| Good sound, but flawed |
This recorder made excellent recordings that sounded good even at 44.1 kHz and 16-bit. Three major problems: biggest is short battery life-just over 2 hrs, and I was very careful (and once it's dead you're done until you can recharge). The Sony HD minidisk recorder gets 6 hrs with a battery add on. Next are the separate monophonic mini microphone inputs that are not compatible with any quality mikes I know of, and third, adjusting recording levels is overly complex with no quick way to adjust both channels, not a good thing for live recording.
A good try that needs a few key design tweaks |
2 Rating
|
| Ingenuity required to fully tap the potential. |
I've been waiting for this device to become available for a good while; at least since I had first heard of it. Having recorded with it in several settings I am prepared to make a few observations.
If you are new to 1-bit digital recording, the best place to get an introduction is from the "Futureproof" white paper available for download from the Korg website. In a nutshell, by increasing sampling rate, digital information can economize on word length. Thus, 16 bits are no longer necessary or desireable when you increase sampling rate from 44,1 kHz to 2.8 MHz.
I bought the MR-1 because I intended to use it for field recordings and recording concerts and shows, and I already have something matching the bulk of the MR-1's big brother, the MR-1000. Therefore, I needed something that runs off batteries and basically replaces the old DAT recorder.
The microphone packaged with the MR-1 is a stereo electret condenser mic with a limited frequency range (nothing above 12K) but it is adequate for dictaphone-type functions. Attaching your own high-end mics requires some exertion: the only mic inputs are 1/8" balanced jacks, so you have to step down the XLRs no doubt emerging from the back of your ribbon mics. However, the jacks are spaced rather closely together, therefore the commonly available 1/4" female to 1/8" male adapter from Radio Shack is too thick for one pair to sit comfortably in the jacks. Luckily you can trim the plastic off of them; so if you're not inclined to solder together a custom cable you can devise a work-around with a trip to the almighty Shack.
Metering and setting gain on the MR-1 is probably another slightly cumbersome implementation. I got reasonably familiar with the interface (sort of a modified OS9/iPod-looking affair), but it can still be a flying thumbfest in a live setting. However, the software included with the MR-1, necessary to dither your snazzy 1-bit files down to something you can edit or play on your stereo, is extremely easy to use. If you don't need the startling fidelity of 1-bit audio, you can record 192 kbps mp3 and economize on the 20 GB of disc space.
In summary, if you have some battery-powered phantom power externals or a battery powered stereo condenser, you can get some really striking field recordings with something about the size of an iPod.
|
4 Rating
|
