RE: MD: dig. soundcard, again (OT!) (8 -track)
Gerhard Knez wrote: I have an Roland VSR-880 which is an 8 track harddisk recoding device. It has an S/PDIF optical output and also a digital chinch output (would prefer to use the optical). Now I want to connect the Roland to my computer and upload the 8-track recordings to manipulate it on the PC (use Win98 and WinNT 4.0). As far as the docu said the 880 presents every 8 tracks on its digital output. What you need is a digital I/O board with an Adat interface. Is that possible at all? Yes Which soundcard do I need to get all 8 tracks at the same time Anything with and Adat Interface.. I'm using a digi96/8 made by RME (www.rme-audio.de) which IMO is a superb Digital I/O board. That will do what your after. uploaded to my soundprogram? Is that possible with every card? No most digital I/O is 2 channel (in S/Pdif or AES/EBU format) What are the technical requirements of an appropriate card? There are a lot of multi-track soundprograms out there, I assume that every program that can handle multipe tracks is able to handle the input, right? Should do, the audio program should see 4 pairs of 2 Channel inputs/ outputs. (Just like having 4 seperate 2 channel audio cards.) Can anybody give me some advice where to find information about that (other mailinglist/webpage...)? You can also contact me directly to reduce the MD-off-topic part on the list to a minimum if you want. I hope it's clear what I'm asking (poor english, I'm german). Thanks alot in advance, Matt -- [EMAIL PROTECTED] - To stop getting this list send a message containing just the word unsubscribe to [EMAIL PROTECTED]
MD: ISO: Panasonic SJM-R200
Dose anyone know anywhere I can pick up up a panasonic SJM-R200 recorder cheaper than 170 quid (UK pounds)? Or anywhere I could find a used one fairly cheap (I need a replacment since my sony R90 got pinched the other week... only good thing about that is that I don't have to put up with that fu(king stupid *end search*...). Cheers Matt -- [EMAIL PROTECTED] - To stop getting this list send a message containing just the word unsubscribe to [EMAIL PROTECTED]
MD: TosLink interconnect question...
Hello MiniDisc enthusiasts, This is a bit off topic but I hope someone can help. I have 2 standard TosLink fiber optic cables (standard 1 meter length each) that I wish to connect together so that I can have a 2 meter cable. Does anyone know if such interconnects exist? Don't know if anything that exists to do this, but the DIY or temporary approach is easy, employ's a little electrical tape and a biro. And if so, where can I buy them? (a URL would be greatly appreciated). Also. are there optical "Y" Adapters so that I can connect 2 S/PDIF sources to one mini-disc recorder? matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
MD: SOny jE520 wirdness
Had aproblem with my sony 520 the other day It was playing, then the audio the counter stopped, it sat there for a minute or so then went in to standby. I couldn't turn it back on, tried unplugging and thing's, still wouldn't turn on (It would go in to service mode though) even tried a different wall socket still nothing. Eventually from frustration ended up trying the old tried and tested method for delicate electrical items. Picked it up and dropped it, at which point it powered up and had been fine so far since. Just wondering if anyone else has had a similar problem, or knows why this may have happened. cheers --matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
RE: MD: Earbuds
Helo, After joining the list for a couple of months, and finaly acquired a SONY MZ-R70 for personal use 2 days ago, i need now some help/information! What's the diference in the sound that cames out of Left Rigth earphones. Diferent frequencies? it happens that I'm deaf from my left ear, so i can only use the rigth earbud... but, what am I loosing then? The use of a left and right source give's the illusion of a sound stage. When the audio is mixed the different channels are panned L or R to set up there position on the sound stage ie. a kick drum or vocals wouldn't have a different between L R channels to place them in the centre, where as an instrument on the far left of the stage would have more level in the left channel than in the right which gives the illusion it's to the left. Really depends on the individual trax what the difference's between the two earphones are. Your best bet would be to record your MD's in mono, you lost the stereo sound stage but you gain twice the disc capacity (ie. 148 minutes on a 74 min disc), and both earphones with have the same audio information when played back. And / Or you could convert the headphones to mono. A stereo minijack (male) to mono minijack (female) adapter will do the job and cost next to nothing (will take both LR from the MD and put them in to one earphone). Is there anyway to use both (L R) connectors in only you ear? will i take any advantage in byuing one? i hope my question is clear! somtime my english get's a bit hard to understand! thanks anyway Jose Pedro Sa --matt -- [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
MD: international shipping (No MD related content)
I'm after some information regarding buying things from other countries hopping theirs someone here who may be able to help me. I'm in the UK (England) looking to purchases something from a "webshop" in the USA. There "International orders" info says: "However any taxes, tariffs, Fees Etc. imposed by your country, is out of our hands. We have no way, nor the time to figure these costs if any." So my question is, what fee etc are, if any charged on items being shipped to England from the USA. (and how do you get around 'em.) Cheers --Matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
MD: HHB PORTADISC MDP 500
Don't know if anyone mentioned this before but.. Flicking through an audio mag at work, noticed an advert for HHB's pro portable minidisc recorder, HHB PORTADISC MDP 500. One of the listed features is "USB interface" From the HHB website (http://www.hhb.co.uk): "Of particular interest to radio journalists will be the provision of a USB interface for the real-time transfer of files to laptop editing systems, enabling the production of finished news pieces in the field." Unfortunately a "Pro" model, retail price is around 995. --Matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
MD: Unbalanced Pro format digital signal (DeepOptical question)
LarZ wrote: 1) The input doesn't get resampled since there is a direct connection between optical in and optical out. This is in accordance with the schematic diagram for my JA30ES, and I would imagine yours would be the same. I'm assuming the 520's in's / out are going through some part oft the DSP on account of A. The Category code been changed to MD on the output B. The output data format being consumer with a professional format input. (this is is "- DA" / monitor mode. Putting a disk in and hitting record the data is passed back out in pro format) With a JE520 in "-AD" monitor mode (no disc in it) It is resamplaing 32Khz 48Khz inputs to 44.1Khz for it's digital output. Will not output a 96Khz input signal. Also using a 44.1Khz input to the 520, with a Level 1 +/- 50ppm clock accuracy it's outputting 44.1Khz with a Level II +/- 1000ppm clock accuracy, along with adding the MD category code, changing the SCMS status etc.. My thinking is that if the MD deck is changing the clock signal then the signal is been resampled. (could be wrong here). Weather this is going as far as the Atrac is still anyones guess. When in Record pause or recording (with a disc in the deck) The Input is been passed to the output without anything been changed. 96Khz signal is been passed through (output is 96Khz) The clock is that from the input Category code doesn't change to MD SCMS is the same etc 2) A pro format would be transmitted via 3-pin XLR connectors. I have yet to see an AES/EBU format transmitted along an optical medium. You sure about this? David W. Tamkin wrote: In what physical format is the AES/EBU signal coming into the 520, Matt? I thought AES/EBU could be carried only over three-cord XLR cables. Input was Optical.and yes I am quite sure! The digi96/8 i'm using can send receive the digital signal in several formats, Consumer (what you find in S/P-DIFf connections), Professional (what you find in AES/EBU), Adat (8 channel Adat interface) or Non audio (AC-3 etc). (I may not have worded that quite correctly as it's not "standard" AES/EBU dew to the lack of balanced interconnects, but the data in the signal is in the AES/EBU "pro" format,. it was the easiest way of putting it.). Following taken from the Behringer DSP8024 user's Manual: 4.2.1 The AES/EBU and S/PDIF standards Essentially, two standards exist for the transfer of digital audio data. Their most important electrical specifica- tions are summarized in Table 4.1. AES/EBU is a professional, balanced connection using XLR connectors. For semiprofessional users, Sony and Philips have opted against balanced connections and use either cinch connectors or optical waveguides. The process which was standardized as IEC 958 and is generally known as S/PDIF (Sony/Philips Digital Interface) became best known for the associated efforts to introduce copy protec- tion, however. Unfortunately, the professional standard was soon watered down, as the design of many units didn't provide enough room for XLR connectors. Instead, stereo jacks, miniature jacks and special adapters for sub-D con- nectors were used. In addition to the electrical differences, the formats also have a slightly different structure. The audio informa- tion occupies the same position in the data stream, making the two formats compatible in principle. The differences between the two standards can be found in the information blocks. Table 4.2 shows a section of the professional format data structure generally used in AES/EBU connections. As can be seen, there are major differences in the significance of the following bits between the two formats. If a device such as a commercially available DAT recorder only has a S/PDIF input, the device will normally only understand that format. Generally, it will switch off when receiving professional-format data. The reason is simple: As the illustrations show, a signal coded in professional format would lead to copy-protection and emphasis errors in a device only capable of processing the consumer format! As was already the case with the connectors, this point is often not immediately obvious. Many units do not switch off, others can process both formats despite having only a single connector type, and still others are simply faulty designs which refuse to work properly even when receiving correct ID data. The ULTRA-DYNE PRO can be equipped with an AES/EBU interface as an option. - If you want the pix showing the data structure, the manual is available from www.behringer.de as a PDF. --Matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
RE: MD: deep optical question
Putting it simply, no. The reason for this is because the digital out spits out exactly the same information as what comes into the MD's input simply because it is put through to the digital out directly without any looping through the unit's ADC/DAC circuits. It is unprocessed/untouched. Using my JE520 If the input is 48Khz or 32Khz the out put is resampled to 44.1khz, Don't know it a 44.1Khz input is resampled though. Sending a 44.1/16bit wav through my 520 (from my computer) and then recording back in the the computer is causing a wave file with differing sample values, which leads me to belive the output of the 520 is been reclocked ie resampled. also noticed the 520 will accept a "pro" (AES/EBU) format digital signal, which is output as S/Pdif format. --Matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
RE: MD: Subwoofer out + R90 Q
Churchill, Guy wrote: Correct ... without a LPF the sub will be amplifying full range, not an ideal situation, but OK. The amplifier with amplify a full range signal causing it more stress than required, and it'll generate far more heat than it needs to. The driver in the box won't reproduce full range, it will naturally roll off at some point, if it's a sub driver that will probably be fairly low (but certainly not low enough for sub use). *Almost* all Powered subs have their own variable LPF. (normally from 40-120Hz) Some THX subs are permanently fixed at 80Hz, most will have a phase switch (some have a variable phase), some allow line-in only (low level), others have speaker in (high level), many have both. Always interested me, what sort of audio quality do you get from a speaker level inputs on these things? Anyway on a more MD related note, Has anyone with a sony R90 noticed if they skip easerly when placed vertically (Head phone jack socket pointing skyward) and placed an a surface with a fair amount of vibration (my case in the car). I only noticed this after dropping the thing down the stairs... just wondering if this has had an effect on it or they just do that anyway --Matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
Re: MD: Recommended portable players?
=== The original message was multipart MIME=== === All non-text parts (attachments) have been removed === Francisco J. Huerta said: I would like to replace my aging player for something really portable, though. I've kept a close eye on the RZ-90, but I have lots of questions about it which Sony's page doesn't address 1) Does it use ATRAC Type-R? If not, which version does it use? Does it sound good? 2) Is there any new model by Sony coming out soon? 3) Is there a better portable (in your opinion) from other brands? 4) If I use my MZ-1 as a player in my home system, and wire everything using fiber optics, will an MD recorded on the RZ-90 sound better on the MZ-1 than a record made on the MZ-1 played on it? Any suggestions will be greatly appreciated. I love MD, and would like to purchase the best player-recorder out there. I wouldn't recomend the R90... Nice size... thats about it.. The "power saving" features make it a little slow to do anything and the skip protection seems to suffers to. which would be fine IF it didn't also come equipt with the Luvly "end search" feature (if i'd wanted a cassette style recorder i'd have bought a tape walkman, and if there(sony) looking to market to people who'd appreciate the "tape style" features, then someone really should tell there marketing department.. ). (Speaking of the end search *feature*, has anyone with a suitably steady hand fine soldering iron found a way to short the "endsearch" micro switch through the record switch on these...). Personly i'm looking to replace mine with a Panasonic SJMR200W at some point --Matt [EMAIL PROTECTED] === MIME part removed : text/html; === - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
RE:MD: Pro Decks
Anyone know a good source for professional rack mount minidisc decks? I = am looking for Tascam or Sony preferably. If your in the UK or Europe, www.thomann.de always had very good service from them thay ship to the UK for a flat rate (£10) good when your buying power amps --matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
MD: playing end of the last track
John Rolt typed: Point 3: Sony 520 control sequences: can anyone advise how I can simply set my Sony 520 to play back just the last minute or two of a recording for checking? Hit "repeat all", play track one, hold down rewind.. --matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
Re: MD: Digital recordings and track marks...
Timothy Stockman has since posted that the beast does exist and resides in P-channel on CDs. The creature has never, it appears, found a home in S/PDIF, though. But there is no code or signal in S/PDIF that means "new track starts now." | Not meaning to question you, uneccessarily - but is this definitely true? I | was sort of under the impression (hazy memory) that there was an instruction | that essentially meant "new track"? People see track marks reproduced in direct digital transfers, assume that they are copied by some such signal, and proceed to speak in such terms. But for disproof try this: connect a digital (optical or coax) cable from one MD unit to another and set the source machine to play the entire source disc; notice the the nice track marks on the copy. Then set the source machine to keep repeating a single track, and see how the repetitions of the track's contents accumulate in an ever-growing single track on the copy. I would argue that it's the receiving device that doesn't accept "new track starts now" data. All the information needed is present in the S/Pdif signal "validity Bit / CD-Subcode" data area. My CD player outputs track number, track time index numbers within the S/Pdif signal. The Signal coming out of my JE-520 contain track number information, though no track time (Interestingly, track numbers only go to 9, then it marks them with letters...) And my DTC-ZE700 DAT sends start ID's when the occur, (these are DEFINATLY used to mark tracks via S/Pdif AES/EBU digital connections!) This "Creature's home" has always been in the SPdif spec. wether ther reciving devices actually use the data to mark tracks is another matter. --matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
Re: MD: Digital recordings and track marks...
T But there is no code or signal in S/PDIF that means "new track starts now." Timothy Stockman responded, I don't know how the CD subcode information is translated for S/PDIF transmission, but the subcode "P" channel on the disc is just that, a "new track starts now" signal. It is the CD's version of the "wide spiral groove" between tracks on an LP. I've don'e know if the "P" channel makes . it into the S/PDIF data stream, but if it does, then the track start signal is available. There have been discussions before about the subcode channels (though I don't remember anyone's saying until you did now, Tim, that the very signal needed is in the P-channel), and it seems that the only subcode that makes it into S/PDIF is from the Q-channel. Recorders depend on changes in Q-channel data that would imply a new track's starting. It's unfortunate, because if S/PDIF carried that signal from the P-channel, track marking in digital transfers would be rock-solid. I'm runing my CD pla.yer in to my PC via a RME digi96 I/O board. RME Supply a nice piece of software called digicheck, using this to look at the "channel status" the "vality bit / CD-Subcode" data clearly shows the Track number, index no. time (to the nearest second) so the SPDIF signal must be carring track/time info. --matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
Re: MD: SCMS Strippers
I'm going to New-York next week, and i want to bring back a SCMS stripper Does anyone have an adress of a shop in NY ? I wanna bring it back from the US with me, because you can't find it anywhere over here ! (Belgium) As far as I know they are illegal in this country. Even people who used to sell them on the internet seemed to have been forced to stop. A similar thing is going on now with DVD players that allow you to disable their copy protection (Macrovision). They have been forced to modify their players so that you can not defeat it. I would recomend buying a good digital I/O board, just need to make sure you go for one that passes the input to the out put with out any proccessing. RME ( www.rme-audio.de ) make some nice I/O boards. There are go and bad points with doing it that way. more features more problemsetc... But you can buy them anywhere legally. -- matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
Re: MD: inserting blank space between tracks when recording mp3 to md
oes anyone know of a program or plugin for winamp that can insert blank space between tracks on a playlist so tracks don't get recorded together? it's a pain to go back and divide the tracks that are recorded together. -- I've heard mention of a "silence plug-in" and have been looking for it on and off, with no result so far. Id love to find it if I could, as when I digitally record to my aiwa AM-F70 I have to manually mark the tracks (recording from PCMD via winamp) Visit the home of winamp www.winamp.com they've large database of winamp plugins (including the the "gap at the end of songs one). Matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
Re: MD: Problems with Aiwa FM-70 and digital recording
Last night, after trying to get this working again with my F-70, I set up my roomate's sharp 702 and created 3 new MD mixes with digital recording and no problems with the track layout. That would indicate that it's my model or unit, as far as I can tell. I'm hoping the MZ-90 resolves this, when I can get my hands on one...but I'll have to wait another 2-3 weeks to know. Until then, I'm using my roomate's 702 to do my recording. When you mute the digi output all you're muting is the digital audio. The "Data" sections of the S/Pdif stream are still transmited (data valid, clock signal etc..). -Matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
MD: Analog Input Into SoundCards
I'd appreciate any advice regarding recording LP's onto Computer Hard Disk for cleanup. The new soundcard I bought is a Tracer SAS, which is actually a Hoontech SoundTrack 128 DDMA. It also comes with the Hoontech ST Digital Bracket I/O III. I was disappointed that the analog inputs were only mini-jacks (bought over Internet). mini jacks are standard on computer sound cards, unless you look at "pro" equipment which is more expensive. An if you do find anything with RCA phono or XLR's thats "consumer" then the Signal/noise ration u'll probably make it a waste of money The only ways I can think of getting quality analog sound in using this card are either: Recording the LP to MD and connecting the MD to the Digital Input on sound card to transfer to Hard Disk . (I'm assuming you've an MD deck, (port-ies don't have digi out)) Save the MD "a.t.r.a.c.ing" and some time. connect the record deck to the MD record-in, connect the MD Digitally to the sound card. Hit record on the MD deck with no disc inserted and the "record source" set to analogue The MD deck should work as a ADC thus passing on a digital signal to the computer, avoiding the noisy computer analogue input. Putting RCA to mini-jack adaptors from the Preamp to sound card--I think it would degrade the sound quality alot (comments?) Does anyone know of a better method, or better sound card for getting LP's onto hard disk? -Matt [EMAIL PROTECTED] - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
Re: MD: Sony's new Internet Audio Recording Interface
A Pentium II at 400MHz can manage to convert to MPEG-I Layer III at 128Kbps in real time. It cannot handle significantly higher bitrates in real time. Do you mean Compressing or Decompressing? If your talking about compression, what software do you use? because theres a HUGE variation between different products. My PIII-500 quite happily compressed a 2:30 wave @ 320kbs 44.1 mp3 in ~30 seconds while playing back mp3's. (Using Xing audiocatalist.) So I shouldn't think a P-II - 400 is that much slower. Anyway my point is that it depends on how the software is written. This is the machine I have at work, and that is my experience with it. And as everyone knows, 128Kbps MP3 sucks compared to ATRAC 4. Again Different software, different results. Also going through a noisy analogue sounds card doesn't help matters. I find 128/44.1 mp3 fine (certainly just as good as Minidisc) when going through the same DAC (JE520) It takes an 80486 running at 33MHz to emulate a 1MHz Apple ][ accurately (or a fast '386 if the emulator is written entirely in hand-optimized assembly rather than C). It takes a Pentium running at about 130MHz to emulate a Genesis console accurately. It takes a Pentium running at 200MHz or so to emulate the 33MHz PlayStation accurately. Emulation requires *vastly* more power than the actual hardware itself. Yeh but you don't want to emulate an ATRAC chip, you wana encode data to ATRAC standard natively on a PC using a PC processor software taking advantage of chip specific features. Incidentally dose anyone know how MP3 ATRAC compare regarding acoustic compression? -- Matt - To stop getting this list send a message containing just the word "unsubscribe" to [EMAIL PROTECTED]
