Using An Expensive Stereo Condensor With Minidisc

[alby]

I am thinking of buying an expensive stereo condensor microphone - RODE NT4 to record my jazz band live. It will feed into a MZ-NH700 minidisc recorder.

My question:

Is it silly to plug a microphone that retails at $880.00 AUD into a Minidisk Recorder that retails at $450.00 AUD. (I can get the Rode NT fro around $550.00 street price).

I am already using a SONY ECM-MS907 (which costs around $150.00) and want to go the next step up recording quality. I suspect that the SONY ECM-MS907 does not do justice to PCM Recording capability of the MZ-NH700 minidisc recorder.

The other option is the SONY ECM-MS957 which I can buy for around $450.00.

[bisebaer]

I don't think it's silly: I have the Rode NT4 and use it with my MZ-NH900 to make fair organ recordings, and the results are really satisfying.

I also used the MS907, but my Rode NT4 gives a deeper and richer sound. I haven't tried the MS957 though.

[greenmachine]

My question:

Is it silly to plug a microphone that retails at $880.00 AUD into a Minidisk Recorder that retails at $450.00 AUD.

It's by no means silly - although microphones got better (and smaller) over the years, it is still the most critical component of the chain (as long as you don't experience other problems like preamp overload, but that's a different story).

Edited May 25, 2005 by greenmachine

[dex Otaku]

I don't see anything silly about it, no.

The first 'real' recordings I made [c.1992] were using a Technics SV-100 digital audio processor [which I still have sitting beside me here] and a pair of matched condensors with custom preamp that together retailed for about $5,000CAD. The SV-100 I paid $250 for, and used with a $500 Sony VHS VTR.

The SV-100 is a 14-bit processor with a noise floor that is actually pretty damned horrible.

My NH700 records far more cleanly, with higher dynamic range, lower noise floor, better linearity, &c. - it also consumes a fraction of the power, doesn't require a second device to record the signal it processes, and leaves the old stuff in the dust in terms of reliability and ease of use.

I would really recommend using an outboard preamp with the NT4, though. The mic preamps on MD and HiMD recorders are fine for general-purpose use, but if you really want to make full use of the mic, something with "real" headroom, a lower noise floor, &c. would be a fine idea.

[alby]

I would really recommend using an outboard preamp with the NT4, though.  The mic preamps on MD and HiMD recorders are fine for general-purpose use, but if you really want to make full use of the mic, something with "real" headroom, a lower noise floor, &c. would be a fine idea.

←

Thanks for all your replies. I should have posted this question ealier. What is an outboard preamp? And could you recommend a few, with some indicative pricing.

I am really getting exicted about the prospect of getting some better recordings of my band.

Regards

alby

[dex Otaku]

Microphones put out a very low-level signal. A preamplifier brings that signal up to a level that can be used over longer cables [transmission loss being the main reason to amplify microphone signals] as well as to match the expected input level to mixing desks, recorders, and the like.

When you plug a microphone into a mixer, you're plugging it into a preamp. In its simplest incarnation it is just an input jack, a gain control, and an output jack. Other things commonly found in preamps are equalisation, phase inversion, &c.

Portable preamps range from pocket units meant specifically for use with the small mics used with MDs, such as the Boost Box from Reactivesounds [see http://www.reactivesounds.com/spa2.php], or the SP-Preamp from Sound Professionals [see http://www.soundprofessionals.com/cgi-bin/.../item/SP-PREAMP], to those meant specifically for use with balanced microphones [like the M-Audio DMP-3, see http://www.minidisc-canada.com/shopexd.asp?id=342].

I would recommend using a preamp that offers balanced connections with the NT4. Balanced connections let you use much longer cables [i.e. 10 metres instead of 1 metre] without incurring significant signal loss or absorbing large amount of electromagnetic interference from other nearby equipment or electrical lines.

[mrsoul]

Doesn't the NT4 also run off its own battery? You can use that model with or without battery if I remember correctly. Try it first with the battery and see what kind of levels you get and then consider a preamp if needed. Make sure you go Line In, not Mic In.

[bisebaer]

The Rode NT4 can indeed work from an internal 9V battery; but connecting to the line in didn't give me good results: the levels were always too low (and a fair organ is pretty loud ...). When possible, I do use a small Yamaha mixer with good preamps (well, good for its price), and the results are slightly better than when connecting the mic directly to the MD mic in.

[A440]

It would be great to hear what a first-rate mic sounds like with MD. Could you post a recording to the Gallery? If you can, use high-bitrate mp3 or .flac.

[alby]

Doesn't the NT4 also run off its own battery?  You can use that model with or without battery if I remember correctly.  Try it first with the battery and see what kind of levels you get and then consider a preamp if needed.  Make sure you go Line In, not Mic In.

←

Mr Soul,

Why Line In, Not Mic in?

I use my MS907 which also is powered by a AA battery through mic in.

Regards

Alby

[mrsoul]

You can use either. Mic in with a battery powered mic is something I have done myself but there is an increased risk for "brickwalling" with loud source signals. "Brickwalling" refers to distortion regardless of where you set the levels, the SPL (sound pressure levels) is just too high for the mic preamp to deal with. The mic in with the battery powered mic will work just fine for some recordings but I would go Line In to avoid possible distortion. The mic in route with the powered mic can allow a better dynamic range for the mic BUT it does add more "noise" to the recording.

It really depends on what you are recording. If I were recording a loud concert with a powered mic, I would most definitely go Line In. If it were something with less SPL (like bluegrass) I would consider mic in for better levels,etc. Something you have to decide for yourself based on what you are recording.

Maybe Dex or A440 can add to this...

[bjsilva]

I am thinking of buying an expensive stereo condensor microphone - RODE NT4 to record my jazz band live.  It will feed into a MZ-NH700 minidisc recorder.

My question:

Is it silly to plug a microphone that retails at $880.00 AUD into a Minidisk Recorder that retails at $450.00 AUD.  (I can get the Rode NT fro around $550.00 street price).

I am already using a SONY ECM-MS907 (which costs around $150.00) and want to go the next step up recording quality.  I suspect that the SONY ECM-MS907 does not do justice to PCM Recording capability of the MZ-NH700 minidisc recorder.

When I first started using a minidisc recorder I used it with the Sony MS907. I eventually bought an Audio Technica AT822 and just recently bought a Rode NT4.

I was really looking forward to another noticeable improvement in sound over the AT822 (like the AT822 vs. the MS907), but I haven't had a lot of time to do testing, and I've only done recordings using the internal battery into the mic in. My first impression is that the NT4 has a more natural sound than the AT822 (certainly much superior to the MS907) - the mid-range response is smoother/warmer and it's not as boomy. I really am looking forward to doing some serious recordings, particularly with a preamp. I think I'll probably get the PreSonus Blue Tube, since it's a reasonably priced 2 channel tube preamp, half-rack size. Here's a link if you're interested:

http://www.presonus.com/bluetube.html

Also, the NT4 is such a nice looking mic!