Strungup

I would agree with the Zoom H2 , that is a nice looking peice of gear , unsure of durablity issues ( It will be a first run item ) That gives straight drag and drop , But yes the advants of the RH1 for the extra money are definately worth it . for the consistency and qualty of the recording . for just doing interview a lot of peole are still issuing the Handheld Flash recorders , It just that the MD will give a buttload of other options once work is done and you take it home with you , The music collection begins to grow.

Great minds think alike

if I have to explain it you wouldnt get it ,

Right on , heard some clipping , but it sounds like you were watching your levels pretty good. and yes with a Pro mic .... ummm you would be in need of some privacy

Again ... You want the RH1 not the 700 yeesh !!!!! And the rmc-40elk remote , with it gives you recording level meters (dual) on the remote screen , the Jog dial becomes the Rec level control Get a stereo mic for it and set the unit to record Mono , or Stereo . mono Vocal Mic will need a special cable , A number of Stereo mics are plug and play ready , if the Company is buying get the good stuff , I am a Pro sound guy , OPM = RH1 + RMC-40ELK remote+ AT 822 Audio Technica Stereo Microphone If the AT is too much money , then you go for the NADY http://www.samedaymusic.com/product--NDYCM2S there ,done

dont ya luv it how the newbies think they can just go go go , and the dont REAALLLLY hear what your trying to say , DUDE ,! Hey Ya YOU ! ... Get THE RH1 ,... and THAT MIC THAT YOU WANT ..... IT SUX !!!!! IT WILL NEED A SPECIAL CABLE AS WELL IT WONT WORK WITH THE MD THE WAY YOU WANT IT TOOOOOOOOOO!!!! I wonder if he heard me , I cant yell any louder XLR to MD Cable instructions : step 1 : Get a very nice 1/8 " headphone extension cable from Radio Shack , Best Buy , Circuit City etc. step 2 : Buy a Male XLR nuetrik brand connector from Mars Music , Guitar Center , etc. etc. step 3 : clip the female end off of the headphone cable so the male end remains to be able to plug into the MD Mic input. step 4 : strip back the coating without damaging the individual coatings of the wires inside step 5 : take a multimeter and check which wires go to what part of the male end ( Tip Ring Sleeve) and write it down (ie. Red to tip , yellow,to ring , etc.) step 6 : Now this is important newbie , pay attention , The Tip and Ring wire go together and get soldered to PIN 2 of the XLR plug ... MAKE SURE OF that Step 7 : the Ground wire , that goes to the sleeve of the male plug , gets soldered to PIN 1 and also PIN 3 and also to the TAB of the XLR plug . then screw the cable shield onto the XLR plug , and enjoy a MONO cable that supplies sound to BOTH LEFT and RIGHT channels of the MD If you do NOT do this , you will only get left channel audio , and there will be Phase cancelation issues that will ruin your recordings. :rtfm:

Speaking of which , I just inherited about fifteen minutes ago a Mackie CR1604 16 channel mixer , in an Anvil Road Case W/ slant top rack for the mixer and 8 rack spaces below , back door , Bottom mount fan ventilation Analouge still Rulz my World . I have a Major guitar repair going on a Very Nice ,Jean Larrivee and the customer is quite happy to trade for the repair work . Not a bad deal , in my book .

If I had the Money , but this will be Common Place tech soon enough. another reason MD is in trouble , but it would awesome if MD had this !

Congrats on thr RH1 , Next .... Macbook Pro !

What he meant was that the RH1 ,.. not the RH10 is the only one capable of that particular task . The RH1 is a different model. The RH10 will only let you Upload from what is recorded on it , and limited at that , it will download and play MP3 format as long as you make sure the MP's are 16 bit , not 24 , or 32 floating. also the sample rate needs to be 44.1 khz , not 48 or 96 , 16 bit , 44.1 bitrates 64-> 320 Kbps on MP3 Legacy Recording Upload = NO Self Recording upload = Yes Real time = a stereo cable from the Head/Line output of the MD -> to the computer soundcard. And the use of a Software recorder such as Audacity, Record Pad , Cool Edit, Wave Pad, etc.

Actually Audacity is drag and drop , from a file that is already on the computer , Yes it does "Import" just not directly from the MD. And the new version of Audacity "Imports " a lot more than it use to , will use the new Preview function on the Apple Core effects, the Apple Core effects show up in the effect list , so you get all the Mac goodies inside a FREEE editing program .

Denkodo had 10 packs of the Sony Neige for 780 yen this week and I am broke. I noticed the same thing , where the MD's were , now it just the Blanks

I just bought two Japanese Massage Cushions , Sort of a Portable version of the Motors in the Japanese Massage Chairs ( if you have ever experienced one you'll know what I am talking about)

A Mac and an RH1 is a good thing

"Proffesional Level Recording" requires a couple things in the initial stages of recording , that is control over the mic , not neccessarily the mic itself( But good mics ar also needed) The idea of "Limiting" the signal or "Compressing" the signal (Or both ) in order to smooth out the dynamic peaks so as to be able to get a "Hotter " signal to the recording device . If you record a Beautifull Noise free peice , but the softer parts get "Lost " in the mix of other things then the recording loses dynamics ( sounds odd huh, first clamp down on the dynamic , in order to get dynamics????) yes that is part of it for digital recording you absolutel MUST avoid clipping , which is signal overload. But to do that your LOUDEST sounds have to be just below 0 db. So what happens to the soft sounds when the loudest are under 0 db ..... ? think about it The Limiter is designed to let you get the Loud sounds capped so you can Increase the gain in order to get softer passages to come out better . Pro recording is a Balancing act , some of it can be done in post proccessing but generaly the initial recording NEEDs to be as good as it can possibly get before Proccessing it A mixer that has two effect send and returns , and insert points on the mic channels, a Good compressor , and limiter , A touch of Reverb, and several mics so that you get more detail out of eac h band member and control over each mics level and position in the sound field ( Left or Right , and depth) ... now you get closer to Pro level recording.

I take issue with the Nady being better than the AT , 86 db S/N is what most CD's will register when you consider that the Nady has 24 db of self noise . that would mean it S/N would be close to 62- 64db The AT-822 is at a S/N of 70 db on paper but in actual work, depending on the equipment it is plugged into can be much higher than that . The Mic pre of the RH1 is almost 100db S/N it is one of the quietest portable pre's there is the R50 clocks at 101 db S/N I have both units And have posts on these boards that verify the quietness of the AT-822 , I have yet to hear a NADY as quiet. or as good. The Rode's I can agree with they are good mics , the NT4 with a decent pre such as a Rolls MX34 would be a great feild setup , the MX34 states a 101db S/N but it would very much depend on the impedance of the mics being used . There is a Key statement . "Impedance " most of the Audio tests I have heard were based on stuff who's Impedances were improperly Matched Which introduces Noise. The AT-822 is basically Designed for the Impedance load of the Mic pre's in Dats , which were Sony"s by default so the nearly identical pre's in the Sony MD's are perfectly suited . I have used the AT-822 with a Sharp MD and was mortified at the Noise in the Sharp preamp. Learn something about impedance matching , you will reduce your noise levels. SPECIFICATIONS ELEMENTS Fixed-charge back plate, permanently polarized condenser POLAR PATTERN X/Y Stereo FREQUENCY RESPONSE 30-20,000 Hz LOW FREQUENCY ROLL-OFF 150 Hz, 6 dB/octave OPEN CIRCUIT SENSITIVITY -45 dB (5.6 mV) re 1V at 1 Pa CHANNEL BALANCE <=2.5 dB IMPEDANCE 200 ohms unbalanced MAXIMUM INPUT SOUND LEVEL 125 dB SPL, 1 kHz at 1% T.H.D. DYNAMIC RANGE (typical) 101 dB, 1 kHz at Max SPL SIGNAL-TO-NOISE RATIO 70 dB, 1 kHz at 1 Pa BATTERY TYPE 1.5V AA/UM3 Warning: The AT822 is designed for battery operation only. Do not attempt to use when phantom power is present. Possible damage to the microphone may result. BATTERY CURRENT / LIFE 1.2 mA / 1000 hours typical (alkaline) SWITCH Off, flat, roll-off WEIGHT 5.8 oz (165 g) DIMENSIONS 7.76" (197.0 mm) long, 2.44" (62.0 mm) maximum head width, 0.83" (21.0 mm) body diameter OUTPUT CONNECTOR Integral 3-pin XLRM-type CABLES 1.7' (0.5 m) long, 3-conductor, shielded, vinyl-jacketed, stereo cable with 3-pin XLRF-type connector at microphone end, 3.5 mm stereo mini plug at output end. 10.0' (3.0 m) long, 3-conductor, shielded, vinyl-jacketed, stereo cable with 3-pin XLRF-type connector at microphone end, two 3.5 mm mono mini plugs with 1/4" phone plug adapters at output end. ACCESSORIES FURNISHED Gun-grip snap-in stand clamp for 5/8"-27 threaded stands; camera shoe mount adapter; battery; AT8120 windscreen; soft protective pouch AUDIO-TECHNICA CASE STYLE S3 Nady Specifications and design subject to change for improvement purposes without prior notice. SPECIFICATIONS ELEMENT: Fixed-charge back plate permanently polarized condenser POLAR PATTERN: Cardioid (Unidirectional) stereo FREQUENCY RANGE: 30 to 20,000Hz LOW-FREQUENCY ROLL-OFF: 150Hz, 6dB/octave SENSITIVITY: -45dB (5.6 mV) re 1V at 1 Pa IMPEDANCE: < 250 Ohms unbalanced CHANNEL BALANCE: < 2.5dB MAX. SPL (1% THD @1000HZ): 128dB S/N RATIO re 1Pa: 70dB DYNAMIC RANGE (TYPICAL): 101dB, 1kHz at Max SPL BATTERY TYPE: AA alkaline battery BATTERY LIFE: More than 1000 hrs SWITCH: Off, flat response, low-roll-off SIZE: Diameter: 0.83" (21.0mm), Length: 7.76" (197.0mm), Width: 2.44" (62.0mm), NET WEIGHT: 5.8 oz (165 g) See the difference AT-822 200 ohms unbalanced , ... Nady 250 ohms that equals lower output which means you have to crank the gain higher which means more noise.Both have the same open circuit sensitivity , at -45 db 0ne pascal But the 50 ohms difference IS a BIG difference it is amounts to about a 3-4 db lower output

http://minidisc.org/ then go to equipment browser , find the 510 and see if there is a service manual along with the owners manual

I was in the store just last week actually listening to that unit , The bass was Outrageous, lot of sound from a very small unit.

I will agree with Rich , on that Plays and Drama being spoken word and interaction are more for entertainment rather than submersion Audio being in LP2 is Ok as well if the sources are good. Also correct the link , it leads to Your Ebay account , rather than the items , If you have a tabbed browser , go to the item itself on a seperate page and copy and paste that link , instead of from inside your account.

It looks like a standard miniB Usb cable . If there is a CompUSA , or PC Depot near you , or any other store that has computer cable (Best Buy Circuit Silly ...ooops I mean City ) it is a standard USB "A" to Mini "B" cable , it will cost you three bucks or so.( get a Short one)

Good to see you back Wiz

Depends on the quality of the source signal , that you recorded from , LP4 isnt going to win any favors , unless the source is of extremely high quality. A lot of the guys here are audiophiles , and they would probably be more interested in the discs than what is on them . If the Discs were in SP mode and of high quality , then they would be worth resampling and or CD burning . Just my two cents worth

ummmm Yes Yes yes and umm Yes The RH1 has a Dedicated Mic input which is very sensitive , And if your on a Mac everything comes into the computer as WAV not Atrac. so to answer your ? .... YES!

HELP ME! I will even accept phone calls. I must have another one. 716-597-8018. If I can get a red one, I'd be the happiest person on Earth.

Just bought a Yamaha CBX-K1XG Keyboard Wanted this for a loooong time