Hi David, Sony has two techniques, the first is noise shaping=
via "Super bit mapping" - this is used if the record bit depth is 16 bit -=
basically uses noise shaping/dithering to shove the noise above 20 Khz. If=
24 bit is used the SBM is disabled. The SN100 I described in the response =
to Vicki. =0D
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Why is DSD better? - Tough question and Ive been trying to convince myself=
"it is" but have yet to prove that with DSD64. I'd like to demonstrate DSD=
64 (2.8 Mhz) vs PCM @ 48 and 96 Khz in the field to see if there really is =
any practical advantage - I tried this on the beech in Whitesands / Wales a=
nd came to the conclusion the recording was identical - Ill make a short si=
de by side of surf, or choose something local. One reason may be the "raw" =
nature of the format, but if this requires special conversion software that=
takes time to generate PCM from DSD its less than ideal, also lack of (fre=
e) editing software to handle DSD directly swings the needling in favour of=
PCM. =0D
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3.5mm sockets I don't consider as a "toy", the D100 using PIP converted AT=
3032 capsules gives a self noise of 10.5 dBA with similar performance as us=
ing the same mics on a phantom power recorder. The noise floor of the recor=
der is sufficiently low for all but low sensitivity dynamic mics and I solv=
ed that with a PIP preamp for dynamics thus I have no reason (personally) t=
o use the Fostex FR2LE + XLR cabling. =0D
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BR=0D
Mike.=0D
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