philippeb

Just bought a MDS-W1. Like new, 120 euros.

The ES models have a fragile drawer mechanism. I hit the problem with both my 333ES (fixed by Sony) and my 20ES (still broken). I would rather recommend the QS series. I own two 920QS, and those have never shown any sign of wear, after more than 10 years of daily, intensive use.

I am found of the Sennheiser HD 555.

From a hardware point of view, yes, I agree, 8-track cannot be challenged. From a software point of view, the encrypted Hi-MD System File and its elegant "Loose one bit, loose all your data" design deserve consideration. Sorry, I could not resist

Probably not the best sound-wise, but definitely robust and loyal: the MZ-B10.

Right

The Data2 discs were made in the good old days of ATRAC 4.5, when SP and Mono were the only options. Sadly, Sony built only one recorder for the Data2 discs, the DCM-M1 camera, that did not sell well, and was quickly abandoned, along with the format. The DCM-M1 could record 4h20mn of SP sound on one Data2 disc, from the built-in microphone or the line-in, and play them to headphones or line-out. The DCM-M1 could also play regular MDs, but could not record them.

As a side note, I would like to add that the (rare) double density MD Data2 minidiscs are as reliable as regular MDs. I never experimented a failure with these, despite intensive use. I always thought that 640Mb MD Data2 minidiscs were the optimal step up regarding density. I have lost the contents of two HiMDs, and stopped using them after the second failure.

Marlene, you are right, ATRAC is lossy, and each recording implies a degradation of the signal. But the W1 'TRACK MOVE' function is special, as it does not record. It copies ATRAC compressed data as-is, from one minidisc to another, without decoding/reencoding. I have verified this with the help of a RH1 and a Linux box. I have uploaded an original track and a W1-made copy, and compared them bit to bit. The copy is bit perfect, except for the last frame of 1/86s (and that bug can easily be worked around by the purist).

I am living in the present. 1. 45 2. yes 3. yes, no 4. yes, no 5. yes 6. no 7. no, yes

Most of my field recordings are now made with my good old Sony ECM-929LT microphone (bought in the early 80's), plugged into my Sony DCM-M1 minidisc video-recorder. I love the warm ATRAC 4.5 soundtrack of the videos, in particular when I capture live performances on stage. I usually hold the camera with my right hand, and the microphone with my left hand, which gives me the flexibility to associate or dissociate sound from image, while shooting. I play the videos with the DCM-M1 also, S-VIDEO out connected to a HP ep7122 DLP video-projector, and analog AUDIO-OUT connected to a wooden Sangean WR-1 radio. The radio is set under the screen, and acts as an amplified loud-speaker. I get good pictures (at regular DVD resolution), and outstanding soundtrack ! Sound is usually field-recorded, but not always. The DCM-M1 can also record soundtracks from its analog LINE-IN, connected to whatever equipment.

I do not know this deck. I have read the user manual and found that MUSIC/CD SYNC can only be activated from the remote.

Yes you can, on all Sony decks I know. Titling is also possible on the deck, without remote.

I own many Sony decks, and I do not use the remotes. I much prefer interacting physically with the decks. A few features cannot be accessed without remote, though, typically REC-IT or DATE RECORDED.

The MDS-W1 does lossless copies of MONO or SP tracks. The MDS-W1 cannot copy MDLP tracks: like all pre-MDLP decks, it recognizes and plays MDLP tracks as silent SP tracks, and copies them as such.

Lovely unit (the first one I ever bought). Very comfortable in the dark. Warning: this deck has no switch, or menu entry, to select the input channel (Optical 1, Optical 2 or Analog), unless connected to the CMT-SD1 main unit. Workaround: when used as a standalone deck, the MDS-SD1 records from Optical 2 (if a signal is found), or else from Analog (if there is no Optical 2 signal). Other peculiarities: 1. the unit has no signal level meter (it has a red 'Over' indicator) 2. the AMS knob cannot be pressed (to enter 'Divide', or answer 'Yes') 3. one cannot insert a character in the middle of a title

Just bought a Sony MDS-JB920QS deck (50 euros on www.leboncoin.fr).

My MD dream : a DCM-W1 deck, functionally equivalent to the MDS-W1, that would operate on MD DATA2 discs (the MD View discs used by the DCM-M1 camcorder).

I would suggest the Sony MXD-D3 CD/MD deck.

SP does definitely sound better to my ears. More analog-like, warmer, less metallic. As does MONO (my favorite - yes, 146kbps).

Erasing tracks updates the TOC (Table Of Content), but does not erase any data from the disc. To erase data, you must record and fill up the disc with new material, over the erased tracks. Until the whole disc has been recorded again, the erased tracks can be recovered by TOC cloning (a procedure that works for MONO and SP tracks, as far as I know).

TOC cloning works for MDs, but not for Hi-MDs.

Let me elaborate. About the new functions: firstly, the legacy codec ATRAC 4.5 (SP or MONO) is all I need. The newer decks add LP2 and LP4, but at a cost: 1. the editing accuray degrades from 1/86 sec to 2/86 sec 2. the MONO record-ahead buffer shrinks from 12 sec to 6 sec As I mostly record on the fly in MONO, and edit a lot, I miss these features on newer decks. I understand that Sony made compromises to add LP2 and LP4 - but your Sharp MD MT15 will not play them anyway. About the ES series. The decks are mechanically more fragile: 1. I had drawer problems on two ES decks (drawer will not open) 2. I have AMS button problems on all ES decks (button behaves erratically) As I do not use the remote, this is a real nuisance. The AMS button works like a charm on all my QS (and lesser) decks. Also, newer decks have smaller buttons than the 920. About the new functions. IMHO, the only relevant innovation is scale factor edit (to change the recording level after the recording has ended). But: 1. it is real time (takes as long as the original recording) 2. it does decode/reencode the signal (as a plain copy would) Therefore, it is mostly useless for me (I can as well copy from one machine to another, or better between the two minidiscs of the MDS-WD1) except for fading in/out a recording. About the reported 920 issue. I have never heard of it, or met it. The 920 is the most convenient and reliable machine I know.

My favourite is definitely the JB-920QS. Better built than the ES decks in the same family. (I know it is difficult to believe, but this is what I have experienced). My ES decks, JA-333ES and JA-20ES, have proven more fragile than the QS one. Got my JB-920 for $75: unbeatable return on investment. Try it.

This is the "normal" behaviour of Sonic Stage. Nothing to worry about.