dex Otaku

GIGO - garbage in, garbage out. The two chief caveats are: * If you transcode something that's low-bitrate, you can't improve the quality, you can only hope to retain the current quality. Transcoding to a higher bitrate than the current one [256kbps atrac3plus from 192kbps MP3] should retain nearly the same quality as the original * Some MP3s from some encoders can't be transcoded correctly by SS; my experience with this is very hit-and-miss, not consistent even with material from the same encoder .. so it's a guessing game at best as to whether you'll end up with music or simply silence from your MP3s. In any case, converting to WAV or lossless WMA [which should retain tags, unlike WAV] and then converting that to atrac/3/plus using SS should work. With whole albums of 'naughty' MP3s [ones that transcode as silence, or where some do at least] I usually would create a CD image of them using Nero, and rip that image using Simple Burner, which can then pick up their titles from CDDB.

Note that with the NH700 IIRC, setting the "region" [volume cap] setting to '00' disabled at least one feature [that setting it to any non-0 value restored]. It's not impossible, in other words.

You're talking about transcoding, here. Which is what the point behind native MP3 playback was supposed to be - to avoid transcoding. If you have MP3s that you -have- to transcode, you'd be just as well to convert them to WAV [lossless PCM] and then transcode the WAV files to the ATRAC/3/plus bitrate of your choice. MP3pro is a low-bitrate format, btw. What you're suggesting is taking a lossy format [MP3] and converting it to another, even worse, lossy format, which makes little sense to me at least. One thing I've done with finicky MP3s is make CD images containing them [with Nero] and then rip the CD image with Simple Burner. It's still transcoding, but it's certainly less harsh than using MP3pro [whichis supposed to be sub-96kbps only, and HiMD doesn't directly support the decoding of the extra high-end "recovery" information within, so it should sound a lot like crap.]. The best choice, of course, is to rip the original source from your music collection.

Well, yes. That's the whole point of compressor/limiters.

I think the more pertinent thing here is that, generally speaking, a portable simply cannot approach the quality of a deck - whether that be MD or anything else.

The DirectShow filter uses the OpenMG modules, same as SonicStage. The only tracks you can play are those already authorised in the same machine's SS library.

Um. It says PC->MD when it's -not- plugged in via USB? When plugged in via USB is the -only- time that message should show up.

It could be that SS doesn't like the length of one of the files, though I have successfully combined multiple files of lengths ranging from 1 second to 75 minutes, with both HiSP and PCM recordings. Please, if future readers have questions about combining/splitting, &c. - please post them in the software forum. This thread isn't meant for troubleshooting purposes, even if it has been left open.

Most of us [around here] understood since early this year [when MP3 playback was announced on gen2 units] that MP3 playback would not be true drag & drop. DRM [and probably encryption] is [are] applied through downloading with SonicStage. MP3 playback is crippled, yes, but I at least find that the convenience of being able to download without re-ripping or transcoding exceeds the loss [look here]. I only use HiMD for portable listening, and I lack good portable 'phones, so EQ is applied at all times in my case. Compensating for the 9dB loss above 1kHz isn't really an issue given this fact. As for the files being deleted from your hard disc, people have been trying that method of copying HiMDs since they became available, and failing with it - as should be expected, given the DRM system Sony have implemented. My hypothesis on Sony's stance [note the word hypothesis]: Since the HMDHIFI folder and the files therein are encrypted and locked to a key [original to the disc itself], the sole purposes one could have for copying them are to either reverse-engineer Sony's DRM and encryption [doing so is illegal] or to use tools made by reverse-engineering their system to copy data from HiMDs. Sony give you the [rather imperfect] means to both copy and back up your data in other ways, so in their eyes there is likely no reason [or excuse] for doing this. [Obviously, they've never lost any of their own recordings because their own software occasionally eats it for lunch.] It's also possible that because the data is key-encrypted and contained in manners exclusive to Sony, those files themselves [though not the data, i.e. audio contents] could possibly be construed as Sony's legal property. If anyone knows any copyright lawyers, I'll gladly refute this admittedly thin theory. The files that you copied may be elsewhere, but they are by no means unrelated. In any case, it sounds to me as though you've been burned by a bad case of uninformed purchasing.

I've never noted any difference in frequency response, but a difference in the overall sound is perfectly normal. AGC = compression+limiting [probably compression with a low ratio starting at a certain amplitude with its ratio increasing to infinity:1, which is limiting, at a point above it and below 0dBfs]. It's possible that: * the compression reacts faster to high frequencies, making the compression more noticable at high frequencies, or even that * the compressor/limiter [AGC] uses some form of equal loudness contouring [which in this case would have to be broken for highs to become more noted during loud passages], or worse yet that * there is actual signal emphasis applied before compression In any case, the AGC should be using a full-bandwidth compressor, which should not make any particular range louder than all others - at least, not without it being louder than all others to begin with. Side note - your calibration is different from mine, but then - your CD player may have a lower output, or the test CD may be using a lower than 0dBfs test tone. Unity gain on my HiMD recorders [NH700 and RH10] is at the cusp of 18-19/30 using a 1Vp-p input signal as reference. According to Sony, the middle dot on the recording meters is -12dBfs, and starting from the 1Vp-p reference as 0dBfs, -12dBfs from the same source is measured precisely at the -12dBfs mark. It's sort of interesting that 1Vp-p = 0dBfs, actually, since that follows neither of the most common [pro and consumer] calibrations for what voltage = 0dBVU [here 0dBVU is basically -12dBfs].

Honor Roll of Good-Sounding Pop CDs, from Digital Domain. Check out the 'articles' section for a great deal of valuable information.

You can't convert these tracks to WAV using SS, but HiMDRenderer will convert them just fine.

There is no such thing as actual SP transfers via USB. There is a compatibility mode that sends repackaged LP2 audio to the recorder, but alas, this is LP2 as encoded by SS or SB, not the real thing. If you want actual SP, you have to do realtime optical or analogue transfers.

More thunder samples, plus Canada Day fireworks. Sort of sloppy, but oh well.

No need to use WinNMD unless you have an existing cache of MD / MDLP recordings you'd like to dump using your HiMD.

I have suggestions, even if they're stabs in the dark: Was the mic input of your sharp "smart" and able to detect mono/balanced plugs as opposed to stereo plugs? [i have seen equipment that does this.] Not to assume you don't know this, but - an effects insert [loop] is mono, with a send on one wire, return on another, and a shared ground. 1 - It's possible that your Y adapter has the ground hanging because the return is likely not plugged into anything [the ground needs to be, well, grounded to something, hopefully something inside the chain that isn't going to raise or lower what ground is for everything] 2 - it's possible that said insert does not operate at full line level, given the amp's character [and hey, I use cheap equipment too - yay Peavey] 3 - it's possible that your Y-adapter, if it is going out in "stereo" to your recorder, has its lines arranged incorrectly causing phase cancellation or partial grounding of the signal [i've been through this hell doing the same thing with inserts and bad y-cables, btw] 4 - it's possible that the insert you're using is "post fader", meaning the amp's input's gain control as well as the main volume affect the signal going to it [even if there is a separate "effects send" level for it]; if this is the case you'll have to crank the amp in order to get the output level up. You could possibly use the recorder as the "insert" device, with the amp sending to it, and the headphone out returning back to the amp, so the recorder's volume control still lets you control its volume. But then, it would be pretty goofy to design an amp that way. 5 - Depending on how the insert is wired, it may be possible to use an instrument cable that is plugged in part-way to the insert, and an adapter to jack into the recorder in mono [or dual mono]; some but not all equipment with inserts support "non-interrupting sends", meaning you can plug a 1/4" cable in part-way, mak contact with the send and ground on a TS [mono] cable, and it also doesn't mute the amp - if this is the case, it's likely the easiest way out Well, manual levels might help correct it, but if the amp is simply putting out too low a signal or the y-adapter is disfunctional [compared to Sony's standards at least] in some way, it might not. Good luck and have fun, D.

I've been watching this thread with .. much anticipation. I wish I could participate in what you people do, but I haven't the skills.

Also: double-sided MO media is unlikely to happen. It's already two-sided, in a sense.

I'd look at getting a decent stereo USB sound adaptor, myself.

Suggestion? No offense, but the obvious ones are - * get the PA equipment fixed, or, if appropriate * learn to use it properly, or * use better equipment [even if it seems silly] You could try using the line in and manual levels, turning up the levels until the line-out from the amp's signal shows on the meters. It might be noisy. If you're using something like a Peavey integrated mixer/preamp, don't expect any better quality than this.

I've been watching the live updates on BBC and CBC for the past 5 hours. BBC's site is just getting hammered. Thoughts and prayers to everyone in London. Here's to not panicking.

For encoding: * EAC/lame * Razorlame/lame * dBPowerAMP convertor/lame * Foobar2000/lame * iTunes/FhG For tagging: * Foobar2000 [for the most part, now, since it does mass-renames/copying and such so easily] * MP3BookHelper [open-source; the best dedicated tagging app I've found, hands down; supports multiple formats, though it lacks a few in common use] * iTunes * I try to avoid modifying tags with SS as it tends to horrifyingly mutilate them, much like it reads them in the first place

I use the AA sidecar occasionally, but usually only when recording.

The lower the resolution, the faster the image stores, for the reason jadeclaw stated.

Please note that it's too late to use the backup tool with your old library.