Nor can you select tracks previously transferred to the SonicStage software on a Windows computer also grayed out , even if they were recorded in LinearPCM originally. So off I went to the streets, clubs and other remote locations to capture audio under typical, often less than ideal field conditions.
I put the stereo microphone to more use than I initially bet on, and it sounded surprisingly deep, clear, rich and dynamic on a wide range of sources, from ambient surroundings and spoken word to solo instruments and small ensembles. The attached lapel clip swivels and opens wide enough to grab onto any fabric, protruding flat hard surface or pipelike object as wide as half an inch in diameter. For anyone who has not had previous experience with stereo microphones, the initial shock of monitoring your surroundings with even better two-dimensional response than your own two ears will likely cause a jubilant awakening.
First, I tried recording a street-corner hand-drum circle popular here in town.
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The wind was moderate, and though the microphone is tiny and concealable, it was consistently getting blown out. So I mocked up a quick wind screen by tucking the mic into the sleeve of my fleece pullover, and all was fine — but it would be a nice accessory to have included in the kit. The mic's solid-sounding frequency response around Hz to 15 kHz and excellent stereo imaging really impressed me from the get-go, and I could make out every subtle nuance of hands scraping and sliding on the drum skins.
I tried recording with the microphone disconnected from its cord and connected directly to the MD but found that too many of my hand and case vibrations, as well as the sound of the recorder operations, got transferred through to the mic and into the recordings. Next, I ventured off to capture some ambient music at a small jazz club. This proved quite fun because the size of the recorder and covertness of the mic allowed me to walk around people in the packed crowd to pick up a constantly changing soundscape of music and chit-chat that revolved in stereo as I moved.
Later, the sound designer in me decided to capture everyday percussive sounds and loud drum sounds in my sampler. Despite its fantastic sensitivity finely adjustable through combinations of controls , the microphone proved that it could withstand a fair amount of high sound-pressure-level abuse.
At one point, I planted the microphone on the foam cushions beneath the DJ decks for isolation from vibration to pick up crowd noise and was delighted to hear just how well it handled the high SPLs of a nightclub. After I switched the microphone Recording Level Adjustment Mode from Standard to ForLoudMusic, the MZ-M recorded with less distortion during extreme high-volume input, responding with natural volume transitions similar to the way that a leveling amplifier would. The music and crowd were well-balanced, and after sensitivity and level adjustment, there was not a hint of distortion.
The clear-toned result proved perfect in creating a DJ-set CD by blending the captured crowd into the tracks recorded on a separate deck hooked up directly to the club mixer. Back in the studio, while hooking up gear, I did wish that the line inputs and outputs were professional-grade and balanced. Also, when I used the MD in Record-Pause mode to capture one-shot sounds for sampling later on, I discovered that a new track marker is added every time you press Pause to resume recording from where you left off.
Although markers can be edited or erased within the MZ-M, I really found this annoying. Given the MZ-M's petite size, it's well-expected that the onboard controls be relatively likewise. But in the heat of battle, I found them too small and cumbersome to control effectively, especially when nearly everything is made of shiny faux-chromed and slippery plastic.
The controls are not only small but also crammed together in one sixth of the unit's already-scarce 4-inch-square front-panel real estate. I also found the seemingly 4-point silk-screened labeling difficult to read, and the even-harder-to-navigate transport-control symbols embossed on the buttons are ridiculously illegible in anything but the most ideal lighting conditions — while aided by a strong magnifying lens! Until I got the panel completely memorized and discovered the finger gymnastics tricks required to operate it, I was constantly accidentally killing commands and negotiating wrong moves.
Design aesthetics aside, I think Sony should have considered the real-world demands of working professionals when designing the interface and provided much more tactile and accessible controls. After going through all that, you can call it idiot prevention on my part if you like, but I was surprised and grateful when the recorder refused to cough up the disc when I was in a hurry to yank it out and pack things up.
You see, as a preventive measure against errors or an unreadable disc due to incomplete data recording, the lid locks and cannot be opened while System File Writing is displayed. Sony LAM-X1 page.
Features: "High Definition" digital amp. Backlit, 3-line, Kanji-displaying, jog-dial equipped remote. Accessories: Remote, charging stand, headphones, AC adapter, carrying pouch, LiIon cell, battery carrying case. Features: Upscale Hi-MD downloader. Charging stand.
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USB connection done separately, through body. Provides PC uploading of audio recorded from microphone or line input but has no audio inputs itself. SonicStage v2. Backlit, 3-line, Kanji-displaying Japan only? Bookmark function up to tracks. Digital pitch control allows playback speed change without pitch change. Date-time stamp. Accessories: Charging cradle, remote, LiIon rechargeable battery, AC power adapter, optical cable, usb cable, headphones, carrying pouch.
Jog-dial on front of case similar to iPod. Stick-type, backlit remote. NiMH rechargeable cell vs. Accessories: Charging cradle, external AA cell case, remote, NiMH rechargeable battery, AC power adapter, optical cable, usb cable, headphones, carrying pouch. USB connection on main unit.
No digital amp. December 22, December 27, February 11, February 12, March 18, September 22, You must follow this order precisely: 1. Connect camera when instructed not before and compete firmware update Unless you do these in this order the update will fail. February 24, David Wong. January 3, January 4, They are just really slow when it comes to RAW support… Reply. April 21, Happy shooting! January 15, Pratyush Pandya.
Sony Hi-MD Music Transfer for Mac OS X Download
January 26, January 27, February 9, Thank you for any ideas on what might be the problem Brian. February 13, February 16, March 26, Thank you for the Sony support on your blog. April 10, Thanks much Reply. Did this happen after upgrading to Mac OS Good luck. April 18, There are currently no firmware updates for a7 III. April 19, April 29, Just tested the download link and it works for me. April 30, May 6, Is the storage card in the camera? May 11, Hi Brian, being on I hope this will help other users. Antonio Chagin.
May 8, Ad Dieleman. May 10, May 13, Are you using the original USB cord the camera shipped with? May 17, June 12, June 13, June 14, Took possession of my new a7iii yesterday. First thing I did was check the version…. June 24, June 27, TetherTools Terher Cables are fully supported. July 8, July 9, July 10, July 11, August 7, Grrr Reply. Was experiencing the above issues, just updated successfully. August 23, Hello Brian, I have been working with Sony camera for a long time and I have buy a Mac Pro two years ago to realize a project with my all footage but I have been surprised by the fact that the computer on OS Sierra Cristian Reply.
September 27, October 2, Good to know.
November 7, November 8, Ferrell McCollough. December 1, December 2, December 7, December 18, You need to unlock Mac Security Settings and leave them unlocked until you complete the update. I had the same problems with the firmware update as Ryan above. Finally figured it out. This all then worked perfectly. Mike Sandman. Leave a reply Cancel Reply Comment.