bjsilva
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Posts posted by bjsilva
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Rode NT4 Stereo Microphone in very good condition for $300 shipped (to US), or best offer. Paypal preferred.
It is a single-point stereo mic with a 90 degree XY configuration. It was used occasionally in a smoke-free home studio and occasional travel. It provides a smooth high-quality sound and can run on 9V battery power or phantom power. Comes with carrying case, dual-XLR cable, cable with 1/8" stereo plug, windscreen and stand mount.
Perfect for portable recording applications!
For more details about the NT4 visit Rode's website at:
http://www.rodemic.com/microphone.php?product=NT4.
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Brand new, in box, never opened Sony RM-PCM1 remote for PCM-D50 recorder. $35, obo.
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I am selling a Rode NT4 stereo mic in excellent condition for $280 + shipping, obo. It has been used primarily in a home studio, travelled occasionally, and always in a smoke-free environment.
It is perfect for portable minidisc recording or where the convenience of a single point stereo mic is appreciated. It has a cable with an 1/8th stereo plug and another cable with dual XLR. It runs on a 9V battery or phantom power, see link below for more technical details.
http://www.rodemic.com/microphone.php?product=NT4
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Audio Technica ATM10a condenser microphone for $50. This is a high quality omni directional condenser microphone ideal for portable applications, but would work nicely in a home studio setting. It can operate on battery power (AA) or phantom power.
There is some wear and tear but the microphone works well. It was used by a former BBC sports reporter for interviewing top athletes.
Specifications:
ELEMENT - Fixed-charge back plate, permanently polarized condenser
POLAR PATTERN - Omnidirectional
FREQUENCY RESPONSE - 20-18,000 Hz
MAXIMUM INPUT LEVEL - Phantom: 137 dB SPL, 1 kHz at 1% T.H.D., Battery: 123 dB SPL
DYNAMIC RANGE - PHANTOM: 113 dB, 1 kHz at Max SPL, BATTERY: 99 dB, 1 kHz at Max SPL
SIGNAL-TO-NOISE RATIO - 70 dB, 1 kHz at 1 Pa
PHANTOM POWER REQUIREMENTS - 9-52V DC, 2 mA typical
BATTERY - 1.5V AA/UM3, 1200 hours typical
OUTPUT CONNECTOR - Integral 3-pin XLRM-type
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I am regretfully interested in selling my NH1. It has all the original parts/cables and is in excellent condition. The only problem is that the battery charge is reduced.
Honestly I have no idea what a used NH1 is going for, so please make an offer if you're interested. I will include five or six 1GB HiMD discs.
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It's been my experience that those who claim otherwise are usually quite surprised when they do an actual ABX test and can't hear as well as they claim.
I personally am not convinced of the authority of ABX tests.
Unfortunately since the right brain is not particularly precise and the judgement can be easily influenced by other factors, it completely eludes scientific testing in these matters. But this does *not* diminish the importance of it even a little bit, especially when we're talking about musical enjoyment. For those who are in fact "trained" to listen for compression artefacts, their judgement as to the transparency of compressed audio in ABX tests is just as useless since they're making an entirely left-brained qualitative judgement.
I will happily admit that I would have a difficult to impossible time distinguishing between well-compressed audio and an "uncompressed" digital source. However, who am I to say what my right brain is hearing or not? Just because my left brain can't identify the difference doesn't mean my right brain cannot, and do I really want to risk missing out on one iota of musical enjoyment just because I follow our societies' obsession with left brain thinking?
It's sad seeing that, for a lot of people, those tiny awful mp3 players are more than enough. They don't mind wether a record sounds like a tin or in real hi-fi
I think we need to remember that the vast majority of people listening to music on their iPod (or whatever) aren't *really* listening. They press play and then do something else or go travel somewhere in their mind, occasionally catching a musical line or series of words that stand out. What difference does it make to someone who "listens" like that?
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What model do you have? And which HiMD discs - the newer translucent blue or the original opaque blue?
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I don't think it has anything to do with the iPod - NetMDs were around before the iPod. Nor anything to do with competitive tactics - the percentage of people who were previously planning on buying a Mac but then switched and bought a Sony PC because they wouldn't be able to use their MD would amount to less than those customers who might consider buying an MD if it worked seamlessly with their Mac.
It could be that Sony had underestimated how many of their customers are Mac users, hence the newer MDs becoming more Mac compatible.
It could also be the typical view of Windows developers - there are more Windows than Macs and therefore more money to be made developing for Windows. This is obviously true, although there are plenty of companies who know there is much money to be made in the Mac market as well.
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Hate to tell you but the EX71 are well known as a bassy earphones.
The EX71s are not so much bassy but lacking in mid-range, so the bass and treble stand out more. However, spending some extended time connected to a system with a decent headphone amp at high volumes seems to mellow them out quite a bit. I have a pair and occasionally do this for 4 or 5 hours. I've done it maybe 5 times now, but they still need some more. Probably another 5-10 sessions.
If you use your device as a portable music device and if you like to stay away from computers (which is my case), you would prefer the Hi-MD device.
I think it's easy to forget there are people like this, and I doubt you're particularly aged. I have a few audio files on my computer, none of which are there for listening enjoyment. I am happy to admit that I prefer realtime recording
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I was wondering if anybody knows, if a amped double bass outperforms a standard bass ?, and aproximately how much DB a bass could go up to.
Are you talked about an acoustic double bass vs. an electric (standard?) bass? And when you ask about how high of a decibel level a "bass" can go up to, are you talking about the acoustic double bass un-miked? Also, what kind of music?
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Developing Mac-compatible software costs money. Mac-users have to pay for this.
As there happen to be much more Windows users than Mac users, the cost per unit for software is significantly lower than it is for the Mac-compatible units.
Just to chime in here, basic software to upload/download recordings from an MD to a Mac could easily be written by a single competent Mac developer experienced in USB development in less than a month. I do low-level (i.e. hardware) and application development and find that most USB development on the Mac is not especially complicated (sometimes quite simple). A decent UI for a simple app can be created using IB and Cocoa in less than a day.
Sony could have contracted with a Mac developer (such as myself) and the only reason it would cost them a lot of money is if the developer charged based on the scope of the product verses using an "hourly" rate. Chances are Sony used in-house developers who were not competent with Mac development or contracted with a firm who milked them based on their ignorance of Mac development.
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I was wondering if I could get some help and advice regarding gear to purchase to record live vocals. I am an operatic soprano with a big, loud voice, and I need to record my lessons, rehearsals, performances, etc. for review purposes, and eventually to post to my website.
Hi Regina,
For the right combination between portability and quality I recommend an "all-in-one" stereo mic such as the Audio Technica AT822 or the Rode NT4, but if those are out of your budget the Sony MS907 can do surprisingly well. With recording classical music good microphone placement is extremely important - to get the right balance of room acoustics and clarity of the source (i.e. not too distant or close). Experimentation is essential.
In your past experiences, unless you were using really low quality equipment it's likely you were not overdriving the microphone but rather whatever you were recording into (i.e. the recording level was too high). This is something you'll have to check on your minidisc before you start recording, and for most recordings you'll want to set the recording level manually (instead of automatic, which will alter the dynamics). Although a battery box may be useful sometimes, with proper microphone placement you will not "over-power" even the MS907 mic.
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I think the creative software ARVL feature doesn't add anything to the sound, it just seems to manage the volume controls of the soundcard. Is there any chance I could do this with audacity? Because in audacity I have to pay attention to the rec levels all the time, until the process finishes, right?
Anything that manages the recording level automatically will change the original volume characteristics of what you're recording. If this doesn't bother you, then go ahead and use it. If it does, the best way to ensure the recording doesn't clip is to find the loudest section before you record (which can be tedious) and set the recording level accordingly.
I like the sound of my record just as it is, but what does "normalize" do? I got the impression that people are using "normalize" as a standard procedure before burning to cd. Why would they want to do that? What is the purpose of "normalize"?
I thought that I should only normalize when burning tracks from different sources...
Here's a link to some information about normalising.
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1)I also heard that AT822 is a good one, but the price is over $200. ECM-MS907 is $70-80. Does it mean that AT 822 is better? If there is no much difference, I would rather pay less for ECM-MS 907. Anyone can compare two of them?
Thanks so much for your help!
Charlotte
When I first got an MD I was using the MS907. It was fine, surprisingly good for the price. A year or so later I got the AT822, which was a definite upgrade over the MS907. Now I use a Rode NT4.
If you're not happy with the MS907, chances are that it is firstly because you haven't found the right location to get a good sound with your voice. Placement is extremely important, and you need to play around until you learn to access a decent mic location based on room acoustics, especially with classical music. I've recorded a (lyric) soprano with piano using the AT822, and the quality was good.
If you're able to borrow the MS907, once you've gotten a reasonable quality recording with it then you can assess whether you need a better microphone. Dynamic range, frequency response, etc., will be things to listen for.
An excellent microphone can sound poor if placement is not chosen well.
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Yes, THAT is the question.
If I understand the Owners Manual, uploads can only be from original ANALOG recordings -- which seems to rule out ANY sort of digital input while recording.
If I'm wrong please set me straight.
Thanks
Sorry, didn't see that as the question
I have very little doubt that Sony will, at some point, allow it. But if you need digital copies of digital recordings faster than real-time (I thought you could record the audio digitally while playing the MD from the computer - Windows only, but I'm not familiar with it nor the Mac software for the M100) then you'll probably have to wait for a deck to arrive (if ever), or just go with something else. -
Did Sony actually build a portable digital recorder that can't be used with a quality mic-preamp-AD converter?
To put it another way, Is there a Marantz PDM-670 in my future?
Thanks, alan
The MDs have a stereo mic, line and optical input. So, if your preamp of choice has one of these as an output then you will be able to use it with an MD.
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well, the effect seems to be getting less noticable every time i listen, but its nothing to do with the phones or avls, im sure its the way in which the sound is being amplified. anybody else who has an nh1 surely must hav noticed this??
Just a quick reply to say that I have not noticed anything like that with my NH1 through EX71s, ED228s or 7506s. I haven't used the EX71s a whole lot yet since they more often spend time connected to my stereo be played ridiculously loud (with the speakers off!) in order to wear them in. It's helped quite a bit, but I still want warmer mid-range.
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Is there any point recording via Optical in on a HiMD since you get the same quality from ripping the source and transferring via USB. The only unit with an optical out is likely to be DVD, CD or MD. Ok I can kinda understand recording MD(SP) to HiMD(PCM) if your getting you music off MD but other than that.
It is true that many people would prefer not to wait for a realtime recording, but there are some (however few at this point in time) who do not prefer a fast-paced life where waiting for a realtime recording is considered too long :-) I have never and don't intend to use my HiMD with a computer, so I'm glad for the optical in!
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More or less correct -- I was trying to say that the quality of a high end deck at LP2 sounds at least as good if not better than a portable HI-MD unit at HI-SP.
Since the compression is higher in LP2 than HI-SP it would appear that a high end HI-MD deck equivalent say to the MDS-JB980 would really "Blow any competition" away when using HI-SP.
I'd say KJ Palmer's response was probably the issue here. The line out of portable units (Sony's, at least) is pretty lame. Even comparing the line out of my NH1 vs. my JB530 deck there is a plenty noticeable difference. I suspect it probably has less to do with the compression codec.
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Thanks! A MacOS X app would be cool (I've got a G4 iBook). Hopefully we can get enough eyeballs looking at this problem that some ideas will come out and we can make some progress. For now I'm just poking at it and hoping to stimulate some interest. I know there's some folks out there that have worked on this recently (fishstyc, ksandberg, fuz, marcnet, streaml1ne, ksandbergfl, etc) - hopefully they're not burned out yet!
emeb
I'd love to contribute - most of what I've traditionally done is low-level stuff and figuring out how things work (software/firmware-wise), so I'm sure I could contribute - but I just have no time. Writing a wrapper app around your work wouldn't be a big deal, so I'd like to contribute where possible, if desired.
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This is a bit technical...
I've been spending the afternoon playing with fishstyc's HIMD-Xtract code. I've converted it over to POSIX compliant C and have it running on my Linux box. My (probably hopeless) goal is to get a way to load LPCM recordings from an MZ-NHF800 onto my Linux PC _without_ going through SonicStage and WinXX.
Hi emeb, I do follow the boards, but if you happen to have a breakthrough could let me know specifically - I would be happy to port your work to OS X with a nice GUI.
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I understand that the hardware change will open up the availability of emulators like WINE, which seem to have greatly improved in compatibility and in addition, such emulators will like run software much faster.
Having said that, I'm still not really interested in running Windows software on any future Mac I will buy, so some kind of open source solution from Sony or elsewhere would be welcome.
Definitely. However, I think Windows users/developers will not really understand that. I think we'll see plenty of software vendors doing pathetic Mac/Intel ports and wondering "Why don't the Mac users appreciate it?!?".
On another note, it seems to me that if someone would release an x86->PPC emulator that uses the Transitive technology, Sonicstage would be useable in emulation. The PPC->x86 emulator (Rosetta in OS X) is far better than VirtualPC, and from what I understand it's easier to emulate x86 on PPC than the reverse. Who knows, not that this would be any kind of happy solution for Mac users.
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Now to "add" a battery holder and I'm done.
You DO need to get the proper cables (The plug into the Unit is a SONY proprietary one so You'll have to cannibalize a cable).
Yeah, right now I'm making use of the existing USB->proprietary cable, which every NH1 owner should have (unless they threw it away). The USB port would just plug into the battery pack. Not as nice as Sony's traditional battery packs, but it is the the simplest and cheapest option. If things don't work out well, I have someone who can research getting hold (if possible) of the proprietary connector and then the product would probably end up like Sony's battery boxes. I should know soon what's happening.
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I wouldn't count on Sony changing anything. Apple will remain apples and programming will be different.
Most likely, but it is very likely a product will surface which will allow Windows software to run (with varying compatibility) under Mac OS X/Intel. There is already one vendor who has announced they are planning to do this. Who knows if SS will be supported, and most Mac users wouldn't be particularly happy with the way it will feel/look/work (Windows-ish under OS X), but I suppose it'll be better than nothing for most users.
FS: Sony MDS-JE520 deck
in Classifieds
Posted
For sale is a Sony MDS-JE520 deck with full-function remote in very good condition. I'm not sure how much it's worth, so please make an offer if interested (be sure to factor in shipping cost if not within reasonable distance to NE Philadelphia). I have the original box, manuals, etc.