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FOSTEX FR2 Compact Flash/Micro Hard Drive Deck For Field Recording
In a message dated 12/15/04 3:56:33 AM Pacific Standard Time, dxxxxxxxxxd@hotmail.com writes:
Hello Leonard, I'm David in Australia, keen to gain your recommendations for mike/preamp, etc. I'm not new to computers and audio, and have decided to branch out into ambient field recording (not music events). Hopefully I can obtain some interesting sounds to incorporate into music loops and surround-sound compositions. I will probably be needing a wind shielding arrangement. I like very high quality gear and I'm planning on purchasing the new Fostex FR-2 field recorder, which saves direct to PCMCIA hard disk or to flash memory. I aim to roam the countryside in search of inspirational sounds! Would you be able to help me with binaural or HTRF mike choice? Many thanks in advance David Wxxxxx
Hello David, Thank you for requesting system for rural non-industrial/music ambient recording with Fostex FR-2. Recent Canada professional customer has tried FR-2 with mixed results using deck's MIC preamplifier with 12 year old DSM microphone with passive XLR mic level output; seems LINE level input is going to work best with FR-2 using an external preamplifier. Suggest best system with external PA-24NJ/XF ($1300 USD) preamplifier that powers and amplifies DSM-1S/M or /H ($550 or $650 USD) + WHB/N
($250 USD) windscreen mic to dual R/A XLR line input as best system for this deck. DSM-1S/H $650 USD (or DSM-1S/M @ $550) WHB/N $250 PA-24NJ/XF $1300 FedEX $ 65 ___________________________ Suggested TOTAL $2265 USD (or $2165 w/DSM-1S/M)
DSM mic models at: http://www.sonicstudios.com/dsm.htm PREAMP at: http://www.sonicstudios.com/access.htm#micamp Ship/Payment options: http://www.sonicstudios.com/ordering.htm Let me know if suggestions for best system for FR-2 make good affordable sense, when/where you need this shipped with Tele number, and what method of payment is best for you. Suggest most secure $65 USD FedEX shipping for delivery in Australia. Side NOTE: This Fostex deck may require external battery for practical long recording time as 8 AA cells do not last for very long. Also, NiMH cells may be too cumbersome to keep recharging several carefully 'kept matched' battery sets, and expense of regular disposable cells seems costly and environmentally unsound for regular use. May be possible to run the deck from disposable 8-10 quantity alkaline D cell pack for over 25 hours
Best Regards in Sound & Music Recording, Leonard (& Debbie) Lombardo ---------------------------Sonic Studios "18 Years of Stereo/Surround Audio History with DSM Microphones" Patented HRTF Portable Ambient Systems for Multichannel Field/Studio/Event Recording --------------------------------Informative Web Site: http://www.sonicstudios.com/ DSM Microphones, MD/DAT/CF/HD/Laptop Portable Multichannel Recording Systems/reviews+tips+FAQ+mp3 USA FREE: 1-877-347-6642 TEL: 541-459-8839 -----------------------------------------------A World Wish: "A bit of technical knowledge coupled to a great deal of God-given wisdom"
New Technology Memory/H.Drive Recorder Advisory
In a message dated 12/16/04 7:52:28 AM Pacific Standard Time, cinemasoundxxxxxxx@mac.com writes:
Leonard & Debbie. I'm determined to find the right combination of gear to maintain the highest quality of recording within a realistic budget. (This will include the DSM purchase)
I'm going to L.A. in February, and Florida in March, and I'd really like to put together something to take with me. Perhaps you can suggest an alternate recording device, available on todays market which you think will perform as well as or better than the DAT. I haven't experimented with the new Mini Disks yet, but as you know, any new format from Sony is just waiting to get blown away. and from what I've read in many reviews, people don't believe that Mini Disk will be around much longer. Have you had any experience with Memory Card recorders, or portable Hard Disc Recorders etc. etc.? Any suggestions would be greatly appreciated. Kindest Regards, Kevin Hxxxxx M.P.S.E. Ontario, Canada
Hello Kevin, For the most part, I'd suggest forgetting about MiniDISC format as Sony has made this a crippled consumer format at best for recording live sound. ONLY advantage of new technology (NT) recording decks (just now showing up) is some offer higher definition 2-track stereo and multichannel 24bit/96K recording ability. Otherwise, using PCM-M1 for reliable 16 bit/48K 2-channel stereo ability still seems most practical choice for many good reasons. The following is the rant on NT decks: New Compact Flash/Hard Drive audio portable recording technology seems to be moving way too slowly in supplying refined decks of good reliable design and practical long running internal powering options. Small size, high quality 16bit/44.1-48K, shock resistant, and long running time, that was fully realized with Sony PCM-M1 DAT deck, has yet to be shipped (in ready available quantity) that uses NT. Only small-compact-easily powered deck in sight is Edirol R1 that might be a good candidate using CF, but has limited 16bit/44.1K recording, and very, very few R1 units have shipped to vendors who all have long waiting lists of customers for this model. So Edirol R1 has NOT been (fully) evaluated as yet (December 2004). Higher quality recording with 24bit/88.1K-192K Compact/Flash or micro-Hard Drive (hard to find these) is possible with available large size Fostex FR-2 (~$1300 without storage). Customers who have tried this remark on good overall design, but also the impracticality of using 8 AA cells for maybe getting 2 hours worth of recording. Also, one customer trying 1992 DSM with passive adapter into XLR mic input reports Fostex FR-2 preamplifier is noisy (mostly with hum) when using this vintage mic. Same mic seems fine when used with other decks like Deva II (4-channel HD) recorder or vintage TCD-D10 DAT. So FR-2 may be best used for advantage of 2-track stereo 24bit/96K high definition recording ability with DSM mic, but only with using PA-24NJ-XF ($1300) model preamplifier for LINE

Also note the difference in firmware operation as follows:
Firmware upgrade v1.20.06 allows -12 to 0 dB to +12 dB analog LINE input recording adjustment IN 1 dB STEPS and (rather crude) VU level indicator. This is most desirable to have the 1 dB fine adjustment range ability with using an external preamplifier, BUT NOTE that the " -12 dB to 0 dB" range is TOTALLY USELESS as FIRST STAGE INPUT OVERLOAD will occur regardless, with clipping distortion most likely even if VU levels are showing within the safe region!!! So DO NOT use the adjustment below 0 dB (12 dB to 0 dB range) as it is totally BOGUS in controlling input overloads. ONLY the 0 dB to +12 dB range works for controlling the input against overload. For downloading (ONLY as suggested) next to latest NJ3 firmware upgrade v1.20.06 GO TO www.nomadworld.com/drivers/.. In other words, newest firmware upgrade v1.32.02 changes the input gain to be much greater than before and is in 4 dB steps (0, +4, +8, +12 dB, and so on to Max +48 dB), but over +12 dB gain is likely adding distortion and noise so do not use higher available gains if having (mistakenly) upgraded to faulty 1.32.02 version. Also below 0 dB (the - dB adjustment range) is likely again BOGUS and is to be avoided when recording from LINE level input jack.
SUMMARY Best NOT to upgrade to latest v1.32 version firmware for this reason alone, instead use an external mic preamplifier like my PA-24NJ (for DSM mic ONLY) if best fidelity is desired, staying with no greater than 1.20.06 version until (maybe) noise/distortion issue is resolved in later than 1.32.02 firmware version.
CAUTION: The user CANNOT (*easily) GO BACK to re-installing previous (maybe better working) firmware upgrade once a later version is installed.
Also, I cannot comment on from direct experience or heard about any upload lockout of perhaps 'marked as copyrighted' recordings placed into the NJ3, but believe this is NOT a problem with original recordings or those made via analog input by the user. NJ3 has ability to record with full bandwidth fidelity of uncompressed.WAV at sample rates to 48K per second. Recording quality seems very nearly the equivalent of existing portable PCM-M1 DAT audio deck for most enduse purposes. If you desire to record very satisfying, highest quality live sound, then consider DSM mic + PA-24NJ preamplifier into Nomad Jukebox 3 or (with or without external preamp) PCM-M1 DAT deck (without or with MOD-2 mic powering upgrade) as the finest quality system available regardless of cost. See DSM mic page: http://www.sonicstudios.com/dsm.htm See DAT deck review pages: http://www.sonicstudios.com/d100rev.htm Listen to DSM MP3 recordings at: http://www.sonicstudios.com/mp3.htm Slightly less quality, (not easily audible to most), is to use this suggested system with a Sharp portable MD of any available model. See: Best Sharp MiniDISC Models Past and Present Much general recording discussion at: FAQ PAGES Shipping/payment options: http://www.sonicstudios.com/ordering.htm Best Regards in Sound & Music Recording, Leonard (& Debbie) Lombardo, Owners ----------------------------

***NOTE: An alternative to somewhat complex computer system editing of recordings for later CD-R replication, while still keeping the process simple and interesting, audio MD recordings can directly duplicated and then shared with others using a stand-alone CD recorder deck that will accept both analog or digital input from analog only output portable or full size MD deck digital output.
With this said, I must admit that many 11 year olds have NO trouble figuring out how to operate computer-based audio editing and CD burning software; as long as the computer is already fully functional for this intended purpose. CHOOSING A DSM MODEL The microphone (and how it is used) is responsible for 95% of the recorded quality possible, everything else takes much less importance to getting consistent (interest keeping) satisfaction. DSM microphones are available in a range of models that best suite a certain range of sound recording interests. See mic page for details: http://www.sonicstudios.com/dsm.htm Lowest costing DSM mic that might be suitable is the DSM-6/M model at $350. The DSM-6/M is a moderately LOW sensitivity model that is best suited for recording up to fairly loud PA speaker amplified Pop/Jazz/Rock club/concert performances, but still can be used for recording interviews and acoustic instruments (at close range, especially with deck operating in lower quality boosted high gain mic input mode) if some background noise (soft hiss heard during more quiet portions) is not of too great a concern. Perhaps better for your child's interests (specific range of subjects?), but costing a bit more are the DSM models best suited for recording pure acoustic (very moderately or NOT amplified) interview, music, and sound effects. These mic models are the very sensitive DSM1/M* ($450) and less sensitive, but more versatile DSM-6/EH* ($500) models, or next less sensitive DSM-6/H* ($400) model.
*NOTE: These suggestions are DSM mic models in the LESS PRECISION left/right channel match category; lower cost (than DSM1S or 6S/ standard models) by $100 with little or no audible (what most can hear) sound quality loss.
SUMMARY: Lowest costing MIC + DECK system is ~$550, but cost for a more suitable DSM mic model could increase this to ~$700 or more depending on *useful purpose.

*The above suggested system is for indoor recording, or outdoors ONLY where wind, rain, or long term exposure out in intense Sun is not expected. However, if most versatile and fully protected indoors/outdoors recording ability is desired, then I strongly suggest adding $250 to the system cost for the WHB/N. This also comes with very practical protective carrying/storage zip case for WHB-mic + mini deck combination. See accessories page for best description of WHB/N: http://www.sonicstudios.com/access.htm
I'm sorry about the long length of this reply, but your requirements must be understood and issues carefully considered so that long term satisfaction with the choices is most likely. Please consider the URLs presented as good reading for background and look to the MP3 recordings page for examples of recordings and systems use. See: http://www.sonicstudios.com/mp3.htm E-mail (or maybe best to call if in USA) to answer further questions and to order. Payment/Shipping options is prepaid or cash COD (in USA via FedEx) as shown at: http://www.sonicstudios.com/ordering.htm
Best Regards in Sound & Music Recording, Leonard (& Debbie) Lombardo, Owners ---------------------------Sonic Studios "17 Years of Making Audio History with DSM Stereo Microphones" Featuring Patented Headworn or HRTF Baffled Gear for Field & Studio 3-D Ambient Sound/Music Recording --------------------------------Informative Web Site: WWW.SONICSTUDIOS.COM Microphone, Headphone, MD/DAT Portable Deck equipment reviews+Tips+MP3 sound files USA FREE: 1-877-347-6642 1-(541)459-8839 TEL/ 42FAX -----------------------------------------------A better wish: "A bit of technical knowledge coupled to a great deal of God-given wisdom"
Subject: portable music recording info
Newsgroups: rec.audio.proDate: 1999/02/03 Message 1 in thread
From: mnemonic@netusa1.net (mnemonic@netusa1.net)
I am considering purchasing a portable recorder for some live music recording. I am talking about stereo recording here, on budget. Here's what I want to know: What portable recording devices can anyone here recommend and what configuration have you used (mics/mixing/other gear) to achieve this. I am not a 'bootlegger' but I am planning a trip next fall and I would like to make good ( not necessarily the BEST) recordings of street musicians and live music I can get using 'the best of both worlds' so to speak, of convenience and quality recording. I understand there's always a tradeoff, but I am looking for your experience here.
If I am barking up the wrong tree here, please point me in the right direction of who to ask- or what other newsgroups I might look in. Thanks, Thom Yelton mnemonic@netusa1.net -----------== Posted via Deja News, The Discussion Network ==----------

Regarding: STEREO MICROPHONE that has definitely stands out in its field is the Sonic Studios DSM series. They are smaller than a penny, can be worn on the temples of glasses, take their power from the plug-in power feature of many small minidisc recorders, and their sound is nothing short of amazing. hand made by a real audio maven, they have been used in everything from gaming, to movies, to Jim Metzner of Pulse of the Planet, and Sandy Tolan. Check them out, even listen to some recorded examples at the somewhat cluttered but very informative website: www.sonicstudios.com Keep us posted on your progress. Good Luck. Mxxxxxl Johnson Send E-Mail to: GuySonic@aol.com
Can you tell me if the microphone described has a pre-amp in it or not? I am thinking of using it with archos jukebox recorder. Thanks Jay xxxxxxxxx, Ph.D. Assistant Professor of Anthropology and Folklore Department of Anthropology University of Pxxxxxxxxxx >> Hello Jay, Welcome to the group of those who hope to buy an affordable direct-to-hard disk audio recorder like the Archos or Nomad Jukebox, but with also having proper mic input features AND quality A/D systems inside. These first products fall far short of having needed features
and internal processing circuits of acceptable quality so far, but there's hope for the future. In other words, these hard disk (with ready two-way computer interface) products are NOT going to work for easily making microphone based recordings, and the resulting analog input processing is reported to be of disappointing quality. In the meantime, suggest reading the FAQ PAGES about deck options and mics on my site and considering either a SHARP minidisc (NOT Sony) or a Sony PCM-M1 DAT for this purpose. Advise me on your desire is for recording subjects and ambient environment expected for best system suggestions. A call here (1-877-347-6642) is also welcome to discuss practical options. Payment/Shipping options is on page: http://www.sonicstudios.com/ordering.htm Best Regards in Sound & Music Recording, Leonard (& Debbie) Lombardo, Owners ----------------------------
(Part 2) Subj: Re: request for info on mic. (is Archos Jukebox suitable to use as a recording deck?)
Message dated 5/28/02 9:51:14 PM Pacific Daylight Time, xxxxxxx@ORION.sas.upenn.edu writes: << Subj: Re: request for info on microphone. Date: 5/28/02 9:51:14 PM Pacific Daylight Time From: xxxxxxxr@ORION.sas.upenn.edu (Jay xxxxxxx) To: GuySonic@aol.com
Hi, thanks for the tips; there's no question (after perusing your tip pages etc.) that you folks give great advice, but tell me this: i'm not interested in recording any high audio quality materials, no concerts etc., just voice and voice interviews, and i was anticipating using the archos jukebox to record them, and then being able to drag and drop onto a laptop to burn a CD with each interview, to distribute to transcribers. efficient and easy, i thuoght. given that i'm not concerned with capturing music/audio to enjoy per se, do you still have concerns about the archos product? I would greatly greatly value any information/thoughts/suggestions you might care to offer.

and btw, thanks for being so strong on providing real value to customers through information rather than the typical corporate pr bs that omits all the details about everything. << Hello Jay, The desire to have any recording go direct to a computer hard disk as a.wav file is undeniable and a great time-saver. This I can attest to from personal experience. While the latest Creative Nomad/Archos Jukebox models now seem to have more analog input controls for adjusting line level inputs, they still do not have low level MIC preamplifier stage especially with High/Low input sensitivity ranging features (like on Sharp MD and Sony DAT). In addition, one or both Jukebox models still may not have (or easy to view) signal level VU indicator. No easy to read VU makes the recordist blind, and risking to experience way too low a recorded signal to occasions of awful sounding overload clipping distortion. THEREFORE: Lombardo's Jukebox System Suggestions In order to practically utilize available Jukebox devices for low level speech recording (virtually regardless of microphone type used) at least some kind of external mic amplifier stage is needed with output signal level VU. In other words, as far as I can tell, the Jukebox devices are not complete enough to function as stand-alone for your application without additional input gear like a Sharp MD or Sony DAT (using ANALOG Line/Phones output or DIRECT DIGITAL DAT output) into the Jukebox. This is regardless of RECORDING QUALITY or ease of recording operation issues. For these reasons, I suggest the following two systems to make practical and affordable the latest Jukebox incarnations: 1. Low budget: Use any Sharp MD portable model (NOT a Sony) for microphone input processing (preferably using the #0-#20 Low range) for VU level control-to-Phones/Line level output function; the output from the MD is then Miniplug-to-miniplug/or dual RCA patched into the Line input of the Jukebox. MD headphones output level is usually set to full up maximum and Jukebox input level is initially set to full maximum. Roughly determine just WHERE the VU indication on the Sharp MD deck relates to overload on the Jukebox. If needed, adjust the MD headphones output and/or the Jukebox input level manual control downward slightly to allow getting CLOSE RELATIONSHIP to the MD deck Max signal indication at 0 dB VU to maximum acceptable for Jukebox input. NOTE THESE CALIBRATION SETTINGS and always adjust for this before using the system.

I am looking to purchase a professional portable DAT. I would like to spend between $1,000 to $2,000. My friends have recommended the Sony D8 and the Tascam P1. Are these the only choices? What is the best portable DAT in your opinion? I will pay the premium for the best recording capability, but I want to make sure I receive it. Thanks for your help. Your Fan JP Email address : jpjpco@. Best Quality and Best Capability are two different issues and depends on recording style.mics.and some other issues. Best overall quality in a portable is the Sony TCD-D100 or PCM-M1; reliability of these two virtually identical decks is reported excellent and seems better than DA-P1 and D7/D8 decks (.which seem more reliable than the DA-P1 but at equal overall recording quality). For Stealth taping style, (or headworn DSM mic usage), the D100/M1 decks are ideal by 'phantom' powering the electret type mics directly with Plug-in-Powering feature (should be MOD-2 upgraded for best DSM mic performance). These decks are very easy to power internally or with external pocket sized packs (available from Sonic Studios) for 25 to 50 hours. You need adapters to use D100/M1 decks with standard XLR or 1/4" mic connectors and these mics would need to be self battery powered or use an external in-series phantom power supply. (NOTE: Sonic Studios has 'safe' mini-DAT mic adapters that are secure and won't ever damage the deck's jacks. if needed) If only using mics that need 48 volt phantom power (and for balanced XLR 25-50 foot long-run cables) AND only wanting an all-in-one deck solution, the DA-P1 is the only answer regardless of the other issues. You'll need to address the High-power DAT deck battery requirements with additional external battery systems. If using standard XLR mics and want the very best quality from this style of recording, then using the D100/M2 decks (going in Line input) with an EXTERNAL mic preamplifier (that also supplies standard mic 12-48 volt phantom powering) is the best system. This also allows just the D100/M2 to be utilized as a stealth, stand-alone deck..and DSM mic stealth powering deck later as a bonus. The DA-P1 seems a better deck for using as a home deck because of its full-sized heads and faster motors but, spending less on the higher quality recording D100/M1 decks may allow a better solution with a 2'd standard-sized home consumer or pro deck purchase. Your choice will greatly depend on all these issues: what you want to record (bands that allow taping.and/or. stealth ability), which mics/method you're going to use, how important quality, system size, versatility, and if you also need a robust playback deck with faster rewind/editing features.

Money is the least important issue, recording ability, available opportunity, and equipment reliability/satisfaction is the most important. "Life is too short; purchase the best suitable quality/value you can afford" Best Regards in Sound & Music Recording, Leonard Lombardo, Sonic Studios(tm)."Making Audio History With DSM(tm) Microphones" TEL: 541-459-8839 /\ FAX: 541-459-8842 /\ USA Free: 1-877-347-6642 Informative WEB SITE: HTTP://WWW.SONICSTUDIOS.COM "A bit of knowledge coupled to a great deal of wisdom serves us best" ------------------------------------
<< Subj: mic info for DA-P1
Date: 98-02-13 17:46:06 EST From: joel@.com (Joel ) To: guysonic@aol.com (Leonard Lombardo) hi leonard---i wrote a few weeks ago and haven't heard from you so i thought i'd try again. i'm interested in your mics for post-production sfx recording.indoor, outdoor and a little foley. i'll be using a tascam da-p1. i was wondering which model(s) you'd recommend.i'm a little confused as to whether the dsm-1, dsm-6 or dsm-6s would be appropriate for my needs. if you could, please reply to this address as well as joelschwelling@sprintmail.com. thanks much. Joel Sc---Sr. Audio Designer The Troupe/Modern -------Windham, NH, USA >> Hello Joel, Thank you for expressing interest in these products. Sorry about the need for a second query. I may have missed your E-Mail because there's no record of reception or a reply. The DSM-6S/EH may be the best for most recordings under 117 db SPL (a mic table on the web site helps define best model uses). For outdoor recording where the slightest breezes are present, some mechanism for wind screening (WHB) or an umbrella should be considered. The DA-P1 is not the ideal deck as the phantom powering available is a liability to damage the DSM (DA-P1 mic powering can be switched off to avoid damage) and a PA-x powering adapter of some model is needed to power the DSM microphone; a mini-stereo jack to dual XLR adapter is also necessary if using the PA-6 type adapter. The DA-P1's mic preamplifier is not as quiet as I would like to have it.
Bottom line, using you present deck will consume 3 times the power and have about four times increase in hardware mass. All this with much less recording quality and reliability. The suggested deck in terms of much better mic & dual 20 bit A/D is the Sony TCD-D100 (or PCM-M1 pro 'identical' version) that is MOD-2 upgraded to optimize the standard Sony mic powering feature ('plug-in-power') for DSM direct powering. Any DSM-6S model mic is then directly plugged into this deck model and the entire DSM mic & D100/M1 system is an audibly much higher quality recording package that can also fit in your shirt pocket and run for up to 3.5 hours on the supplied rechargeable NiMH cells or up to 8 hours on just 2 AA size Lithium cells! Reliability of this deck is the best in the business and only one connector interface for the mic directly powered by the decks mic input. Please consider these suggestions, your present deck is an all-in-one marvel for powering standard mics with long balanced cable runs but will mostly hinder your satisfaction, freedom, and versatility for truly portable ambient stereo sound recording. If you haven't seen the Sonic Studios site already, please take a look. Best Regards in Sound & Music Recording, Leonard Lombardo, Sonic Studios(tm)."Making Audio History With DSM(tm) Microphones" ---------------------------------------------------

Subject: M1 Back Light Noise?
Date: Thu, 6 Aug 1998 05:37:31 -0700 (PDT) Hey all I'm an official DAT-Head now - my Sony M1 arrived yesterday! :) I have a question for other M1 owners - the manual says that if you use the back light during recording, it may make noise on the tape. Has anyone found this to be true? Does the D7/D8 manual make the same statement? happy to be here, -Bruce >> Welcome to DAT-Heads Bruce, Yes the backlight does add some noise to the recording. But I've only been able to hear this when the Mic Sensitivity was on (H) with D7/8 decks or Attenuation was on 0db with the D100 / M1 decks. Most recording is done in the (L) or -20 db Atten setting; with less gain being demanded from the mic preamplifier, the backlight noise is not audible to my perception with this setting. I don't hesitate to use the backlight under these conditions of lower mic gain. Best Regards in Sound & Music Recording, Leonard Lombardo ----------------------------------------
<< Subj: Minidisc vs. DAT with DSM Microphones
Date: 9/9/98 11:28:56 PM Pacific Daylight Time From: @ix.netcom.com (Jamie S) To: GuySonic@aol.com Hello, I am looking for advice on a good recording setup. I have read the majority of your web page and your microphones seem to be very good. My primary purpose will be live concert recording. Is it better to got with a MiniDisc or a Portable DAT recorder? What setup would be best for use with your product and what would I need to buy from you. Any information or sites you could direct me to would be greatly appreciated. Thank you, Jamie Spelsberg
------------------->>
Hello Jamie, Thank you for expressing interest in the DSM mic system and providing some information on your interests. Mini-Disc is an interesting medium for recording that has improved with better (lossy type) encoding over the past few years, but remains behind a DAT deck in suitability for concert recording mainly from the MD's short recording time (74 min?) and cost (now down to about $5per disc) of the blank medium. While the Mini-Disc decks are very reasonable to initially purchase, you may find that when pursuing this hobby for even a short length of time, the blank disc costs will quickly exceed what you've saved on the MD deck unless the blanks drop another 50% from current costs. On the other hand, a Sony TCD-D100 or PCM-M1 (virtually the same deck, but M1 is pro-model/outlet distributed) will allow you to adjust levels while making a recording (at least Sony mini-discs decks need to be placed in pause mode) and media costs is about $4-$5 for 2 - 3 hour length tapes. Quality of the DAT remains much greater for hobby to professional purposes. The main drawback, other than the higher purchase price, of the mini-DAT deck over the MD is that DAT decks have a VCR type transport that starts to wear the heads (and occasionally also the guides) after 500-1000 hours of usage. Service to replace heads and guides is currently about $150-$200. However, 500 hours of recording represents a lot of enjoyed use. Using these smaller decks also for playback means that in about 3-4 years, service probably would be needed to keep things working reliably. Larger AC only Standard sized DAT decks generally give good service of at least twice that period and many go 3000 or more hours without significant wear, but all need occasional fabric tape or a technician's manual cleaning. The larger DAT decks are a good investment for home playback and copy purposes. No audio medium is perfect. The optical disk/transports seem the most immune to wear (if handled carefully), but no practical and affordable recorder at this time exists other than MD for portable use. I agree that both MD and DAT have their shortcomings and I've tried the Sony R30 and R50 MD for a short time and find the necessary manual level setting quite awkward by DAT standards but the MD quality is quite acceptable for concert use if the mic is matched properly to the deck; same goes for DAT. Let me know what types of music is your interest as the DSM mic model will be identical for either MD or DAT deck. I suggest the Sony recorder MD or DAT models mainly for known quality and the ability to power the mics directly. Check on the DSM powering page: MOD-2/PA-x Mic Powering Page for bass controlling adapters with associated considerations if you've not already seen this. The DSM-6S/x models are mostly used for club/concert purposes with M or L (i.e., DSM-6S/L) sensitivity designations and are in-stock available at this time. The mic chart is at: http://www.sonicstudios.com/dsm.htm Sorry for the long reply, but I hope to have answered most of your questions about these rather complex issues. ==================================

<< Subj: WM-D6C

Date: 11/26/98 11:59:34 AM Pacific Standard Time
From: @plee.com (Philip C) To: guysonic@aol.com Hello Leonard: I use the WM-D6C and would be very interested to know the type and brand of tape that works well for you. Sony has not answered my Email inquiries on this matter I have had good results with Maxwell LXII type 2, and have purchased two cartons of Sony type 4 metal, 90 MTL SRB. Any suggestions from your experience would be appreciated. Thank you. --Philip C ****************** (snip).there is something about using certain brands of cassette tape with that machine (I've owned three WM-D6C decks over the years) that can make a very poor sounding recording if the deck isn't adjusted for bias and overall recording level properly for the type and brand of tape used. >> Hello Philip, Well, for starters, metal tape is too hard on the WM-D6C in terms of necessary power needed to fully utilize the benefits promised by type IV metal formulations. Even most home decks lack sufficient power to use metal tape to any advantage over type II formulations. Increased head wear, recording distortion/loss of clarity, and increased tape noise are common problems with using metal on machines not equipped to supply many watts of audio recording power to the record heads. A good indication of a decks ability to use metal tape is the rated S/N ratio with using Dolby C or S; should be at least 76 db; can be as high as 82 db S/N on decks that are prime to use metal IV to record with real advantage. The older runs of WM-D6C was originally biased and calibrated for Sony's UX-ES and UX-PRO type II tapes for the best performance, especially with Dolby B & C operation. If you've purchased your deck in the last 6 years, then the top Sony Type II formulation would be the one to choose as the most correct for what the deck was set up at the factory to run with full benefit. Sony no longer markets the UX-ES or PRO types as such and I've not used these decks in the last 8 years to keep up with what the current top type II formulation is called, but your best bet is whatever top type II Sony has available now; they've always made excellent Type II formulations in the past that was the equivalent of any other top rated brand. Their fixed bias decks, like the WM-D6C, usually always performed best with their brand of tape. I've got most of this information and other stuff related to DAt and WM-D6C in the tapers tips section (linked off the taping tips page http://www.sonicstudios.com/tips.htm/ ) of my site. Best Regards in Sound & Music Recording, Leonard Lombardo ----------------------------------------
<< Subj: Interested in mic elements / DAT or MD?
Date: 11/1/01 1:54:55 PM Pacific Standard Time From: xxx@xxxxdental.com (JF) To: GuySonic@aol.com ('GuySonic@aol.com') I work for a dental equipment manufacturer, and have been working on a project to measure sound coming from our dental drills. The work will not involve anything as fancy as a stereo image, or anything like that. It will be mono recordings only. However I will need to be able to pick up the sound with a very flat frequency response microphone. The frequency response of your condenser mics look very good, and may be what is needed. Is it possible to get the unpackaged mic elements with only small wires to solder on to? How much would these mic elements cost for a single mic? Do you have calibration data for the mic elements such that it could be used to compensate the sound data generated by the mic to create a flatter response? The goal of this project at this point is to be able to record the sound of a dental drill, and play it back with enough precision that a listener would not be able to tell the difference between the real drill, and a recording played back through a speaker. The drill is a point source so if a good small speaker is used I think that I could faithfully reproduce the sound of the drill. Then we can filter a recorded sound, and evaluate what frequencies are the most annoying, and how much we have to reduce a particular frequency to reduce the annoyance to an acceptable level. The start of everything here is the microphone. >> Hello Jim, No acoustical sound that exists in our world is anything less than 3 dimensional, regardless of how it is produced. To achieve a realistic recording of any acoustic sound, you really need to record it in multidimensional stereo using one of my microphone systems. If you cannot realize this and do what many manufacturers (see some hardware MFG customer profiles at page bottom: WWW.SONICSTUDIOS.COM) are doing with using a DSM microphone + stereo recorder to capture the actual sound of a product in operation, I cannot help you further with this. I understand you think that recording is just a function of microphone element feeding a recorder, but this is far from the case in reality. Please see: http://www.sonicstudios.com/multitrk.htm for a brief overview of why your idea with a mono mic is far from what is needed. Suggestion: The DSM-6/M ($350) is minimum cost mic model and the DSM-6S/H ($500) seems about best for your stated application. See mic page at: http://www.sonicstudios.com/dsm.htm

Class Certified Postal Airmail (with return receipt of delivery sent to you upon delivery here). Best Regards in Sound & Music Recording, Leonard (& Debbie) Lombardo, Owners ---------------------------Sonic Studios "17 Years of Making Audio History with DSM Stereo Microphones" Featuring Patented Headworn or HRTF Baffled Gear for Field & Studio 3-D Ambient Sound/Music Recording --------------------------------Informative Web Site: WWW.SONICSTUDIOS.COM Microphone, Headphone, MD/DAT Portable Deck equipment reviews+Tips+MP3 sound files USA FREE: 1-877-347-6642 1-(541)459-8839 TEL/ 42FAX ---------------------------------------------------------- START OF PASTED TEXT ----------To: GuySonic@aol.com Hello Leonard, Friends and fellow radioheads Sandy Tolan (Homeland Productions) and Ingrid Lobet (Living on Earth) highly recommended your DSM mics to me. I am an independent (i.e., poor) radio producer/reporter with an interest in documentary radio. I've been using MDs and omni mono mics for several years, and now feel ready to go to stereo and DAT. Like Sandy, I would use these in often-difficult field conditions, but nothing super-technical (arctic temperatures, underwater, outer space, whatever). I wonder if you could put together a package for me at a great price. It would include: -- portable DAT recorder -- DSM mic -- windscreen & headband -- belt-mountable battery pack One last question -- do you think the DAT gives MUCH better sound than the MD? My main complaint with the MD has been lack of recording level control; your site lists Sharp decks with that feature. But old-timers tell me that the DAT sound is significantly better and worth the extra money. Your thoughts? Thanks! Jon M >>
Hello Jon, Thank you for the encouraging news of good words spoken about our recording systems, and also for your concise description of interests and requirements. The potential recording quality of the MD is now excellent, and there is just recently a shift (some manufacturers) from DAT models to making costly MD professional portables to market. The Sharp MD models are not designed or sold as a professional model, but still an excellent value with the full Manual Recording features and ability to do excellent sounding work even with the 5.5:1 reduced digital data ATRAC system common to all current MD decks. However, all MD decks are somewhat limited (more or less as compared to PCM-M1 DAT) in operating reliably when physically moving about; the deck needs to be mostly motionless. In addition, MD's input to VU signal REC Level adjustment (that which produces excellent quality when correctly adjusted) is more limited or less forgiving if misadjusted for recording a particular type of subject. AN EXAMPLE OF MD SETTINGS: VU levels that are acceptable (~ -12 DB VU) for recording voice/music is at least 15 dB HIGHER than what is acceptable for MD recordings of very complex, pure background ambient; for this ~ -20 dB VU or less recording VU levels is suggested; mostly because of MD analog-to-digital lossy compression scheme that may produce audible artifacts if driven hard with complex non-harmonic type ambient sounds. See tips page for more: http://www.sonicstudios.com/tips.htm Even with these limitations, most amateurs (and professionals) have found excellent quality recording, even if having a wide subject interest, is fairly easy with Sharp MD + DSM mic systems. Reason for this ease is the DSM model of microphone is appropriately matched to the types of audio subjects recorded (the range of sounds you intend to mostly record) AND to WORK CLOSELY WITH the recorder's best input settings' see tips page for more about this. See the chart on the mic page: http://www.sonicstudios.com/dsm.htm Bottom Line: You can almost halve the total recording system cost by using a MD deck verses a DAT. But, the DAT deck is easier to use, and more reliable in the long run; NO question DAT is the best choice where cost is not an issue. See FAQ PAGES section 'Customer Feedback' section and look for HTML page 38 for "DSM in Africa" for reading about one recent MD + DSM exotic field recording success story. ---------- END OF PASTED TEXT--------

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