Become a Site Supporter and Never see Ads again!

Author Topic: Minidisc Recorder with Optical Out  (Read 15989 times)

0 Members and 1 Guest are viewing this topic.

Offline zhianosatch

  • Trade Count: (1)
  • Needs to get out more...
  • *****
  • Posts: 8992
  • Gender: Male
  • god-damned hippies!
Re:Minidisc Recorder with Optical Out
« Reply #30 on: September 04, 2003, 01:52:30 PM »
but my transferring process takes so goddamned motherfucking long to complete that spending $420 on a dying, troublesome format (the D8 I have on the way) is worth it.
I have to do so much to get a MD digital transfer to work that I don't even want to transfer any more. It's not worth my 4-5 hours per disc.
So DAT it is, for now. HD in the future.

Um, don't DAT transfers occur in realtime as well?  (if you're getting a DDS drive, I guess this is a moot point).  That's why I got out of the DAT game as soon as I could.

Now WHERE'S MY 722!?!?!

Lee, my friend, allow me to explain. Transferring in realtime is my friend. I dream of transferring in realtime and being done with it. That's the EASY part of my transferring process. I'm SO looking forward to having one sole realtime transfer, then tracking, then that's it. I go through so much shit to get a MD onto CD the way it should be:

Optical transfer MD from MDS-JE520 home deck: length of disc
Scrolling through Sound Forge to find millisecond-long dropouts that result from the deck playing back spots during which the recorder was moved in the field. These dropouts are not present when played back through the MZ-R700 portable recorder, just the deck with digital out. And all Sony decks are finicky like this. I have to be so, so careful not to move the MZ-R700 faster than less than 1/2" per second while recording, because I know that during playback through the deck, I'll have dropouts. This inhibits my ability to check levels, settings, recording time, etc in the field: 20 minutes+
Load the MD into the MZ-R700 and play back those spots that I've located by zooming in a scrutinizing the waveform, 1/8" stereo mini out of the MZ-R700 to line in on my sound card, some of which are located in clusters, others by themselves (and these clusters can number anywhere between 3 and 20 per disc), then organize the separate recorded files: 20 minutes+
***NOW IT GETS FUN***
Adjust the volume of the portable's analog-recorded spots to match those of the digital raw file. Sometimes EQ is necessary, too, and you'd better hope that you had your analog input levels adjusted right during portable playback. Plus, the two transfers sound significantly different to begin with: 10-30 minutes
By identifying peak structures that look alike on the portable's healthy transfer spots and the digital complete transfer, go crazy adding markers and adjusting them TO THE PIXEL at maximum zoom settings on each, and hope they match up PERFECTLY when you copy the analog transfer spots into the digital transfer dropouts, deleting, cutting, pasting, waiting for Sound Forge to deal with a 1GB+ file... also known as the "Splicing Process," along with bullshitting bad connecting points on the wav with the pencil tool and EQing/adjusting volume/wishing to God that you hadn't checked your levels or rec time during a song/wondering why you ever bother taping in the first place: at least 1-4 hours+ (sadly, I've gotten pretty talented at this)
Burn a CD with this one long wav file. Listen to it critically all the way through, pausing if you leave the room, and hoping that if you rewind a second the button doesn't slip and sned you back to the beginning of the track. Locate and identify dropouts that you could not see during the initial transfer in Sound Forge: length of disc
Repeat the Splicing Process for those spots you couldn't see the first time: 15 minutes-2 hours+ (depending on the amount and severity)
Track it out in CD Wave: 15 minutes
Burn and listen critically one final time for dropout errors: length of disc

All of my masters are done this way. This is why I don't evem bother mastering most of my MDs. It's just not worth it.
Schwilly continues to advise me to give up the digital transfer and just do it analog out of the recorder, but I just don't feel right about it. I can hear the the sonic differences.
And at least I don't get dropouts on my masters, unless I'm walking. Schwilly does even when playing out of his portable sometimes.
I realized that I just couldn't fucking stand it any longer, so last week I bought a D8. End of MD and all this cockshit for me, as good a trustworthy friend as my MZ-R700 has been...
Armen
P.S. EDIT: emboldenedified the "times" involved
« Last Edit: September 04, 2003, 03:01:43 PM by zhianosatch »

Offline John R

  • Trade Count: (2)
  • Needs to get out more...
  • Posts: 10100
  • Gender: Male
    • www.tapers.org
Re:Minidisc Recorder with Optical Out
« Reply #31 on: September 04, 2003, 05:56:17 PM »
armen, i use goldwave and am ignorant of soundforge.  that said, couldn't you just leave the big wave file open in sf and not burn it, and make the corrections on the screen as you listen to the file?

jr
we all live downstream.

Offline zhianosatch

  • Trade Count: (1)
  • Needs to get out more...
  • *****
  • Posts: 8992
  • Gender: Male
  • god-damned hippies!
Re:Minidisc Recorder with Optical Out
« Reply #32 on: September 04, 2003, 06:01:46 PM »
Not quite make corrections on the screen, but I could play the file and listen for dropouts in Sound Forge, yes. But this requires me leaving Sound Forge open while I stare at a waveform on the screen while I could be doing something more productive like playing Battlefield.
Burning's not the problem - either way, I have to listen attentively for the entire length of the disc.
:'(
« Last Edit: September 04, 2003, 06:02:49 PM by zhianosatch »

Offline John R

  • Trade Count: (2)
  • Needs to get out more...
  • Posts: 10100
  • Gender: Male
    • www.tapers.org
Re:Minidisc Recorder with Optical Out
« Reply #33 on: September 04, 2003, 06:03:14 PM »
ah, battlefield.  the root tof the problem ;D

jr
we all live downstream.

Offline zhianosatch

  • Trade Count: (1)
  • Needs to get out more...
  • *****
  • Posts: 8992
  • Gender: Male
  • god-damned hippies!
Re:Minidisc Recorder with Optical Out
« Reply #34 on: September 04, 2003, 06:04:46 PM »
Ha. The root of the problem is the Splicing Process. I spent months working on mastering my friend Brad's Tool 11-22-02 recording and got good at it. But it still takes hours. And hours. And I say fuck it.

Offline John R

  • Trade Count: (2)
  • Needs to get out more...
  • Posts: 10100
  • Gender: Male
    • www.tapers.org
Re:Minidisc Recorder with Optical Out
« Reply #35 on: September 04, 2003, 06:22:28 PM »
one advantage of being the archivist is getting to track at the show and not having to fuck with it later.  even so, if it is to be seeded anywhere, still get to adhere to the almighty e-treestandard.

jr
we all live downstream.

Offline zhianosatch

  • Trade Count: (1)
  • Needs to get out more...
  • *****
  • Posts: 8992
  • Gender: Male
  • god-damned hippies!
Re:Minidisc Recorder with Optical Out
« Reply #36 on: September 04, 2003, 06:25:49 PM »
The problem is in the dropouts resulting from the deck having trouble reading spots on the master. If I don't want audible dropouts in my music, I have to either do this or do an analog transfer out of the portable.
The dropouts are way, WAY more than annoying!
If etree doesn't like my dropouts... good for them. I don't either!

Offline John R

  • Trade Count: (2)
  • Needs to get out more...
  • Posts: 10100
  • Gender: Male
    • www.tapers.org
Re:Minidisc Recorder with Optical Out
« Reply #37 on: September 04, 2003, 07:23:33 PM »
i don't like dropouts any more than the next guy.  but as we've discussed earlier, i burn and track for me, not for traders.

jr
we all live downstream.

Offline zhianosatch

  • Trade Count: (1)
  • Needs to get out more...
  • *****
  • Posts: 8992
  • Gender: Male
  • god-damned hippies!
Re:Minidisc Recorder with Optical Out
« Reply #38 on: September 04, 2003, 08:30:12 PM »
Same here, John. Don't know how traders came up... but yeah...
This is the only way to get a clean CD with my equipment. Guaranteed. :angry2:
A

Offline Sean Gallemore

  • Trade Count: (2)
  • Needs to get out more...
  • *****
  • Posts: 8316
Re:Minidisc Recorder with Optical Out
« Reply #39 on: September 05, 2003, 04:16:07 AM »
i feel obligated to reply in here because I am part of Team MD.
I hate the dropout too, but here's 2 reasons why I don't upgrade 1) I can't affoard to 2) I just delete the dropout and deal with it for the half second that it sounds weird, fuck what other people think.

I don't care for optical outs on portable units. we shouldn't be using portables to transfer anyway.  It doesn't matter really, if you use it, that's fine because I do too, but that's why they sell home decks.

as soon as a sweet HD recorder hits the market, I'll be all over it.  MD is good for me now, but it is not the future.

Offline Lee

  • Team Bama
  • Trade Count: (1)
  • Needs to get out more...
  • *****
  • Posts: 4868
  • Gender: Male
  • "I hate the f***in' eagles, man!"
Re:Minidisc Recorder with Optical Out
« Reply #40 on: September 05, 2003, 05:19:47 PM »
ahh... it all becomes clear now.

My process is much simpler, since I tend to adhere to the SMS "fuck it standard" and don't touch my recordings in post process.  

First, I get it right at home:  I've spent over a year now listening to tapes of different equipment, tried different things, and mixed and matched the pieces of my rig to get the sound I like.  I have that now, and I'm sticking with it.  Except for maybe some omni caps...

Second, (and I realize you stealth guys don't have this luxury in the field): I get it right in the venue.  Mic placement, configuration, and cap selection are where most of my correction for shitty venue sound occurs.

Finally, I minimize "after the fact" adjustments.  If (god forbid) there is a dropout or stand bump or shrieking spun wookie on my "tape," I leave it there.  My goal is to record what happened at the show, while minimizing those odd occurances (see above) that can fuck up a tape.

Finally finally, I don't care if people think my stuff sucks.  Opinions are like assholes, everyone's got one and most of 'em stink.  If you don't like my source, tracking, or seeding, please go fuck yourself on the way to buying the equipment that will allow you to tape.  I'm doing this for me; getting it out to the community is an afterthought.
Denon AVR 3808ci > Paradigm Reference Studio 20 + Velodyne DLS 3750

Offline John R

  • Trade Count: (2)
  • Needs to get out more...
  • Posts: 10100
  • Gender: Male
    • www.tapers.org
Re:Minidisc Recorder with Optical Out
« Reply #41 on: September 05, 2003, 05:25:04 PM »
ahh... it all becomes clear now.

My process is much simpler, since I tend to adhere to the SMS "fuck it standard" and don't touch my recordings in post process.  

First, I get it right at home:  I've spent over a year now listening to tapes of different equipment, tried different things, and mixed and matched the pieces of my rig to get the sound I like.  I have that now, and I'm sticking with it.  Except for maybe some omni caps...

Second, (and I realize you stealth guys don't have this luxury in the field): I get it right in the venue.  Mic placement, configuration, and cap selection are where most of my correction for shitty venue sound occurs.

Finally, I minimize "after the fact" adjustments.  If (god forbid) there is a dropout or stand bump or shrieking spun wookie on my "tape," I leave it there.  My goal is to record what happened at the show, while minimizing those odd occurances (see above) that can fuck up a tape.

Finally finally, I don't care if people think my stuff sucks.  Opinions are like assholes, everyone's got one and most of 'em stink.  If you don't like my source, tracking, or seeding, please go fuck yourself on the way to buying the equipment that will allow you to tape.  I'm doing this for me; getting it out to the community is an afterthought.

Hello Lee.

I too leave in everything that gets recorded.  basically, i only fade and ultramaximze if i have too.

jr
we all live downstream.

Offline zhianosatch

  • Trade Count: (1)
  • Needs to get out more...
  • *****
  • Posts: 8992
  • Gender: Male
  • god-damned hippies!
Re:Minidisc Recorder with Optical Out
« Reply #42 on: September 05, 2003, 05:40:03 PM »
I don't know, I just cannot listen to a recording I made when there are dropouts. I almost never change anything sonically; fixing those dropouts is the only thing I do in post... because they fucking PISS ME OFF!
I leave hooters and hollerers on my tapes, too - I leave everything on there, including my beloved post-shows.
Just... man... those dropouts make it impossible for me to listen to my recordings, and fixing them takes hours... the only "after the fact" adjusting that I do is ridding myself of the goddamned drops. The shitty thing is, I have to do that for EVERY show, because no matter how careful I am, inevitably at least some dropouts will appear and take me hours to correct.
Hence my wallet opens wiiiiiide and I buy a DAT DAT DATeroo...
A

Offline zhianosatch

  • Trade Count: (1)
  • Needs to get out more...
  • *****
  • Posts: 8992
  • Gender: Male
  • god-damned hippies!
Re:Minidisc Recorder with Optical Out
« Reply #43 on: September 05, 2003, 05:41:55 PM »
I wish I could deal with the drops without having to splice in the clean spots... either by deleting them or ignoring them... I really do... but I just can't...

Offline Sean Gallemore

  • Trade Count: (2)
  • Needs to get out more...
  • *****
  • Posts: 8316
Re:Minidisc Recorder with Optical Out
« Reply #44 on: September 06, 2003, 05:59:01 AM »
the first real show myself and armen taped. static-x 6/27/02, I had dropout but instead of deleting it or ignoring it I spliced in another part of the song since it was the chorus ;D

 

RSS | Mobile
Page created in 0.087 seconds with 43 queries.
© 2002-2024 Taperssection.com
Powered by SMF