AllanH

Hello all Just to add to the list of external supplies. I can confirm that the Macally JBox Mini will (i) charge a Li-ion battery in an RH-1 (ii) power an RH-1 when there is no battery in it It also appears that the Sony power supply for the RH-1 will charge the JBox Mini. (I've just connected up and the charge light has come on) The JBox Mini is small flat and square, and slightly smaller in plan area than the the RH-1. Stated capacity is 1700mAh. Hope this helps.

Flash recording looks like the way forward, although some of the recorders are pretty bulky. You still have the problem about what to do with the files though, to make sure you don't lose everything through a hard disc crash. I'm backing up to 3 separate hard discs plus DVD.

It's not too difficult nor expensive. I've used a rig like this for a year or two. You'll need a 2 channel battery powered phantom power supply. ART Phantom II works well with the RH-10. Then you'll need an adaptor cable to get the signal from the phantom power unit into the RH-10 mic inputs. You'll probably need to make this up youself or have it made. Have a look at http://www.megalithia.com/elect/phantech.html. If you're planning to use the NT1As outside, you'll need a windscreen. Look here: http://www.uwm.edu/~type/audio-reports/Rod...NT1-A_index.htm. Hope this helps

Erm - stealthy? with a 2ft diameter parabola?

Hi folks Any HiMD unit with a mic input will do. I've used NH-900, RH-10, RH-1. RH-10 and RH-1 are easier to use in the dark, and the RH-1 can drop straight into manual record mode with fiddly menus. No practical difference between them in terms of sonic performance that I've been able to hear. HOWEVER - if I were starting recording now and buying new equipment, I'd be looking very closely at the new Fostex FR2LE. (Sorry to MD fans) A Telinga rig will do perfectly - its what they're made for. Telingas have the advantage of being light and easily portable, which makes them very popular with wildlife recordists. However, all parabolas have an achilles heel when hand-held: its very easy to pick up handling noises. Although using a tripod slows down field use, its a good idea to use one if you want the best possible recording. The idea of mutiple mics on a bar, and a parabola, and a mixer sounds interesting but might be unwieldy in the field. I have enough trouble with a lightwieght parabola on a tripod as it is. Another practical way of getting stereo is to use a mid-side rig. Put a cardioid mic at the focal point of the parabola (Sennheiser MKH40, say) and directly underneath it mount a figure-of-8 mic (MKH30), with the capsule just at the edge of the dish. The cardioid mid mic picks up directional sound from the dish; the figure-of-8 side mic picks up side-to-side ambient sound. Mix the 2 to give XY stereo. By varying the proportion of side in the mix, the width of the stereo can be manipulated after the recording has been made. This is a popular rig with wildlife recordists in the UK Have fun.

Re: metal film resistors. I was once advised that adding the resistors was the 'proper' way to unbalanced the signal. (Metal film because these are the lowest noise). Doesn't seem to do any harm. However, method also works if pin 3 and 5 are connected directly to pin1 (ie no resistors). I have successsfully used this approach with >100m balanced cable between the phantom power supply and the microphones, with only 1m between the output of the phantom power unit and the HiMD recorder. AllanH

At the risk of being controversial - I'll say that it is possible to connect a balanced XLR output to a 3.5mm min jack. For a mono XLR plug/socket (3 pins) the pin-outs are: Pin 1 = ground. Pin 2 = Hot (+). Pin 3 = Cold (-). For stereo 5 pin plug/socket: Pin 1 = ground. Pin 2= Left Hot(+). Pin 3 = Left Cold (-). Pin 4 = Right Hot (+) Pin 5 =Right Cold (-). To go from a stereo 3.5mm mini-jack to XLR 5: 1 Buy stereo mini jack to twin phono lead. Cut off the phono plugs (but remember which lead is left and which is right. The core insulation is usually red (right), white/clear (left) 2 Connect both phono lead screens to XLR pin1. Connect left phono lead core to XLR pin 2 Connect right phono lead core to XLR pin 4 Connect 10kohm 0.6W metal film resistors between: XLR pin 3 and XLR pin 1, and between XLR pin 5 and XLR pin1. A bit fiddly, but it works for me, connecting the output from 2 Rode NT1As (via a phantom 48V supply) into my HiHD. AllanH

Hi All 73069 - from your note about the micbooster I guess this is overcoming the poor signal to noise ratio of the preamp on an older MD machine. As you're not having the distorion problem with a Gresley chime, I'd put you rproblems down to the whistle on the particular loco. I always have trouble on the NYMR with high pitched pure tone whistles - such as SR 825 - when I'm too close. I now have map marked up with whistle locations and I make sure I'm a respectable distance away. You could try removing the whistle distortion with declipping software (there's a tool in Magix Audiostudio) - some times it works, sometimes the result just sounds odd. Same software (ond others) has hiss removal tools but I've never had a lot of joy with them: too little processing and the difference is hardly noticable; too much processing can give some very odd results. But it can't hurt to try. Windscreens are easy to make. Look at [http://www.uwm.edu/~type/audio-reports/DIY_NT4_3inchPVC_ShockZep/DIY_NT4_3inchPVC_ShockZep.html] for the general idea. There's lots of good ideas on these pages.Drain tube, rubber bands and some furry fabric generally do the trick. About my equipment: In the 1980s I used a Walkman Pro cassette machine + a Sony ECM929LT with reasonable resutls. Even after tape to tape editing the results were OK to listen to. I produced cassettes for sale with this set up. You should be able to do much the same with your current set up. I know one current recordist who is using MD + ECM959 very succesfully on commercially available recordings. I used an MZR-37 + 909 combination at LeMans in 2000 to record some of the 24 hour race, with very nice results. Over the last 2 years, returning to railways, I've used HiMD (NH900 etc) with a variety of mics: - ECM 959, ECM999 (which has better bass but much the same hiss level as the 959 or 909. Not surprising as they are all Sony electrets). - Rode NT4 (my mic of choice for an easy portable outfit, but needs a mod to the mic cable to minimise the hiss level and a good windshield). I've use this for motorsport too. - pair of Rode NT1As - the no compromise king of budget-priced quiet mics, but needs a bespoke windshield and a 48V phantom power supply. Bulky but worth the trouble in my view. - pair of AT3032s spaced omnis also gives nice results, but again a phantom supply is needed. Incidentally, you can't use a micbooster through line input - it takes its powered by the Plug-In Power supply from the mic socket. All the best AllanH

Hello 73096 Welcome to the wonderful world of railway sound recording. I guess you're in the UK? Listening to your clip - I think you are too close to the line, and too close to the Whistle Board. I'd get further back from the line - this will allow the sound level to rise and fall and more smoothly as the train passes. Locos dont usually whistle at random - only where they are advised to do so. So it may be worth scouting the line for the location of Whistlle Boards (W in a circle) and then making sure you don't get too close. Of course this is easier on a preserved line than on the main line, where your recording was made. Its always tricky with railway recordings - you have to set the recording level when the 'subject' isn't present and just hope you get it right. There are no second chances with a main line express, and distortion from the whistle also depends on the type of loco - I doubt a Gresley chime or a Stanier hooter would have distorted on your recording clip. I'd experiment with positioning relative to the lineside before buying new equipment. ( I often record from 400 yds back). A good preserved line would give you lots of opportunity to make practice recordings - SVR or NYMR on a Gala Weekend perhaps? A new mic probably won't help. A HiMD unit where you can manually set the recording level would make recording easier, but wouldn't have prevented distortion from the whistle in this case - the input signal to the recorder is just too high. Its possible that the Micbooster might be putting out such a high signal that the MD preamps are being overloaded even at a low record level. Have you tried without the Micbooster? Good luck - and come back if you want to discuss things further. AllanH

Thanks everyone. It sounds like the wires have got mixed up inside Sony UK (giving them the benefit of the doubt). I'm nervous things that look too good to be true on ebay, so I'll be giving SEME a call. Regards Allan

Hi all. Just got my RH1 and asked about a spare battery. It seems that Sony UK stock these as a spare part, not an accessory. Spare parts are more expensive. I've been told the price is £58 + tax = £68. Thats over $120. Any suggestions for suppliers or alternative ways of powering the RH1?

Getting a bit off topic, but you might like to see these pages for info on mic pre-amps nad mic sensitivity/gain in the HiMD recorders: http://www.wildlife-sound.org/equipment/hi...evels_meas.html http://www.wildlife-sound.org/equipment/hi...myths_meas.html

I guess I must be misunderstanding you - I find I need substantially less gain to achieve a given recording level with the pads removed. In comparison with them present and this also has the effect of pushing the noise floor down. Maybe I'd need even less gain if I used a fully balanced signal chain with no pads. With regards to unbalancing the signal - Zafiro give the following adsvice for using unbalanced microphones with the AD-20 Inbox ADC: "in order to connect unbalanced mics to the Inbox you should use a cable that will properly balance the signal - usually this involves a small resistor/pad between ground and the 2nd leg of the balanced input that isn't being used." Zafiro advised me that the value wasn't critical "1kohm to 10kohm should work." I've made up an XLR5 to 3.5SJ lead with 10kohm resistors as described above and used it with the Rode NT4 and NT1As. I've noticed no difference in the quality of the recording made or in the output level of the mics. On a different topic - NT4 capsules can easily be contaminated and go noisy. One of mine did so and Rode were very good in providing a replacement (they simply screw on/off). I believe the same capsules are used for NT4, NT5 and NT6. Regards etc Allan H

Sorry to be contentious about this, but as the 'discoverer' of them, I've found removing the pad resistors in the NT4 XLR to 3.5SJ cable does not result in more noise. It gives a substantial improvement in signal to noise ratio (more signal, same noise). The Rode cable converts to unbalanced as you suggest in your method 1. The pad resistors substantially reduce the signal at 3.5SJ plug in comparison with the input from the mic (about 12dB loss of signal). The 4 pad resistors are surface mount types on a tiny pcb in the XLR5 plug. Suggest you have a look at: http://www.uwm.edu/~type/audio-reports/Rod...leMod-index.htm It's been discussed with Rode, as the above page notes, and is now a recognised 'mod' for the NT4 in field recording circles. I have certainly not been disappointed by unbalancing the signal in this way - it has always been an improvement. But I haven't used long unbalanced cables. For long cable recording I use balanced cables from a pair of NT1As to an ARTII twin phantom supply, with a short unbalanced cable from the phantom box to the recorder (as Dex suggests). This works very well - should also work with NT4. Its worth noting that there was some discussion about choice of phantom supply last year on these pages, with some types conflicting with the PIP supply from the recorder. I've not suffered from excessive signal overloading the mic pre-amp - but then I've always been making field recordings, not bands. There's lots more on microphone noise, pre-amp noise, outboard phantom supplies etc on the uwm.edu pages mentioned above. Hope this helps.

Hi At least 2 routes: Find someone to sell you a lead from a Sony ECM-959 microphone. This has a 5 pin XLR on one end and a 3.5 stereo mini jack on the other. or Make up the cable youself. You'll need to be able to solder, and get hold of an XLR-5 female connector and a 3.5mm minijack-to-twin phono plugs lead. Then 1 Cut off the phono plugs from the minijack lead (remember which was right and which was left). 2. Strip back the cut ends to reveal the screen and signal cable core from each. Twist the screens together. Connect to pin 1 of the XLR. 3 Connect the signal core (left) to pin 2 of the XLR 4 Connect the signal ccre (right) to pin 4 of the XLR 5 Using thin wire links, connect pins 3 and 5 of the XLR to pin 1. Lastly, connect XLR pin 1 to the screen tag of the XLR. Its not as hard as it sounds, but you do need a fine soldering iron and the ability to strip fine wines cleanly and tor a short length (to fit them into the XLR) or You may be able to get a specialist dealer to make a cable up for you.