flyingpylon

I apologize if my post is inappropriate. I have seen other posts with links to eBay auctions so I figured it was okay. If not, I will remove it or one of the mods can feel free to delete it if necessary. I know there are people interested in used minidisc players, so I thought they would appreciate knowing that I have one for sale. I'm sorry if the payment or shipping restrictions are a problem for some people, I'm not purposely trying to cause problems for anyone.

It's an auction with no reserve, so the final price is up to the winning bidder.

I currently have a black Sony MZ-RH10 for sale on eBay. It was used sparingly, is in good working condition, and comes with 3 extra Hi-MD discs and 2 extra NH-14WM(A) batteries in addition to all of the originally supplied accessories and the original box. More information and detailed photos are available in the auction description: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=140204487206

Thank you very much for the reply. Unfortunately, SonicStage will not play the track. I ended up just dubbing it to the PC. The quality isn't great, but it is what it is. By the way, the static I was hearing was "digital static" as opposed to "analog static", if that makes any sense. It's the same as the static you get when you put a data CD in an audio CD player (not that I do that often). That, combined with the fact that the disc has problems being read by anything other than the RH-10 makes me wonder if some data bits got jumbled somehow, and are causing the problem. I'm a little concerned about your comment that the RH-10 could simply be "wearing out". Is that a problem other people are having? What parts actually get worn out? I've had the unit for two years, but it's not like it gets continual use or anything. That said, I will admit that it has been dropped a couple of times. But it has always recorded fine after that, at least until now. I think that all of this will have me really looking forward to the release of Zoom's new H2 recorder. Solid state seems to be the way to go. But I still wanted to keep the RH-10 for certain projects and/or simultaneous recording.

Is there really nobody that can provide any advice or assistance? Some added info: I have found that when I connect the RH-10 to my PC and try to look at the files through Explorer, it just says "please insert a disk". Is there any chance that using the track mark function caused this? I've never had this problem before, but I've always just used the pause button when recording. I'm still trying to get one particular track copied. Since the RH-10 will still play it, is the only way to get it transferred going to be to dub it to the PC by connecting the headphone jack to the PC's line-in or mic-in?

I just upgraded to SonicStage 4.2 (after failing to get 4.3 to recognize my RH10... I'm on XP anyway). I see that SonicStage now renames transferred tracks that I've recorded and also puts them in a separate folder named with the date and time they were transferred. Whatever the older version was that I was using didn't do this, and I'd like to know if there is a way to turn this off. For example, it creates a folder called Hi-MD 5-15-07 21-00 (or something like that, I'm guessing). Then, it adds a 3-digit counter to the front of each filename: 001-myfilename.oma. This actually creates a bunch of extra work for me that I didn't use to have to do. Thanks for any advice.

I have a Sony MZ-RH10 that I've used for about two years without any problems. Just recently I've had two occurances of a problem where certain tracks are recorded as nothing but static and SonicStage refuses to import them. Most other tracks are fine. So my question is... what are some possible causes of this? One disc was one that I've used over and over again since I've owned the recorder. The other was a brand-new disc that had never been used. I also have a recording on one of the discs that I can listen to on the MD, but SonicStage won't import it. It happens to be a track that comes after some of the previously mentioned static tracks. Is there any way I might be able to recover that track, maybe by deleting the bad tracks or something? Thanks for any advice anyone can provide.

Thanks for the tip... I picked up two and they arrived in just a couple days. Oh, and they were just $4.50!

Thank you very much for your replies and suggestions. I'll be doing some more research and some more thinking about my needs. But it definitely helps to know what some of the "standards" are out there. I still have a lot to learn. At the same time I feel that my needs are so basic that I don't want to completely over-analyze the situation. Regarding power... would my MD player supply enough power, or what about the battery module? Everything needs to be as portable as possible, so obviously I can't lug around a mixer or anything that needs significant amounts of power. Edit: by the way, I found a handheld mic shootout at Transom.org that is helpful. The Shure SM58 does very well, at least to my untrained ears. http://www.transom.org/tools/recording_int...d_mic_shootout/

I started recording sounds at motorsports events (Indy, F1, Sprint Cars, etc.) about 18 months ago using the Sony MZ-RH10 and a pair of Sound Professionals SP-TFB-2 in-ear binaurals and a SP-SPSB-1 Battery Module. I've been very happy with the combination so far, but I'd like to add a handheld mic or two to cover a few specific needs. Size matters- I need to be able to carry any additional mics in a pocket or camera bag, so the max length should be less than six inches or so if possible. Also, if possible I'd like to spend less than around $200 total. I realize that's not a lot of money but I think it may be acceptable for my purposes. I'm really just a beginner at all of this, so here are my needs and what I think I'm looking for, but I'm open to other suggestions as well: 1. A "whip it out" or general purpose mic. An omnidirectional mic that can record sounds in a similar manner to the in-ear binaurals but is much quicker to put into action. Sometimes things happen quickly and it takes me far too long to get the in-ear mics untangled, put into my ears with the right orientation, recording levels set, etc. 2. An "interview" mic. Something I could use at times when I can actually approach someone and ask them a few questions and have them respond. However, this would probably not happen in a controlled environment... it would most likely be outside with other noises around. Would I be looking for a cardioid mic for this purpose? Also, it would be nice if this mic could be used in a situation where someone is speaking and I am among a group of people where I'm not always able to put the mic right in the person's face. 3. Another need, maybe related to #2, is to be able to (somewhat) isolate the sound of an announcer on a PA Speaker. What I have to do right now is to make sure that I stand very close to a speaker to make sure it can be heard on the recording. It's going to be tough no matter what when cars are going by, but I guess what I'd like is to be able to do is block some surrounding sounds even when the cars are not going by, and also give myself a little more flexibility in positioning. But if possible I still want to be able to capture some of the "spacious" feeling I can get with the binaurals. Anyone have any good recommendations? I get pretty overwhelmed when I start checking out some of the various retailer's sites out there. Thanks, Paul

Yeah, I'm using an RH10 with the Sound Professionals battery box and the in-ear binaural microphones, all plugged into line-in. Not sure I can splurge for a pre-amp just yet, nor am I sure I need one. I've been really happy with the recordings so far, especially when I consider that I don't know what I'm doing! I just need to play with recording levels a little more... I'm tending to have them set a little low. A race car going by is such a sharp, momentary peak.

Thanks again everyone. I will be recording sounds for documentary-type purposes, and generally speaking it's not music to trade, etc. In some cases what I am recording is a challenge: a race car coming down a track, passing by, and fading into the distance. That in itself is not so hard, but I'm also trying to pick up the sound of the announcer and crowd. With the car's peak levels so high, it can make the rest of the recording pretty quiet. I'm not sure whether it would be right to try to boost the low-level sounds, since that would also boost the car's approach and passing. I'll need to experiment, but I was thinking I could probably boost them a little and as long as the car's actual passing was still much much louder, maybe nobody would know the difference?

Thank you very much for your helpful reply.

I'm still new to live recording and I have some questions about how to edit my recordings so that they sound their best. First, does anyone know of a good editing tutorial? Something that would explain how to look at a recording on a computer, what all the terms mean, and most importantly, *why* you might make certain adjustments? If not on the web, even a book would be okay. I need something besides application-specific instructions that just tell you where the buttons and menus are. Second, are there any rules of thumb about setting the proper volume levels during playback? What I'm getting at here is that obviously I can set my recording levels manually to avoid clipping, etc., but then how should I amplify (or not) my recordings so that they are all approximately the same "loudness" when people play them back? Are there any standards here? For example, would you amplify all recordings so that the peak levels are just short of clipping? I'm starting to see a lot of parallels with digital photography here. There's capture, post-processing, and presentation. How well you perform each step has a great impact on the overall "quality" experienced by the viewer/listener, and though I'm not attempting to achieve truly "professional" levels of quality, I want to do what I can to make my recordings the best they can be given my time and resources available. Thanks.

I ordered my RH10 from Etronics a few weeks ago for $239. Because I had done my research, I knew that the description on the web site was incorrect. However, I also knew that whoever packed the order would just take what Sony had packaged with the US version of the RH10, put it in a box, and send it to me. And that's what I got, for a pretty good price, in my opinion. My point is that you're not "missing" anything, you got what was supposed to be in the package, and the web site description was in error. That's all. Return the item if you want, but I wouldn't expect them to send you a remote, stand, etc.