David wrote:
"I've lost recordings from the 3.5mm jack coming out and they are prone to
crackle if moved, especially with DC on them as with PIP."
I have been recording more than 1000 hours of PIP tracks during the
last five years using Olympus LS models, Sony D-50 and Nagra DS. No crackle=
.
Yes, some plugs have a tendency to come out of my old Olympus LS10,
but what is so terribly wrong with a rubber band holding it?
Your opinion about XLR's is old fashioned. Xlr's are fine when they
are fastened with screws into a die-cast chassis, like in the old
days, or at SoundDevice and some other (?) modern recorders. The four
consumer XLR recorders that I have are all broken because the xlr=B4s
are fastened only by soldering the lugs to the pcb board. It has been
enough to pull the cable to cause a break.
The most common reason for "lost recordings" is that the equipment is
too heavy, bulky and power consuming. You simply don't bring it with you.
It's a very different matter with professional people, investing
money in time and travelling, trying to make a living.
The main advantage with XLR's and phantom power today, is that you
can use the best of microphones with it.
I have claimed this point about once a year on this list.
Klas.
At 17:11 2014-06-20, you wrote:
>just two points
>
>a long time ago someone pointed out pcm and dsd are mappable to each
>other. the advantage of pcm is the ease of processing.
>
>how do two parallel a-d convertors improve matters. two capsules in
>parallel have noise that is random and signal that is not, and it
>gives an improvement in noise. What do you get if you combine two
>non-synchronous bitstreams? and if they are synchronous, what noise
>advantage can you get?
>
>I think this is again an old problem, thinking analog in the digital domai=
n.
>
>umashankar
>
>From: " [naturerecordists]"
><>
>To:
>Sent: Friday, June 20, 2014 7:37 PM
>Subject: [Nature Recordists] Re: Hello and a Sony PCM D100 question
>
> > 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.
>
>Mike,
>
>Ah, but "super bit mapping" sounds much better than "dither". I don't know=
,
>but my guess is that the double A to D conversions are probably out of syn=
c
>to get a better dither and less low level "gravel". Just a guess, but if
>they were doing an identical job, one would be redundant. Do they use two =
24
>bit ADC's for the second 16 bit conversions?
>
> > Why is DSD better?
>
>Theoretically, it doesn't produce harmonic artefacts in tune with the
>sampling frequency. Effectively the sampling rate is random at audio
>frequencies. I've never seen any proof that it is better than 24 bit and
>higher sampling rates as used in studio setups. Wild sounds are essentiall=
y
>"low-fi" at source, so I have no hangups using 16 bits and economical
>digital sampling rates.
>
> > 3.5mm sockets I don't consider as a "toy"
>
>I've lost recordings from the 3.5mm jack coming out and they are prone to
>crackle if moved, especially with DC on them as with PIP. I use balanced
>land lines up to 200 metres long and balanced and floating XLR's are the
>only way over distance. They go into an SQN mixer and then to my toy Tasca=
m
>via the 3.5 line in.
>
>"Toy" sounds pejorative, but with care you can get high quality if not hig=
h
>reliability from toy recorders.
>
>David Brinicombe
>
>
>
>
>------------------------------------
>Posted by: <>
>
>
>
>------------------------------------
>
>"While a picture is worth a thousand words, a
>sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause.
>
>
>
>------------------------------------
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