greenmachine

A mono mic with a mono plug will give a signal only on the left channel, silence on the other. A mono mic with a stereo plug will send the signal to both channels. Mono mics are a good idea for close miking [mic close to the source/speaker] but a bad idea for far miking in echoey rooms. The room information [reverberations, echoes] and the main source [speaker] will get mixed to a single channel, result in a muddy mix and make it hard for the brain to decode [separate source from room information]. If you use a stereo mic and set it up like the human hearing apparatus [distance of approx. 6-8 inches], the result will appear much clearer, more lively, requires less concentration, particularly when listening with headphones.

Dynamic compression [what the studios apply] and filesize compression [encoding to a lossy or lossless format] are two different beasts. Actually dynamically highly compressed recordings are usually more difficult to compress in fiesize and thus will result in a higher bitrate [for lossy codecs: to retain sound quality].

There was a test a while ago somewhere in these forums [i don't remember where], which compared the noise performance of interal and high quality external preamps. The conclusion was that the internal preamp [of a Sony Hi-MD, i don't remember the model, but there shouldn't be much difference] performed astonishingly well.

Dirt and scratches will reduce the theoretical 1.mio cycles quite a bit. No disk case is perfect.

option -> menu mode -> advanced

As to the original question: "Is quality better than quantity?" - Why not have both? I'm enjoying my extensive, [not perfect, but] high quality mp3 collection on a large hdd through high quality [end?] equipment. I can't abx a well encoded mp3 from its uncompressed original either, and i have tried.

6) mic placement matters: l+r mic need more distance in between, there's no dimension, almost mono.

I wouldn't recommend using a one channel [mono] mic for music recording or far miking in general at all. Since it seems to be externally powered [propably just 1.5 Volts, the mic won't perform optimally in high SPL situations], you could try line-in recording [without attenuator] or mic-in recording with attenuator and external power on. Other than that, upgrading isn't a bad idea.

nurse with wound - soliloquy for lilith Disc 1 1. untitled (17:56) 2. untitled (17:06) 3. untitled (17:51) Disc 2 1. untitled (17:51) 2. untitled (17:29) 3. untitled (17:30)

It also depends on what playback equipment you aim/optimize for. I usually turn the bass down when listening through loudspeakers, while for headphone listening i like to have it unedited. Distant miked recordings usually don't sound great through loudspeakers anyway.

I've used it maybe 2-3 times for live recording, then upgraded to Hi-MD. In this short period there were no issues.

like the red

Attenuating before the signal reaches the recorder will increase the noisefloor [after normalization]. For highest quality use the recorder's fiddly manual settings instead, even if it may not be as convenient. To solve your your distortion problem, my recommendation would be a battery box->line in [any brand, no roll-off necessary]. An attenuator might be less expensive, but won't work as well in the long run [for technical explanations, search the forums].

Listening to [ Rich versus Roach ] in Hi-Fi Stereo Max Roach Drums Stanley Turrentine Tenor Saxophone Tommy Turrentine Trumpet Julian Priester Trombone Bob Boswell Bass Buddy Rich Drums Phil Woods Alto Saxophone Willie Dennis Trombone John Bunch Piano Phil Leshin Acoustic Bass 1. Sing, Sing, Sing (Previously Unissued, Alternate Take) 2. Sing, Sing, Sing 3. The Casbah 4. The Casbah 5. Sleep 6. Figure Eights 7. Yesterdays 8. Big Foot 9. Big Foot (Previously Unissued, Alternate Take) 10. Limehouse Blues 11. Limehouse Blues (Previously Unissued, Alternate Take) 12. Toot, Toot, Tootsie Goodbye

There's the so-called "plug in power", which is somewhere in the 1.5-10V range and phantom power for large non-pre-polarized condenser mics, usually somewhere in the 12-48V range. MD walkmen are built to use with pre-polarized [electret] mics and thus use the first of these two variants.

Sorry, i should have told you to unplug either the mic or the battery itself to avoid constant drain. If you connect it just when needed, it will last a long time, approximately 500-1000 hours with a high capacity alkaline. The power consumption of the mics is very low [about 0.5-1 mA], so if you use it one hour per day average for example, it should still last well over one year.

despite their usb connection, net-md can't upload. what other non-sony equipment was able to upload? the analog transfer should work, take a look at the soundcard volume mixer [rec], make sure line-in is selected and the volume slider isn't turned down or deactivated otherwise. here's a link t describe the procedure: http://forums.minidisc.org/index.php?showtopic=7070

russian circles - enter

In aniticipation of

I don't think there is an automated tool for this - normalization propably won't work satisfactory, but you can use the free Audacity to manually edit it. Next time try not to change the levels during a recording more than necessary. Better to set the levels somewhat too low from the start [leave some headroom] than having to bother with correction afterwards.

than his own

Hey Ishi, did you enjoy the shakuhachi cd? I was totally blown away when i first heard the huge sound of this relatively simple [in construction, not to play] instrument. So fascinated that i had to build my own. I just can't play them very well, it propably takes a lot of practice to master this instrument. I admire the talented players. Currently listening to "kohachiro miyata - shakuhachi - the japanese flute" [attachmentid=2031]

There was nothing

the hands of

. So he went