Starting a new thread as the old one has reached 25 pages. Looks like Guy Sonic tested the noise floor on the D50 and it is lower than the R09.
But the D50 is also the only one with a 4Gb internal HD as well as flash of the 3. I agree on the build quality. Makes my Hi-MDs from Sony feel cheap and frail.
+T on the comparison pictures.
But the D50 is also the only one with a 4Gb internal HD as well as flash of the 3. I agree on the build quality. Makes my Hi-MDs from Sony feel cheap and frail.
+T on the comparison pictures.
Not so. The D50 does not have a HD. It has built-in flash. In addition, all three items record to flash, but under their own separate form:
D50 - Memory Stick
R-1 - Compact Flash
R09 - Secure Digital
+T
Not so. The D50 does not have a HD. It has built-in flash. In addition, all three items record to flash, but under their own separate form:Thank you for pointing that out.
D50 - Memory Stick
R-1 - Compact Flash
R09 - Secure Digital
+T
I haven't noticed the door being too loose. A little flimsy plastic but not snug. I do keep the 4Gb card in the slot so that might be the difference.
So, I didn't notice any difference in the stability of the door with or without the card in place.
Didn't want you to get the wrong impression from my post earlier.
Mine is loose too. I talked to Sony about this and they cautioned warranty may be compromised using regular blue painters tape. However they added, "We have taken note want our customers to know we use this feedback to continually improve and refine our audio products" coming in February, Sony accessory; PCM-PT, Sony BluPro-Painters Tape unfortunately it's only available from Sony. Go figure.
Mine is loose too. I talked to Sony about this and they cautioned warranty may be compromised using regular blue painters tape. However they added, "We have taken note want our customers to know we use this feedback to continually improve and refine our audio products" coming in February, Sony accessory; PCM-PT, Sony BluPro-Painters Tape unfortunately it's only available from Sony. Go figure.
Mine is loose too. I talked to Sony about this and they cautioned warranty may be compromised using regular blue painters tape. However they added, "We have taken note want our customers to know we use this feedback to continually improve and refine our audio products" coming in February, Sony accessory; PCM-PT, Sony BluPro-Painters Tape unfortunately it's only available from Sony. Go figure.
...coming in February, Sony accessory; PCM-PT, Sony BluPro-Painters Tape
Does the card slot cap flap in the wind? I would only use gaffer's tape like spyder9 wrote. Residue ain't purty.
Anyone tried the remote?As a former and present owner of many MDs, I say the remote is not necessary at this point. The recording level dial will change even with the hold function active. I've been watching the prices and they will have to drop some before I make that jump since it's not a big necessity. It's a big necessity for MDs because the buttons are so small and my fingers are too big. The remote on the MDs has saved my recordings many times.
I've been baffled by the lack of remotes on the MT and R-09 etc and wonder how MD people have gotten by after switching and losing the remote for stealthing. My MD remote has been crucial for me. The remote alone has made me consider this as an MD replacement.
and generally..is this the kick ass machine everyone was hoping it would be? I got seriously excited when
Sony announced it- but I've yet to see anyone really appear stoked by owning one..am I missing something here?
I just got in my PCM D50, and immediately tried the digital-in to see what data points I could add to this confused picture. I fed it with a 24/96 signal from a Core Sound Mic2496 optical out. The D50 read 48/24 but the second hand was racing, and sure enough on playback I heard my test speech played back at 1/2 speed (and down an octave, of course). I have not yet tried editing the wave header, but my guess is that I will have an okay 24/96 recording. This is a kludgy work-around for something that should function correctly out of the box.
Jeff
I recorded with the SBM turned on. Definitely made my recording more shiny in the mids and highs than I wanted. I suggest leaving it off like Mark Nelson recommends.
I should also state that 24bit ROCKS!!! ;D
And with 8Gb of memory, 24bit is the only way to go. I have been listening to 24bit WMA Pro 5.1 with my Creative Soundblaster Audigy setup of my New Year's show and it sounds very shweet. 16bit with SBM is not something I will be doing much anyways. 24/44.1 seems like the only logical way for me. 24/48 seems like too much trouble...
Victor "Victa" Wooten samples: (http://mrsoulmusic.info/victa2008-02-13/)24/44.1, limiter ON, Attenuator ON, Bass Roll-off ON, INTERNAL Mics X/Y, sitting on the front of soundboard
The mics were XY at about 6 1/2 feet up, dead center on the front of the soundboard. LCF set to 75Hz.
The mics were XY at about 6 1/2 feet up, dead center on the front of the soundboard. LCF set to 75Hz.
How big is this place and how far back were you?
+T for the samples....really appreciate the effort
Thanks seabrook for your thoughts. I'll stay away from DJdeals. Definitely will still buy from any place that has free shipping and + reviews.I have dealt with Musician's Friend many times and I got my PCM-D50 from them. Great customer service, fast shipping and great prices. Couldn't ask for anything better. Just my .02 of course.
Also, is the line-in capable of taking an unattenuated +4dB signal or not?
From the Sony website:
"Analog input - Input impedance: 40k ohms, rated input level: 2.0V, minimum input level: 450 mV"
I think that means it will do what you want. Maybe someone more technically qualified can chime in.
After much pondering, I think I've landed on the D50 as my next recorder.
I haven't read much to put me off here or on the 'in the field' thread - so can anyone give me any really good reasons for avoiding this machine?
Also, is the line-in capable of taking an unattenuated +4dB signal or not? Not a deal-breaker, obviously, but nice to have.
Any advice is much appreciated; I'm hoping my next recorder will last me a good while so I'd like the absolute minimum of nasty surprises after handing over my money...
Bench testing done here on D50 shows this deck handles a whopping +24 dBu LINE input!
Dumb question coming that I should probably already know...
When running line in (analog, not optical) should I have the D50 set to 0 or -20db? I'm guessing -20db. Will it really affect the sound much one way or the other? Running at 0db just adds more gain and potentially more hiss/internal noises right?
I love this new recorder. This is the perfect stealth recorder and exactly what I've been waiting on for years. I'll be posting some sample files of a recent comparison I did of the a/d convertor in the D50 vs. the a/d in the Mytek 192. After the first few listens, I'm very impressed with the a/d convertor in the D50 at 24/48.
I work for a heatlhcare software company (I'm a RN) and I got a Symbol PPT8800 handheld this week for a new product we are working on. It came with a slim pleather case. I was looking at it and thought "that looks like the same shape as my PCM-D50".
I just bought one of these to replace my 9-year old sony MZ-R50, and wow. Bought it to use with some external mics, but I'm also very impressed with the quality of the internal mics on this thing. I've used it to record lectures, a live show in a bar, and several instances of acoustic musicians playing unamplified (the reason I bought it). It sounds pretty good:
Too-late-at-night jam with three mandolins (http://wayfaringstranger.net/tunes/East Tennessee Blues.mp3) and two guitars and a mandolin (http://wayfaringstranger.net/tunes/Rich Gal.mp3). Mics in the wide pattern, recorder seated on a table in between the three of us, maybe 3 feet from each player. I think it may have clipped, but I was playing so couldn't adjust the levels mid-tune.
Rehearsal with Mandocello, mandolin, and octave mandolin (http://wayfaringstranger.net/tunes/Jeff Sturgeon.mp3). Mics in the wide pattern, about 10 feet away from the players. Good room; I think I got the placement right on this one, too.
A friend's bluegrass band playing in bar over a crappy sound system (http://wayfaringstranger.net/tunes/Too Late Now.mp3) (the buzz you hear is from the beer cooler). It's not a bad recording, it's bad live sound. ::) Internal mics in X/Y pattern, pointed at one of the PA speakers from about 15 feet.
Those sound good, but I don't get the sense that I'm really in the room. I think you need better mics for that.
[...]
This is a new omni mic I'm using, *directly* into minidisc (HiSP mode).
Those sound good, but I don't get the sense that I'm really in the room. I think you need better mics for that.
[...]
This is a new omni mic I'm using, *directly* into minidisc (HiSP mode).
You'll get no argument from me on that one (except for the bluegrass band recording; I've been to and played that particular room a number of times, and I think it's probably in the listener's best interest *not* to get a sense of it).
I have a decent pair of omnis that do make better sounding recordings, and I'll use them when I'm making a recording that really matters. My point was just that for something quick-and-dirty or a recording where it's inconvenient to set up mics, the built-ins do pretty well. I was pleasantly surprised.
What were you using on the recording at the link? Sounds good.
Has anyone attempted removing the built-in mics or creating some kind of slip-on cover for them? Out of the current digi recorders, this one would probably work best for me, but I just don't need those mics.I don't know, it seems having the mics would be good for situations when you just want to "point and shoot". They do seem to sound pretty OK. Would probably be great for interviews, impromptu ambient recording, jam sessions, drum circles, recording your drunken neighbour hollaring at the top of voice keeping the entire campsite awake at a hippie festival...
Can this use MS Duo Pro sticks?
Does it have a seamless split at 2GB or a noticeable pause?
Does it have a seamless split at 2GB or a noticeable pause?
definitely seamless
Can this use MS Duo Pro sticks?It will record without problems to MS Duo Pro (I have tested with 16bit on these at the Wanee festival) but it will sometimes tell me that I have unknown memory or something like that. Once I formatted the sticks, it's fine. Now, with the HG Duo, never any issues that require formatting, etc.
Can this use MS Duo Pro sticks?
Yes, that is what Stephanie Wingfield shipped with the kit I bought for mine, a 4 gig MS Duo Pro stick, says it is a Memory Stick Pro Duo Mark2, 4 GB/GO. MS-MT4G
Somewhere I have seen a thread of someone using larger than 4 gig successfully, not sure where that thread was though..
bilco
Has anyone used the XLR-1 for this unit?Yes, a German Guy called "trebogad".
buydig.com
$449 free headphones free shipping got mine there ask for abe.
Are there any windscreens that will fit onto it besides the dead rats? I'll be using it inside mostly so wind will not be a serious concern but some decent screens would be good.
I will be using the PCM-D50 to record jazz big band sessions. Do people have any recommendations for which limiter settings to use? I set my levels to leave enough headroom during the sound check, but occasionally in performance the band will get excited and play louder during crescendos - so the issue is not transients such as cymbal or drum hits, but the whole ensemble sound peaking for a couple of notes.
Thanks.
MS Pro Duo sticks work fine. I have an 8GB stick that I bought for my PSP. It comes up with an "Unknown Media" screen at startup but writes to the stick with no problems.
MS Pro Duo sticks work fine. I have an 8GB stick that I bought for my PSP. It comes up with an "Unknown Media" screen at startup but writes to the stick with no problems.
Thanks much! I'd give you a ticket but as this is only my second post, I don't have any to offer. I ordered the deck from B&H tonight and plan on using it at the Delaware Valley Bluegrass Festival in Southern New Jersey next week. I'll probably just be plugging into a friend but I may see how it works with the built-in mics for a little bit. I'll have access to a DAT backup if I'm not satisfied.
I just picked up the Sandisk Ultra II from Newegg, $40 for a 4GB card:
http://www.newegg.com/Product/Product.aspx?Item=N82E16820171351
I've only done a little bit of testing, but so far it seems to be working perfectly.
BTW you can directly power any DSM mic (without powering module) just by plugging into D50's mic input and turning on the mic powering feature.
If your older model DSM mic has hardwired battery module, then mic is powered regardless with AA cell inside the module, but if desiring a simpler setup, then have your mic refurbished with replacing the powering module with simple molded right-angle gold plated mini-plug so direct connection to the D50 is possible and you'd have the simplest two-piece configuration using the deck.
Oops my mistake, that's indeed the AT-822, and even with plugin power set to OFF I've got the background noise..
Just recieved the Complete Service Manual from SONY. Chips areThanks for the info.
Mikinput = ADA 4841 - 2YRZ-R7
Lineinput = ADA 8662 2ARZ-REEL
AD Chip = AK 5358 AET-EZ
I just picked up the Sandisk Ultra II from Newegg, $40 for a 4GB card:
http://www.newegg.com/Product/Product.aspx?Item=N82E16820171351
I've only done a little bit of testing, but so far it seems to be working perfectly.
Oops my mistake, that's indeed the AT-822, and even with plugin power set to OFF I've got the background noise..
There's something wrong somewhere. I have use the AT-822 with the D50, and they play together very nicely. I do have to turn the gain up with the AT-822, 3 on the dial with the internals gives me the same levels as 4 on the dial with the AT-822 when recording. The self-noise with the AT-822 is lower than using the D50's internal mics even taking into account the higher gain required by the 822. BTW, I lost the connector cable that came with the mic and am using a replacement I got from B&H (http://www.bhphotovideo.com/c/product/160633-REG/Hosa_Technology_XVS_101F_Mini_Stereo_Male_to.html) but I don't think that should make a difference.
I'd try a different mic with the D50 and a different recorder with the 822 to see if you can isolate the problem. Good luck.
Here's a list of SPDIF format converters
http://www.minidisc.org/part_CoaxOptical_Conversion.html
Flintstone
Here's a list of SPDIF format converters
http://www.minidisc.org/part_CoaxOptical_Conversion.html
Flintstone
Thanks. It looks like I'll probably be getting an analog signal this weekend if I plug out of him but I'll be doing some investigating this once I get back.
Clip and -12db (which I use to set levels on my preamp). I haven't had much problem since I usually go 24bit and just normalize if I ever need it but generally use the green -12db as my guide.
I think you will be pleasantly surprised with the PCM-D50. It's a tank and the battery life has been excellent. As stated before, it has optical input, line input, decent internals that can adjust to true XY or wide pattern (check my archive bookmarks below for at least 2 shows using the internals outside), great menu, 4Gb onboard flash memory, uses non-proprietary battery form (AA x4) and even is a solid mp3/wav music player if you want it to be. Did I mention the headphone amp and optical/line output? I have read others post about the HR09/R09 and others but for me, the PCM-D50 was and is worth the price. I got mine from Musician's Friend with the no interest deal for 12 months, of course that was before this economic meltdown. Good luck with your search!
Are people pretty happy with the metering?
Has anyone tested whether the optical digital output is active during recording and whether someone with another D50, or an H120, or a JB3 can get an optical digital patch during the show from a D50?Last night, I took the optical out from my Creative digital out>PCM-D50 optical input>Recording Active>Optical Out of PCM-D50>Sony Hi-MD recording. No problems and I get "Digital Recording" on the Sony Hi-MD. So, yes, if recording with Optical in on PCM-D50, it still passes an optical out.
I think the upside to the Sony XLR adapter is that is screws directly to the back of the unit and it probably is actually a good quality unit. Sony obviously put a lot of thought into the D50 so it's unlikely they'd sell an XLR P48 adapter that's the same price as the recorder if it wasn't good.
im thinking about picking a d50 up but have a lingering question... what should i pair it with?
thinking about an external pre --- which ones could i use?I think the upside to the Sony XLR adapter is that is screws directly to the back of the unit and it probably is actually a good quality unit. Sony obviously put a lot of thought into the D50 so it's unlikely they'd sell an XLR P48 adapter that's the same price as the recorder if it wasn't good.
the pro's of having an external pre are many, but for a streamilined, compact rig, would the xlr-1 be better. the point above is a very good one. does anyone have any pics of the d50 in action with the xlr adapter?
The only thing I don't like is the D50 doesn't have a line level input that I know of. So if I want to transfer a vinyl or cassette I have to use the gain knob and get the levels where I think they should be. I would like to be able to transfer line level at 24/96.
The only thing I don't like is the D50 doesn't have a line level input that I know of.
That's for switching from internal mics to line in, but the gain knob still affects the sginal, right?
That's for switching from internal mics to line in, but the gain knob still affects the sginal, right?
YES SIR always with the Pot inthe signal way
I'm loving the D50.
I've been running Countryman B3 and Sennheiser KE4 directly into plug in power on mic in. 0dB atten for ambient stuff, 20dB atten for shows. I like the lights green/red on each channel. Controls are great. The other great thing is the powersave modes. You can leave it on and it goes into powersave mode. Hit record, or plug in a USB cable and the unit "wakes up" and starts running. Nice...
Richard
B3's are just fine. But you need to rewire them. I put a 2k resistor between FET source and ground, much like Chris Church does in his 4.7k mod.I'm loving the D50.
I've been running Countryman B3 and Sennheiser KE4 directly into plug in power on mic in. 0dB atten for ambient stuff, 20dB atten for shows. I like the lights green/red on each channel. Controls are great. The other great thing is the powersave modes. You can leave it on and it goes into powersave mode. Hit record, or plug in a USB cable and the unit "wakes up" and starts running. Nice...
Richard
Richard,
So the D50 powers the B3's just fine?
I have a couple B6's that would be awesome to wire up to a 3.5mm and run directly into the recorder.
I owned a D50 when it was first released, but had to sell it in order to help fund my 702 that I needed for some work projects...
so I didn't get to test the built-in preamp very much.
thanks.
Just picked up a used D50 today! Sweet! Looking very good.
Plan to pair it with the V3 for shows when not in lowprofile mode, but also to plan to use when I am in the field to grab natural audio for slideshows.
Thanks to all for their advice on this fine unit.
cb
Just picked up a used D50 today! Sweet! Looking very good.
Plan to pair it with the V3 for shows when not in lowprofile mode, but also to plan to use when I am in the field to grab natural audio for slideshows.
Thanks to all for their advice on this fine unit.
cb
cb,
Remember to upgrade your chip in your V3 before taking it for a run. If you have changed your V3 chip you should be fine running the D50 @2496.
I've had a D50 since it came out, but haven't used it much as I really love my Sonosax MiniR82. The MiniR82 has spoiled me for most other small recorders, as it can run 5 hours at 24/96 without touching it, close to 10 hours with a small external power pack. Only the D50 does this (with seamless track breaks at 2GB instead of 4GB).
Recently I have had a recurrence of a weird problem with the the Sonosax, a R/L channel swap while recording, and have to send the machine back to Switzerland for repair. This has turned me back to looking at the D50, but I have been a bit nervous about the sound quality given that Sony has stated that the preamp and A/D are not as high-end as the superb D1 (which however can only do 2 hours at 24/96 unattended, since it won't take memory sticks bigger than 4GB so far as known). I was testing the optical-in signal from the Core Sound mic 2496 (Version 1) and found the recorder saw it at 24/48 instead of 24/96, but that the clock on the D50 was running double speed (and a 16GB memory stick pro duo card went from space remaining 7 hours + to 14 hours +). So I'm pretty sure it's recording correctly at 24/96. I recall reports when the D50 first came out that it had this problem with 24/96 signals from some high-end A/D too.
Does anyone know if the recordings made this way are okay? Also, what is a simple way to edit the wave headers to correct the header so that Wavelab, etc., sees the file as 24/96 instead of 24/48??
Jeff
I love my D50, best recorder I have ever own, but I have only MD experience.
It does have mini-TOSLINK (http://en.wikipedia.org/wiki/TOSLINK) input, which is S/PDIF (http://en.wikipedia.org/wiki/SPDIF) or am I crazy?
I love my D50, best recorder I have ever own, but I have only MD experience.
It does have mini-TOSLINK (http://en.wikipedia.org/wiki/TOSLINK) input, which is S/PDIF (http://en.wikipedia.org/wiki/SPDIF) or am I crazy?
can levels be adjusted in record mode ? I read the manual but it is not clear
Sorry for a very newbie question, but if you wanted to connect a pair of DPA 4060 to the PCM-D50, how would you go about it?
Thanks
Justin
I tried to find out how they are terminated and it seemed to be "microdot". I have no idea what that is. Anyway, anyone who has them, what would be needed to adapt them to the D50? And, are you saying a preamp? Or, what is this 9100 pre? And how much does it cost?Sorry for a very newbie question, but if you wanted to connect a pair of DPA 4060 to the PCM-D50, how would you go about it?
Thanks
Justin
Mic-in/line-in for the D50 is a single stereo mini, so your mics need to be terminated as such. I think Chris Church could build you a 9100 pre to power those mics however they are terminated.
Sorry for a very newbie question, but if you wanted to connect a pair of DPA 4060 to the PCM-D50, how would you go about it?
Thanks
Justin
Mic-in/line-in for the D50 is a single stereo mini, so your mics need to be terminated as such. I think Chris Church could build you a 9100 pre to power those mics however they are terminated.
I tried to find out how they are terminated and it seemed to be "microdot". I have no idea what that is. Anyway, anyone who has them, what would be needed to adapt them to the D50? And, are you saying a preamp? Or, what is this 9100 pre? And how much does it cost?
Thanks
Justin
OK so I have done more searching on this forum and seems like Church Audio's ST-9100 is perhaps better than the DPA MMA6000 for using the DPA 4060 to the PCM-D50, right? From what I've read it seems it is smaller, cheaper and same sound quality. That's good news. One thing I don't understand though, is why do we need to use a preamp? Is it because this preamp is better than the one in the PCM-D50? And then, if the PCM-D50 is expensive (relatively) because it has a good preamp, if we are going to use this 9100 preamp why not use it with a recorder with no preamp (if there is such a thing) to save space and money?
Better than the pre in the D50? And then how about the UGLY. If that is the same audio quality, but smaller and cheaper, shouldn't I prefer the UGLY? Or am I missing something?
The D50 has a very good on-board pre, but you are will going to need a battery box to power the mics. So if you have to have one more piece of gear, why not make it the ST-9100? It can serve to power the mics as well as a pre. I think it's well worth the money.
Better than the pre in the D50? And then how about the UGLY. If that is the same audio quality, but smaller and cheaper, shouldn't I prefer the UGLY? Or am I missing something?
The D50 has a very good on-board pre, but you are will going to need a battery box to power the mics. So if you have to have one more piece of gear, why not make it the ST-9100? It can serve to power the mics as well as a pre. I think it's well worth the money.
So it's only the power we need? Are you saying aside from power, the CA pre won't actually improve the sound? If so, wouldn't it be cheaper to just have something to power the mics, and go straight into the D50 to use its pre? (Is there such a thing?)
TS is not a place to save money.
OK I get that you guys want quality - me too. But I can't understand yet. Is the UGLY/ST-9100 better than the pre in the D50? If so, then I can understand the value of gettin gone over just getting a battery box.
If you use an external preamp with the D50, can you not use the D50's limiter?
QuoteHas anyone tested whether the optical digital output is active during recording and whether someone with another D50, or an H120, or a JB3 can get an optical digital patch during the show from a D50?Last night, I took the optical out from my Creative digital out>PCM-D50 optical input>Recording Active>Optical Out of PCM-D50>Sony Hi-MD recording. No problems and I get "Digital Recording" on the Sony Hi-MD. So, yes, if recording with Optical in on PCM-D50, it still passes an optical out.
Is it exactly the same signal? I have no way of testing this personally. Does it convert and then send out a different digital signal than what comes in? I don't know. Any way to test?
Has the price of the remote dropped any? It was spendy the last time I looked. Do you find it worth the price?It was $60CAD, so probably something like $50USD. It *may* come with the unit in some deals, if so, grab it.
What is the better memory stick... <snip>
Out of the blue my light stopped working and I can only scroll down in the menu settings. I wonder if there is a way to restore the D50 back to the factory settings? Frustrating but it still works like a champ.so it's water proof to. many sony really pulled out the stops on this one ;D.
I also accidently knocked my D50 off of my gear bag and in to an almost full cup of ice water while recording a few weekends ago. It was submerged in the ice water about a 1/4 of the way down when I grabbed it. Everything came out fine and the recording wasn't affected. There was a little bit of water in the battery cage but other than that I think the internal mechanics stayed dry. Note, this happened a few days after the light and menu scrolling stopped working, so the water incident didn't cause that stuff to happen.
I just ordered my PCM-D50 yesterday, based on the power usage, being a fine bit bucket and just pure Sony sluttiness.
Also after seeing Todd R's pics with the PSP 2> D50 were really sexy IMO ;D
Just placed an order. ;D
Just placed an order. ;D
Looking good empty! :)
Cool! I really want to get a look at that deck too!Just placed an order. ;D
Looking good empty! :)
Anyone lurking who bought a D50 used? Curious what they are going for? I'd really like to pick up one, But it's hard to buy new since I won't run it that often.
Someone recently patched off me with one. Seamed solid.
I will be adding a V3 shortly and will need the V3 (SPDIF?) to D50 cable, what are folks running for that and where might I get one?
What is the proper way to set the UA-5 to record 24 bits?
What is the proper way to set the UA-5 to record 24 bits?
It's been a while, but my recollection is that the ADV switch in the ON position outputs 24-bit, in addition to enabling (though not requiring) 96 kHz sample rate.
Hi All,
I thought I would chime in here and provide a little background based on what we've learned about the issues you are experiencing. First of all, technically speaking, the V3 is the source of the "problem" with the MTII and the Sony D50. The original V3 firmware does not indicate high sample rate information properly. Also, in consumer mode, bit depth is not indicated. There are a couple of reasons for this. First, at the time we developed the V3 the IEC-90958 standard (the official spdif specification) did not include implementation of bit depth indication and there was no consumer recording equipment that supported high sample rates. Second, the AES-3 specification allows for bit depth and high sample rate indication but it is not a requirement. With this we implemented sample rate indication for 44.1kHz and 48kHz to satisfy consumer DAT and CDR recorders but assumed that if you were recording at higher sample rates your equipment (hard disk recorder or DAW) would require you to set the record sample rate and bit depth manually. There was also an issue with memory space in the V3 processor not allowing room for these extended registers. We have now updated the original V3 firmware so that it will indicate high sample rate information in both professional (AES-3) mode and consumer (IEC-958-3). It will also indicate 24 bit data at all times in both professional and consumer mode. Jamie, our firmware wizard, was able to streamline the code enough to include these. This new firmware is being beta tested presently on the MTII and will be shortly on the Sony D50. The V3 firmware lives on a socketed IC chip that can be easily replaced in the field. When the testing is complete we will ship new chips to anyone who wants the new firmware free of charge. I'll post a link to an online order form on our web site when it is ready. In the mean time I apologize the the inconvenience that this has caused.
With the large quantity of older equipment out there and the fact that these standards change often, it seems like a bad idea to design a piece of equipment that relies only on embedded digital stream data and does not allow for manual override of record settings. I applaud M-Audio's rapid response to this issue with their new firmware.
Michael
Some interesting reading there, Brian and everyone else.
I don't own a D50, MT nor a V3 etc, but was wondering one thing in particular.
If the fault lies within the unit feeding the recorder (in this instance, the UA-5 preamp), then why would some preamps work while others don't? Meaning my UA-5 has no problem sending a 24bit signal to my iPAQ 2495 (which uses the PDAudio card and has only a optical input jack on it). Or is it because of what's "capturing" that signal (ie the recorder) and how that device was configured to do so? If it's the latter, then that just plain stinks !!
This may be a retarded question, but the D50 can record 24bit with other sampling rates than just 96khz correct? Like 44.1 and 48?
Yes. It can record :
22.05/16
44.1/16
48/16
96/16
44.1/24
48/24
96/24
I am buying a V3 from one of our fellow TS'ers and it has SPDIF out. From what I have read I should be OK with getting the 24 bit out to the D50, Correct?
UA-5 > PCM-D50 question:
I took it out tonight. Set the UA-5 to output 48kHz. Set the D50 to record 24/48 but when I went to record the signal was bumped down to 16/48. Ended up taping everything @ 16/44.1 for simplicity's sake, telling myself I surely missed something in the manual.
As soon as I got home I set my rig back up and busted out the manual. Pages 29-30 discuss turning the "SYNC REC" option ON. I figured this may have been what I missed so I tried but still got bumped from 24/48 to 16/48 as soon as I hit the Record button. Up until I hit Record I see 24/48 in the corner and figure I'm good. What am I doing wrong?
I'm re-reading both threads (for at least the 2nd or 3rd time) but it's 2:52 AM. Has anyone else had this problem running a UA-5 in front of the D50? TIA! :(
Edit: I'm running a TOSLINK > Mini cable out of the UA-5. Same as I did for UA-5 > iRiver h120 for example.
Was this ever resolved? I have a good deal on a UA-5 but I want a 24/48 signal and all I'm getting is 16/48. Tried searching but I'm not coming up with anything. Thanks!
However, I can't help but now wonder.... what is the longest thread in tapersection history?
Can anyone confirm the use of Sony or Sandisk Memory Stick Pro Duo MARK 2 cards (16gb) for the PCM-D50? I am looking to pick up one soon. Some good deals on ebay on these older cards which should operate at speeds to handle the 24/44.1 that I will throw at it.
I have a Pro Duo HG (4gb) but want to expand for the spring festivals.
Looking at the Ultra II and the Mark 2 cards which I think should handle the write speeds. I know Ultra II is much faster but Mark 2 should handle it. Thanks for any info. ???
There is a vendor selling 16Gb Mark 2 for $26. Just ordered from the guy in China. I'll let you know once I get it. Thanks again.
Always a risk you are right about that. I guess if it's not Mark 2 or fast enough, I will get the unrecognized media error message. What's the best price anyone has seen on 16gb Mark 2's?
Pittsburgh !!!
I was searching around lastnight for stand / mounting options for the D50 and came across this:
lumedyne extension post B&H # LUATP6. I'm thinking..... buy the post and clamp to the post or put the post in a shockmount.
Thanks for the info.http://www.sounddevices.com/calculator/index.html
So, how fast do the cards need to write to handle 2 channel 24/44.1 ?
Always a risk you are right about that. I guess if it's not Mark 2 or fast enough, I will get the unrecognized media error message. What's the best price anyone has seen on 16gb Mark 2's?eBay update. The seller unregistered from eBay and I got a security message from eBay about the seller. They also refunded me my money. So, lesson learned. I am getting a 16Gb from Costco once my rebate check lands. Just in time for Wanee!
I know this is an extremely old thread but would someone please give me advice on what would be the best setting gain wise on the PCM-D50 with this set up? I was thinking 5 or 6 and then just control the rest from the UA-5? Thank you in advance!
Edirol UA-5 (BM2p+) > Sony PCM D50
Edirol UA-5 (BM2p+) > Sony PCM D50
Edirol UA-5 (BM2p+) > Sony PCM D50
Wouldn't you be running digi-out UA5 > opti-in D50, therefore, setting the gain via the UA5 only?