dex Otaku

This is what the SonicStage Backup Tool is for, and why they have menu items for it in SonicStage. To my knowledge, there is no way to resurrect your library because it is not an actual backup including the originating copy's keys and such. You might be able to relicense any tracks purchased online through Sony/Connect, but anything you ripped or transcoded, to the best of my knowledge, is basically gone.

* What CD is it? * Are there any logos or notices about copy protection on the disc its packaging?

You're talking about AGC, auto gain control, and all of the recorders have it, though it has changed from generation to generation. The NH700 [1st-gen HiMD]'s AGC is very gentle - forgiving, even. I'd say it's among the best "general purpose" compressors I've ever used in a recorder. The RH10's [2nd-gen HiMD] appears to be completely different. I haven't really tested this yet, but on some recordings I made last weekend [first ones I'd made with the RH10 with its AGC on] it appears to be -extremely- reactive, with a much lower threshold than the NH700's and a much faster attack time. It sounds horrid, actually, on these recordings. As I said, I haven't really tested it yet. As far as a recorder to buy, here's [my] stock advice: * you can't upload digitally from any MD or MDLP source [i.e. any pre-HiMD recordings] using a portable [you can dump MD/MDLP sources in realtime digitally from home and pro decks that have optical SPDIF outputs] * models with the 'D' designator in the model do not have line or microphone inputs, so stay clear of them * Gen.1 HiMDs seem to be the most versatile as the have full backwards-compatibility with MD and MDLP discs, and the only function they lack from Gen.2 HiMDs is native MP3 playback; The NH900 has a line-out the better to help dump any older recordings you have by the analogue route, and it also takes both gumstick and AA batteries; the NH700 'budget recorder' has all the basic features and does an excellent job, though it lacks a line out [headphone out works, but runs at a lower level] * if you're looking on eBay or elsewhere, use the minidisc.org equipment browser to compare models

SS probably includes a version of the Fraunhofer codec [it simplifies licensing to get it from the original source, besides which, this is Sony we're talking about - even Apple use a version of FhG]. To my knowledge, FhG [as the originators of MP3] tends to be the best at CBR encoding, where lame is the best at VBR encoding. Both judgements are subjective, of course.

As long as the battery [a number of cells] is the correct voltage and the connector the corret polarity, there shouldn't be a problem.

See here: http://forums.minidisc.org/index.php?act=m..._album&album=30

Copying directly from the optical out of a DVD player depends on that player's transcoding AC3, MP2, DTS, or MLP to PCM [the same format as CDs] with a sampling rate between 32-48kHz. Many DVD players do not trancode to PCM on their output at all, though you can likely tell if yours does by going into its setup menu system, looking for audio options, and looking for an option that causes it to either put out 1 - AC3/DTS or 2 - PCM. Switch it to PCM if the option exists. Not all discs will play as SCMS "copy proof", and not all players honour it even when the data says to. The only way to find out is to try it.

Being in the style of Hindustani Classical, it's about 28 minutes long [for just the one piece]. I'll see when I can get to uploading it [i do have the artists' permission].

I assume you mean mine from the location of your reply. Most of my recordings aren't uploaded because I simply haven't invested the time yet.

I'd say it would be consistent with basically all models in the HiMD line.

I have a sitar and drum performance..

Probably between 20-26 hours. That's a fairly safe guess, probably.

I take a company's specs with a block, not a grain, of salt. Until I have one in my hands and can measure its performance in comparison to my other equipment, listed specs are only a reference point, and can never be fully trusted. That said, I do quote them, but I usually point out that I don't own what I'm quoting specs about.

http://forums.minidisc.org/index.php?showtopic=7070

Feh, sorry, I'm a dumbass. It's a RM-MC35ELK It has level controls if you're in manual, but no meters.

CD authoring = CD creation. Look up the word "authoring."

Revision: Upon further testing, I have decided that there is basically no way to record with both a mic and the remote plugged in at the same time. This may be in part because of the type of cable the SP-TFB-2s use, but in any case, even with the cables stretched in completely opposite directions the mic cable picks up the EM noise of the remote's display updates. Perhaps this explains why Sony don't make recording remotes [i.e. with full recording controls on them].

Is is usually reserved for <96kbps bitrates. If I'm not mistaken, that's part of the MP3 [MPEG-1 Layer II, not MPEG-2] standard, too.

If you're going to be a patronising, condescending ass - you could at least be subtler about it.

Sounds pretty strange. I have the JP model, and have been truly surprised at how long the NH-14WM lasts. It appear to last at least as long as my NH700 does with an alkaline AA battery. That said, what I listen to with it as a portable is usually HiSP or MP3 [192-320kbps and VBR], with the unit on shuffle, the display set for 'auto off', and the 40ELK remote in use at all times. Keep in mind that: * generally speaking, HiSP playback takes more power than HiLP playback * MP3 playback has been claimed to take more power * shuffle mode definitely takes more power [seeking between every song] * the 40ELK remote is backlit with a display My battery lasts around 20 hours. When I'm going out recording, I always take the AA caddy with me and a couple of fresh alkalines. I have yet to actually need them. edit: * quick mode and disc memory are also both on

Thanks, Gerry.

If you can afford to, I'd suggest buying better earphones to begin with. The lack of bass you're experiencing is likely because you're using cheap stock 'buds that came with a player.

Digital cameras are generally like this. I'd been used to shooting on my old Canon EOS Elan II [2.5-3fps with usable autofocus and exposure; I've been an amateur photog since the early 1990s and have done a number of paying jobs involving it] and every digital I've ever used [that wasn't hard disc based] basically tops off at about 1 shot every 4 seconds [with most consumer cameras averaging more like one shot every 6 seconds]. I converted to digital using loaners for event photography because it's so much cheaper. I can't even begin to describe, though, the number of lost shots because I'm standing there holding the f*ing button and waiting for the camera to finally wake up and smell the coffee [and that's -before- having to store the image, which takes additional time]. It seems to me that the autofocus and exposure on most digis is just horrendously slow. Considering the fact that my Pentax ES-II [one of the first digital auto-exposure cameras, c.1971] could get a good exposure reading in less than 1/1000th sec., and that even consumer 35mm autofocus cameras can focus in less than 1/10th sec., I find it pretty ridiculous that literally every consumer digi I've used takes 1-4 seconds to focus and set exposure and white balance. [i'll note that my Elan II is pretty slow in the focus department in bad light situations, but then, most AF cameras are.] The storing part is improving as flash RAM speeds increase. The XD cameras I've used are noticably faster than any SD I've used in that department, which stands to reason. Newer memory, faster memory, generally speaking. As andysnap already said, you can either learn to put up with it, or get a better camera. I'd say that most sub-$500 digis are about the equivalent of $25-50 35mm cameras of 10-15 years ago. If you want better, you have to pay for it, basically. Personally, if I know I need to shoot under certain circumstances, I still use film. These include: * any situation where I need shots almost instantaneously [where the lag is unacceptable] * any situation where I might need >1fps * night / long-exposure photography * situations where flash is inappropriate and I have no control over lighting [like indoor events, 1600+ speed film kicks arse over any consumer digi] * situations that require real flash photography [on-camera flashes generally suck rocks] * situations where any photos are sold [Canadian copyright law still technically requires a contract-per-frame, and without a physical carrier, i.e. the film, it's almost impossible to establish actual copyright over an image, though this is slowly changing, especially thanks to "accurate" EXIF data] * situations where the resulting image is important enough for 1st-generation compression to be unacceptable [almost no consumer cameras support uncompressed image formats] * situations where changable lenses are a must [like needing to be able to swap out for a 24mm or 300mm lens] * situations where I'd need to use either a very small or very large lens aperture [most consumer digis are about f4.8-5.6 at best, and don't go smaller than perhaps f11, from what I've seen from models that actually support aperture-priority or full-manual modes] .. this is crucially important for actual control over depth of field For snapshots and relatively unimportant documentary photography I use digi all the time, but for anything of actual importance I still use film. If I had a pro digi that would likely change overnight.

Yes, and Yes. It's the same as the caddy that comes with the RH10, if I'm not mistaken. Unlike some earlier models, you don't even have to have the gumstick in the unit for the AA to work [i have tested this with the RH10].

That would be trademarking, not copyrighting.