low price. Check the 'phones thread on this forum. In my experience, Sennheiser makes good cheap earbuds (MX-500, under $20) and very good foldable open-air phones (PX 100, under $50). And a pair of serious headphones--like my beloved geek-looking Grado SR 125 (around $120 or less, you can find them new on Ebay) or, if you want ear-canal/earplug headphones that shut out the world, Shure E3 or E3c (gray or white, $119 from www.bhphoto.com)--will really take you inside the music.

I haven't used my MZ-N707 for a while, but is it possible you had SYNC REC enabled, which might make it stop after a long silence? Work through the menus and see if you had it on. Also, just for luck, I always start a concert with a fresh Duracell. What your ears hear is pretty much what you get with the binaurals, so by all means find the sweet sound spot in the room. Up close, the PA is probably pointed over your head and you're getting an unbalanced mix of stage monitors and PA sound. Probably too late now, but if you run MIC-Battery Box-Line In you should do fine with a loud band. Glance at the levels if you can--50% is a good starting point. You want them to peak at just below the maximum, and if you can see the levels changing (not constantly peaked or barely moving) you're probably fine. With Battery Box--Line-In, you can probably keep the attenuator level pretty high, and the less you fiddle with it during the show the better. If there's some sudden burst of loudness, then put it down a notch, but the battery box and line-in should give you some headroom. See if you can get a glance at levels during the intermission music, which won't be as loud as the band but will help you estimate.

What exactly are you recording? That would determine the answers to your questions.

What you'll get with the Auris, or with the Soundprofessionals basic binaurals, is a much better bottom to your recording. The DS70P states a frequency response of 100-15,000, while the little binaurals go 20-20,000, so you should have a much richer bottom end and a little bit of high end too. (Every octave is a doubling of frequency, so there are more than two octaves between 20 and 100 hz, but less than one between 15,000 and 20,000). You can get Soundprofessionals from the company itself at the moment on Ebay for $25, which is a steal, though you'll also need clips for them (or for the Auris). http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...ssPageName=WDVW I just used a pair of these to make a concert recording--SP binaurals-->attenuator-->MZ-NHF800, hi-sens, AGC and it sounds like a recording studio, unbelievably good.

If that classical concert is going to have tympani or full-orchestra brass, I'd use 12. If there's anything bassy, you should be conservative. The battery box, in my experience, definitely needs something loud to drive it, and acoustic music less bombastic than the 1812 Overture probably isn't loud enough. But I'd be curious about other people's experiences.

The apparent drawback to the Edirol, mentioned elsewhere on these boards, is that it doesn't have a lot of editing capabilities, like track mark placement. You'd have to upload and edit on the computer, or I guess you could stop and start it for each track. It looks like the Marantz does have a track-mark equivalent, EDL. Too bad it's not smaller. Also, the cost of those compact flash cards is going to mount up. But I'd sure love to have one to play with.

The MD has to save the recording to the disc, just like you have to save a word-processing document after you've written it. When you push the Stop button or the disc is filled, the MD takes some time to save the data to the disc--10-40 seconds in my very rough estimate, depending on how much you recorded. Then you have to remove the disc, pop in the new one and push the record button, which starts the new recording almost immediately.

That mic should work fine through the mic-in (or Minidisco probably wouldn't be selling it). It's good that you're getting two mics you can separate rather than a one-point stereo mic--you'll get a warmer sound even if what you're recording is essentially mono. Spread them at least six inches apart, like your ears. For starters, just try it directly into mic-in with Low Sensitivity (via Record Mode settings) and see how your music comes out. Use Manual rather than AGC (also via Record Mode), set somewhere between 12/30 and 15/30 for starters, so that you don't get the changes in volume from the autogain. If you're satisfied with that--and you might well be--then you're set. If not, then you can escalate to a battery box or pre-amp via line-in. And more best wishes to Dex.

The attenuator lowers the sensitivity. You'll get similar results using the low sensitivity mode via the menus, and it might even sound better since you're not adding another connection between the MD and the mic. I'm used to using Hi-Sens and attenuator from my old MZ-N707, and I continue to do it by habit, but you could experiment without it. Loud Music, as far as I can tell, makes little difference. So try Low Sensitivity, no attenuator and Standard. Blast your stereo and see what you get. Echoing what Gerry says: Another variation is to get a battery box and run it through Line-In. If you don't have to worry about security, or you're recording band rehearsals, that will improve things more. And to amplify Gerry a bit: The default on your MD is auto gain control (AGC), which is trying desperately to compensate for your drum sounds and making that whooshing noise. To use Manual, you have to go into REC-PAUSE, go through Record Settings to Rec Volume, set it on Manual and LEAVE IT PAUSED until the music starts, then un-pause. It will revert to Auto again if you hit Stop. (Another Sony stupidity.) If it's a loud show, set the volume around 20/30. You can fiddle with it during the show, but I suggest not bothering. Again, experiment with High and Low Sens with your stereo.

Wish I could help you more, but I only use stealth mics because I'm taking them to live shows. I'd expect bigger studio mics to be better--that's what the supergeek tapers at Phish shows used--and I hope one of the recording-studio experts like Dex Otaku will chime in. But if they don't, here are a few general observations. The AT822 is a cardioid (directional) microphone--it records what's in front of it (in a heart-shaped, as in cardiac, pattern with the microphone at the point). You'd be paying more for that feature. The SoundPro is omni--it hears like your ears, all around it. If you don't need to exclude sounds, like a noisy audience behind you, then the omni will sound richer. Sound Pro's site has sample recordings with cardioid and omni, and you can hear the difference--to me, it sounds like the room has been flattened slightly behind you with the cardioids. You do want those last few cycles of bass response if you're recording a jazz combo. The bottom note on a piano is 27.5 Hz, and every doubling of frequency is an octave: the next A up is 55, so a mic that tapers off below 70 will lose some of your bass and bass drum.

Succinctly: http://forums.minidisc.org/viewtopic.php?p=27695#27695

Glad the attenuator works for you. Sound Pros stuff is usually excellent, but I haven't used that particular gadget. Just looking at it, how you would use it during a concert? Hold it in your hand through the show? Leave it on a table or chair arm where it might get vibrated? Put it on the floor where the sound would get muffled? It seems like it might be perfect for a business meeting or recording your band rehearsals, but not for a gig. I think there's an advantage in having small clippable mics that you don't touch during the show, while the battery box is tucked in your pocket. Sound Pros is making them smaller and smaller. Separate mics can also give you more stereo separation, though I have a feeling the Altoids mics are oriented decently for that anyway. I hope someone else will answer your NH1 question, but I have to say that I didn't have overwhelming preamp noise from my MZ-N707 anyway. Once I beat the clipping problem, it was fine.

Sony seems to have a fix posted for SP2 and OMG Jukebox problems It's on this page: http://ciscdb.sel.sony.com/perl/news-item....6c92e415c011dcc Can't tell you if it works because I haven't installed SP2 or that security update yet.

Since you have a sensitivity switch on the MD recorder, I'd suggest getting the High Sensitivity mics, because you can always lower it via the recorder. And you'll have to experiment, but you may find that low sensitivity works best for anything but the most quiet music. Classical music has strong dynamic peaks, for one thing, and for another, little threshold sounds, like people shifting in their seats or pages turning, get ignored on low sensitivity. But get the high for more flexibility.

two quick responses: As far as I know, there's no software crack for NetMD, and not for lack of trying. Christian Klukas used to be on these boards as tmeg. Find one of his messages and send him a message offline.

If you have Mic-In then you're all set--it means the same on the USB as it does on the MD.

You can do better than the Sony ECM-DS70P. Its frequency response is 100-15K, while your ears and your MD accept 20-20K. In practice, that means you're going to lose bass frequencies, which don't matter in interviews but do make a difference in ambient recordings. If you're worried about stealth, the DS-70P is also much bigger, shinier and more obvious than the little binaurals you can get from Sound Professionals or elsewhere for about the same price. Unless you are planning to do a lot of mixing down to mono--in which case get the Sound Pros version of the 907 M/S, which isn't small either--get a little unobtrusive pair of binaurals. None of the mics mentioned here can go directly into line-in on your USB audio. I'm guessing that it's probably cheaper to buy a new USB audio input with mic-in than to get the pre-amp you'd need, though Church Audio on Ebay does offer a very affordable preamp.

If you want USB upload and mic-in then your only choices are Sony's new Hi-MD recorders. And if you're on a budget then your choice is either the MZ-NH700 or the MZ-NHF800 (same thing plus radio on remote), depending on which country you live in. The NH900 and NH1 are more expensive. If you can live with realtime and don't need to download music into the MD (those are NetMD models) then you can find used models on Ebay. The Sony MZ-R700 is very straightforward and reliable, and some radio journalists I know use the MZ-N707 regularly. Look through the equipment browser on the home page http://www.minidisc.org/equipment_browser.html for more information on mic-in units: basically, any Sony with a model number of 7xx, 9xx, 1 or 10 and nearly all of the Sharps. They're probably all more temperamental than your R37, but if you're using them for radio interviews they should do fine.