mrsoul

(See link in post below) Here's my latest from last night's Drivin n Cryin show in Columbia, SC. It was a free show in the park, thus you get some of the obligatory chatter from GitRDone and pals. But, still turned out pretty good otherwise. Drivin N' Cryin' 2005-08-27 Summer Concerts in the Park, Finlay Park Columbia, South Carolina Source: SP-CMC-4 (AT853 cardioids center, @50feet @ 8.5ft)> Reactive Sounds SPA-2> Sony RH10 (HiMD PCM 44.1/16) Transfer: Sony RH10>Sony Sonic Stage (USB upload)>FLAC Frontend Taper: mrsoul (Mark H. Johnson) D1T01: The Times They Are A-Changin' (05:07) D1T02: Let's Go Dancing > (All Apologies) (06:32) D1T03: (Country Roads)> Honeysuckle Blue (08:25) D1T04: Build A Fire (07:05) D1T05: Can't Promise You The World (04:38) D1T06: Peacemaker (05:17) D1T07: That Star (04:49) D1T08: Look What You've Done To Your Brother (09:36) D2T01: Indian Song > (White Summer>Dazed and Confused Jam)(09:25) > D2T02: Fly Me Courageous (11:16) Encore D2T03: In Time (07:10) D2T04: Hey, Where You Going? > Straight To Hell (11:11) D2T05: Leavin' On A Jet Plane (04:07) D2T06: Crowd

I thought Dex posted it as 18/30 on the 1st and 2nd Gen HiMD units. So, Gerry, it's best to have the SPA-2 hotter and the MD preamp lower or at unity?

Try this link for the FLAC Installer from Mike Wren: Flac Frontend and plugins for Winamp and Nero.

You going Line In or Mic Input with that ms907? Also, like GM asked, are you using manual or AGC when recording? When recording are you seeing the recording levels on that RH10? Have you considered normalizing your files after you upload?

Bargaining4all.com does have it listed for $72 plus shipping, which is usually about $20 to the US from these guys in China. I bought my 1st 40ELK and a battery charger from them. You won't get the retail box like you would from buyfromjapan but you will get the item. The 40ELK worked great but the battery charger has been so-so. Luckily, a friend gave me an extra for $2 . Still, I would say you can trust these guys. Their eBay Store is here

I never track mark during the recording in open or stealth mode. Seems I get a momentary drop in levels when I make that track mark. Seems like too much to keep up with during the recording as well. That's why I listen on the way home. I place track marks during playback before uploading. Still scared of what my computer and SS will do with the 1Gb file upload and I just don't have the patience or need for more blue screens of death... Well, I got off topic fast. Sorry to hear about the mishap but luckily they let you keep the unit. I agree you may have been pushing it a bit (no pun intended )

Mea culpa. I guess I was referring to everything but the MZ-1 Sounds like an incredible MD that Sony should go back to if they want to push Hi-MD into the semi-professional arena. But then again, optical output would be unlikely, given the USB upload and the ability to DRM the upload.

Actually that is the Bit Torrent mehtod. You share bits of the download with others. It safe and you only share what you have from that Bit Torrent folder. The less you share, the slower your download will be in proportion. Open it for connections from others and see if you get any change in d/l speed.

The TOC error that you get when you combine tracks on the unit and then attempt an upload. I think this has to happen with the auto tracking on with line input recordings. There is a thread around these parts that list the steps necessary to replicate. It did the same on the RH10 and the RH910 for me. I will try and get a thread link. Here's the post from back in July....

Cardiods have their merits since they tend to roll off some bass by design of the pattern and you get less crowd chatter than omnis but omnis are great for stealth and outdoor use.

LV- I didn't find it stupid, just funny. Hope I didn't offend and I hope my comments helped you understand my point of reference regarding open taping. It's the norm for me as opposed to others who may be used to stealth taping as the norm. Thanks again for the laugh and the reply.

I had an AT822 for about a year. Not a bad unit and it's a workhorse. You can use it via the Mic input for acoustic and non-amplified sounds with good results. I would recommend the attenuator cable/connection if you are recording louder music via the mic input. If you are using the Line Input, the levels can be a bit low at times if the source is not that loud. Here's a Cowboy Junkies show I recorded in 2004 going Mic Input with my Sharp DR7 MD>>> Cowboy Junkies 2004 on the Live Music Archive It's easy setup and does a good job with loud music. But, the sound field is limited at times and you can't adjust the mic elements to point in different directions. There is no stealthing with this monster. For outdoor use, it's one of the easiest with very little windnoise pickup when you have that windscreen in place. For a bar setting, it's easy to setup and does a decent job. You are limited in power and direction and stealth options. Maybe consider mini mics with a battery box/preamp instead for more flexibility. Try Reactive Sounds or Sound Professionals for the best selections...

I haven't sent my RH10 yet but I did get the box for shipping from Sony. Then the weirdest thing, I got an email telling me my product had been serviced and was enroute back to me. I thought, well that's strange, let's see what I get... Well, I got a package on Friday and I thought, this is really weird since it's from Laredo, TX. Well, when I open the package, I find not a RH10 but some ancient looking telephone/modem electronic with a note from the service center telling me that they don't service non-Sony equipment. The packing list and work order had my name and info and the work order matched the one given to me in the email from Sony. Doesn't instill a great deal of confidence in the Sony repair center. I am going to try and call them today after work and see about getting a new work order since they screwed this one so bad. Not 100% sure I want to send my RH10 to a place that hasn't shown the greatest skills with work orders and labelling of received equipment. I never edit titles using the unit, only SS. This maybe a sign for me to just hold on to it for now...

As a veteran of 39 Grateful Dead shows, (the inventors of the "taper's section"- Dan Healy's idea back in the mid 80's) the taper's section has been a part of the landscape for many concerts for me. In fact, most of the "jam bands" of the Bonaroo fame continue what the Dead and the Allman Brothers Band started for live recording by fans in the 80's and early 90's. At this particular Bruce Hornsby show (keyboardist for the Dead from 90 to 92) there were about 7 tapers all together at the soundboard. There were a few folks with stealth mics up close but nothing "flying" in front of the soundboard/mix table which is the usual policy of most taper friendly artists out of consideration of other fans' views. I personally prefer the mic stand cause I can move around and there is much less chatter from the audience picked up. But, then again, drunks are naturally attracted to mic stands and feel obligated to yell a few "Freebirds" here and there! Plus, some folks think mic stands were brought to concerts so they can hold on to them for a quick photo pose before they pass out It can be a lot of gear to carry in and out but the final product usually turns out great. BTW, at least 5 folks came up during the show just to ask "what are you recording with?" when looking at my RH10 with that beautiful OLED . I think it made some good impressions on several folks and I got to give a few quick classes on the benefits of HiMD and USB uploading. That's always a plus factor too! Here's another funny story: last year at the same venue with the same artist, I had a rent-a-cop come up to me with my mic stand 9 feet in the air and ask me "what do you think you are doing? Making a bootleg?" I replied, "nothing illegal here, I never sell anything I record anyways." Well, he had to waste about 10 minutes on the radio before he finally got the confirmation that Bruce allows taping. Some folks just don't get it...Long story short, I am very thankful to artists like Bruce and Derek Trucks who continue to allow us the freedom to preserve and share their music for others.

LV- Not sure where you got that idea about the mic stand sticking up from my back but I use a modified lighting stand (weighs about 15-20 lbs) with a T-bar and some AT adjustable mounts for the AT853s and I just got some new windscreens for the AT853 that work great even with the holders. Here's a snapshot of my T-bar and mic mounts... The stand is nothing fancy, just heavy and tall (it will reach about 9 feet) but it only cost me $25 at a local music store and we modified the top with a drop in tube that allows the T bar to mount. I will try to take a picture of the setup later if I get the chance. [attachmentid=735]

Here's a link to the 8-20-05 Bruce Hornsby show I recorded this weekend in Asheville, NC on the lawn of the Biltmore Estate. http://bt.etree.org/details.php?id=17498 Hey, Low Volta, I got a kick out of your stealth setup. I thought we only had a police state against music here in the US For this show, I just walked to the "pat down" table and throw my Otterbox, mic stand and portable table bag on the table and said "there you go". They looked at it and said "do you have any cameras in there?" I said, "Nope, just recording equipment". They said "have fun, enjoy the show!". It's great to have an artist like Bruce who supports the tapers plus puts on such an incredible show that is so worthy of recording. Well, not knocking the stealth scene in the least, just wanted to share the difference in my experience with taping this weekend's show. Trust me, going into Bob Dylan back in June had me a little nervous... Okay, enjoy! M

40ELK has shown recording levels on every Hi-MD unit I have owned: NH900, RH10 and RH910. It's the remote of choice for live recording.

Very nice review and pix. I miss my old Sharp DR7. but that 4 pole headphone sure played havoc with my FM modulator in the car. It just wouldn't behave like the Sony MDs with the 3 pole connections. Still, when going headphone out to PC or deck, that Auvi 1 Bit 4 pole connection was tops! Thanks again for the pictures and review.

I haven't had that problem yet. Tried for 10 minutes without any search or menu displays while ff and rev and up and down on the volume. Doesn't seem to be on all RH10's. Mine is one of the units with the titling error BTW.

My experience: if I ripped to oma without DRM, then I can play with WMP on ANY computer. If I keep the DRM, I get an error. This happens with WMP 9 and WMP 10.

The advantage of FLAC is when archived, it is treated like a data file and will preserve a true "copy" that will be much closer to the original when restored compared to a music file which is always restored to a CD in a more liberal fashion. In other words, the FLAC file or SHN or whatever lossless format you archive with will maintain a true image of the original WAV file and take up less space on your drive/disk. Start here for more info on FLAC: FLAC info FLAC Installer This FLAC installer contains the FLAC Frontend tool (to compress and decompress) plus several very necessary plugins for Winamp (play FLAC files) and Nero (burn to CD on the fly).

No such thing. The only MD units with optical output are the MD Decks. Good luck with your search for a MD unit. Start your search here: Equipment Browser Check ebay for a used deck and go from there...

Just save it in WAV format after you split the long initial track. Yes, over a Gb is normal for that much time in WAV format. If you want to archive the file, use FLAC and it will be about 1/2 the size of the WAV. If you have NERO, you can even get a plugin that allows you to burn FLAC to CD which will play in any CD (it basically coverts on the fly). Once you have the file split and saved in WAV (or FLAC). You can delete the initial WAV master file. Make sure you have a playing CD before you delete anything. Here's how it works: CD WAVE writes to disc as you record. Nothing is saved in a buffer or temp file. Once you have it recorded, set the track splits and then save the split tracks. You will be creating 2 new files if you split in 1/2 or 3 files if you have 3 track splits, etc. Then burn those split tracks to CD. Use 700Mb as a general guide for 80 min CD blanks. Then you can delete the master file that was created as you recorded. If you don't have NERO and the FLAC plugin, just save in WAV format (Click on that Disk symbol and don't change the File Output format and then pick a folder and there you go...) and use your CD burner software to burn those WAV files to CD. Does that help? Good luck. Here's a snapshot of what you need to set for the record settings: this will create a 44/16bit WAV file that will play on any CD player... [attachmentid=572]

This is the software you need: CD WAVE It will allow you to line in and record in WAV and then cut into tracks with the option of saving those files in FLAC, Mp3, Ogg, etc. It's one of the easiest and most reliable tools for this purpose. You can use it in full and then pay for it since it is shareware but it is not crippled on 1st use. I can't recommend this program enough for this purpose. It's how I did all of my old uploading from MD deck to PC before the days of Hi-MD. Good luck and let me know if you need any more help with that program (it's really simple and ease to use with full help files). M

Very nice pictures and review. I had my eye set on this model here in North America from minidisc-canada until I learned it did NOT have the line in/optical port here in NA. What a pity cause I was going for it. Got a RH910 instead. Would have been nice to have my backup unit (to the RH10) take AA without having to take that external AA case all the time. Anyways the price of shipping from Europe put the price more than the RH910 I got. Just can't figure out Sony's reason for crippling the DH710 with download only and no Line In. Same dumb logic went into the 600D 1st Gen unit as well. I would take one of those 600's with line input any day...