Strungup

Actually found one but it was in bad shape , it was in the "Junk" section of Tsurugamine Hardoff and it wouldn't do anything , the still wanted a price for it .

The Raja has got it . those are gorgeous . So do I still have to find an EH1 ? ,,,,

On a Mac myself , Own an R50 and will not part with it , My other R50 just recently passed away after 10 years , yes I said 10 yeaRS OF USEAGE BIG TIME. Agree with the Aversion , although it is somewhat of a must in this day and time . The R50 is pricey because it was the best one component wise , that Sony made , The R50 is a Legend. there were a Lot of preamps made for that unit. (I actually had this one , loved it .)

Welcome to the MDCF . So far , for Field recording there are a few options , but they involve great expense, Transfering LP&Tape , A Lot of MP3 Players have Line input for Recording . But the Sound Quality of MD has yet to be rivaled , and it is the only one that does ALL of what you have said ( Though the Jogging part makes me a little nervous, unless you buy a seperate "Player Only" model ) The Mic preamps in the Sony MD's are very nice , you wont find nicer for the Portable Stereo mics. The ability to Adjust record levels , and Edit track marks , move tracks to rearrange them , etc Lp copy ....Did 7 yesterday , Tape Copy ........ Lost count over the years, CD Copy , Line or Optical you have a Choice !!!! Toslink Cable from an Optical output of Digital Radio , CD , DAT, Multitrack Recorders , Computer soundcard ......... The list gets long . You can built a "Used" music collection faster than you can imagine , what you Pay for the MD Recorder will be made for By the Music you get from your Freinds and Aquaintances when you snag CD's they have that you like directly to MD . Live recording ,.......A nice mic and MD and a Little knowhow , Your now a Bootlegger ( Like most of us here ) Next , I have a Question ........... Is a 57 Chevy Dead? I mean Yeah they dont Make them anymore , but are they Dead ? MD People will remain that way for a Looooong time to come.

http://www.gpbattery.com/index_files/Consumer_NiMH.htm Scroll down to the bottom

No Commercials, The songs you WANT to hear , the Quality you WANT to hear ......... You tell me , what is crazy about that , And since when is good Quality been Cheap ? MD , Is about Sound , not opinions

Past two Days , I havent been feeling all that good , so I have been in my studio , just putting Vinyl to MD . "Blue " My replacement R50 is getting broken in , in this order. Already Copied 1983 Huey Lewis & the News "Sports " EMI Japan Release Condition Good 1980 Pat Benatar " Crimes of Passion" Original Press Condition good 1980 Ambrosia "One Eighty" Original pressing Condition Good Moderate LP noise , but easily acceptable) 1976 Lynyrd Skynyrd "Nothin Fancy" first Print Rare . Condition moderate ( LP noise in between tracks substantial but not annoying) 1978 Steve Miller Band "Greatist Hits 74-78" . Condition Pristine Practically no LP noise next in line 1982 Ambrosia "Road Island" Original Print W/Japanese sleeve insert addded on Import. Condition Very Good (one of my favorite pieces) 1977 Joe Pass " Montreux '77 " Live Solo concert , Original Print W/Japanese wrapper added after import ( no. MTF 1812/Stereo Pablo Records) 1978 Prism " III " Polydor Records Japanese Fusion Group , Akira Wada , Ken Watanabe (yes the same) Koki Ito, Toru Suzuki, Yasukazu Sato, Special Guest Daisuke Kume .

no that shouldnt be , I think that 50 might be a typo . Line out should be 50 kohms so I will bet it is a Typo

You would have to use XLR adapters for the AT822 , I believe the MX34 onlys has XLR connects (and the arent Nuetrik) but at any Guitar /Music Store in the PA section there will be a bunch of Adapters and Gizmos , The AT 822 is 250ohms oer side , so it might not be perfectly clean but it will be pretty good . I have two cables with 1/4" Female -> XLR for my AT822 they are about 1 1/2 feet long . Mono Phone jack - XLR pins 1&3 ground Pin 2 hot

I dont use the GP charger , I charge them in the CD player , also in the MD , no problem .

I am on a Macbook Pro , and use MD Transfer 2.0 , I have the Clock set on my RH1 ( I know it isnt the NH1 , but just for the sake of the point ) When I upload my files , they are dated or actually Named with the date , Ex. 2006-11-11 13_38.Wav That is the actual name of one of my files . Showing the Date in Year/Month/Date(space)Time 1:38 Pm

Line in Most definately , I was actually liking the line in on the H2 , it is fairly clean , the Mic input just doesnt cut it . But I have used to line in for an MD that I wanted to convert , So there is and option for Net MD's or files that the RH1 cannot Upload , is Use the Line in on the H2 and record to the H2 then Upload in an Audio Editor freindly format . As far as a Preamp the Rolls MX34 would be a favorable option ,I want one , but it isnt available here .

Absolutely agreed 440 , the sonic stage issue , Should never have been introduced . The MD was a Marvelous ,Completely Usable tech , before SS , and just the desire to integrate it with the PC is what did the most Damage . Lack of Marketing and Supply and Demand issues wre the first problems , but true recordists were willing to overcome those hurdles . Truth be told , I wish MD would go back to the NON Computer days , and end all the issues.

Are you on Windows or Mac , If you go thru a Firewire Mixer , o a USB Mixer that will give seperate ins thru the USB ( A lot of Mixers only come out Stereo , but some are configured to give individual track out ) then record directly from the MD8 into the computer realtime with everything already synced . If you are on a Mac , I havea small prog I could shoot to you, all it does is record 8 tracks, no bells no whistles , just 8 inputs with meters that is it . REC for Mac . it just works.

actually I own the H2 , and the limiter prevents clipping quite well , you cant push it to hard but , I get an extra 4 db easily . What it doesnt prevent is distortion in the mic pre , if the mic pre is being overloaded you have distortion , I have noticed this , it isnt digital clipping , it is Mic input overload. I change the mic gain setting , then raise the levels back up . The Digital clipping happens at the write stage , where the recording actually happens , the A/D converter can go higher than 0 db . It happens after the limiter , there is a Definate difference . I should have used the H2 yesterday . There was an Opera at my kids school , A Professional troup came to give a demo and the where doing Verdi . The Dynamics in the room were out of control . I had the RH1 , I was sitting at the back of the auditorium , The entire school in front , The Stage had no Amplification . So the Pianissimos were quite low , and when the tenor hit the Mezzo forte's the Levels go thru the roof , ....Lets just say the jog dial on the 40elk was getting a workout . I have experimented with the H2's limiter at home , using different distances , and power of stroke on my acoustic . My Guitar is pretty big sounding so I can easily peg the H2 . using the Limiter I can set the H2 a foot in front of me and Bang on my guitar , with mic gain on high I hear preamp distortion ,or breakup but not Clipping , two very distincly seperate sounds. I put the mic gain to Mid and adjust levels I can give the guitar a workout , The only problem in the Proximity Effect , the H2 is Bassy at close range , way to much ,even with the Low cut in . So I prefer to use the RH1 ,and the AT822 .

On Marantz website there is no mention of the 620 , Entered it into the search feild at Marantz , "No Results "

The GP's will charge just like the Sony's ,no worry I have a set in my CD player , and charge them all the time.

Your sooooo Mean !!! ( I was wondering what happened to them )

Just for the Sake of argument .............. http://cityroom.blogs.nytimes.com/2007/09/...or-rising-crime

You know , .... You might just have a Point there!

http://www.nrao.edu/pr/2007/coldspot/index.shtml I think this is where all the missing socks have gone!

Raja , That is the Bomb Dude , Right on .!!!!!!

Oz , there used to be a Post on here but I had deleted it along with a buttload of other stuff, The file was of Taiko Drums , The audience , and the The leader of the Taiko group , was basically lost because the Recording levels had to be set so low ,so as to keep from blowing the vu meters . Now If I would have had a limiter on the RH1 at that time , I could have captured a MUCH broader Dynamic Range , And would have had a Perfect recording . A Limiter doesnt Compress , Compressing is a Sonically visible Artifact that is UNdesireable unless it is judisously used. Limiter only Puts a Very fast Cap on the Rec level peaks , so that you can Raise the gain up a little to Get a Broader Dynamic range to the recording . You cannot bring back , WHAT YOU DONT HAVE . If you dont capture it , it isnt there. There Has to be a Certain Level of workable audio , before you can do ANYTHING with it in your DAW . Limiting is a Balancing act , .... getting just enough so you dont notice it , but getting more of the Audio you want , so as to be able to work with it later . Obviously you have a little knowledge about electronics and audio pathways , and Todays Digital recording enviornments are not quite the same thing as the 48 channel , and 56 channel analouge boards I am use to . But Certain principles DO remain the same . With Analouge you can Push a Much hotter signal , and instead of clipping you get Saturation , both are forms of distortion , But the Saturation can be used to your advantage, Clipping just is what it is ,Bad. On the original recording , you want to get as much audio as you can with out Clipping , with Analouge You push the signal as hot as you can without the saturation becoming audiologically visible . To get that audio in the Digital realm , you NEED limiting capability , without it , you have no punch , and reduced clarity , and dynamic range . do you have the H2 yet ? If you do , go to a Loud Concert , record two files One with Limiting , and one without , On the H2 you can adjust the Rec levels while recording and if you dont mind the brief POP you can switch the mic gain switch also ( Dont recommend it , but for experiments sake) also Ask any decent sound guy , about running live sound , without a Limiter , , ......The first thing he /she will do is Laugh at you . You run a live show withouth Limiters you will blow your amps up . Literally . Thery will start Clipping with the first good bass slap or Drum kik , and 1/4 of the way into the show Poof , thermal shutdown . No Limit , No Volume . Acoustic show fine no problem , Unless you want to get louder . Small venues fine no problem , but anything with Large dynamic peaks , needs a little more control to get it , and get it right .

I hate to correct you , but you are forgetting two VERY crucial things . #1 The lower the level of the quiet Signals , the closer to the Noise floor they are . #2 When Raisng those levels , also raises the Noise , Either in the Digital or Analouge realm . The Idea of the Limiter is to raise those levels BEFORE they are attached to a specific noise level ........ It isnt just the processing , there is an ART to capturing sound , and there are tricks to it . But to each his own , I have been around Sound for a LOOOONG time (Live, Studio, Venue, Public Address, Recording , Processing , ............)

You need an RH1 or M200 to transfer to PC , those are portables , but they are USB , and Work with Macintosh as well , actually probably easier with Mac , the Sofware footprint is small , with no extra bells an whistles to get in the way . All HiMD formated files come in as WAV to the Mac