javertim

Okay, I'll throw in 5 new, blank minidiscs (Sony Niege) to any minidisc.org forum member who uses Buy-It-Now. I desperately need money for a trip that I will be taking this weekend, and if I don't sell this soon, I'm not sure if the money will transfer from my PayPal account into my checking account in time. So, a pair of SP-BCM-3s, 2 deluxe Audio Technica holding clips (with silicon holders), 2 deluxe foam windscreens, a Radio Shack volume attenuator, and 5 blank Sony Niege minidiscs ... All this for $50 ($50 + $5 shipping - $5 for being a minidisc.org forum member). Thanks! :-)

That's a good idea, A440. I've heard some very good things from the SP-BMC-2s, and they run for around $30 on eBay when the SoundPro guys list them. I guess the reason I immediately suggested Core-Sound's LCB is because I use them and have had nothing but wonderful results. I also prefer the Core-Sound mounting/clips over the SoundPro ones, although this is bound to change when SP offers their goosenoose mic mounting option in a collar-length design. I'll be getting a nice pair of cardioids with that! :-)

Sorry about that. I hope everything goes well on Friday, though. Let us know in the "Live Recording" forum! :-) Btw ... I've just dropped the price to $50 Buy-It-Now and am including a Radio Shack Volume Attenuator as part of the sale. :-)

I'd go with the Core-Sound Low-Cost BINAURAL mics: http://www.core-sound.com/lcmics.html At $75, you simply cannot beat them! But don't worry about getting the $15 low-sensitivity option, as you can add the Radio Shack Volume Attenuator to the end of the mics for only $8. This way, you can have low-sens mics when you need them and regular-sens when you need that. Also, make sure you set your recorder to an appropriate manual level (I'd say no more than 20/30). :-)

Check out my auction: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...ssPageName=WDVW Thanks! :-) P.S.: I'll offer a $5 discount to any minidisc.org forum member that uses "Buy It Now."

Mine would most definately be Hi-Md, with quick usb upload possible. I would retain the simple menu of my Sharp DR77, especially because it actually remembers all of my settings. I would keep the record-start "slider" from my older Sony N707, along with the sliding "hold" button. Unlike my Sharp model which requires you to push REC + PLAY to start the recording process, I prefer the simple slidining mechanism. I would prefer to be able to adjust my levels "on the fly," but it really doesn't matter because I generally know which levels will and will not work for my recording situations by now. Additionally, although I have never owned a model with the feature, I would like my ideal recorder to have a slot-loading device as opposed to the clam-shell design. Also, my ideal unit would have to be metal (I've never owned a plastic unit). And I would like the rechargable gumstick battery alog with an optional AA attachment. Finally, if I could have all this in the size of my Sharp MT77, I would have my ideal MD recorder. Can't really think of anything else right now. How about you?

The CSBs and the CSCs look identical, actually, except for the vent holes at the base of the cardiods. They're both "stealthy" models.

I saw a few shows a couple weeks ago that were "moderate" in terms of volume. I ran my Core Sound LCBs into my Sound Pro's Battery Module w/ roll-off at 16 Hz. I plugged that into my RS Volume Attenuator and that into my recorder's Mic-In. The recording level was set at a manual 17 (although I upped this to 18 when re-attending the same show a few days later). These are arguably some of my best recordings ever. Basically the reason I chose to use the Batter Module was to increase the dynamic range and Max Sound Pressure Level of my mics. You also have the added bonus of using bass roll-off with this setup. Adding the attenuator on the end takes the level back down from what the amplified signal would have been. However, I would like to see what this setup sounds like through the Reactive Sounds Boost Box and into the line-in. I'm sure it would get rid of some of the noise that the recorder's own preamp adds.

You bring up a very good question. I've been thinking about the same thing myself, recently. However, if you can afford it, opt for the Reactive Sounds Boost Box. I've read some really awesome things about this great little mic preamp, and you may consider using it with your mics rather than *ever* running your mics through mic-in again. I am definately going to purchase one of these preamps as soon as I get the money (college student, you know).

Try to normalize your recording. I usually tend to Normalize at 99%, because even though 100% is supposed to amplify everything to the ultimate level without distortion, I sometimes find that a little bit of clipping can find its way in. After you have normalized, look at your peaks. A lot of times -- at least in my case -- the peaks are moments of applause. Since no one cares about the full dynamic values of clapping and hollering, go ahead and "hard limit" the stuff. Be careful, however, only to hard limit to a point where you aren't affecting the music. If certain parts are still too quiet, you can try to run a compressor. I do this frequently because I attend a lot of musical/play events where the softer parts are of a *much* lower volume than the loud parts. If you need to do this just ask and I will be more than happy to type up my compression settings for you. Of course, all of these suggestions are based on Adobe Audition -- the program I use. I'm not certain whether or not all of these features are integrated into Audacity. Someone else may be able to help you, there. :-)

A little while back, I made some recordings with my Sharp MT-877 recorder and experienced some odd sounds on the recording. With the mic plugged into my battery module and that being plugged into my recorder's line-in, I got these little "bleeps" here and there. I don't know how to describe it, but graphically they are very, VERY pronounced. Additionally, they occured so quickly, it was easy enough to eliminite them entirely (cut that section out) and not damage the recording as far as listenability is concerned. Likewise, these noises were not continuous. I also used the same recorder with mic to mic-in and got another strange sound. However, this one was continuous and occured "under" the entire duration of the recording. This one sounds more like the little beeps a power device will make when the power is being limited ... Very light "beeps," but quite annoying. Unlike the other sound, however, these cannot be removed from the recording as they occur every three seconds and last for a longer time than the others. Has anyone else had this sort of problem before? I don't know what I should do. Of course, I would like to continue to use my MT-877 when the need arises, but I don't want to risk this sort of thing happening again. Could the problem be an unclean lens or something to that effect? Would a disc head-cleaner be a good investment? I don't know what to do ... Thanks! :-)

I used to stress over the obscurity of left and right microphones, too ... But if you're planning to import the contents of the disc into your computer anyway, mostly all audio editing programs provide the user with a "swap channels" feature. Therefore, you can just fix the problem that way. :-)

Be sure to let us know how the Core-Sound version works, A440. I have used a Radio Shack version for three different shows now and am very impressed ... However, I'm a bit uneasy that I may succumb to your fate at a future show and the RS version will crap out on me. Of course, I always use the attenuator with my battery box anyway, as the bb increases my mics' dynamic range and help to limit the bass even more than the attenuator does. So, I guess that warning doesn't apply to me anyway. Still, Core Sounds is a great company. I'd just like to have someone who has used their product tell me everything works okay before I shell out the $35. :-)

Hello all! Just wanted to let everyone know that I'm auctioning some of my old $90 Core-Sound mics on eBay for a starting bid of $50 and a Buy-It-Now of $60. They're still in tip-top condition. Here's the link Thanks! :-) Tim

Thank you, Ozpeter. I just ran a hard-limiter at 3dB to lessen the applause and clapping (which wasn't that extreme, but was technically the loudest parts on the recording) and then normalized the whole thing at 99%. This way, the quiet stuff is raised even more, although, of course, the loud stuff is, too. Once again, thanks for all the help, guys! :-)

Not that I necessarily *need* new mics, but I've been looking at these for quite a while: http://www.microphonemadness.com/products/mmhlsomsenmi.htm It's going to take some time to save up for them, so I just wanted to get some input before I begin doing so. I generally record a lot of loud stuff, though I doubt anything I record would ever make it up to 130 dB. They say the provide "extreme warmth and detail," but are they really going to perform *a lot* better than, say, the low-cost binaurals as made by Core-Sound (the mics I currently use)? I guess the main reason I am looking at them is because they're so small, and I think I may start to do mics on my shoulders rather than my chest / shirt area in the future as to expand the true stereo sound. And can anyone explain "Sennheiser Driven" and "20 - 20 Khz"? Just generally looking for input. To buy or not to buy ... Thanks! :-) Tim

Thanks for all the help, guys! :-) I've managed to find a good setting that work well for what I need (I am actually using a 3:1 ratio). I just have to fool around with the attack time because some of the suddenly loud parts are clipping.

Hello all. I need help in mastering a new audio of mine that has really extreme dynamics. I want to preserve the nuances of the areas of high volume, so I don't want to do any Hard-Limiting (which sounds horrible anyway). Instead, I want to create some sort of filter (gate, maybe?) that will boost the lower volume areas only. For example, I want everything in the audio to be at least -18 dB, but I don't want any areas louder tahn -18 to be tampered with or changed. I'm really having a difficult time with this. I've done a lot of trading recently and get the same reponse every time: Crystal-clear, beautiful sound, but the volume is just too low in some places and too high in others. Therefore, I want to boost the quiet stuff. Limiting the loud stuff just sounds too "capped" and the ceiling gets really low. So, does anyone have any suggestions? I've been playing around with Adobe Audition's Dynamics Processing features (under "Amplitude" effect), and I think that the key is somewhere in the "traditional" tab. I've been trying lots of things, but I always seem to raise both the quiet *and* the loud stuff. I really need help. Thanks again! :-) Tim

I can attest to the Sharp DR-77's brilliance. I love this unit more than any other I've used, and while it can be a bit pricey, it's certainly worth every penny! :-)

I'd choose "mic method," primarily because I love ambience. If it's a live recording, keep it sounding "live," not akin to studio-produced sound. A live experience is something very special, and if you have the recording capacity to beautifully capture that experience, then I think that's the best way to go, period.

I have have a Sharp-DR77 and I've noticed something similar. It seems that whenever I adjust the manual level by more than 5 points, there is an absence of any sound for a fraction of a second. I'm really not sure why this happens, but it does. Anyway, this has only happened to me while "test recording," and I've never adjusted manual levels during an event, so I guess that's good. Oh, well. Can anyone explain this?

My friend recorded a fairly quiet event with his new Hi-MD recorder and set the auto-track feature at every 5 minutes. What I am confused about is that he was recording via line-in and still only got tracks every 5 minutes rather than when the signal dropped too low (if that makes any sense). Is this common of Hi-MD (an improvement on older models)? I remember when I used my old Sony-N707 with line-in, I got a new track after 3 seconds of what the recorder deemed as "silence." I have considered purchasing a Hi-MD recorder, but was thinking of holding out until Sharp comes out with their own version. However, it seems this isn't going to happen, so I think I wll save up for a Sony unit. I just wanted to ask this question first, as I am a frequent line-in recorder. I just don't understand how this is possible, Thanks! :-)

Oh, I've used manual levels for most of my really good recordings. I vastly prefer the sound of manual, but the audio is a pain in the butt to master where volume is concerned. I want to be able to hear the quiet stuff just as easily as the louder stuff. However, I do know what you mean by "whooshing" sound. That's my biggest gripe with AGC, too. Oh, well. :-)

I looked around and couldn't find this topic already, and I'm assuming it would go here as it could possibly help people "find" the discs that best suit their needs / budget. Many of you may say that the brand / style of disc doesn't really matter and that it's the recorder that makes all the difference. However, I've gotten my best results using the Sony Gold Discs: http://www.minidisco.com/5mdw80pl.html I don't know if the anti-shock mechanism makes a big difference or not, since my unit is usually sitting on a flat, steady surface while recording, but it gives me piece of mind, most definately. I also just bought a pack of these: http://www.minidisco.com/mdw80es-5.html I have some *very* special events coming up soon that I want to preserve in all their glory, and these discs seem to be top-of-the-line. However, I'm a little confused as to the fact that they are the same price as the gold discs (see above). Are they basically the same thing? If so, oh well. I don't have any white discs in my collection and these seem to have a pretty cool look. And does anyone know what the significance of a "ceramic core" would be? Okay, okay ... Trifle topic, I know ... But we all have our favorites. :-)

Oh, I forgot to add that you'll probably want to record through the line-in and with the "manual recording level" set at around 20-28. You can always boost the quiet stuff later on, once the recording is in the computer. Oh, and if you're using a Sony MD, just set the manual volume around 3/4 of the way and do some test recordings to find the optimum place. The last I checked, my old Sony N-707 didn't have "number" recording levels, it just had a bar as do standard volume control menus on tvs. However, since you already own a battery module, these are probably second-hand tips. ;-) Let us know how they work!