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.

My RH10 was waiting for me when I got home from work. It's black, and does not have an LCD remote or stand, as I expected. I'm excited... this is my first foray into minidisc and live recording!

mrsoul- My RH10 should arrive today, so I'll be able to answer your questions later. However, I think the description on the Etronics site is incorrect. They may have simply inserted the description from the NH1 (or whatever the model number is). I am not expecting a stand, or an LCD remote. Also, I'm assuming the color will be black or silver or something. I wasn't able to choose, and I really don't care, so I'll see what it is when I open up the box! At this point, given the price, I'm just hoping it really is an RH10.

I strongly considered the RH910 as well because I didn't feel that I needed the extra features of the RH10. But then I found the RH10 for only $239 + $9 shipping at Etronics. Their price on the RH910 was the same as everyone else's - $199. So the difference was only $40 and I went for the RH10.

Yeah, the discussion took a little turn there, but I still appreciate everyone's input (no pun intended!). I've become very interested in the Core Sounds Binaurals (not the low-cost version) because of their included battery module and their ability to handle very loud volume levels. They would require me to stretch my budget a little, but what else is new? However, I've also read some stories about Core Sounds' claims being pure hype, etc. (are they the Bose of microphone manufacturers?). Honestly, in the end I'm not sure I will know the difference given that I'm just starting out with live recording. But I'd like to be able to buy some reasonably-priced stuff that will allow me to learn and that I can grow into a little before I want something that's higher quality and much more expensive. My primary expensive addicition is digital photography, and live recording will just have to be secondary to that. At any rate, it's imperative that the microphones be small, "wearable", and allow my hands to be free most of the time to carry camera equipment and shoot photos.

Are you sure the RH10 does timestamping? I'm pretty sure I'm going to be getting the RH910 because I don't really need the OLED. But if the RH10 really does timestamping I might reconsider. I could probably use that feature.

This is my first post here, and before I begin I just want to thank all of the knowledgeable people that have replied to other topics. I've been able to learn a great deal already. I'm very new to live recording. What I'd like to do is carry a small device that allows me to record sounds at auto races and similar events as I walk around and take photographs. Ultimately, what I'm trying to do is give listeners a sense of being there. The style of recordings I'd like to capture are more documentary/ambient in nature than to try to isolate particular sound effects, etc. After doing some research I'm excited about the Hi-MD format. It seems extremely portable due to it's small size and light weight, the media is inexpensive, sound quality is high, and transfer to PC sounds relatively painless. Initially, I plan to present my recordings as MP3 files on my (still being developed) web site. Though that won't require the ultimate in sound quality, I still want the original recordings to be as good as possible (given my budget) for archive purposes, etc. By comparison, if you know anything about digital cameras, I use a DSLR and shoot in RAW format even though right now I just display resized & compressed jpegs on my web site. Same principle applies. My budget is roughly $400 or so for all of this. I'm strongly considering the Sony MZ-RH910 since I don't feel like I need the few extra features the MZ-RH10 provides. Now I need to get settled on a pair of small, decent quality microphones. One thing I'd like to point out is that I want to do much more than record loud cars circling a track, though that will obviously be important. I also spend a good deal of time in pit/garage areas, open grandstands listening to the PA system, many times there can be concerts before or after the on-track activity, etc. In addition, the cars I will record vary greatly in sound volume and pitch. For example, there are karts, midgets, sprints, IndyCars, Formula One cars, stock cars, dragsters, etc. I think the dragsters would have the most low-end content and Formula One cars the most ear-piercing high end. My requirements for mics are that they need to provide a sense of being there, so I'm pretty sure I'll need omnidirectionals/binaurals. I also need them to be quite small, so that I can clip them to my shirt or whatever, leaving my hands free. They need to be able to deal with very loud sounds at times, and decent windscreens will be important. From what I've gathered, the Sound Professionals SP-BMC-12 seem pretty good based on the specs. I'm also interested in the Core Sounds low cost binaurals, but I don't see their full specs on the web site. Has anyone else used these? I'm also wondering whether I will need a battery box/module, and whether I would need any kind of bass roll-off or level control features included. Or would the Radio Shack level control do what I need? I think that covers it. Sorry for writing a book, but I try to completely describe what I'm trying to do before asking for advice. So... any advice? Thanks!