Arni

I can recommend SP-CMC-8(AT853U) cardioid mics from www.soundprofessionals.com . They are great with the low-sens-mod (offered by soundprofessionals) and a battery-box(9V or 12V) on line-in. I´m using the low-sens-modded sp-cmc-8(AT943) cardioids and DPA 4061 omnidrectionals. Been through 15mics during the last 18 month ....

taken from the soundprofessionals.com online manuals. should be the same for the mmadness battery box as i had a mmadness bbox with rolloff and the settings where the same.. Bass Roll off models only Before making your first important recording, it is suggested that you experiment with your new microphones and battery unit a bit. On the top of the module, you will see the two red switches that select the bass roll-off frequencies. There are 7 different bass roll-off frequencies to choose from: 16Hz, 69Hz, 95Hz, 107Hz, 160Hz, 195Hz and 888Hz. You will find that different recording situations require a different bass roll-off frequency to produce the best results, depending on many factors such as the type of microphone you are using, the venue itself, shape of the room, your position in the room, speaker placement (if any), and many other factors. You should experiment with the different roll-off frequencies to see which one(s) produce the sound that you like the best. To set the roll-off frequency, set the switches according to the following chart: Your desired Roll-off Frequency These switches set to the “open” position 16Hz (no roll-off) 2,3,4 69Hz 1,4 95Hz 1,3 107Hz 1,3,4 160Hz 1,2 195Hz 1,2,4 888Hz 1,2,3 It is usually desirable to have the left and right switches set to the same frequency; however, they can be set independently if desired. The best way to determine the best setting for a given recording situation is through trial and error, starting off with the 16Hz setting and working up in frequency until the desired amount of bass is achieved in your recording. Remember, setting the switches to higher numbers removes more bass from the recording. Here are some general guidelines: For louder, bassier situations, try higher settings; for smaller, quieter situations, use lower settings. If the venue has bad acoustics, use higher settings; for venues with better acoustics, use lower settings. If you are using cardioids, use lower settings; for omnidirectional mics, use higher settings (cardioids reduce bass somewhat when compared to omni’s as a function of their more directional pickup pattern). The audible differences between settings are subtle, so you won’t destroy a recording by using the wrong setting. There is no ‘right’ setting…what sounds right to your ears is ‘right’.

The DPA 4080 miniature cardioid was released a few weeks ago, BUT it´s frequency response is optimized for speech with the boost at 5kHz and it´s strong bass-roll-off. Further DPA miniature cardioids with a flatter response should be available in the 1st quarter of 2008 according to rumors at www.taperssection.com.

here a 8min mp3 sample of my "DPA 4061" recording: outdoor show standing 20meters in front of right stack these mics were pretty "worn" and used when I got them for 420$ and out of DPA-specification...very insensitive. I sold them and purchased a new pair, after I sold all my former mics . For me their invisibility and sound are unbeaten. Perfect for stealthing especially at daylight. source/lineage: mics: "DPA 4061" omnidirectional mics battery-box: "SP-SPSB-9" (12 Volt) recorder: "Edirol R-09" on MIC-IN at recording level 20/AGC:OFF/MIC-SENS:LOW/LOW CUT:OFF recording medium: SANDISK 4GB SD-HC card http://www.file-upload.net/download-461296/track-10.mp3.html

for loud amplified shows the sp-cmc-4u should have the "low-sensitivity-mod" by soundprofessionals(+25$). a 4.7k resisitor is soldered into the 3.5mm stereo plug, thus sensitivity is decreased by 10-15dB which avoids distortion at high SPL. lots of non-modded mic users got distorted recordings.

It´s not smart to post stealth techniques here as I was a security myself long time ago and other securities might check in here too . I know all places where you can hide stuff as I´m a taper myself since 1987. All I can tell you is that your chosen place for hiding stuff is NOT very good and therefore not recommended . P.S: I NEVER said anything as security when I found a MD-recorder or mics...weapons and bottles was what we were searching for....... security-guards love threads like this one, just check the hits of this topic.... that doesn´t make it easier for us stealth-tapers and the chance of being caught rises considerably by threads with pictures etc.

in case you win the lottery , go for "DPA 4061" omnidirectional mics. I had all the SP and MM mics over the years and finally came to the conclusion(for ME) the 4061 from DPA are the best compromise for a 1-for-all-shows-mic. ok, they cost 850$ but they are worth every cent. size of 1 mic is: 5,4mm diameter and 1,2cm length. http://dpamicrophones.com/module.php?MID=1...on=pdescription for 200-300$ I´d go for MM-HLSC-1 250$ or SP-CMC-4U(with low sens mod from SP) for 224$. with these cardioids you are on the safe side for loud+bassy shows and don´t need a bass-roll-off...just a usual 9V bbox without bassfilter.

guitarfx is talking about the internal preamp noise of the H2 .

sounds great, maybe you could run a test with the live-limiter setting and check if gain is attenuated only but not raised again when recording extremely loud music? that´s what iriver´s "rockbox-firmware" has implemented in it´s "safety-clip"-setting. thx

try a different MD before u send the unit for repair. maybe the MD is faulty.

sample 1: sony mz-rh1 HI-MD recorder: MIC-IN(with plugin power)/MM-HLSO omnis(MKE-2 capsules)/(NO BBOX!) manual level at 10(of 30)/HI-SP(256kbit ATRAC3) mode=>WAV=>mp3 http://www.file-upload.net/download-259817...ank-TT.mp3.html sample 2: iriver h140(rockboxed): MIC-IN = LINE-IN with plugin power/MM-HLSO omnis (MKE-2 capsules)/(NO BBOX!)/AGC-SAFETY-CLIP started with +20dB gain as always when the show starts...the iriver does decrease the gain if needed by itself but NEVER boosts levels("REP" from February 2007)/WAV 16bit 44.1kHz=>mp3 http://www.file-upload.net/download-259826...O-BBOX.mp3.html sample 3: from same venue the night before sony mz-rh1 HI-MD recorder: MM-HLSO omnis(MKE-2 capsules)/BBOX(no bassfilter -16Hz)/manual level control 21 of 30/LINE-IN/PCM(WAV)=>mp3 http://www.file-upload.net/download-259830...CM-WAV.mp3.html link to the mics i used mounted to my tshirts collar on left +right side: http://www.microphonemadness.com/products/mmhlsomsenmi.htm

it is just a battery box powering the mics with 6V(not 9V) and a -20dB switch and a bassrolloff switch. more info on the german board: http://www.soundman.de/board/board.php

@Adamn, yes I am the guy from the 2 other boards who told you that the OKM POP are crap for real loud rock shows. Why do u think OKM made a ROCK version of their mics? As I told you before....these mics are NOT for real loud amplified rock shows with high SPL. Of course i understand your "tactic" of getting as much information as possible from different sites , but believe me, I used these mics once on line-in with nicely balanced levels peaking -12dB to -6dB and the bassdrum kicks just killed everything. So I sold them the next day and got my Sennheiser MM-HLSC-1 cardioid mics and never had problems with distortions at all since that using them with a 9V battery box on LINE-IN. Testing at home is not a real test for a live show´s soundpressures..my home tests ALL were sounding great . good luck Adamn Arni

no, with omnidirectional mics you can of course get distorted bass which can´t be restored in post edit, cause it simply distorts no matter how many dB you put it down from 0-250Hz. had this problem using omnis sp-bmc-6 without a bassfilter...was taping a loud funk show with lots of bassdrum .

i always set recording levels to the limit NOT using AGC -2db - 0dB and the results a really great with my sennheiser mm-hlsc-2 cardioid mics and a 9V bbox. so i never need to boost gain in post, the only thing i do is raise the TREBLE a little bit. these mics handle 138dB at 5V and i NEVER had distortion problems at really loud rock shows. using omnidirectional mics is more tricky for loud shows, because more chatter will be on the recording and if u don´t use a bass-filter at about 160Hz, the bass might distort and kill your recording. arni

i use the sp-cmc-8 cardioid mic from www.soundprofessionals.com and the sennheiser MM-HLSC-2 cardioid from www.microphonemadness.com . these mics sound totally diferrent...the sp-cmc-8 more clear and the sennheiser will NEVER distort no matter how loud or how much bass is involved with it´s ~140dB SPL when using a 9V battery box.

http://www.rockbox.org REP(recording enhancement pack) as additional "patch" for recording freaks : http://forums.rockbox.org/index.php?topic=2513.0 here i posted some screenshots(german spoken) http://www.minidiscforum.de/forum/viewtopi...sc&start=40

Do you guys record in PCM or HI-SP quality, considering the "at least PCM hype" in the trader scene?! The 1GB-limit(94min PCM) of HI-MD makes me use my rockboxed iriver h140 for important live-recordings. With Rockbox´s "Safety-clip"-level setting you set your levels manually but you still have the safety-net of the "AGC" there to prevent from clipping distortion in case of sudden high sound pressure attacks. So it ONLY REDUCES levels but NEVER BOOSTS them again . It was never easier to tape thx to rockbox and its developers. Tonight I will test my SP-CMC-8 cardioid mics at a blues open house session with both the RH1(mic in and line in with bbox) and my iriver h140(with bbox).

The MZ-RH1 internal battery LIP-4WM is awesome. I recorded a whole HI-MD in HI-SP mode, which is 7h56min. about 9h in HI-SP mode are possible. PCM-recording needs more power and will end after 6 hours.

I bought the Sharp MT190H + the Sony 719 mic and I WILL record TOTO live in Toulon(FRANCE) on July 31st 2003(open air). I did lotsa recordings since 1987 with the Sony EMC-907 mic and some soundprofessional-binaural-mics in connection with the battery box. Some of my recordings really turned out being of great quality. Used a battery box for some of them but this time I wanna use the ecm 719 mic without any battery box(doesn´t fit in my pants to pass the security and all the cables....ouch!) ;-) ! Will do some sound-improvements such as bass-boost afterwards. Won´t go over the -4db mark reagarding signal-input. My ecm-719 is additionally powered by the proper battery(LR44...) and I will use it for this session, don´t know if it will improve the quality if its "double-powered"? Will let you know how things worked out. Will of course use the mic-in of my Sharp and LP2-mode cause TOTO plays little more than 2 hours.

am having the same problem with my sharp mt877. "can´t read"-messages after inserting the md and last time while recording a concert it stopped after some minutes.....same message.