Stephen Gutierrez wrote:
> 1. Buy a converter so I can plug XLR microphones directly into my Sony
> N707 (what would this sound like?)
Assuming you are going to use a XLR mic that can run off a internal
battery, it's a fairly simple matter to make or buy a conversion plug.
It gets a little harder if the XLR mic in question requires Phantom
power (48 volts), which the walkman cannot supply. Then you buy a
separate battery operated phantom power supply in addition to having a
converter for the plug.
Assuming you don't have too much mismatch between the impedance the mic
expects and the impedance of the walkman, sound quality will probably be
governed by the sound quality of the walkman's mic pre. Which leads to
your next question.
> 2. Buy a preamp such as the MP2 and connect it to my Sony MZN707 (what
> would this sound like)
Assuming you have a quality mic plugged into the MP2, you can improve
the sound by doing this and going in through the walkman's sound input,
bypassing it's consumer level mic pre. The MP2 will also take care of
any phantom power needs.
> 3.Buy a Marantz PMD650 (good preamp but lousy display?)
> 4. Buy an HHB MDP500 (not so good preamp but good all around?)
I have a HHb Portadisc. I'm not sure where this story about the preamp
originated, but it's a good pre. I've samples recorded here with high
end mics:
http://frogrecordist.home.mindspring.com/docs/mic_samples.html
I also have a MP2, and get no better sound quality using it in place of
the Portadisc's pre. In fact, the best I get (due to increased gain) is
using the MP2 in tandem with the Portadisc's pre. That gives a very
slight improvement but also a bit of extra gain over either by itself.
Only useful with very quiet mics like the MKH mics.
> 5. Buy a Denon DF-F20R( limited recording time with Flash cards, fewer
> options than above and does it have phantom power?)
> 6. Buy a Marantz PMD690 (haven't read anything about these)
> 7. Buy a Nagra and go directly to heaven (just can't afford it!)
There are some other choices, including one from Sound Devices to be
introduced in the fall that looks nice.
Choice of recorder should be made on all aspects of the recorder. And
how well that fit's your style. Whatever recorder you get you will be
using it portable, over a extended period. Outside in the weather and so
on. Of the choices available right now, I prefer the Portadisc.
With the level of recorder you seem to be looking in, you should not
need a separate pre. It's a extra lump to cart around, makes recording
more awkward. You really want a recorder that does take care of it all.
Should you decide to stick with your current recorder, the MP2 would be
a improvement. That would give you more money for mics, which are real
money consumers. It would not give you the full advantages sound wise of
a pro recorder.
> One last question: how does MP1 compression compare with ATRAC 4.5?
> Thank you for taking the time to read this lengthy question. I would
> very much appreciate any comments you have.
I don't know, but it's kind of like comparing top end to top end. ATRAC
4.5 is at a level where you cannot hear any effect from it. Or at least
blind testing says that. If MP1 is as good, it's going to be entirely
trying to find a difference you can't hear from two types of compression
who's effects you cannot hear.
In nature recording a whole galaxy of things will change the sound more.
Choose one top end MKH mic over another top end MKH mic and change the
sound more, you can hear those differences. Same goes for the recorder,
the pre and A/D are going to be more important. And get a kit that will
record at exactly the sound quality you want and the environment will
muck it up. Or the silly bird will turn a different direction changing
things. And so on. A good recording is a small part the equipment, a lot
experience of the recordist, and a huge amount luck.
Walt
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