DaikenTana

Hrm. Well, I've never recorded a concert before, but I know that a physical pair of mics will give you a more stereophonically rich recording if you place them correctly. I think with a dual mic setup you'll have greater control over you recording than with a single-point stereo. That's just my opinion though. If I were in your position and wanted to record jazz concerts (assuming I have permission to set up mics) I would go with a dual mic set up. A single-point stereo is the easier way out obviously, so it depends what you're after.

You're quite right. AGC is alot easier than having to piss around with manual levels, but it keeps your head room as low as possible (which is really bad when an extremely loud sound occurs, at which point the AGC recoils and there goes the consistancy of your recording...) I was walking down the street yesterday with the mics in my ears, and an unexpected bus came absolutely ROARING past me. The preamp overloaded. Now if I had expected that, I would have turned the manuals down, but that means the rest of the recording (4 minutes roughly) would have been bloody quiet. So, it seems a high dynamic range recording is neat, but it can mean you have to crank your speakers up which isn't too convenient when you've got a much louder recording coming up on the next track.

I could do with some hosting myself; my gallery here is full up (even though it says 0% of space used...)

I'm in charge of sound design for a short film me and some friends are making so there will mixing, yes. Thanks for that, I'll have a look around.

Hi all I pause recording, but when I resume it starts a new track for me. Why is this? The only thing this does is clutter up my disc with tons upon tons of useless tracks. If I want markers and tracks I'll place them myself. That is after all why the red button is there isn't it? Is there any way you can turn this auto-thing off? I've looked everywhere but luck aint on my side

I bought the low sensitivity version. So the PSM-3 is really just a hand-held omni mic? Could anyone suggest a microphone for me that would be good for recording sound effects? I'm not too picky about it being mono or stereo. I mean, if it's directly in front of the microphone, it's gonna be mono anyway right! It would be nice to have a mic which cuts out unwanted sound from other directions. The Sony ECM957 looks good but damn it's pricey.

I'm looking for something to do sound recording. Nature, vehicles, machines, talking too. I've read that the PSM-3 is good for both quiet and loud sounds so that's why I have my eye on it.

Howdy all I'm looking for a good sound recording mic. I was looking at the Sony ECM907 and ECM957, but I've heard that their frequency range isn't too good. I then found TSP's PSM-3 and read that it's better: http://www.soundprofessionals.com/cgi-bin/...i?item=SP-PSM-3 Has anyone had any experience with this, or is there a better option out there somewhere which I don't know of? Thanks for any help in advance!

Aah, okay. Well it's not that big an issue, it just means I have to bring the left channel down by 2db when editing before I do anything else.

Oh, I see. I suppose that's what the .OMA files are sitting in SonicStage's folder. Damnit... I don't like the idea of having to compress it as an MP3 after it's already been compressed as an ATRAC...

So let me get this straight. The RH10 records in the ATRAC3 format, but ultimately you have to convert to WAV for editing anyway? What's the point of that? Why can't you just take the MP3 files off your MD and put them on your HDD?

Hi guys Got my TFB-2s the other day, DAMN they're sweet. I just have a question though. In all of my recordings so far the left channel has been about 2db louder than the right. Now, I have a cold in which my right ear has lost a lot of hearing, but I'm guessing that's just a coincidence. Why is this happening? Is it a preamp thing or is it a problem with the mics?

Okay, I got my RH10 yesterday and what a sexy little beast! I've been recording a lot with a pair of SP-TFB-2s, and I've found that sudden attacks of bass (like the slamming of a car door from the inside of the car) causes the preamp to overload. Going over bumps in the car also does it, only the meters don't show it. I fix this just by flicking on Low sensitivity on the RH10, but all that bass really means I have to bring the levels down A LOT. It doesn't bother me that much; I haven't been in any situation where I needed the attenuator I bought or a battery/juice box.... yet. Oh well, I'll see how things go over the next few weeks. I take this thing everywhere!

Oh, yeah, that's understandable. No I don't picture myself going to concerts. I do record from the radio and TV a lot though when it comes to music, so I can understand how an unstable volume level would be irritating. The majority of sound recording I do is stuff that you can repeat/that happens again, so there's not really an issue for me there.

Of course. I'm just saying, as quickley as it takes to adjust the volume with a good headroom, there are times when you might want to lower it in certain situations (a truck comes past and is louder than you expected, a speaker's voice gets louder than you thought it could.) I suppose leaving lots of head room is the universal solution for all that, but I just find it more convenient to quickley make a slight volume change without having to pause first. Besdies, it's just an easy matter of editing out the parts you don't where the volume changes (unless there's something during that part which is critical, at which point you've screwed it for yourself and you have to counter-act the volume changes in Adobe Audition or WaveStudio or what have you)

Why? Isn't it easier to change them while recording? Having to pause every time you want to adjust the volume must go so frustrating. Even TSP thinks the same: "Many of the current SONY MiniDisc recorders have a limitation built right into them.....they don't allow the user to manually adjust recording levels while you are recording. You must first pause the recording before adjusting recording levels. This can be a nuisance if you find the need to adjust the recording level in the middle of the program you are recording."

Hey Veezhun, can I ask you a nother question? Does the RH10 allow you to change recordings levels while recording? And if not, is the level meter still functional while recording is paused?

Thanks a lot! I'll be getting an RH10 within a day or two so I'll see how things go and post back here.

Oh I see. So seeing as I'm using SP's TFB-2s (and planning on getting a Single-Point Stereo), a batt/juice box would be a good idea if going through Line-In? I've heard that Line-In generates less noise because it doesn't pass through the preamp which the Mic-In does.

I've recently found that 9 volts of power for a plugin-power mic is ideal, and that most MD recorders don't supply this through their Mic-In jacks. Is this solveable by using the Line-In? Does the RH10 output 9 volts or not? I've been looking at the Sound Professionals Battery Module: http://www.soundprofessionals.com/cgi-bin/.../item/SP-SPSB-1 and the Reactive Sounds Juice Box: http://www.reactivesounds.com/ps1.php They both supply 9v to a mic and do practically the exact same job. However, the Juice Box is $10 cheaper than the battery module, but I can't find out why. Has anyone had experience with these two who could compare them? Thanks in advance for any help.

There's not as big-a professional market in Aus as there is in USA. I live in Aus myself, and the majority of people here are consumers who want 'a nice n easy device which gives them music from their PC fast with little (or even no) effort at all.' So naturally it's the MP3 players which rank supreme over here. I have an iPod too, and playback-wise it's the most used device I have. BUT, I love sound recording (it's a hobbie of mine), and this is something the iPod can't do. The closest you can get it is by buying a Griffin iTalk (which is more of a note-taker than anythinig else) which you fix onto the top of the iPod, but this thing records at a set 42kbps and sounds TERRIBLE. It makes me wonder why they even bothered with a Line-In jack on the top. Oh yeah, and there's no manual record level either, but that's to be expected on something like this. [sigh] If only the iPod had a Line-In, Mic-In, manual record levels and a battery life longer than a lousy 4 hours.... 15gb is an awfull lot just to store music.

Aaah, so the attenuator limits the loud sounds. I guess the result of that is a not-so-natural recording, but I'd prefer that over a distorted one any day. Sorry 'bout taking this thread off subject, I have a bad habbit of doing that...

So, if your preamp already has a manual volume control, an attenuator is basically just an optional extra volume control which doubles as a kind of guard for your preamp?

What if you're using in-ear binaurals? Surely security would be curious to know why you're wearing headphones at a concert...

Cheers for the help fellas. I've just ordered a blue RH10 from eBay and an Attenuator and the TFB-2s from TSP, so pretty soon I'm gonna be reeeeal happy