m15a

hi. thanks for thanks for the reply! do you have an opinion on which is more durable overall? if the bmc-1 is, is there a way the bmc-2 is better? (since i don't see how bigger could be better, really.) (if i don't get a reply, i'll probably call later. just don't have the time today.)

i was about to buy an sp-bmc-2 mic from sound professionals when i saw the sp-bmc-1. they sound so similar that i'm really confused about which to buy now . . it seems the sp-bmc-1 mics are smaller, and maybe have an extra rubber coating? if the sp-bmc-1 are more durable, that'd be a plus. but i don't want to buy the sp-bmc-1 and realize that they're not what i wanted. anyway, i know a few people here have some experience with sound professionals, so if you can describe the difference (or if you've had experience with the sp-bmc-1 at all) that'd be a big help. thanks!

hi, all. i have an rh1, which relies heavily on the remote for playback features. although i find the sony remotes generally handy, they don't really work out so well connected to a large (long, wide, and heavy) headphone cable. i was thinking it'd be perfect if i could modify the remote so that it doesn't use the headphone jack, so i can plug my headphones directly to the player. has anybody tried anything like that? any opinions on how to do it, or why it wouldn't be possible? or, even better, are there any remotes that are already designed like this? it seems plausible to me, if you could cut off the end of the wire, break off the headphone plug, and reconnect the wires for the remote functions.

i'd rather not sell the mic alone.

i probably won't be letting it go for $150 . . . is that unreasonable? i think used rh10's go for more than that, right? (regardless, if it's not worth that much, it might be worth keeping as a spare . . .) i'd appreciate opinions on what i should get for it from people not looking to buy, too.

i just realized that someone might want the player without a mic. i'd much prefer you buy the set, so i won't give, like, a $60 discount if you don't want a mic. maybe half that. i'll cut off a few dollar if you don't want the minidisc, too . . . basically, it's all negotiable.

i believe it is a regulation size gnome. i'll only sell the gnome bundled with the recorder. PM or email me with an offer.

here are a few pics of the thing. i'm not a pro with the camera (had to borrow it) . . the hi-md recorder, mic, and remote. [attachmentid=2084] here it is with all the included parts (except the manual and software disc). note that most accessories are still in the packaging. only the player, mic, charger, and remote are used. also, i put the sound professionals mic in there (in a blue bag at the bottom). [attachmentid=2085] i'll probably regret this. but this is the mz-m100 looking as bad as possible. flash is head on. doesn't look as bad in regular light, though. [attachmentid=2087] and here is a size comparison between the recorder and a garden gnome. [attachmentid=2086]

hi, all. i'm looking to sell my mz-m100 hi-md recorder. turns out i need the legacy capability of the rh1 so i ended up having to buy that and have no use for the m100. i purchased less than half a year ago and it's in new condition, besides the inevitable scratches. - comes with all accessories, including the ECMDS70P microphone. - will include new hi-md disc, new headphones, new usb cable (the ones that just came with the rh1) instead of used ones. - if you would like, i can include a *new* sound professionals sp-spsm-16 instead of the ECMDS70P microphone. (http://www.soundprofessionals.com/cgi-bin/gold/item/SP-SPSM-16) - box, manuals included. post here or email me (locrian /at/ gmail) with any further questions. i haven't established a price yet. give me an offer. (looking at ebay, seems like ~$200 is what they go for used.) also, if you want photos, i can post some up. i prefer selling locally with someone who could meet up in the new york city area, and will sell it for less if that can be arranged. i'm open to non-local offers if i can't sell it locally.

thanks. this did the trick. i must have been going into rec-pause mode first before. then it won't let you change the setting.

thanks. will reformat and try these suggestions tonight.

hi. i'm trying to record (via mic) onto an 80 minute minidisc. i have an mz-m100, and i set the disc mode to hi-md. i am able to record in PCM, but i'm not able to change the recording settings to record in hi-sp. this works with hi-md discs, though. i checked the manual, but i couldn't find anything saying that i couldn't record in hi-sp mode. am i doing something wrong? also, i think the box of minidiscs said it's hi-md compatible. it was a sony pack of 5 multi-colored (red, green, blue, purple, black) discs. thanks!

thanks again. i'll try that method if i have problems. and i'll try to make time for another test some time soon. if i get similar results, i'll contact sony.

thanks for the reply. and sorry i left out the details. i'm using a new mz-m100. sonicstage 3.4. i didn't think the vibration was that bad, so i was kind of surprised that there were problems. thinking about it, i actually lost one recording i made with the device kept on a table. there is a chance i banged it once or twice, though. but no repeated shaking. it seems like i have more problems uploading the tracks than playing them. i know i can do real-time recording and i will definitely use that as a last option. i used two different discs with similar problems, but i could have gotten a couple bad discs. both had bounced around in ups-land. i'll try again some time soon. it is reassuring that this isn't a problem with md recorders in general. besides avoiding vibration and bad discs, are there other things to look out for?

i'm interested in recording environmental sounds while walking or on the train. i've tried this twice, and my results have been unsatisfactory, as in both cases, near half of my tracks have errors when uploading. i figure it has something to do with the vibration, but if there's no way around it, that's a real downer. since at this point, this is my main recording use for unit. the first time i recorded, i recorded in hi-sp and used few track marks, but ended up losing hours of recording. the second time, i used a new disc, pcm recording, and many track marks, but still ended up losing hours (well, maybe an hour) of recording, but just random pieces throughout. i want to record at least a full 20 minutes of sound and i can't see much i can do to cut down on the vibration. i hold the unit in my hand, not my pocket. so, do any of you have suggestions? is it just a limitation of the device, or do you have experience to the contrary? or maybe there are a few guidelines i am overlooking? thanks for your help. i'm really hesitant to use the device at all for recording now, since i don't want to be disappointed with wasting all my hard (well, not very hard) work.

i don't think there's anything safer overall (getting through the security and recording without getting caught). voice recorders won't be worth it. and i think the smaller flash recorders are fairly recognizable, too. (maybe not as much as a minidisc recorder, but you can't pretend you use it just for listening.) make sure you hide all your recording stuff seperate from your md. (and hide it well.) maybe even on a different person. and then pretend. if they're suspicious, don't act confrontational. act dumb.

by that point, we'll all be living in a virtual world a la the matrix. except us few renegades. i'll be hanging out in that hot underground dance lounge, no longer concerned about primitive personal listening devices. if i'm wrong about this, i'd either get no replacement (for a field recording device) or get whatever low cost flash recorder is on the market. i wouldn't be surprised if i did that anyway if that market matures in a few years.

do you (or anybody) know if sony style stores are selling minidisc accesories (cases, remotes, whatever)? in the u.s. that is. i'm in ny, btw.

if you're fine with the mz-m100 (i'd assume so), soundprofessionals has this deal: http://www.soundprofessionals.com/cgi-bin/...Y-MZ-M100-PROMO mz-m100 with included sony mic, mdr-7506 headphones, $10 off soundprofessionals mic. you can get it for $50 less without the headphones, but that'd be silly. those headphones sell for $100 most places and they're a popular model. (i'd definitely buy an extra pair for $50 or more. i'm selling mine to a friend for $70 . . kinda wish i wasn't, but a deal's a deal.) oh yeah. the deal's supposedly selling out and this is the last week for the offer.

thanks for the info. maybe i've been anti-spoiled by crappy cases that come with some electronics, but that's some nice design work, imho.

i'm impressed by the case and foldup design. thanks for the pics. does anyone know if the px200 is the same? also, is there somewhere to wind the wire into the case or do you just throw it in?

sorry. i misunderstood. also, if my idea of fading in and out the copy of the left channel doesn't work out right, maybe you can just try to make sure the ends of the sctions where you replace the right channel with the left have a lower volume, or are at least at zero crossover points. all of this is to prevent pops from the sudden change in the wave. actually, even if you do use fading, you'd still be better off looking for quiet segments to switch over. overall, i think it's the sudden changes you want to avoid.

this seems pretty drastic. maybe 25% is lost? and there is popping and distortion on the edges of the "good" sections of the right channel. it seems like the best route would be to give up and just go with mono (copy the left over to the right completely). i didn't listen to the sample, but either the source doesn't need to be in stereo or if necessary, copying over the left to the right will result in something not acceptable. if you want to try, maybe it'd help to use fading rather than just simple copying and pasting. (never tried it. just an uneducated guess.) on the other hand, maybe that cause more problems with the channels being out of phase. maybe you can try flipping the signal if the left and right are more out of phase than in phase. ::shrugs::

a440: supposing that there is actually too much bass in the environment, wouldn't there be a benefit to cutting down on the bass before recording even if there isn't an overload problem? because you can then increase the level you're recording at and have higher quality. maybe a couple bits of resolution or something. unfortunately, can't much help with the original question, though. but like a440 is suggesting, you can treat the problem just like troubleshooting a computer. look at each stage independently. (source, room, mics, recorder, headphones, ears . . . )

thanks for the tip, jaylen. looks like something worth checking out. but they seem to not be available so many places. are they only japanese imports? in any case, i've stored the model numbers in my head in case i happen to spot them.