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dex Otaku

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Everything posted by dex Otaku

  1. It's possible to compensate somewhat for it, but it's by no means "perfect" compensation.
  2. This appears to have been fixed with SS 3.4. If you really want to find out if it works, record something, break it up into tracks, recombine some of them, then upload. It'll take you 5 minutes and you'll know for yourself.
  3. Auto trackmarking depends on levels falling below a certain threshold [lower than -30dBfs] for 2 seconds or longer. If the material you're recording doesn't do so, you don't get trackmarks. Live recordings can end up with -many- seemingly extraneous trackmarks during breaks between songs, conversation with the crowd, and during more dynamic passages where levels fall below that threshold long enough. I've [also] made recordings from radio, TV, &c. that were several hours in length without ever having a single trackmark placed automatically. On the other hand, I've made live recordings "off the board" that were so dynamic [with long silent periods between songs] that hundreds of trackmarks end up getting placed.
  4. btw, isfahani - my record so far was 483 tracks of contiguous [non-stop] recording. You're not alone..
  5. If I can cough up the cash, I'll be buying one. The one big minus of this unit is the LIP-4WM battery. Extras/replacements from the closest to local source for me [in Montreal, about 2500km away] are $66CAD each, and I know damned well that I'll need at least one extra.
  6. You say you reformatted .. have you also re-applied all the servicepacks to Windows? Is MDAC properly installed [a Microsoft database component required by SS]? Are you sure that your Windows installation actually meets SS's requirements, in other words?
  7. Regardless of the equipment you end up with, it's easy to solve the overdriving problem - just move the mic farther away.
  8. I'm hardly "average" but I would. SACD titles seem to be reasonably easy to find here. DVD-A media is nonexistent. Funny thing is, DVD-A compatible players -can- be found here, and at [relatively] reasonable prices. SACD players - not a chance. I've had my SACD copy of Dark Side of the Moon for over 2 years .. have yet to even *see* a player capable of playing back the SACD layer. I've been searching the filesharing nets for a DTS copy for as long as I've owned the disc, but no one has bothered transcribing it that I can see. It begs the question: what's the point?
  9. To add to A440's advice: make sure the tracks are sorted correctly BEFORE you combine them.
  10. In that case, have you tried googling "DVD-Audio player"? Pioneer sells players that do DVD-Video, DVD-Audio, and SACD. I have no idea what the models numbers are or anything of that sort. This is the type of equipment that doesn't eve make it to floor displays where I live, let alone get sold.
  11. The manuals for all units, as well as the labels over the display, indicate the middle hashmark to be -12dBfs. This would be its lower threshold [as your experiment actually proves to be correct]. Basically if it's on/lit, levels are at or above -12dBfs. --- Having reread both my and your posts, I'll call myself incorrect now. Heh. Your experiment does indicate that the hashmark is -6dBfs. The manuals and the labels on most units still ID it as -12dBfs, though.
  12. Given the fact that many people record with microphones, that none of those mics are connected to HiMD recorders with balanced connections, that many people don't primarily record extremely loud concerts or, say, jet engines, and that the EM noise created by display remotes is plainly audible in mic recordings, I'd say that a recordings remote with display is probably one of the least useful things imaginable. Unless you actually prefer your recordings to have a constant droning bzzzzBLEEPbzzzzBLEEPBLEEPbzzzzBLEEP in the background, that is. Until Sony starts making micro balanced connectors and all the portable mic manufacturers start making mics to interface with them, this will continue to be the case. That said, a recording remote with NO display but simply a LED indicator [solid on/solid off = no duty cycle to cause EM noise] for recording or not could be slightly more useful. As things stand now, the RM-MC35ELK that came with my [JP model] RH10 has the following recording features [once recording has been started on the unit itself] * display shows REC and time with track# * pressing the DISPLAY key toggles time elapsed/time remaining * pressing P MODE key drops a track mark * PLAY/PAUSE pauses and unpauses [of course] * if manual levels are enabled, the FF/RW slider increases/decreases REC level * STOP stops recording, DATA SAVE and SYS WRITE display on the remote The only thing it actually lacks are rec level meters [the MC40 has them] and a REC button [none do]. When using line-in this works OK, but when recording with a mic you get the bzzzzBLEEPbzzzzBLEEPBLEEPbzzzzBLEEP unless the source you're recording is very loud [in which case the source masks the noise, which is still present].
  13. Auto trackmarking is on by default when using the line-in, and can't be turned off. There is no option for it [in current and past models]. You have three options: 1 - combine the tracks on the unit and upload again [read your manual] 2 - combine the tracks with SonicStage [try "Help" in SS], or 3 - don't bother combining them at all, drop them all into your editing app, do your editing, and render the results to files/tracks as you wish when you're done. In any case, keep the copy you've already uploaded [export it to WAV as is] so you have a backup.. then try one of the methods available. Combining on the recorder itself isn't that difficult, nor is combining with SS. SS tends to look as though it's locked up wehn doing long combines with lots of tracks though, so if you choose that method please do be patient and let it do its thing.
  14. Do you mean a computer drive? Last I knew, there were no computer drives that could specifically read DVD-A. Have you tried googling "dvd-audio drive"? Self-correction: WinDVD and other progs suppor DVD-A playback but I've never seen ripping software. d'oh.
  15. Having used it for exactly that, I can say with confidence that HiSP's quality exceeds that required by most people for voice recording. LPCM = straight stereo. There are no mono modes with HiMD. Period.
  16. There are no mono modes with HiMD, however, since HiSP and HiLP use joint-stereo encoding, recording mono signals results in effectively twice the quality [100% of available bandwidth is used for the mono signal].
  17. Sorry, I didn't note that the AD-20 is a preamp/ADC. I assumed you were talking about an outboard analogue [in and out] preamp. Either way, the Denecke's preamp is probably better than the one in your HiMD. Use the HiMD as a straight recorder only; don't adjust anything on it. I can't be absolutely sure [as I've never recorded using the optical in[ but the "optical line level" if not set to manual should basically mean unity gain [digitally]. To those of you who do recording with the optical in: please do correct me if I'm wrong. My point either way is to not adjust anything on the recorder, do everything with the preamp/ADC. Ideally, if you're using the digital in on your recorder and that's coming from an adjustable preamp, you don't want the recorder to be processing the signal in any way whatsoever*. Attenuating what's coming in means losing something, and amplifying just means adding noise. Let the preamp/ADC do the work, and set your levels with the AD-20 so they look okay on the recorder's meters. * - Yes, it's true that the recorder is always processing what's coming in since it resamples whatever is on the digital input. That's unavoidable, though.
  18. I don't actually recall what the default is, but I do know that the current recording mode is actually shown on the display when recording.
  19. Turntable mixers have phono preamps built in, so you should have no problems doing this. The preamp may not be of very high quality, though.
  20. I know this doesn't help anyone else, but I'm somewhat confused by the fact that everyone wants battery modules or attenuators to deal with distortion caused by high SPLs hitting their mics. I have SP-TFB-2 microphone. The only sources I've ever experienced audible distortion with while recording were: * Thunder from a lightning strike within 500m of me * Jet engines within 20m * Jet engines in afterburn flying directly overhead at an altitutde of perhaps 200m * Artillery [Howitzer] firing at approx. 200m distance On the other hand, I've recorded grossly overpowered punk/metal shows in small venues, as well as similar music in tiny [acoustically] untreated spaces when it's necessary to wear earplugs [and even then it hurts] .. with no unbias/overSPL distortion whatsoever. Am I just lucky or something?
  21. Sounds to me like AGC trying to do its job. AGC compresses/limits the signal being recorded. When levels go above about -10dBfs [the middle hashmark on the record level meters is -12dBfs] compression rapidly kicks in. For very dynamic sources [i'd say wooden flute fits in that category] the AGC can cause audible problems. Flutes and whistles [for example] depend on the player using consistent breath/pressure and knowing which notes are the most resonant .. so some notes may be way louder than others, and blowing harder for emphasis of course means higher volume as well. When you hit those loud notes, the AGC kicks in with compression, which makes the volume on your recording "duck" to prevent clipping. The compression also holds for a brief period of time after the volume drops again; with sources that go loud very briefly, this makes the "ducking" really obvious as the other instruments and ambience pump up and down with the loudest part of the source. Solution: enable manual recording levels, set a level based on the loudest you'll be getting, and make your recording. The overall levels may seem lower, but the thing to remember is that this isn't cassette tape with a high noise floor and a dynamic range of 35-40dB you're using; even with a relatively mediocre microphone like the MS907 and the built-in preamp of a HiMD, your recordable dynamic range is >80dB .. in other words, when you go to listen, simply TURN IT UP. Alternately, you can apply light compression in post that has the same overall effect as the AGC without being so destructive to the recording in general.
  22. What I would do: Set the recorder to unity [no gain, no attenuation, which is 18/30 using manual levels on both my NH700 and RH10] and then use the preamp to set the gain for the mic. P.S. - side note - I got to use an NT4 a few weeks ago for the first time .. I was very impressed by it.
  23. Type S is a decoder [for MDLP rates]. Type R is an encoder [for ATRAC SP].
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