greenmachine

Such miniature lithium batteries are maybe 5x the price at maybe 1/5 the capacity multipied by 3 pieces = 75x more expensive. You would have to use these expensive batteries all the time because you won't be able to use the mics powered directly from the recorders' 'plug-in power' without a connector or switch either. I prefer standard 9v blocks for their low price, availability, durability and simplicity (only 1 pc.) and prefer to have a connector for flexibility even if it might lead to a slightly larger design. I didn't have to worry about where to put the box yet, it fits almost anywhere. I didn't think much about size issues when designing Volta's box, here's a new size optimized design: [attachmentid=816][attachmentid=817] [attachmentid=818][attachmentid=819]

Nice, how about 'your favorite music genres'? I'd be interested in what sort of music people listen to.

I don't expect my nh700 to fail anytime soon. As time advances, there will be new interesting alternatives at reasonable prices. No need for hoarding.

Not the best protection against sunlight.

If you're talking about your recordings at the festival, there propably needed to be hurricane-like wind speeds to have noticable wind noises at this kind of rock concert loudness. Looking forward to your test at lower volume, guess the screen has to be quite larger for proper isolation though.

Do croakies work as decent windscreens or is there hardly a difference? I just wonder because attaching the mics without any screen makes them pretty susceptible to wind noises.

Or you can (permanently) attach them with some kind of black tape / heat shrink tube in order not to have to deal with such a thick container: (pictures are self-explaining) [attachmentid=795][attachmentid=796][attachmentid=797] [attachmentid=798][attachmentid=799][attachmentid=800] [attachmentid=801][attachmentid=802][attachmentid=803]

Welcome back, mr. knowitall.

If you really want to use AGC, use the 'loudmusic' setting for any kind of music, 'standard' only for speech and such. These two settings influence the release characteristic / time of the AGC limiter. If you want dynamically uncompressed recordings, which is preferrable, use manual levels and the setting won't have any effect.

The better the efficiency of headphones, the more noticable the hiss generated by the playback device.

Or you could make a wonderful stereo recording with only one stereo mic if you place the musicians around the microphone(s). Some space and an acoustical separator like a head or a (jecklin) disk between the mics would be essential, unfortunately you only seem to have one point stereo mics though - nevertheless worth a try.

But do you have suitable microphones?

I'd even say all these phantastic specifications are irrelevant. Let's focus on the design. Submit your ideas concerning features to this topic.

Japan Victor Company = JVC, in Japan known as Victor. However, they're not allowed to use the Victor name outside of Japan, thus JVC.

But you're expecting your soundcard's line input to be perfectly linear. For a meaningful comparison you need the analysis of a sample in pcm and mp3, untransferred and transferred.

If you use noise, you won't know if it's actually the one you've tried to transfer or if it's been introduced by some other components via analog recording. Try real music or something like a sweep tone. Also, what's the use of comparing the volume to an analog recording?.

The Creative Nomad Jukebox 3 has a line in jack, which can be upgraded to a mic input via firmware by applying more gain. Qualitywise it's by far no competition to (Hi-)MD though - it sounds dull and you can hear spinning noises from the harddrive. Additionally it lacks a bias voltage a.k.a. 'plug in power' for electret microphones. It's about time that MD gets some real competition.

Looks like you'd have recorded the soundcards' - (or whatever you've used as the capturing device) self-noise only. Try again with real music.

Read some analogies about it here: http://www.hydrogenaudio.org/forums/index....showtopic=36198

Now we know that it won't work without battery, but your problem still remains. Did you try the mic in a different device like an old md recorder?

Don't know which one you're looking for, but here are some odd md data devices: http://www.minidisc.org/md_data_table.html

http://www.shure.com/support/technotes/app-phantom1.html phantom power and bias voltage: is there a difference? Many users of professional audio equipment believe there is no difference between phantom power and bias voltage. Not true! Phantom and bias are not interchangeable. This bulletin explains the differences between phantom and bias, and addresses common misconceptions. Phantom power is a dc voltage (11 - 48 volts) which powers the preamplifier of a condenser microphone. Phantom power is normally supplied by the microphone mixer, but may also be supplied by a separate phantom power supply. Phantom requires a balanced circuit in which XLR pins 2 and 3 carry the same dc voltage relative to pin 1. So if a mixer supplies 48 volts of phantom, XLR pins 2 and 3 of the microphone cable each carry 48 volts dc relative to pin 1. Of course, the mic cable carries the audio signal as well as the phantom voltage. Mixers that supply phantom power contain current limiting resistors which act as control valves. If the microphone or cable is improperly wired, these resistors limit the flow of current to the microphone and thereby prevent damage to the phantom supply circuit. A balanced dynamic microphone is not affected by phantom power. However, an unbalanced dynamic microphone will be affected. Although the microphone will probably not be damaged, it will not work properly. Bias is a dc voltage (1.5 - 9 volts typically) that is provided on a single conductor. Unlike phantom power, bias does not require a balanced circuit. Bias supplies power to a Junction Field Effect Transistor (JFET) connected to the output of an electret condenser mic element. The JFET acts as an impedance converter which is a necessity in any microphone design that uses a condenser element. A condenser element has a high output impedance (>1,000,000 ohms). The JFET input loads the output of the condenser element with an even higher impedance (>10,000,000 ohms) to minimize loss of signal level. Also, the JFET output provides a low source impedance <1,000 ohms> to feed the microphone preamplifier. In some condenser microphones, the bias voltage must be supplied on the same conductor as the audio. Condenser elements with a built in JFET use this configuration and employ a single conductor, shielded cable. Other condenser microphones utilize separate conductors for bias and for audio. Consult the manufacturer's data sheet to find out the exact wiring configuration. A dynamic microphone should not be connected to an input that supplies bias voltage (such as a wireless transmitter) because the audio and the bias voltage will travel down the same conductor. If this occurs, the frequency response of the microphone may be altered or the audio signal distorted. If a dynamic microphone must to be connected to an input with bias voltage, a blocking capacitor must be used. The blocking capacitor is placed in series with the hot conductor of the microphone. The capacitor passes the audio that is present on the hot conductor while blocking the dc bias voltage. The capacitor must have enough capacitance to pass the audio signal without degradation. The exact value depends upon the electronic characteristics of the microphone circuit and must be calculated for each situation. Remember, in a typical electret condenser microphone, it is the JFET that requires unbalanced bias and the preamplifier that requires balanced phantom power. Therefore, a condenser microphone that requires phantom power will not work with an input that only supplies bias, e.g. a wireless transmitter. Once again: phantom and bias are not interchangeable!

Seems like it needs the internal battery to operate. Did you try a fresh one?

Exactly, and if you need the best quality out of a predictable bitrate, there's also ABR. You don't primarily set a maximum bitrate for vbr, but a quality. The encoder chooses whatever bitrate is necessary for each part to maintain constant quality. http://lame.sourceforge.net/doc/html/modes.html

Many thanks -- Now we need to work a little on the layout of the archive and it's perfect.