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Author Topic: KORG MR-1 pt.II  (Read 105326 times)

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Offline ferenc_k

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Re: KORG MR-1 pt.II
« Reply #45 on: November 17, 2007, 06:23:07 PM »
One question, as my first post here.

Does anybody know how the MR-1000's ( I know it is the MR-1 topic) XLR output is organized? Which is the purer: the RCA or XLR? I feel the XLR output is worse than the RCA, so is the internal structure is generally symmetrical and RCA output is generated by an opamp, or the XLR output is generated by an opamp from the internally asymmetrical construction?

Thanks for the help.

Offline guysonic

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Re: KORG MR-1 pt.II
« Reply #46 on: November 18, 2007, 06:49:25 PM »
One question, as my first post here.

Does anybody know how the MR-1000's ( I know it is the MR-1 topic) XLR output is organized? Which is the purer: the RCA or XLR? I feel the XLR output is worse than the RCA, so is the internal structure is generally symmetrical and RCA output is generated by an opamp, or the XLR output is generated by an opamp from the internally asymmetrical construction?

Thanks for the help.

Balanced output (XLR) is usually best if running long cables for having best chance of external noise immunity, and better condition of signal for maybe cancelling the effects of wire inductance/capacitance after traveling more than a few meters extension cord distance.  

For shorter cable runs, unbalanced output actually has chance of lower distortion characteristic than balanced (one less amplifier handling the output signal) and is preferred by some purists for this reason.

If the balanced output is handled by a transformer, then usually one amplifier is driving the output, and the characteristics of the output transformer has most effect on signal quality, and usually not as 'Hi-Fidelity' as direct connected unbalanced output.

For these reasons I personally choose to design a special stereo preamplifier output using an older technique once used exclusively by an audiophile equipment company also doing live performance recording and having to run mic signals a hundred or more feet.  They developed a special mic preamplifier located a few feet from the mics that drove unbalanced 50 or 75 ohm load-terminated video cable.

The output in this case is much higher power (overrides by several orders of magnitude all lower power radio/AC power noise signals), the cable is also 100% shielded adding even more noise immunity, AND terminated in its characteristic impedance so there is no chance of signal reflections (phase timing corruption) usual with all long lengths of signals traveling over unterminated cable, including commonly used unterminated balanced cable.  

While it's easy to find 100% shielded, precision impedance video cable these days. The engineering design challenge with this is the audio performance of the video output amplifier, and is not so easy to make as this one company realized, but eventually succeeded as did I using a special class A amplifier design developed over 20 years ago for this purpose.

This an older photo, now available with miniXLR connector upgrade

This allows EXACTLY the same quality LINE level signal outputted from the preamplifier to arrive at the terminated end thousands of feet away unchanged or interfered with by noise; not even balanced or any other extension cable method can do this feat.

So best seems single amplifier output and ultimate is also driving unbalanced, but very low impedance terminated video/RF type cable.

While required by very few caring recordists working very long distance mic positions, those interested or just curious in knowing more about a very unique S-VHS video cable output preamp capable of driving over a thousand foot length of cable, and while running on ~20 hour life internal battery power go to:  www.sonicstudios.com/access.htm#24njv
"mics? I no got no mics!  Besides, I no have to show you no stink'n mics!" stxxlth taper's disclaimer

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Offline ferenc_k

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Re: KORG MR-1 pt.II
« Reply #47 on: November 19, 2007, 10:43:25 AM »
Guysonic,

thanks for the detailed answer, this  solution is very interesting, I will dig deeper in it nd learnt a lot. However, did not answer my question, which is the purer output of the MR-1000: the XLR or the RCA?

Offline Brian

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Re: KORG MR-1 pt.II
« Reply #48 on: November 19, 2007, 10:55:13 AM »
did not answer my question

guysonic is just trying to get you to drop cash into his business.  he offers sound advice but it's usually linked to a product on his website so just be careful.

i'm not familiar with the mr1000 but i always opt for an xlr output(+4dbv) over an rca out (-10dbv) if whatever i'm connecting it to can accept a +4 line level without being overloaded.  people equate xlr to "pro" and rca to "consumer" but there's more to it, technically.

if whatever you are connecting it to only accepts rca, then that's fine.  i'm not sure what you are looking for in terms of "purity" so my apologies if i have not answered your question sufficiently.  a google search can get you informed on +4 line level  outputs vs. -10 line level outputs with all the technical information.

Offline guysonic

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Re: KORG MR-1 pt.II
« Reply #49 on: November 19, 2007, 12:07:14 PM »
Guysonic,

thanks for the detailed answer, this  solution is very interesting, I will dig deeper in it nd learnt a lot. However, did not answer my question, which is the purer output of the MR-1000: the XLR or the RCA?

In most cases, the unbalanced RCA output is purer less 'processed' output, with the balanced output handled with a 'following' amplifier stage that adds its own low distortion characteristics.

So if running <1.5 meter output cable, the RCA might be best one to use for lowest distortion effects.

Most cases the difference between the two outputs will NOT be audible, but easily measured with specialized test gear.
"mics? I no got no mics!  Besides, I no have to show you no stink'n mics!" stxxlth taper's disclaimer

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Offline filbig

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Re: KORG MR-1 pt.II
« Reply #50 on: November 27, 2007, 06:53:40 AM »
Hi guys,
I´m just wondering if someone has replaced the harddrive with a bigger one?
Thanks

F :)

Offline mandoman

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Re: KORG MR-1 pt.II
« Reply #51 on: November 27, 2007, 03:49:00 PM »
Hi guys,
I´m just wondering if someone has replaced the harddrive with a bigger one?
Thanks

F :)

I think people are most interested in replacing the HDD with a SSD. I'm waiting
for my warranty to expire and the price of 64Gb SSD's to come down in price to sane
levels before attempting this mod.

Offline guysonic

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Re: KORG MR-1 pt.II
« Reply #52 on: November 28, 2007, 03:49:37 AM »
Hi guys,
I´m just wondering if someone has replaced the harddrive with a bigger one?
Thanks

F :)

I think people are most interested in replacing the HDD with a SSD. I'm waiting
for my warranty to expire and the price of 64Gb SSD's to come down in price to sane
levels before attempting this mod.

A thread on SSD got started to discuss these devices into SD 700 series decks, but really applies to all portables with HD inside: http://taperssection.com/index.php/topic,93076.msg1240252.html

Got a chance to carry the MR-1 around last Sunday recording ambient and acoustic (mostly) harp, dulc., mandolin, guitar stringed, and concertina instruments with some vocal.  Upon returning to start an editing session with the results, I found many instances where the MR-1 produced 'glitch' sounds with slightest motion, and seemed to start entirely new (seamless) files inside the folder if movement was severe enough.  And I thought minidisc was sensitive to motions! 

Obviously, the MR-1 is NOT for field recordists who need to be walking around while recording.  I heard recorded glitches even when having the deck in my lap, and moved it ever so slightly.

I'm sure a different make of HD inside might be less sensitive to such movements, but the real cure for this is SSD replacement inside.
"mics? I no got no mics!  Besides, I no have to show you no stink'n mics!" stxxlth taper's disclaimer

DSM HRTF STEREO-SURROUND RECORDING SYSTEMS WEBSITE: http://www.sonicstudios.com

Offline JD

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Re: KORG MR-1 pt.II
« Reply #53 on: December 13, 2007, 08:48:42 PM »
Mics: DPA 4022, 4060; Nevaton MC51, MCE400; Gefell sms2000, m20, m21, m27
Pres: DPA MMA6000; Grace V2; Portico 5012; Sonosax SX-M2
Recorders: Edirol R09hr, Sound Devices 722

Offline H₂O

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Offline JD

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Re: KORG MR-1 pt.II
« Reply #55 on: December 13, 2007, 09:01:42 PM »
Don't know but
http://www.audiogear.com/cgi-bin/shopper.cgi?key=AdptFxMsm&preadd=action
looks like would work

I'm lookin to go from 3.5mm stereo (MMA-6000) to dual 3.5mm mono.
Just looking at my options.
Mics: DPA 4022, 4060; Nevaton MC51, MCE400; Gefell sms2000, m20, m21, m27
Pres: DPA MMA6000; Grace V2; Portico 5012; Sonosax SX-M2
Recorders: Edirol R09hr, Sound Devices 722

Offline richardl

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Re: KORG MR-1 pt.II
« Reply #56 on: December 13, 2007, 09:53:58 PM »

I'm lookin to go from 3.5mm stereo (MMA-6000) to dual 3.5mm mono.
Just looking at my options.

Sound Professionals has these. It is "SP-KORG-ADAPTER-CABLE"

Offline moooose

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Re: KORG MR-1 pt.II
« Reply #57 on: December 14, 2007, 05:05:50 AM »
What are the chances that this will fit the MR-1 input jacks?

http://www.audiogear.com/cgi-bin/shopper.cgi?key=Adpt-2MmmMsf&preadd=action




imho chances are very high. I have one of these adapters (I got it directly in a plane) and it works perfectly.

Offline JD

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Re: KORG MR-1 pt.II
« Reply #58 on: December 14, 2007, 08:18:55 AM »
What are the chances that this will fit the MR-1 input jacks?

http://www.audiogear.com/cgi-bin/shopper.cgi?key=Adpt-2MmmMsf&preadd=action




imho chances are very high. I have one of these adapters (I got it directly in a plane) and it works perfectly.

Thanks for the info.
Mics: DPA 4022, 4060; Nevaton MC51, MCE400; Gefell sms2000, m20, m21, m27
Pres: DPA MMA6000; Grace V2; Portico 5012; Sonosax SX-M2
Recorders: Edirol R09hr, Sound Devices 722

Offline johnny9fingers

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Re: KORG MR-1 pt.II
« Reply #59 on: January 23, 2008, 12:34:58 PM »
I would like to record outdoor & indoor concerts, and ambient nature.  My concerns are the ability to burn cd's that showcase the recording capability of the MR1, and the short battery life.  I have been leaning toward the Sony PCM-D50, but am drawn to the ability to make 1-bit recordings.  Does anyone have both machines?  If so, which do you prefer and why?  Thanks for your guidance.

 

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