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Author Topic: Sony PCM-D100 Part2  (Read 29672 times)

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Offline dogmusic

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Re: Sony PCM-D100 Part2
« Reply #105 on: March 25, 2015, 12:10:37 PM »

As for DSD, no one seems sure what to do with it

As well as making really great live recordings, it's a good archiving format for analog tapes. I've read that some users think of DSD like you would an analog master tape of a final mix: next step is analog out.

play them back natively in a pocket unit (via Fiio X3 or X5)

I think that those units, the Fiio X3 and the X5, have to convert the DSD to PCM for playback. But the new X3 2nd generation will play DSD natively (including .iso files).

"The ear is much more than a mere appendage on the side of the head." - Catherine Parker Anthony, Structure and Function of the Human Body (1972)

"That's metaphysically absurd, man! How can I know what you hear?" - Firesign Theatre

Offline adrianb

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Re: Sony PCM-D100 Part2
« Reply #106 on: September 22, 2015, 03:20:39 PM »
Has anybody used the D100 in  >:D situations?

The reason I ask is that I've just tested the PIP with a voltmeter, and was quite surprised to discover that the output is 5v.

Is this enough to power some popular mics in loud situations? If it is I could imagine I might be more comfortable using this on it's own with some mics, rather than the smaller M10 with an additional battery box. I'll give it a try shortly.

I can confirm that the internal microphones on the D100 are rubbish for loud sounds, this is my go to recorder for ambient sounds.

Offline mitchellm

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Re: Sony PCM-D100 Part2
« Reply #107 on: September 22, 2015, 03:53:30 PM »
@adrianb: I've used the D100 with an EV RE20, Shure 7B, and other mics demanding high gain. Zero problems. I don't remember the exact setup off the top of my head, but I used nothing but the mic, cable, and D100. I was testing with things like the EV RE20 just for fun. But it gives you the idea that you can use it with a wide range of mics.

Offline beatkilla

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Re: Sony PCM-D100 Part2
« Reply #108 on: September 22, 2015, 08:37:51 PM »
Hmm 5 volts,thats interesting.What do you get for a reading on the M10 pip?You could be onto something as recently i was running D100 for Steve Miller and using Countryman b3 direct to PIP because my battery box wasnt working properly and there is no distortion on that recording.If thats the case i believe Dpa 4061 run on 5 volts.

Offline adrianb

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Re: Sony PCM-D100 Part2
« Reply #109 on: September 23, 2015, 04:36:04 AM »
Hmm 5 volts,thats interesting.What do you get for a reading on the M10 pip?You could be onto something as recently i was running D100 for Steve Miller and using Countryman b3 direct to PIP because my battery box wasnt working properly and there is no distortion on that recording.If thats the case i believe Dpa 4061 run on 5 volts.

I measured the PIP output on the M10 at 3v. I was expecting the D100 to be the same, which is why I was quite surprised to find it was 5v.

 

Offline dabbler

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Re: Sony PCM-D100 Part2
« Reply #110 on: October 10, 2015, 03:57:23 AM »
What input level do you guys use for running DPA 4061s directly off the D100 PiP?  Roughly how loud and how far from the stage do you record at?

I've been using DPA 4063s (no BB) with mic-in with levels 1.8 to 2.0 off the M10.  These input levels are on the low side and probably not optimal for the M10.  I can still overload the input in some loud situations and may risk preamp distortion if I run lower levels.  So I wonder if I'll be better off with the 4061s directly into the D100 if I'm recording post-rock / metal shows at stage lip.

My interest in the D100 over the M10 comes from two factors:

1) eliminating a battery box and extra cable as a possible point of failure for 4061s

2) increased dynamic range over the M10.  I mostly record amplified rock shows, but occasionally there'll be an acoustic set in the middle or a quiet opening act.  I don't like to fiddle around with levels during a show in the dark (my night vision is poor).  With increased DR at stage lip, I might also be able to pick up on details like the musician's foot tapping (or farting ;D)

Biggest downsides is increased price and size.

Offline adrianb

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Re: Sony PCM-D100 Part2
« Reply #111 on: October 10, 2015, 03:28:07 PM »
What input level do you guys use for running DPA 4061s directly off the D100 PiP?  Roughly how loud and how far from the stage do you record at?

I'm new to this 'game' having only using my recorders for nature sounds previously, but waiting for a s*** load of stuff from Chris Church to get me really going.

Recorded my first concert proper last week with some AT853's(4.7k Mod) bought here plugged directly into Mic In (with PIP no battery box) on the D100 with the levels set at 3. Like you I'm not comfortable playing with levels, so set it conservatively having played in front of my hi-fi with the volume high.

I was in the second row, and it was a moderately loud indie band. I think it would have been okay with the levels set at 4, but really pleased with the results.

Offline dabbler

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Re: Sony PCM-D100 Part2
« Reply #112 on: October 15, 2015, 03:56:59 AM »
adrianb: I assume your MIC ATT switch was at 20 and not 0?

My biggest gripe with my DPA 4063 > M10 (no BB) combo is the lack of usable input range on the M10 when using mic-in.  This is while using the low-sensitivity switch on the M10.

DPA 4061 > D100 (no BB) could be my ideal omni setup for stage lip recordings.
I can see the D100 alone being roughly the same size as an M10 + BB + extra cable.

DPA 4061s are also plentiful on the secondary market, while the DPA 4063 is hard-to-find used.

Offline adrianb

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Re: Sony PCM-D100 Part2
« Reply #113 on: October 15, 2015, 04:57:19 PM »
adrianb: I assume your MIC ATT switch was at 20 and not 0?

No, it never moves from 0.

Offline beatkilla

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Re: Sony PCM-D100 Part2
« Reply #114 on: October 15, 2015, 06:50:40 PM »
I think you just got lucky if your recording wasnt distorted if you didnt use the -20 att switch but maybe im missing something.

Offline dabbler

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Re: Sony PCM-D100 Part2
« Reply #115 on: October 18, 2015, 07:41:37 PM »
DPA 4061 > D100 (no BB) with the Mic Att switch at 20 and input level @ 3 seems to work well for stage lip recording of an experimental post-metal band.

I just did two shows (open taping!) with the D100 and head-baffled 4061s compared to the dozens, maybe hundreds with the M10 by now.

The lockable input knob is great and is easier to see/adjust than the M10.  The unit boots up quickly and USB 2.0 transfers much more quickly than the USB 1.1 on the M10.  I've found the M10 microSD card slot too frustrating to align properly so I leave the microSD in the M10.

What I don't like about the D100 compared to the M10:

1. The Hold switch does not lock the power switch, making it easy to turn off accidentally.  I'm used to the M10 which has a combined power/hold switch, and I can more easily operate it by touch without taking it out of my pocket.
This is my biggest frustration with the D100.
The M10 is not easy to turn off: a good thing!


2. Hold switch prevents the backlight from coming up at all.  The light is completely innocuous and possibly cannot damage a recording (unlike the power switch), yet Sony decided to have Hold protect the light and not the power switch!  WTF!?

With the M10, I can touch a button, wait a few seconds for the Hold warning to clear, and peek down my pocket to check levels without disturbing anyone else.  This is not something I'd be comfortable doing with the D100 given the idiotic Hold switch implementation.


3. Unlike the M10, having the Hold switch engaged does not prevent the PiP toggle dialog from popping up when I plug in my mics.  It will prompt the user and force them to disable Hold.  The M10 remembers the PiP setting when the Hold switch is engaged.  I can work around this by turning the unit off before plugging in the mics.


4. The mic-in jack is on the side, making it more susceptible to strain when placed in a pocket.  For open taping, I used the bundled carrying-case worn on my belt so it was not an issue.  This is with a right-angle 1/8" Neutrik to terminate my 4061s.


Other notes:
The 5 second pre-record buffer is awesome on both recorders compared to the R-09 I used before.  A 10 second pre-record would be even better :)

Unlike the M10, the D100 runs Linux.  I've dabbled in Linux kernel development, but Sony seems to have locked down the ability to manually install software despite distributing the sources:

   http://oss.sony.net/Products/Linux/Audio/PCM-D100.html

Offline jibanes

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Re: Sony PCM-D100 Part2
« Reply #116 on: August 29, 2016, 06:41:47 PM »
From reading the manual, the PCM-D100, unlike the M10; can't do auto rec volume, what is the alternative; set the level "reasonably" and to the rest post processing?

Offline dogmusic

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Re: Sony PCM-D100 Part2
« Reply #117 on: August 29, 2016, 06:57:55 PM »
From reading the manual, the PCM-D100, unlike the M10; can't do auto rec volume, what is the alternative; set the level "reasonably" and to the rest post processing?

... and use the Limiter.
"The ear is much more than a mere appendage on the side of the head." - Catherine Parker Anthony, Structure and Function of the Human Body (1972)

"That's metaphysically absurd, man! How can I know what you hear?" - Firesign Theatre

Offline jibanes

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Re: Sony PCM-D100 Part2
« Reply #118 on: August 29, 2016, 08:11:00 PM »
Any advice on setting the "base" recording level? Or just watch the needles?
Finally another completely unrelated question, if using the optical cord and "line sync rec" does it stops when it encounter the end of the track? Or just start in sync with the input (digital) signal?

Offline dogmusic

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Re: Sony PCM-D100 Part2
« Reply #119 on: August 30, 2016, 12:19:44 AM »
Any advice on setting the "base" recording level?

I found that leaving the level at 4.0 worked in most circumstances.
"The ear is much more than a mere appendage on the side of the head." - Catherine Parker Anthony, Structure and Function of the Human Body (1972)

"That's metaphysically absurd, man! How can I know what you hear?" - Firesign Theatre

 

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