oryoki2000 wrote:
> Re: Sharp minidisc recorders
>
> 1. Sound-activated recording
>
> ...Also called "Syncro" recording, this feature is available on the
> digital line, analog mic and analog line inputs on recent Sharp
> recorders. Sony offers this feature only on the digital optical line
> input. Could be useful in unattended recording situations.
On most Sony's the syncro has a different meaning, designed to handle
transfers from Sony CD players.
It sounds like something useful, I've so far used it only for other than
nature recording. If I was going to set out a unattended recorder it
would not be my portadisc.
> 2. Adjusting the levels while recording
>
> ...Sony now offers this feature, but only if you remember to change
> to the "manual record volume" setting each time you start recording.
> Without this setting, you have to pause the Sony to make changes in
> record volume. Sharp has always offered manual control of input
> level during recording. I think this is important primarily to rock
> concert-recordists, since the volume of the music changes so
> dramatically from song to song. For nature recording, you usually
> don't need to adjust the levels from the settings you choose when you
> first start recording. Some recordists even make perfectly fine
> recordings using Sony's automatic gain control, where the minidisc
> automatically varies the levels. I think what this means is that the
> levels don't vary much from the original setting.
One should note that many, if not all Sonys can be put directly into
manual record when you start the recording. Generally all you have to do
is hold the pause and record for a few seconds instead of releasing
immediately. With the MZ-R30 it was three seconds. So, I would start the
record this way, and immediately set the gain level and be ready to
record, all in a matter of 5 seconds or less.
> 4. Ergonomics
>
> ...Sony and Sharp have both fallen victim to the "smaller is better"
> disease in the last two years. They're trying to make the minidisc
> player as small as possible to compete with the tiny MP3 players.
> The result is that you need to have the fingers of a Tokyo teenager
> to manipulate the controls of most players. There -- I feel much
> better now!
One of the reasons why I stuck with the MZ-R30's for many years was that
the later recorders were so tiny. And the MZ-R30 was already a problem.
They are so light you have to work out special ways of gripping them
just to push the buttons.
> 5. digital transfer to Mac
>
> ...No portable consumer minidisc has digital output. Since you're
> using a Mac desktop computer, which has a poor quallity analog audio
> input, your best bet is convert minidisc analog output to USB input.
> The Griffin iMic ($35) and the Edirol UA-3D ($200) have software that
> works with the Mac. The Edirol adds volume controls and a port for
> headphones so you can easily listen to what's happening during the
> digital transfer.
I don't know where the idea that macs don't have good analog input
started from, but I've done analog audio input into several generations
of them now and find their inputs quite good. They are at least as good
as the quality of the outputs on consumer minidiscs. Mac audio has
always been designed to match CD quality sound. Like all analog you have
to watch signal and gain levels and grounding issues. Note that I
usually buy near the top of the regular desktop line at the time. I do
know there are some issues with imacs and such that vary from model to
model.
I do find the digital input a slight improvement only. I started using
digital input with the Portadisc. I did check out analog vs digital with
it. If one assumes digital is perfection in transfer, then you will have
very little to gain using some analog other than the mac's input.
I'm pretty sure the Edirol UA-3D is a cut down version of the earlier
Roland UA-30. I've seen some mention that it's not quite as complete. I
currently use the Roland UA-30 for all my sound I/O, for convenience
reasons.
> 6. Sharp advantages compared to Sony
>
> ...The Sharp pre-amp for mic input in current models is reported to
> be superior to the Sony pre-amp (that is, the Sharp makes better-
> sounding recordings than the Sony when using a mic) by many people
> who post to Internet newsgroups. It's unlikely you will be able to
> test this yourself without buying two units and recording with the
> mics you want to use. Maybe Minidisco will let you buy two and
> return the one you don't like.
What I've seen is that some Sharps may be more tolerant of high signal
levels. Good for loud rock concerts, I'm not sure for nature recording
as it may turn out that this means less sensitive pre's. This needs more
testing in nature recording.
> ...The new $290 Sharp MD-DR7 has "time shift" recording. This means
> that when the unit is in record/pause mode, the last 5 seconds of
> input from the mic is stored in a solid state memory buffer. Release
> the pause, and this 5 seconds will be recorded to disc. This is the
> first time this feature found in consumer-level (read: reasonably
> priced) gear. It's a big advantage when recording intermittant
> sounds like bird song. No longer will you have to guess when the
> bird is about to start singing!
As I have this on the Portadisc, I can vouch for it's value. I leave it
set to do that all the time. It does the 5 seconds, and when you start
recording off pause it will catch up in 4 more seconds. The time readout
will correctly reflect this.
> ...Recent Sharp models can start, pause, resume and stop recording
> using the remote control only. The minidisc unit can stay safely in
> your pocket. Unfortunately you still have to look at the unit to
> check recording levels. For recording in extreme conditions, you
> could put the minidisc unit in a Pelican 1020 micro-case with clear
> top ($16) to keep it dry and dust-free, and run the mic and remote
> control cables out through a hole sealed with a rubber grommet and
> silicone.
I don't know about current Sony remotes, but the older remote protocol
included the missing function (starting record), it was just not on the
remotes. There were some third party remotes that did include it, and it
would not have been hard to build your own as it depended on switching
in different resistance values.
> 8. Pro-quality recorder
>
> ...Having read the above, you can see why many recordists who want to
> use minidisc spend the extra money for a professional model. The
> current favorite is the HHB Portadisc (usually about $1400, but a
> reader of this group reported seeing one for $995 recently). The
> Portadisc is large and heavy compared to the consumer minidisc units,
> but it's portable enough to carry around for field recording, and it
> solves all the problems described above. Sometimes you do get more
> when you pay more.
The Portadisc is about the size and weight of other types of pro
portables, not all that excessive. It is heavier than it might have been
as ENG types had input into it's design and insisted on a fairly thick
steel frame and metal body covers. Something that's uncommon in these
days of pop together plastic things. This size means the controls are
human size, and there is a large lcd bar meter for monitoring sound
levels. Plus regular XLR connectors on the inputs. The electronics are
also well above those of the consumer MD. It is decidedly one of the
finest current field recorders, if you are serious enough and well
enough off to spend the money. There currently is little in any format
at it's level. If considering a high end portable of any format for
field recording be sure and compare.
Walt
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