tibbsa

If you have a copy of Nero (version 6 or above, anyway), you can get around these without having to eat up CD's or wait for a full CD burn. Make up an audio CD set, and burn to the 'image recorder'. Then mount that image with Nero's ImageDrive program, and use SonicStage to import it from the image. Not super-convenient, but potentially faster than actually burning a CD.. (particularly if you have two hard drives and can keep the image & your actual music library on different drives) (And you avoid the possible quality loss from less-than-perfect extraction back from the CD.)

So, what's the most creative or ingenious microphone placement you've come up with to date? The reason I ask this, is because I have a pair of omnidirectional mics here, which did a pretty good job on the one recording I've done with them. It would be NICE if they ignored a wee bit more of the racket behind them, but such is life with an omni I suppose. What I'm wondering, though, is whether putting them up *higher* (~3-4 feet above head level) would cut down on the amount of immediate crowd noise these will pick up, or if the difference would be negligible? I have an idea on how to accomplish this in at leat a few of my usual haunts, which have these oh-so-convenient support poles scattered around the room. If I can think of some way to strap these things onto the pole, then maybe, just maybe, that would work. But has anyone tried something like this before, before I horribly disappoint and make a fool of myself? (A standlone mic stand probably isnt' an option because of space limitations, unless someone has a really compact one with a tiny footprint.)

I was hoping that Total Recorder's "accelerated recording" option might allow for faster-than-real-time transfers from MD, but SS seems to just lock up if TR is recording with this turned on. (If you stop TR, SS will recover and play through the speakers normally a few seconds later.) Is this just my system, or is everyone in the same boat?

Sorry for the delay in responding, as I did see this some time ago. Thanks for the response. The general feedback I've received from -everywhere- is that the little binaural mics would be a pretty good starting point (not so much the in-ear ones), so I've got a set on the way, and we'll see what happens. The NH900 should also be on my doorstep sometime this week. I took Minidisc Canada's last one in stock, it seems. I'll let you know how it goes, whenever I get around to doing some dry runs.

Good evening, I've been sifting through a lot of the forum messages in here already, and have picked up a number of useful 'tips' and 'tricks' that could be of use down the road. I am completely new to the whole taper phenomenon, at least from the taping point of view, and at this point don't even have the MD unit in my hands. (I'll most likely be going for the Sony MZ-NH900, though, mainly for the battery life.) What is still leaving me a little baffled is, what to do about the microphone(s). I need this for a couple of reasons, one of which is recording lectures/speeches in rooms that aren't quite great acoustically. I used a $99 Sony condenser mic for this purpose once with good results, but that particular mic really mutilated musical recordings. I'm also going to be in Boston (Cambridge) in November for an acoustic show, and would like to record that. It's a tiny club, and I can't say I've ever been there, so at this point that's about all I can say. Is there some microphone that would be fairly well suited for both applications? (I may some day need something for recording louder/full band concerts, but that's another question altogether, I suspect.) Any info would be helpful.