greenmachine

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Actually it was some kind of error message caused by accidentally pressing some keys. It gave a nice contrast though. Makes me think about experimenting more with colors.

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I've been using a Ricoh Caplio G3 - Ricoh is famous for their exceptional macro mode, other than that nothing special - it's to a great part the light that decides if a photo will look good or bad. What's the deeper meaning of having all threads in this section pinned by the way?

Seems like a good deal indeed, they apply the source follower mod to their mics, which improves the performance in the high SPL area, capsules are precision matched within 1 dB to each other. You don't seem to need an external preamp though with your RH10, they also sell the microphones only for a slightly lower price. Although they seem to be very high quality, i don't think they would outperform your Giant Squid 'binaurals' significantly except for recording very loud sources maybe. But you would still need a separate battery box in this situation as their preamp cannot be used as power supply only without amplification. Did you buy your Giant Squid 'binaurals' with 'bass roll-off'? What's the deal about wanting to 'pull in more bass'? Do your recordings turn out distorted, do they lack bass or do you just want to shell out some money?

I wouldn't even consider to torture an optical device like that. Nothing beats a flash player for heavy walking.

The review has originally been written more than one year ago by dex Otaku. I just thought about adding some pictures of my used unit (although it still looks like new, i've just been too lazy to clean it - maybe i'll consider it for the next 'shooting').

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Your natural curiosity and inventive talent are astonishing me every time anew. Congratulations - you've just discovered the fact that binaural (in ear) recordings are incompatible with playback through loudspeakers and ear surrounding headphones without correction. Now you need to understand why. The shape of the pinna (outer ear) has a major influence on the amplitude of certain frequencies reaching your ear. I encourage you to experiment with the influence of close surfaces on the pickup characteristic of microphones. If a mic has a perfectly flat frequency response, this is only true if there are no near surfaces. Even surfaces usually exaggerate high frequencies. I've recorded a short demonstration. I've placed a mono microphone about 1.5 feet in front of a loudspeaker, on axis with the tweeter. The first few seconds were recorded without any near surfaces, the second near a flat, even surface, third to last in an increasingly horn-shaped surrounding. You'll immediately notice the high frequency boosting and the increasingly directional effect of a horn. Sample [attachmentid=583][attachmentid=584][attachmentid=585] The pinna behaves very similar. If you record binaurally (in ear), you're recording the horn-like influence of the pinna. If you listen through loudspeakers or ear-surrounding headphones, your pinna will color the sound a second time, which is what you perceive as unnatural. If you're listening with earbuds, which sit in your ear, the pinna won't have an influence on the playback side. This is the only way an unmodified binaural recording is meant to be listened to. For more flexibility regarding playback, the solution would be to either apply a correction curve or to take the mics out of your ears and place them somewhere near them (mounted on glasses, etc.), which is my preferred recording technique. To determine a universal correction curve, you need to have two recordings of the same source - one without any near surfaces, one with the mics in your ear. What you did when substracting the in-ear recording with the original source was to correct the imparities of the microphones/placement -and- your headphones. Sample 2,4,5 of this thread should be of interest for you to get an idea about the influence of the pinna and close surfaces in general. This discussion could also be of interest for you.

I wish i could express it in numbers, but i guess we have a different perception of 'loud'.

If you clip them to your collar, you'll loose the height advantage, mounting them to glasses, close to your ears fixes them in a pretty ideal position. If you don't have your own glasses, use some inexpensive reading-/sunglasses. If you plan to record mainly really loud stuff, the basic panasonic cartridges in standard configuration - as used in many sound professionals beginner microphones - won't do it - if connected as described by panasonic, they produce fairly high distortion at moderate SPL's and are marginally suitable for serious recording. Look out for the source follower / linkwitz mod or other microphones suited for high SPLs to be used together with a battery box and line-in - the standard panasonic configuration with attenuator - as A440 suggests - may work to a certain degree, but has obvious limitations. If you don't need it really loud, it might be sufficient.

Get some good headphones (which don't require much EQing to sound good) and maybe a better soundcard (although i don't think there are huge differences).

It's interesting to see how different perception can be. 64/48kbps doesn't even sound like music anymore to me. I wish i could fit 45 CDs on one MD in acceptable quality. Could you lend me your hearing for one day?

I don't get that price difference, their pricing seems to be mostly random. They seem to use the same wm-60 / wm-61 panasonic capsules for most of their amateur microphones. Although the SP-TFB-2 for example is available with the same capsules / sensitivities, there's no price difference between hi/low. Although a higher S/N ratio is desirable, it's not the only thing to consider. A higher (open circuit) sensitivity doesn't need to be better, it's just an indicator how well it'll fit to your other gear. Because of its higher output, a higher sens. will overload your preamp sooner. I still think the low sens. would have fit your needs better.

No need for additional software yet. You can use the embedded 'Equalization' effect to create your own rolloff curve in Audacity. It works well, is easy to use and looks like that:

Yes, the vast majority does. But they can't normalize compressed material like mp3 without an additional decoding-encoding step, which should be avoided. Use mp3gain for normalizing mp3s, wavgain or an audio editor like audacity for altering the amplitude of uncompressed wav files.

The more gain you need to use and the higher the self noise of the mic, the more hiss you'll get.

I think you've let yourself mislead by the somewhat unclear specification table. It looks like the high sensitivity version could handle a higher maximum input sound level. If you hold your mouse over the column header for a definition though, you'll see "Maximum Input Sound Level - first # is with standard plug in power, second # is with battery module". There seems to be no difference in the max. SPL between high and low sensitivity. But - because of the higher sensitivity, you'll overload your preamp sooner in loud environments. You'll propably get plenty of distortion if it will be fairly loud and you expect to be fairly close to the sound source - even if you set your recorder to low sens and a low manual level - which you should do in any case. I think low sens. (together with a battery module or an attenuator) would have been the better choice for you (and many others). Maybe you'll be lucky though - the attenuator helps to a certain degree.

Maybe try a new battery?

I think this is what you're looking for. The Faq and the included help file should answer most of your questions.

What a pity. If the standard 1000 mAh NH-10WM takes 2.5 hours to charge, as the manual says, a 600 mAh NC-6WM should be fully charged after 1.5 hours. Interrupt the charging process manually after this time and everything should be fine. It's propably better to use Hi-SP rather than PCM as it will save a significant amount of your valuable power.

And remember: There's not only Apple and Sony involved in the portable audio market. Broaden your horizon.

Using a filter before the signal reaches the recorder is some kind of a guesswork, you won't know how it will sound in the end. You can be lucky to find a well balanced setting for a particular location, but often you won't and desire to correct the low frequency amount afterwards a second time. That said, before filtering too much i'd rather filter nothing at all and do all the fine-tuning afterwards in an audio editor. By the way, this is the formula for calculating the capacity value for a certain cutoff frequency: C = 1 / (2 * Pi * R * fc) R being the recorder's input impedance. For a cutoff at 150 Hz and an input impedance of 10 kOhm, your cap would have to have about 0.1 µF. A value as large as 2.2 µF would cut below the audible range (subsonics). A short overview why cardioids often ain't as bassy as omnis: Cardioids tend to suffer from the proximity effect: At a certain distance (about 1' usually) they pick up the low frequency region more or less linear, if you move closer to the source, the bass will be exaggerated - if you move farther, bass will be rolled off. Omnis don't show this effect, they're more or less linear at any distance.

Plastic / fiberglass in the wires is used to make them more flexible so that they don't break easily when regularly bent - useful for longer, often carelessly handled equipment like headphones, wired microphones, etc. - not really necessary here. If you are careful to keep soldering times short enough, no additional cooling would be required. Try not to exceed about 3 seconds continuously. If you need longer for one capsule, wait a few seconds and cool it down meanwhile by blowing against it before you continue soldering. But before making great plans about the distance and final assembly, you should really reconnect them and try if you still have that unusual channel difference. If it's still there, you need to get properly working capsules first.